On the Transmission of Artistic Patterns in Late Medieval Manuscript Illumination
Edited By Joris Corin Heyder and Christine Seidel
La transmission de l’iconographie des vertus dans les manuscrits italiens du 14e siècle: la réinvention de la Somme le roi: Bertrand Cosnet
La transmission de l’iconographie des vertus dans les manuscrits italiens du 14e siècle: la réinvention de la Somme le roi 1
The following paper shows how the Somme le Roy iconographic program, initially composed in 1279–1280 by Laurent d’Orléans for the King of France Philip III and illuminated by the Master Honoré in 1294–1295, was transformed in Italy to fit the context of the merchant bourgeoisie, especially in the design of the personifications of virtues and vices. This process is explained thanks to the analysis of three manuscripts made in Florence during the 14th century including a complete Tuscan translation of the French Somme le Roy with its illuminated program: the ms. Rediano 102 of the Biblioteca Medicea Laurenziana from the 1330–1340s, the ms. Magliabechiano II. VI. 16 of the Biblioteca Nazionale Centrale of Florence made in the 1340s and the ms. Barberino Latino 3984 of the Biblioteca Apostolica Vaticana from the 1380s.
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