格拉斯哥大学MLITT艺术史学生Polina Govorukhina的来宾博客

Hello, I am Polina Govorukhina, an MLitt Art History student from the University of Glasgow. I specialize in the art of the Renaissance. As a Work Placement project, I investigated MS Gen 1060, a manuscript conserved in Archives & Special Collections (ASC) at the University of Glasgow.

这是一本手稿圣经，由从创世纪到教会的一卷旧约组成。它可能是在1490年代初为热那亚家族而生产的。[1]It is of impressive dimensions, measuring: 430 x 306 mm. The manuscript is structured in two-columns of text written in black ink with rubricated headings. The script consists of spiky letterforms – a clear gothic, textura type hand, typical of manuscript Bibles of this date (Figure 1).

The manuscript is lavishly illuminated with scenes from the Old Testament. There are nine illustrated pages in total, of which five are incomplete. The presumed artist of its decoration is Michele da Genova. He was a north Italian artist active in the 15-16th centuries. This Bible is considered to be his major work.[2]Da Genova is believed to have executed the decoration of the frames, the miniatures and the historiated initials. Their style displays similar iconography. This includes detailed compositions exemplifying a profound perspective, elaborate patterns designed with acanthus leaves and varied gems, antique style candelabras and vases and a bright naturalistic colour palette. The decoration of the margins indicates aesthetics towards grotesque decoration in the form of candelabras that incorporate peopled acanthus and arabesque ornament. The style of da Genova is characterized by the influence of the famous Italian Renaissance artist Mantegna (1431-1506); his art is renowned for its balanced compositions and a soft palette expressed in the aesthetics towards naturalism. It also has a strong reference towards antiquity evident in elaborated architectural settings and an inclination towards elegant and sophisticated forms.[3]所有这些特征都包含在MS Gen 1060中DA Genova的插图中（图2）。

Folio 1r: Saint Jerome’s Preface

例如，对开本1R展示了一种自然主义的方法和观点的幻想，艺术家通过仔细的观察实现了。它包括在金色All’antanta Candelabras中交织在一起的精美叶子图案。所描绘物体的雕塑形式和突出的纹理表明了曼特纳（Mantegna）风格的古典古代特征。

对开本包括一个历史悠久的初始F（评估者），其中刻有圣杰罗姆。历史缩写是文本中的一个扩大字母，该字母包含了本节中描述的故事。圣杰罗姆被描绘给弗雷特(Brother from Latin) Ambrosius, which indicates the start of Saint Jerome’s general preface to the Old Testament.[4]最初表示在ocher背景的前面。它由绿色，红色，蓝色和och的各种颜色的较高的acanthus叶子组成。两条大量的水平叶子卷轴似乎是由于形成复杂字母“ F”的垂直多色烛台而蓬勃发展的。

There are two empty spaces within the second column of the text. These spaces were left blank for smaller ‘decorated intials ‘ to be inserted to flag up the start of sections; in addition to adding a decorative feature to the folio, these initials were intended to help the reader to navigate the text. Such initial spaces are evident throughout the whole manuscript. This might indicate that multiple artists were involved in the process of the manuscript’s creation: the scribe would write the text, then the main artist would execute the miniatures along with historiated letters and elaborate border decoration, then the smaller decorated letters would be accomplished by another artist.[5]

文本和历史缩写被包裹在精美的框架中。它以红色和许多金色的叶子图案和花朵进行红色执行。框架的每一侧都结合了在All’antanta传统中执行的优雅的金色烛台。这是一个艺术术语，它从意大利语翻译为“以古人的方式”。它与文艺复兴时期的传统联系在一起，以参考古典艺术的风格和原则，尤其是古罗马的风格和原则。主要的重点将放在古典罗马建筑上，其特征是使用古董装饰，古典订单和对称性。[6]烛台进一步发展成珍贵的宝石和珍珠，这些宝石和珍珠在框架顶部呼应了对称的胸针。它们在金色叶子的模式中精心融合，包括两色的Alla’antantic风格的客串。在中心，下边缘是弗雷戈西家族黑色和白色的徽章，带有白色丝带。最初，它包括“无fallir”家庭的座右铭（来自意大利的“不失败”），刻有黑色（尽管现在不太明显）。[7]

The Fregosi family coat of arms confirm their patronage of the manuscript. The specific member of the family is not identified. However, some scholars agree with a proposal by Anna de Floriani that the manuscript was made for Paolo Fregosi (1427-1498), an important political and religious figure in Genoa at the time.[8]It has also been suggested that one of the two kneeling soldiers depicted in folio 50r in blue armour might be the patron of the manuscript. If so, then Paolo Fregosi (Doge from 1462), will have to be excluded as a possible patron of the manuscript since he would surely have been illustrated with the insignia of religious and civil power, as well as with the attributes of warlike virtue, as de Floriani counter argues.[9]

通常，描绘艺术品中的顾客的习俗在当时很普遍，并将通过艺术来纪念他。除了这一建议外，我和我的主管朱莉·加德姆（Julie Gardham）和我讨论了50R蓝色盔甲的男人的相似之处，一个跪着的年轻人也是蓝色的蓝色。为了正确研究这些数字，我通过技术设备反映了Folio 50R图像。因此，这两个男人的身体相似之处非常明显 - 它们的发型和头发颜色，面部特征，例如大开眼的眼睛，鼻子略微伸长。Folio 4r中的男人很年轻，这很方便 - 也许随着故事的发展，他长大了。第二个描述是为了正确研究数字。除了他们的发型外，这些人似乎确实具有类似的功能。

This blog will be continued in thepart II, join us there to see more!

[1]Gianluca Zanelli, ‘Michele da Genova’, Treccani: Dizionario degli Italiani, Vol. 74 (2010).

[2]Anna de Floriani, ‘Michele da Genova, Miniatore: le Tappe di uno Sviluppo’ in Sisto IV e Giulio II mecenati e promotori di cultura, a cura di Silvia Bottaro, Anna Dagnino, Giovanna R. Terminiello, (Savona: Atti del Convegno Internazionale di Studi. 1985).

[3]同上。

[4]尼尔·里普利·克尔（Neil Ripley Ker），Medieval Manuscripts in British Libraries，4卷。（牛津：克拉伦登出版社，1969- 1992年）。

[5]Alexander Jonathan James Graham,中世纪照明器及其工作方法(New Haven: Yale University Press, 1992), Chapter 2.

[6]The National Gallery Glossary, ‘All’antica’，国家美术馆，https://www.nationalgallery.org.uk/paintings/glossary/allantica[2021年3月20日访问]。

[7]尼尔·里普利·克尔（Neil Ripley Ker），Medieval Manuscripts in British Libraries，4卷。

[8]de Floriani, ‘Michele da Genova, Miniatore: le Tappe di uno Sviluppo’.

[9]同上。

类别：亚洲博金宝188,图书馆

标签：圣经,Italian manuscript,文艺复兴时期的文字,特别收藏,Uofglibrary