Print Specifics:
- Type of print: Lithograph - Original French antique print
- Publisher: Librairie de Firmin Didot, Paris, Rue Jacob 56, 1885-1887.
- Condition: 1 (1. Excellent - 2. Very good - 3. Good - 4. Fair)
- Dimensions: 11 x 15.5 inches (28 x 40 cm), including blank margins (borders) around the image.
- Paper weight: 2 (1. Thick - 2. Heavier - 3. Medium heavy - 4. Slightly heavier - 5. Thin)
- Reverse side: Blank
- Notes: 1.
Green color 'border' around the print in the photo is a contrasting background
on which the print was photographed. 2. Detail of the print is sharper than the photo of the print.
Legend to the illustrations:
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Under the influence and discipline of the masters of Pisa, Padua and
Verona and of the Florentine colony, the great movement of the
Renaissance was marked primarily by a return to classical Antiquity.
Nevertheless, a tendency toward naturalism was also manifest, at times
imitative of the Gothic art which influenced Giotto himself. Partisans
of this style persisted for a long time among the Sienese and in some
cases also among Florentine artists. The Flemish contingent may have
played a part in the survival of this taste for it is certain that
commercial exchange between the Flemish and Italian goldworking trades,
which was very active in the fifteenth century, allowed each to
influence the other. In our plate, n° 2, translucent enamel on relief,
appears to be a bodice ornament. No. 21, a belt cord, is also meant to
be worn as an ornament in place of the rosary. Besides the many
brooches, pendants, and pin heads, there are also pieces, such as n°
67, which were worn around the neck and used as a portable oratory at
prayer time. No. 7, with its paschal lamb, is a small devotional
object, decorated in a fashion similar to the technique of Limoges
enamels. The remarkable little piece, n° 27, attributed to Liberale di
Giacomo, is a decorated initial, an M with three downstrokes in the
Gothic style, in which the middle stroke has been foreshortened to
allow the depletion of the scene of the visitation of Saint Elizabeth
by the Virgin Mary. It was a common practice to truncate a letter in
this way to accommodate the picture. This pax is painted with enamel,
and the reliefs of the ornamentation itself are enamelled and adorned
with stones and pearls. The dimension of the original painting conforms
to the usual format of the pax which is 17 centimetres in height.
Choir books from the Cathedral of Siena, Gradual and Antiphonaries.
— No. 1, 2, 3, 5, 6, 9, 10, 11, 12, 17, 18, 19, 20, 23, 26, 28, 31,
33, 34, 35, 36, 37, 41, 43, 44, 48, 49, 50, 51, 53, 54, 55, 56, 58, 59,
62, 63, 65, 68 and 69. Choir books from the Cathedral of Florence. —
No. 7, 15, 22, 24 and 27. Small missal from the end of the fifteenth
century, Barberini Library, Rome. —No. 16,60 and 66. Urbino Library,
Rome. — No. 21,45 and 46. Breviary of Mathias Corvin, Rome. — N° 61 and
64. Missal of Sant'Ambrogio, Milan. — No. 38. Breviary of Cardinal
Crimani, San Marco Library, Venice. — No. 4, 8, 13, 14, 25, 29, 30,
32, 34, 39, 40, 42, 52 and 67.
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