GIORGIO D'ALEMAGNA, artist . The Triumph of Eternity. Miniature cut from an ILLUMINATED MANUSCRIPT ON VELLUM, of Petrarch, I Trionfi . [Ferrara, c. 1458]. MINIATURE IN COLORS AND LIQUID GOLD, 52 x 90 mm. (2 x 3 1/2 in.); on and against a background of small white clouds and blue heaven, a procession consisting of St. John the Baptist, clothed in brown skins and holding a cross, preceding two angels drawing a wooden chariot, on which are seated the four Evangelists, with animal heads and human bodies, holding books, and God the Father, seated and holding an orb and scepter and accompanied by seraphim, the chariot followed by Saints Peter and Paul and other saints. Some flaking of pigment; laid down on cardboard (verso not examined) . This small miniature illustrates the Triumph of Eternity, the sixth and last of Petrarch's Trionfi . Although the text of the Italian poem gives no guidance to the illustrator of this subject, an iconography soon developed for it, incorporating several standard elements that are present here: the triumphal chariot, the company of saints, the symbols of the evangelists, and the presence of angels. However, the representation in this miniature of God as God the Father with orb and scepter, rather than as the Trinity, is unusual, as are the presence of John the Baptist at the head of the procession and the role of the angels in drawing the chariot. The illuminator Giorgio d'Alemagna, who was active in Ferrara during the 1440s and 1450s, executed several commissions for Borso d'Este, including a Spagna in rima completed in 1453 (Ferrara, Biblioteca Ariostea, ms. II,32), a Missal (Modena, Biblioteca Estense, ms. lat. 239), and contributions to the Bible of Borso d'Este. Between 1473 and 1476 he worked in Modena on a series of choirbooks for the cathedral there, and he died early in 1479. His style, characterized by a delicacy and clarity that suggest watercolor, is similar to that of his son, Martino da Modena, with whom he cooperated on a Missal (Milan, Biblioteca Trivulziana, ms. 2165, dated c. 1468-70). He also cooperated with Guglielmo Giraldi on the illustration of a manuscript of the works of Virgil written in 1458 in Ferrara by Leonardo Sanudo; the small oblong illustrations in that codex are very similar to the Triumph of Eternity in their size, format, and presentation ( The Painted Page , ed. J.J.G. Alexander, Munich, 1994, no. 42). Fabrizio Lollini has kindly provided the attribution of this miniature (see F. Lollini, "Tra parola scritta e raffigurazione," in Libraria Domini , ed. F. Lollini and P. Lucchi, Bologna, 1995, p. 24).
GIORGIO D'ALEMAGNA, artist . The Triumph of Eternity. Miniature cut from an ILLUMINATED MANUSCRIPT ON VELLUM, of Petrarch, I Trionfi . [Ferrara, c. 1458]. MINIATURE IN COLORS AND LIQUID GOLD, 52 x 90 mm. (2 x 3 1/2 in.); on and against a background of small white clouds and blue heaven, a procession consisting of St. John the Baptist, clothed in brown skins and holding a cross, preceding two angels drawing a wooden chariot, on which are seated the four Evangelists, with animal heads and human bodies, holding books, and God the Father, seated and holding an orb and scepter and accompanied by seraphim, the chariot followed by Saints Peter and Paul and other saints. Some flaking of pigment; laid down on cardboard (verso not examined) . This small miniature illustrates the Triumph of Eternity, the sixth and last of Petrarch's Trionfi . Although the text of the Italian poem gives no guidance to the illustrator of this subject, an iconography soon developed for it, incorporating several standard elements that are present here: the triumphal chariot, the company of saints, the symbols of the evangelists, and the presence of angels. However, the representation in this miniature of God as God the Father with orb and scepter, rather than as the Trinity, is unusual, as are the presence of John the Baptist at the head of the procession and the role of the angels in drawing the chariot. The illuminator Giorgio d'Alemagna, who was active in Ferrara during the 1440s and 1450s, executed several commissions for Borso d'Este, including a Spagna in rima completed in 1453 (Ferrara, Biblioteca Ariostea, ms. II,32), a Missal (Modena, Biblioteca Estense, ms. lat. 239), and contributions to the Bible of Borso d'Este. Between 1473 and 1476 he worked in Modena on a series of choirbooks for the cathedral there, and he died early in 1479. His style, characterized by a delicacy and clarity that suggest watercolor, is similar to that of his son, Martino da Modena, with whom he cooperated on a Missal (Milan, Biblioteca Trivulziana, ms. 2165, dated c. 1468-70). He also cooperated with Guglielmo Giraldi on the illustration of a manuscript of the works of Virgil written in 1458 in Ferrara by Leonardo Sanudo; the small oblong illustrations in that codex are very similar to the Triumph of Eternity in their size, format, and presentation ( The Painted Page , ed. J.J.G. Alexander, Munich, 1994, no. 42). Fabrizio Lollini has kindly provided the attribution of this miniature (see F. Lollini, "Tra parola scritta e raffigurazione," in Libraria Domini , ed. F. Lollini and P. Lucchi, Bologna, 1995, p. 24).
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