Martyrdom of St Mark on a leaf from a Gradual | Italy, Bologna | 1st half of the fourteenth century

An illuminated single leaf, from an Antiphonal, in Latin with a historiated initial ‘E’ depicting the martyrdom of St Mark (four lines high), encompassing eight lines of music and of text written in a compact Gothic hand, the initial accompanies the feast of Marc the Evangelist ‘Ecce evangelista marcus qui (l)aedificavit domum suam supra petram’, rubrics in red, verso with one blue initial with red penwork (some fading of text on verso); aside from slight flaking in nimbus in good condition with wide clean margins, unframed.

THE MARTYRDOM OF ST MARK: A DRAMATIC SCENE IN AN ENTICING PALETTE

PROVENANCE

1. From an Italian Antiphonal, potentially made in Bologna.

2. Note in pencil in 19^th-century hand on recto misidentifying the martyr: Morto di Tomaso Beckett / Arcivescoro di Canterbury, no. 93311.

3. Collection of Ernst Boehlen.

COMMENTARY

This intriguing leaf shows the martyrdom of St Mark. The scene is reminiscent of the martyrdom of St Thomas Becket, who was slain before the altar; however, the soldier clad in a red tunic on the very left carries a chain that has been wrapped around St Mark’s neck, foreshadowing the gruesome end of the apostle. The tumultuous and disturbing nature of the scene is contrasted by the elegant architecture of the church with its warm, dark rose walls and floral details. The dramatic moment unravels in a slim letter ‘E’ that is embellished with white tracings and fleshy acanthus leaves.

The colour palette and style of the illumination are reminiscent of the works of the Seneca Master and the Master of B18 who were active in Bologna in the early 14^th century. The figures are depicted with high foreheads, strong chiselled noses and grey shadows to create the facial features. The colourful garbs of the soldiers are made in strong red, blue, green and warm yellow are echoed in the extensive decorative extender that is decorated with pearls, knots, swirls, and colourful leaves ending in elegant flurries of leaves.

Despite portraying a scene before disaster, the colour palette is warm and playful, cleverly contrasting primary colours and balancing them with neutral tones, forming an attractive leaf.

FURTHER READING

Freuler, Gaudenz, Italian Miniatures: From the Twelfth to the Sixteenth Century. Cinisello Balsamo/Silvana (Milano), 2012.