Francesco di Antonio del Chierico | Judith and Holofernes, illuminated antiphonal leaf

Francesco d’Antonio del Chierico

Leaf from an Antiphonal illuminated by Francesco d’Antonio del Chierico, initial ‘A’ showing Judith brandishing a sword with the decapitated head of Holofernes, [Italy, Florence], second half of the 15th century

Illuminated leaf on vellum (568 x 405 mm). Illuminated initial "A" depicting Judith with her sword raised and the decapitated head of Holofernes in her left hand, with a luxurious border of plant and abstract motifs hinting at Renaissance architecture, five lines of text written in Gothic liturgical bookhand in black ink, with rubrications indicating the different parts of the office as well as denoting the specific feast day, five lines of music in square notation on red lines, the verso also also with five lines of text and musical notation; minute cockling and soiling, the usual small losses in the gilding, a thin incision around the Judith figure and a tear in the right margin with restorations to verso, a pencil annotation ("17") in lower right-hand corner of the recto, otherwise in excellent condition. In an old-style, double-sided, painted frame.

A finely painted Renaissance Italian illumination of Judith with the head of Holofernes, symbolic of virtue triumphing over tyranny, by Lorenzo de' Medici's favorite illuminator, Francesco di Antonio del Chierico.

Brandishing a sword in her right hand, the pallid head of Holofernes in her left, Judith stands atop the body of her slain enemy. The beautiful and enticing color palette, consisting of pinks, reds, greens and blues, stand in stark contrast with the dramatic scene; Judith is dressed in a beautiful pink short-sleeved kirtle above a fiery red dress, and is depicted in front of an intricately decorated blue initial. The curve of her sword follows the arch of the letter "A" above her and creates an enticing composition. Judith’s face with her arched eyebrows while serene, reflects her triumph over the Assyrian general and by extension his armies who laid siege to the city of Bethulia. Her features are modelled softly and delicately but capture the spirit of resistance and strong conviction that fueled her actions.

The left margin of the manuscript is luxuriously decorated with a wide and vibrant border featuring abstract floral and vegetal elements that are reminiscent of Renaissance architecture interspersed with glistening golden bezants. The modelling of the face as well as the border reaffirm the attribution to Chierico. Ms.74, a leaf held at the Getty Museum, which is securely attributed to Chierico, contains a very similar border of vegetal sprays and fan like floral arrangements. Similarly, leaf 9r of W.334 (Walters Museum Baltimore) which dates from the third quarter of the 15th century, bears a border similar to ours.

Francesco di Antonio del Chierico (1433–1484) was a prolific goldsmith turned illuminator during the early Renaissance. He was a student of the influential Fra Angelico and active in Florence in the 15th century. Among others, he worked for Cosimo, Piero de Medici, and Federigo da Montefeltro—some of the most prestigious patrons of the Renaissance period. He is said to have been Lorenzo de’ Medici’s favorite illuminator.

Working with the renowned bookseller Vespasiano da Bisticci, he gained the attention of high-ranking patrons beyond Italy, including Ferdinand I of Naples, Louis XI of France, and Matthias Corvinus, king of Hungary. The extant manuscripts convey his artistry, innovative style, and hint at the breadth of his œuvre; he illuminated a wide range of texts, encompassing literary, historical, and liturgical books from octavo-format to impressive choir books. The leaf showcases the ease with which the artist adapted to different formats and book types and is a beautiful example of his style, notably the soft color palette, elegant facial features, and exuberant floral border.

The initial "A" introduces the text used for the first response of the first nocturn of Matins for the fourth Sunday in Autumn (see the rubrication: dominica quarta mensis septembris) starting with Adonay domine deu(s magne et mirabilis), transl. O Adonai, Lord, great and wonderful God. The prayers, hymns, psalms, and scripture readings of Matins were traditionally recited, respectively sang, between the hours of midnight and dawn. The Book of Judith is read throughout the fourth week of September.

PROVENANCE

Florence, second half of the 15th century — H.P. Kraus after 1939 until latest 1988 to current consignor