Italian Gothic approaches to page design are readily distinguishable from the French. Where the Parisian Bible seeks an integration of text and decoration (Cat. 2), the Italian master blocks out his initials. Marginal grotesques and foliage meander along the borders with less regard for balancing the page. Despite their minute size, the initials assert themselves with a sculptural fullness brought forth by modeling in pale tones of color and white highlighting. Hooded and trumpet-like terminations of the vine forms are typical of Italian work from this period. Such features along with the script and figure style indicate a workshop in northern Italy. The historiated initials portray the “authors” of each text they precede: St. Jerome, translator of the Vulgate, before his prologue; Christ as Creator at the opening of Genesis; Solomon; Ecclesiastes; and St. John the Evangelist.
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