THE ASCENSION. VERY LARGE HISTORIATED INITIAL 'A'. FROM AN ILLUMINATED CHOIR BOOK ON VELLUM. [Florence, ca.1450] 255 x 175mm. Within a rich foliate and lush surround. Christ within a mandorla borne by nine cherubim rises in a blaze of light, the Apostles and the Virgin huddled below a rock are gazing upwards. They are all covered by a single radiant halo, except John the Baptist, kneeling slightly apart, who has his own halo. Above Christ there is a small human mask and in the lower right-hand corner a large crouching putto. Initial in blue, purple, and various shades of red on burnished gold ground. Framed and glazed. The initial probably introduces the introit for Mass on the Feast of Ascension, Ascendit Deus in jubilatione . The artist may be Filippo di Matteo Torelli who illuminated choir books for the Convent of San Marco in Florence. Cf. A.Garzelli, Miniatura fiorentina del Rinascimento 1440-1525 (Florence 1985) vol.I p.34 and II illustration 38. He also worked with Zanobi Strozzi, mainly painting borders. Cf. Painting and illumination in early Renaissance Florence , (New York, Metropolitan Museum 1995) p.349. We offered an initial of St.Paul, probably from the same manuscript, on 26 June 1991 lot 14.
THE ASCENSION. VERY LARGE HISTORIATED INITIAL 'A'. FROM AN ILLUMINATED CHOIR BOOK ON VELLUM. [Florence, ca.1450] 255 x 175mm. Within a rich foliate and lush surround. Christ within a mandorla borne by nine cherubim rises in a blaze of light, the Apostles and the Virgin huddled below a rock are gazing upwards. They are all covered by a single radiant halo, except John the Baptist, kneeling slightly apart, who has his own halo. Above Christ there is a small human mask and in the lower right-hand corner a large crouching putto. Initial in blue, purple, and various shades of red on burnished gold ground. Framed and glazed. The initial probably introduces the introit for Mass on the Feast of Ascension, Ascendit Deus in jubilatione . The artist may be Filippo di Matteo Torelli who illuminated choir books for the Convent of San Marco in Florence. Cf. A.Garzelli, Miniatura fiorentina del Rinascimento 1440-1525 (Florence 1985) vol.I p.34 and II illustration 38. He also worked with Zanobi Strozzi, mainly painting borders. Cf. Painting and illumination in early Renaissance Florence , (New York, Metropolitan Museum 1995) p.349. We offered an initial of St.Paul, probably from the same manuscript, on 26 June 1991 lot 14.
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