Il mondo dei marginalia nella serie dei Corali tardo duecenteschi di San Domenico a Genova
DOI:
https://doi.org/10.6092/issn.2533-2325/15112Keywords:
marginalia, manuscript painting, Genoa, Choir Books, 13th centuryAbstract
This contribution intends to present a first analysis of the marginalia present in the series of Choir Books made for the convent of San Domenico in Genoa in the last quarter of the thirteenth century and attributed to the so-called Master of the ms. Lat. 42 and his collaborators, among whom the so-called Master of Graduals of Santa Maria di Castello stands out for the singularity of his language. After a first part dedicated to providing some reflections on the role and value of marginalia within the illuminated page, a detailed description of the drawings present in the Genoese manuscripts, in particular in Gradual A, will be proposed: the subjects of marginalia will therefore be interpreted as elements of a complex semantic system composed of literary and figurative signs in a continuous dialogue with each other.
References
G. Airaldi, Genoa, Silk Trade and Silk Production in the Mediterranean region (ca. 1100-1300), in A. R. Calderoni Masetti, C. di Fabio, M. Marcenaro (a cura di), Tessuti, oreficerie, miniature in Liguria, XIII-XV secolo, Atti del Convegno internazionale di studi (Genova-Bordighera, 22-25 maggio 1997), Bordighera 1999, pp. 11-40
J. Alexander, Iconography and Ideology: Uncovering Social Meanings in Western Medieval Christian Art, in “Studies in Iconography”, vol. 15 (1993), pp. 1-44
G. Algeri, Tra Siena e Costantinopoli: i nuovi modelli figurativi, in G. Algeri, A. De Floriani, La pittura in Liguria. Il Medioevo, Genova 2011, pp. 133-153
G. Ameri, Inventarium cardinalis: i beni preziosi di Luca Fieschi, in G. Ameri, C. Di Fabio, Luca Fieschi, cardinale, collezionista, committente (1300-1336), Milano 2011, pp. 25-80
P. Androudis, Double-Headed Eagles on Early (11th-12th c.) Medieval Textiles: Aspects of Their Iconography and Symbolism, in M RaKocija (a cura di), Nis and Byzantium XIV, Nis 2016, pp. 315-341
A. M. Boldrini, Santa Croce di Sarzano e i mercanti lucchesi a Genova (secc. XIII-XIV), in “Atti Società Ligure Storia Patria”, n.s. II (1962), pp. 79-96
F. Bologna, Alle origini della pittura ligure del Trecento: il Maestro di Santa Maria di Castello e Opizzino da Camogli, in Hommage à Michelle Laclotte. Études sur la peinture du Moyen Age et de la Renaissance, Parigi-Milano 1994, pp. 7-29
R. Buckland, Orality and Musical Symbolism in the Luttrell Psalter, in “Music in Art”, vol. 28, n. 1/2 (2003), pp. 71-97
M. Camille, Image on the Edge: The Margins of Medieval Art, Cambridge 1992
M. Carruthers, Rhetoric beyond words: delight and persuasion in the arts of the Middle Ages, Cambridge 2010
M. Carruthers, The Book of Memory. A Study of Memory in Medieval Culture, Cambridge 2013 [1990]
M. Carruthers, The Craft of Thought: Meditations, Rhetoric, and the Making of Images, 400-1200, Cambridge 1998
M. Carruthers, J. M. Ziolkowski (a cura di), The Medieval Craft of Memory. An Anthology of Text and Pictures, Philadelphia 2002
G. Casarino, Lucchesi e manifattura serica a Genova tra XIV e XVI secolo, in “Rivista di archeologia, storia, costume”, XXIX, nn. 3-4 (2001), pp. 3-49
E. Cassirer, Linguaggio e mito, Milano 2006
M. H. Caviness, Reframing Medieval Art: Difference, Margins, Boundaries, Boston 2001
A. De Floriani, La formazione della scuola miniatoria genovese, in G. Algeri, A. De Floriani, La pittura in Liguria. Il Medioevo, Genova 2011, pp. 79-95
A. De Floriani, Maestro dei Graduali di Santa Maria di Castello, in M. Bollati (a cura di), Dizionario biografico dei miniatori italiani, secoli IX-XVI, Milano 2004, pp. 464-465
A. De Floriani, Maestro del ms. Lat. 42, in M. Bollati (a cura di), Dizionario biografico dei miniatori italiani, secoli IX-XVI, Milano 2004, pp. 633-635
H. de Lubac, Esegesi medievale: i quattro sensi della Scrittura, Roma 1962
S. Delmans, La réception des encyclopédies naturelles dans les sermons au XIII siècle. Quelques exemples, in “Rursus”, 11 (2017), pp. 1-17
A. Dick (a cura di), Martianus Capella (360-428), De nuptiis Philologiae et Mercurii (De rethorice), Stuttgart 1969 (I ed. 1925)
E. Dillon, Medieval Music-Making and the “Roman de Fauvel”, Cambridge 2002
U. Eco, Arte e bellezza nell’estetica medievale, Milano 2016
R. Ellis, The Word in Religious Art of the Middle Ages and the Renaissance, in Word, Picture, and Spectacle, Early Dram, Art, and Music, 5, Kalamazoo, Michigan 1984, pp. 21-38
F. Fabbri, I manoscritti pisano-genovesi nel contesto della miniatura ligure: qualche osservazione, in “Francigena”, 2 (2016), pp. 219-248
F. Fabbri, Il Codice Cocharelli fra Europa, Mediterraneo e Oriente, in G. Algeri, A. De Floriani, La pittura in Liguria. Il Medioevo, Genova 2011, pp. 289-310
L. Freeman Sandler, The Study of the Marginal: Past, Present, and Future, in “Studies in Iconography”, vol. 18 (1997), pp. 1-49
H. Feiss, Peter of Celle: Selected Works, Kalamazoo (Cistercian Publications) 1987
R. A. Gauthier (a cura di), Sancti Thomae de Aquino Opera Omnia, Paris 1985
G. B. Guest, Space, in “Studies in Iconography”, Special Issue: Medieval Art History Today. Critical Terms, vol. 33 (2012), pp. 219-230
C. Hahn, Letter and Spirit. The Power of the Letter, The Enlivenment of the Word in Medieval Art, in M. Dalbello, M. Shaw (a cura di), Visible Writings, New Brunswick 2019, pp. 55-76
L. Kendrick, Animating the Letter: The Figurative Embodiment of Writing from Late Antiquity to the Renaissance, Columbus 1999
F. Jameson, The Political Unconscious. Narrative as a Socially Symbolic Act, New York 1981
R. Lacroze, La fonction de l’imagination, Boivin 1938
J. Leclerq (a cura di), Peter of Celle, On Affliction and Reading, in La spiritualité de Pierre de Celle, Paris 1946
L. Light, The New Thirteenth Century Bible and the Challenge of Heresy, in “Viator”, vol. 18 (1987), pp. 275-288
L. Light, Versions et révision du texte biblique, in P. Riché, G. Lobrichon (a cura di), Le Moyen Age et la Bible, Paris 1984, pp. 55-93
H. – J. Martin, J. Vezin, (a cura di), Mise en page et mise en texte du livre manuscrit, Marigny-le-Châtel 1990, pp. 211-217
I. Molteni, Lo spazio del foglio. Sulla mise-en-page dei romanzi cavallereschi di origine italiana (XIII-XIV secolo), in “Convivium”, 3 (2016), pp. 126-141
E. Moore Hunt, Illuminating the Borders of Northern French and Flemish Manuscripts, 1270-1310 (Studies in Medieval History and Culture), New York and London 2007
A. Neff, A Soul’s Journey. Franciscan Art, Theology, and Devotion in the Supplicationes Variae, Toronto 2019
B. Pascal, Pensieri, Milano 1993
M. B. Parkes, Pause and Effect: An Introduction to the History of Punctuation in the West, Aldershot 1992
M. B. Parkes, Reading, Copying, and Interpreting a Text in the Early Middle Ages, in G. Cavallo, R. Chartier (a cura di), A History of Reading in the West, Oxford 1999, pp. 90-102
L. Pessa, Tessuti d’Oltremare a Genova, in L. Pessa (a cura di), Genova nel Medioevo. Una capitale nel mediterraneo al tempo degli Embriaci, catalogo della mostra (Genova, 19 marzo – 26 giugno 2016), Genova 2016, pp. 94-103
L. Randall, Images in the Margins of Gothic Manuscripts (California Studies in the History of Art, 4), Berkeley 1966,
P. Ricoeur, Il conflitto delle interpretazioni, Milano 1999
R. H. Rouse, M. A. Rouse, Preachers, Florilegia, and Sermons. Studies on the Manipulus Florum of Thomas of Ireland, Turnhout 1979
T. Seebass, Lady Music and Her “Proteges” from Musical Allegory to Musicians’ Portraits, in “Musica Disciplina”, 42 (1988), pp. 23-61
T. Seebass, The Visualisation of Music Through Pictorial Imagery and Notation in late Medieval France, in S. Boorman (a cura di), Studies in the Performance of Late Medieval Music, Cambridge 1983, pp. 19-33
P. Sheingorn, R. L. A. Clark, Performative Reading: The Illustrated Manuscripts of Arnoul Gréban’s Mystère de la Passion, in “European Medieval Drama”, 6 (2002), pp. 129-154
P. Sheingorn, Performing the Illustrated Manuscript: Great Reckonings in Little Books, in E. Gertsman (a cura di), Visualizing Medieval Performance: Perspectives, Histories, Contexts, Burlington, VT 2008, pp. 57-82
K. A. Smith, Margin, in “Studies in Iconography”, Special Issue: Medieval Art History Today. Critical Terms, vol. 3 (2012), pp. 29-44
M. Teeuken, I. van Rensworde (a cura di), The Annotated Book in the Early Middle Ages: Practices of Reading and Writing, Turnhout 2017
E. C. Teviotdale, Music and Pictures in the Middle Ages, in T. Knighton, D. Fallows ( a cura di), Companion to Medieval and Renaissance Music, London 1992, pp. 179-188
S. J. P. van Dijk, Medieval terminology and Methods of Psalm Singing, in “Musica disciplina”, IV (1952), pp. 7-27
M. van Schaik, The Harp in the Middle Ages: The Symbolism of a Musical Instrument, Amsterdam 1992
L. Weigert, Performance, in “Studies in Iconography”, Special Issue: Medieval Art History Today. Critical Terms, vol. 33 (2012), pp. 219-230
K. P. Wentersdorf, The Symbolic Significance of Figurae Scatologicae in Gothic Manuscripts, in Word, Picture, and Spectacle, Early Dram, Art, and Music, 5, Kalamazoo, Michigan 1984, pp. 1-19
B. Williamson, Sensory Experience in Medieval Devotion: Sound and Vision, Invisibility and Silence, in “Speculum”, 88.1 (2013), pp. 1-43
J.-J. Wunenburger, La vita delle immagini, Milano 2007
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Federica Volpera
This work is licensed under a Creative Commons Attribution 4.0 International License.
