TWO HISTORIATED INITIALS: THE ANNUNCIATION, in an initial C. Framed with a DEACON MARTYR, in an initial E. Cuttings from a large-format choirbook, ILLUMINATED MANUSCRIPT ON VELLUM [Lombardy, c.1450] 155 x 155mm. Mary kneeling in an elaborate canopied reading desk within a walled garden, Gabriel kneeling on the ground before her, the dove of the Holy Spirit prominent in the sky above, bare brown and black mountains in the background; the staves of the initial in shades of grey patterned with trefoil-headed slots resembling crosses that are echoed in the design of the garden wall and the decoration of Mary's reading desk; on a square burnished gold ground (slight abrasion or flaking of gold). Framed. 98 x 92mm. A half-length deacon martyr in a scarlet robe, with a book and a palm, against a background of dark blue; the initial staves in mauve with white tracery; on a shaped ground of burnished gold (the background smudged, some flaking of gold and pigment). Framed. The colourful and charming style of these initials incorporates features that are typical of Milanese illumination; they were painted by the anonymous artist known as the Master of the Franciscan Breviary from his work in a manuscript in Bologna (Bibl. Univ. Ms 337) datable to 1446. He was one of the contributors to the decoration of the great series of choir-books commissioned by Cardinal Bessarion and subsequently presented to the convent of S. Maria Annunziata in Cesena after its foundation in 1458. The Master's work has been identified in folios from dismembered volumes from this series as well as in two Antiphonals that survive intact: G. Mariani Canova, Miniature dell'Italia settentrionale nella Fondazione Giorgio Cini (Vicenza 1978), pp.40-43. .
TWO HISTORIATED INITIALS: THE ANNUNCIATION, in an initial C. Framed with a DEACON MARTYR, in an initial E. Cuttings from a large-format choirbook, ILLUMINATED MANUSCRIPT ON VELLUM [Lombardy, c.1450] 155 x 155mm. Mary kneeling in an elaborate canopied reading desk within a walled garden, Gabriel kneeling on the ground before her, the dove of the Holy Spirit prominent in the sky above, bare brown and black mountains in the background; the staves of the initial in shades of grey patterned with trefoil-headed slots resembling crosses that are echoed in the design of the garden wall and the decoration of Mary's reading desk; on a square burnished gold ground (slight abrasion or flaking of gold). Framed. 98 x 92mm. A half-length deacon martyr in a scarlet robe, with a book and a palm, against a background of dark blue; the initial staves in mauve with white tracery; on a shaped ground of burnished gold (the background smudged, some flaking of gold and pigment). Framed. The colourful and charming style of these initials incorporates features that are typical of Milanese illumination; they were painted by the anonymous artist known as the Master of the Franciscan Breviary from his work in a manuscript in Bologna (Bibl. Univ. Ms 337) datable to 1446. He was one of the contributors to the decoration of the great series of choir-books commissioned by Cardinal Bessarion and subsequently presented to the convent of S. Maria Annunziata in Cesena after its foundation in 1458. The Master's work has been identified in folios from dismembered volumes from this series as well as in two Antiphonals that survive intact: G. Mariani Canova, Miniature dell'Italia settentrionale nella Fondazione Giorgio Cini (Vicenza 1978), pp.40-43. .
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