Last week I gave a paper at the Practising Emotions collaboratory of the ARC Centre for the History of Emotions entitled “Civic Pride, Community and Friendship: Representations of Emotional Spaces in the Music and Oratory of Johannes Ciconia’s Padua”. During his time at Padua between 1401 and his death in 1412, the composer Johannes Ciconia wrote a series of motets that reference prominent events and figures associated with the city. As already discussed by several scholars (Clercx, Bent, Hallmark, Nosow), no less than three of his motets refer to successive bishops (or in one case a bishop-elect) of Padua. Although there is disagreement on when and where these motets might have been performed, their associations seem clear.
At last my article on the illuminator of the important early fifteenth-century music manuscript Modena, Biblioteca Estense Universitaria, ms. α.M.5.24, also known as Mod A has been published in the Journal of Musicology. I am little proud of this article since it is the result of several years of research and makes what I think is an important contribution to music history’s understanding of this manuscript, well at least part of it. I’m also humbled by the fact it benefited from considerably from comments and insightful reviews for several scholars. This article is by no means the end of the story when it comes to Mod A, its illuminator and this manuscript’s origin. Instead I hope that it will provoke other scholars to revisit this manuscript and indeed my conclusions. The reference and abstract for the article is as follows:
Stoessel, Jason. “Arms, a Saint and Inperial Sedendo fra più stelle: The Illuminator of Mod A.” Journal of Musicology 31/1 (2014): 1–42.
Scholars have proposed Milan, Pisa and/or Bologna as possible locations for the copying of the inner gatherings (II–IV) of the manuscript Modena, Biblioteca Estense Universitaria, α.M.5.24 (Mod A) and have argued that some of the compositions might have originated in the circle of Archbishop of Milan Pietro Filargo. Yet evidence based on Mod A’s repertory and the scant biographies of its composers is insufficient for determining the manuscript’s origin. To solve this problem, I look at Mod A as a cultural artifact, attributing its illumination to the Master of 1411, an illuminator active in Bologna from 1404 to 1411, or to his assistant, both associated with the manuscript workshop of the Olivetan abbey of San Michele in Bosco, on the outskirts of medieval Bologna. The Master of 1411 might have been Giacomo da Padova, an illuminator documented there between 1407 and 1409. Iconographical analysis shows that the illuminator of Mod A possessed considerable knowledge of Paduan culture before the fall of the ruling Carrara family in 1405. This knowledge is apparent in his use of an astrological allusion to Carrara heraldry in his decoration of the song Inperial sedendo. His illumination of a Gloria by Egardus with the figure of Saint Anthony of Padua implies a familiarity with Padua’s musical institutions. Mod A may have been illuminated when the papal entourage of John XXIII visited San Michele in Bosco in the fall of 1410, although further compositions were added after the illuminator had finished his work. This conclusion invites scholars to consider afresh the social context that might have fostered the compilation of the repertory in the inner gatherings of Mod A.
The University of California Press has granted me permission to post a copy of my article on my personal website. Click here to download a copy of this article strictly for your own personal study. (Warning: links to an 8 MB PDF.) Any further use or redistribution of this file is not permitted.