Page - 94 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

94 michaEla schullEr-JuckEs as from Italy and Spain,4 who specialized in legal manuscripts and ushered in a pe- riod of stylistic diversity in local book painting. At the same time, southern French illuminators were active in other regions, such as Bologna, and with similar conse- quences. The colourful collaborations that could emerge from such circumstances are revealed by a well-known series of manuscripts from Durham Cathedral Library and the Fitzwilliam Museum in Cambridge: the works’ rich decoration was created by several illuminators from Upper Italy, Southern France, and probably England – the latter being the so-called ‘Jonathan Alexander Master’; the artists were involved in the various manuscripts to different degrees and in changing constellations.5 My purpose here is to examine several less known examples of joint ventures between French and Italian illuminators – in order to cast light on the diverse forms of collaboration, the wide-ranging effects of multiculturalism on the appearance of manuscripts, and the closely knit character of transnational networks in book production. Collaboration with limited interaction: The Apparatus of Innocent IV in Brussels The first codex is an Apparatus of Innocent IV from the Bibliothèque Royale in Brus- sels. Its scribe was a certain Johannes from the town of Carhaix in West Bretagne, whose commemorative inscription dates his work to 1290: Explicit apparatus domini Innocencii pape quarti per manum Iohannis dicti Ira de Karahes anno domini m.cc.non- n. 2), pp. 42‒43; ead., Gothic Manuscripts II/1 (cit. n. 2), pp. 163‒246; Maria Alessandra Bilotta: Nuovi elementi per la storia della produzione e della circolazione dei mano- scritti giuridici miniati nel Midi della Francia tra XIII e XIV secolo: alcuni frammenti e manoscritti ritrovati. In: Bilotta, Medieval Europe (cit. n. 1), pp. 319‒392 (with much further literature). 4 On legal manuscripts from Catalonia, see: Susanne Wittekind: Besitz und Überlieferung illuminierter Rechtshandschriften in Katalonien. In: Rechtshandschriften des deutschen Mittelalters. Produktionsorte und Importwege, ed. by Patrizia Carmassi / Gisela Dross- bach, Wiesbaden 2015, pp. 321‒362, figs. 6‒8 (with further literature). 5 The name ‘Jonathan Alexander Master’ was introduced by Robert Gibbs and goes back to the art historian Jonathan J. G. Alexander, who dedicated a first short study to this illuminator; see Jonathan J. G. Alexander: An English Illuminator’s Work in some Four- teenth-Century Italian Law Books at Durham. In: Medieval Art and Architecture at Durham Cathedral (The British Archaeological Association: Conference Transactions for the Year 1977, 3), London 1980, pp. 149‒153, and Robert Gibbs: The Jonathan Ale- xander Master. In: L’Engle / Gibbs, Illuminating the Law (cit. n. 2), pp. 159‒160. The Jonathan Alexander Master was involved in the illumination of the following manu- scripts: Cambridge, Fitzwilliam Museum, MS McClean 136 (Gregory IX, Decretales, with glossa ordinaria of Bernardo Botone da Parma); Durham, Cathedral Library, MS C.I.3 (Justinian, Digestum novum, with glossa ordinaria of Accursius), MS C.I.6 (Jus- tinian, Codex, with glossa ordinaria of Accursius), MS C.I.9 (Gregory IX, Decretales, with glossa ordinaria of Bernardo da Parma); London, Lambeth Palace Library, MS 233 (Vaux-Bardolf Psalter); see Robert Gibbs: The Jonathan Alexander Master and The Durham Cathedral Set of Bolognese Law Texts. In: L’Engle / Gibbs, Illuminating the Law (cit. n. 2), pp. 159‒164, 172‒204, cat. nos. 12‒14; Richard Gameson: Manuscript Treasures of Durham Cathedral, London 2010, pp. 112‒115, cat. no. 27.