Seite - 100 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

100 michaEla schullEr-JuckEs Close collaboration: The Liber sententiarum in the Bibliothèque Mazarine in Paris The second case study demonstrates a greater desire for homogeneity. It is a Lib- er sententiarum of Petrus Lombardus, now in the Bibliothèque Mazarine in Par- is, and was – as with the first case study – the work of three illuminators (pl. 3, 4a-c).17 The codex is bound in quinions and written in littera bononiensis. Its rich pen-flourishing reveals numerous close parallels to Bolognese illumination around 1300, although some of these forms can also be found in southern French codices. Important sections of the text begin with coloured initials showing human fig- ures and animals, from which foliate tendrils extend into the margins and between columns. Much of this decoration comes from a northern Italian painter, who probably worked in Bologna (pl. 4c, see also the article of Beatrice Alai, p. 137, fig. 15).18 A second painter, responsible for only four initials in the Mazarine manuscript (fols. 111r, 112r ‒ pl. 4b, 113v, 115r), was a prominent Bolognese illuminator at that time and the leading artist of the famous bible lat. 18 in the Bibliothèque nationale in Paris, a key work for Bolognese illumination.19 The main painter in the Mazarine manuscript, however, was a third illuminator, responsible not only for the figural initials and their foliage, but also for the rich decoration at the beginning of each book (pl. 3, 4a). He was ‒ as Marie-Thérèse Gousset and Alison Stones have sug- gested ‒ a master with a southern French background, whose style is characteristic for illumination in Languedoc around 1300.20 17 Paris, Bibliothèque Mazarine, Ms. 766; for this manuscript, see Marie-Thérèse Gousset, Cat. No. 116, in: Duecento. Forme e colori del Medioevo a Bologna. Exhibition Catalo- gue, Bologna, Museo Civico Archeologico, 15.4.2000‒16.7.2000, ed. by Massimo Me- dica, Venezia 2000, pp. 361‒365, cat. no. 116, with two figs.; Pfändtner, Anziehungskraft der Universitäten (cit. n. 2), p. 58. 18 Book painting from this artist can be found on the following leaves, among others: fols. 3v, 6v, 10r, 11v, 15v, 16v, 17v, 18v, 19v. Marie-Thérèse Gousset assumed that the same illu- minator decorated fol. 322r of the Bible of Clement VII in Paris (Bibliothèque nationale de France, lat. 18), which – in my view – is made doubtful by various stylistic differences (such as the execution of faces and hands); see Gousset, Cat. Nos. 113, 116 (cit. n. 17), pp. 352‒356, 361‒365, cat. nos. 113, 116. Beatrice Alai, by contrast, suggests in her con- tribution to the present volume that the painter can be identified as the master of the gospels in the bible of Fra Enrico de’ Cerchi (Florence, Biblioteca Medicea Laurenziana, Plut. 3 dex. 9), see p. 137. 19 For this bible, see (among others) Gousset, Cat. No. 113, in: Duecento (cit. n. 17), pp. 352‒356, cat. no. 113, with three figs.; Paolo Cova: Nuovi Studi sulla miniatura delle matricole e degli statuti delle confraternite medievali bolognesi. In: Rivista di storia della miniatura XIV (2010), pp. 81‒97, here pp. 84‒85, who sees Antolino di Rolando (il Cicogna) as the main master of this project. 20 Gousset, Cat. No. 116 (cit. n. 17), pp. 361‒365, cat. no. 116, with two figs.; Stones, Gothic Manuscripts I/1 (cit. n. 2), p. 76. ‒ Alison Stones convincingly connected the painting style of this illuminator with underdrawings in the intercolumn and on the margins of fol. 77r of a medical manuscript, which she dated to ca. 1290–1300 and localized to Béziers or Montpellier (Paris, Bibliothèque nationale de France, lat. 6917, Avicenna, five books of medicine in Latin); she also referred to similarities to the foliate scroll work on the bas-de-page of fol. 1r of a Biblia latina in the Biblioteca Vaticana (Vatican City, Biblioteca Apostolica Vaticana, Vat. lat. 17), see Stones, Gothic Manuscripts II/1 (cit. n. 2), pp. 179‒180, cat. no. VII‒7, ill. 344. ‒ Stones also assumes that further southern