GHERARDUCCI, Don Silvestro dei

Don Silvestro dei Gherarducci was a monk of the Camaldolese monastery of Santa Maria degli Angeli. He was a widely famed painter and miniaturist whose work was particularly favoured by Lorenzo de Medici (1449-1492), the Florentine statesman and patron of arts and letters known as Lorenzo the Magnificent. With Don Lorenzo Monaco and Don Simone Camaldolese, Gherarducci made up the most important late medieval school of Florentine painters, and enriched Florentine art with a new decorative colour harmony. Although Don Silvestro is known to have painted a number of altarpieces and devotional panels, he is famed for his work as a manuscript illuminator.

In this panel painting the Madonna, dressed all in white, is sitting on a throne within a mandorla that is supported by six angels, three at each side, as it is being carried up to heaven. The angels are depicted in the typical mid fourteenth-century style: small and ephemeral creatures with slim bodies covered by long dresses and, apparently, no legs. Their fine and youthful features are surrounded by halos; their expressions show a participating presence that expects no response.

The scene within the initial L represents the Adoration of the Shepherds. It is set in a hilly landscape with a grotto. The Christ Child lies swaddled in a wattle crib beneath a canopy propped against the hillside. Two shepherds have knelt down to worship the newborn Saviour. The initial L introduced the introit to the Mass for Christmas morning. The composition of the Adoration echoes a Sienese painting, in all likelihood a lost Nativity by Ambrogio Lorenzetti.

According to Vasari, in the Camaldolese monastery of Santa Maria degli Angeli in Florence there were twenty choir books written by a certain Don Jacopo and illustrated by Don Silvestro dei Gherarducci. He also points out that several other choir books by the same masters were in the library in the monastery of San Michele of the same order in Murano. Single illuminated pages representing a number of scenes from a large gradual by Don Silvestro have survived in various museums. Together with several other stylistically consistent historiated pages and with a considerable number of cut initials scattered in various museums, they formed the major portion of the illuminated decoration of two large graduals for San Michele a Murano. Fifty-one full pages and initials have been discovered so far that can now be firmly associated with the two San Michele a Murano graduals, Gradual 1 (The First Sunday of Advent to Passion Week) and Gradual 2 (Easter to the Twenty-fourth Sunday after Pentecost).

The scene in the initial D represents the Nativity of Christ. The depiction is clearly rooted in the Sienese tradition and echoes the invention by the Lorenzetti that must have enjoyed great popularity in Siena. The text of this page is the introit to the Midnight Mass for Christmas.

According to Vasari, in the Camaldolese monastery of Santa Maria degli Angeli in Florence there were twenty choir books written by a certain Don Jacopo and illustrated by Don Silvestro dei Gherarducci. He also points out that several other choir books by the same masters were in the library in the monastery of San Michele of the same order in Murano. Single illuminated pages representing a number of scenes from a large gradual by Don Silvestro have survived in various museums. Together with several other stylistically consistent historiated pages and with a considerable number of cut initials scattered in various museums, they formed the major portion of the illuminated decoration of two large graduals for San Michele a Murano. Fifty-one full pages and initials have been discovered so far that can now be firmly associated with the two San Michele a Murano graduals, Gradual 1 (The First Sunday of Advent to Passion Week) and Gradual 2 (Easter to the Twenty-fourth Sunday after Pentecost).

The scene within the initial P represents the Nativity and the Annunciation to the Shepherds. The Virgin Mary, here represented as a Madonna of Humility sitting on a vivaciously patterned cushion, gazes toward her spouse, who with deepest devotion kisses his son’s little feet. The actual Annunciation to the Shepherds is not narrated within the initial but extends to the border decoration in the lower left margin, which consists of stylised flowers and leaves.

The leaf contains the introit to the Mass for Christmas Day.

According to Vasari, in the Camaldolese monastery of Santa Maria degli Angeli in Florence there were twenty choir books written by a certain Don Jacopo and illustrated by Don Silvestro dei Gherarducci. He also points out that several other choir books by the same masters were in the library in the monastery of San Michele of the same order in Murano. Single illuminated pages representing a number of scenes from a large gradual by Don Silvestro have survived in various museums. Together with several other stylistically consistent historiated pages and with a considerable number of cut initials scattered in various museums, they formed the major portion of the illuminated decoration of two large graduals for San Michele a Murano. Fifty-one full pages and initials have been discovered so far that can now be firmly associated with the two San Michele a Murano graduals, Gradual 1 (The First Sunday of Advent to Passion Week) and Gradual 2 (Easter to the Twenty-fourth Sunday after Pentecost).

The initial E encloses the Adoration of the Magi. The horizontal bar of the initial E divides the protagonists from the background where a knight is about to tame a nervous camel appearing behind the hill. The Three Magi, characterising the three ages of man, have knelt down in reverence to the newborn King. The narration of the Epiphany extends from the initial into the border decoration of the lower margin where we see the Journey of the Three Magi and their suite.

The initial E begins the introit to the Mass for the feast of Epiphany (January 6).

According to Vasari, in the Camaldolese monastery of Santa Maria degli Angeli in Florence there were twenty choir books written by a certain Don Jacopo and illustrated by Don Silvestro dei Gherarducci. He also points out that several other choir books by the same masters were in the library in the monastery of San Michele of the same order in Murano. Single illuminated pages representing a number of scenes from a large gradual by Don Silvestro have survived in various museums. Together with several other stylistically consistent historiated pages and with a considerable number of cut initials scattered in various museums, they formed the major portion of the illuminated decoration of two large graduals for San Michele a Murano. Fifty-one full pages and initials have been discovered so far that can now be firmly associated with the two San Michele a Murano graduals, Gradual 1 (The First Sunday of Advent to Passion Week) and Gradual 2 (Easter to the Twenty-fourth Sunday after Pentecost).

The letter V of this richly decorated page encloses the Ascension of Christ. The apostles have gathered in a circle around the Virgin. Amazed by the apparition of Christ, they gaze up at him as he ascends to heaven. The apostles’ emotional expressions and gestures contrast sharply to the Virgin’s quiet demeanour. Don Silvestro’s lively narration of the Ascension is a synthesis of two distinct pictorial traditions, documenting his artistic formation in Siena as well as his association with Orcagna and his circle, who dominated Florentine painting in the third quarter of the Trecento.

The initial V begins the introit to the Mass for the feast of Ascension.

According to Vasari, in the Camaldolese monastery of Santa Maria degli Angeli in Florence there were twenty choir books written by a certain Don Jacopo and illustrated by Don Silvestro dei Gherarducci. He also points out that several other choir books by the same masters were in the library in the monastery of San Michele of the same order in Murano. Single illuminated pages representing a number of scenes from a large gradual by Don Silvestro have survived in various museums. Together with several other stylistically consistent historiated pages and with a considerable number of cut initials scattered in various museums, they formed the major portion of the illuminated decoration of two large graduals for San Michele a Murano. Fifty-one full pages and initials have been discovered so far that can now be firmly associated with the two San Michele a Murano graduals, Gradual 1 (The First Sunday of Advent to Passion Week) and Gradual 2 (Easter to the Twenty-fourth Sunday after Pentecost).

The initial B, formed of red intertwining tendrils with abundant foliage, encloses the Trinity. It offers place for two different representations. In the upper section, behind a richly ornamented altar and two candelabra, appear the Three Divine Persons with the respective symbols above their heads. The lower section includes an Old Testament antetype for the Trinity: Abraham kneels before the three angels, who announce to him the miraculous birth of a son.

The initial B begins the introit to the Mass for the Trinity Sunday.

According to Vasari, in the Camaldolese monastery of Santa Maria degli Angeli in Florence there were twenty choir books written by a certain Don Jacopo and illustrated by Don Silvestro dei Gherarducci. He also points out that several other choir books by the same masters were in the library in the monastery of San Michele of the same order in Murano. Single illuminated pages representing a number of scenes from a large gradual by Don Silvestro have survived in various museums. Together with several other stylistically consistent historiated pages and with a considerable number of cut initials scattered in various museums, they formed the major portion of the illuminated decoration of two large graduals for San Michele a Murano. Fifty-one full pages and initials have been discovered so far that can now be firmly associated with the two San Michele a Murano graduals, Gradual 1 (The First Sunday of Advent to Passion Week) and Gradual 2 (Easter to the Twenty-fourth Sunday after Pentecost).

The initial C encloses the scene of the Last Supper. Animated twisting foliage, including precious golden tendrils with cornflowers and thistles,adorns the lateral and lower margin of the page. The initial opens into a space reminiscent of that of the Lorenzetti, especially Ambrogio, but here it is conceived merely as a backdrop. The apostles sit encircling a round table and react animatedly to Christ announcing that one of them will betray him. Judas, the subject of the general agitation is about to eat a piece of bread. His black halo containing scorpions and the flashing red money bag at his belt define him as Christ’s betrayer.

The initial C begins the introit to the Mass of Corpus Domini.

This initial “I” is from Choir Book 2. It depicts A Bishop Consecrates a Church.

The Camaldolese monk Don Silvestro dei Gherarducci was widely active in both painting and manuscript decoration in Florence. Active in the monastery of Santa Maria degli Angeli, in most of his works Don Silvestro shows a profound knowledge of contemporary Sienese painting.

This figured initial “I” is from Choir Book 19.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The cutting from folio 134 depicts St Lawrence in an initial C. This initial begins the introit to the Mass for the feast of St Lawrence (August 10). The initial encloses a half-length frontal figure of St Lawrence wearing a richly ornamented garment. In his left hand, elegantly hidden by drapery, he holds a book, while his other hand is poised on the instrument of his martyrdom, the gridiron. He is distinguished by a quiet introspection and an air of solemn gravity.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The cutting from folio 137 depicts the Virgin and Child in an initial S. This initial begins the introit to the Mass for the vigil of the Assumption (August 14). From the lower curve of the initial S rises the erect three-quarter-length figure of the Virgin with the Christ Child in her arms. She gently bows her head to the young boy, who holds a globe in his right hand and in his left a scroll without an inscription.

The Florentine character of this miniature led to its early attribution to the circle of Bernardo Daddi. The stylistic affinities with Florentine art, especially with Virgins by Jacopo and Nardo di Cione, are undeniable, however, iconographically Don Silvestro’s Virgin and Child seems to draw on ideas developed in Sienese painting.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The miniature from folio 142 depicts the Death and Assumption of the Virgin. It introduces the liturgy for the feast of the Assumption (August 15). The monumentally rendered narration of the Virgin Mary’s death visualizes three crucial moments in a single composition: her entombment, the passing of her soul to Christ, and her assumption to the heavenly realm. A great multitude of apostles and angels - appropriate to the illumination’s provenance from a choir book made for the monastery of Santa Maria degli Angeli - and Christ have gathered around the Virgins’s sarcophagus.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The cutting from folio 148 depicts the Birth of the Virgin in an initial G. This initial begins the introit to the Mass for the feast of the Birth of the Virgin (September 8). The letter G overgrown by rich foliage with lilies, opens into the interior of St Anne’s bedroom. Having given birth to a daughter, she sits up on her bed and glances at her child, who is about to be bathed. A maiden with the heavenly child on her lap is testing the temperature of the water in the bowl, while another adds some more water to it. The iconography is Sienese, faithfully following the composition of Pietro Lorenzetti’s altarpiece for Siena cathedral.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The miniature from folio 155v depicts the Virgin and Christ in Glory Surrounded by Saints and Angels in an initial G. This initial begins the introit to the Mass for the commemoration of All Saints (November 1). Hovering over a flowery meadow are Christ and his Heavenly Mother as King of Justice and Queen of Mercy, respectively. They hold sceptres, emblems of their sovereignty, and are seated on a bright throne of seraphim. The iconography of this splendid initial is firmly rooted in Sienese tradition.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The cutting from folio 159 depicts Pope St Clement in an initial D. This initial begins the introit to the Mass for the feast of St Clement (November 23). His eyes slightly turned to the left and his right hand somewhat raised, the frontal three-quarter-length figure of Pope Clement addresses the beholder. In his left hand he holds a book and gently lifts up his stole. Don Silvestro draws on types established by Simone Martini and his followers, for instance the holy popes in Simone’s Pisa altarpiece.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The cutting from folio 32v depicts St Agnes in an initial M. This initial begins the introit to the Mass for the feast of St Agnes on January 21.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The cutting from folio 42 depicts the Presentation in the Temple in an initial S. This initial begins the introit to the Mass for the feast of the Purification of the Virgin on February 2. This composition clearly paraphrases Ambrogio Lorenzetti’s panel, now in the Uffizi.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The miniature from folio 60 depicts the Annunciation in an initial R. This initial begins the introit to the Mass for the feast of the Annunciation on March 25. despite the small format the splendid miniature has the monumental quality of a fresco painting. This effect is enhanced by the initial’s outer frame, which, with its cosmatesque pattern, refers to the great picture cycles of fourteenth-century Tuscany.

Among the various choir books that Don Silvestro illuminated for his monastery, Santa Maria degli Angeli, one (Cod. Cor. 2, now in the Biblioteca Laurenziana, Florence) clearly stands out for its high artistic quality. As were most of the Santa Maria degli Angeli choir books which entered the Biblioteca Laurenziana, it was mutilated in the Napoleonic period. Twenty pages - many of them the most important and most beautiful - were cut from this gradual and found their way into various collections. There are thirty-eight present and missing illuminations in the codex on which a reconstruction can be based.

The miniature from folio 90 depicts St Romuald Enthroned with Four Saints in an initial O. This initial begins the introit to the Mass for the feast of St Romuald (June 19, according to the Camaldolese calendar). The richly ornamented initial in the shape of a floral garland opens into a well-defined picture space, where St Romuald sits on an ornate tabernacle throne. The founder of the Camaldolese order is surrounded by a bishop saint, possibly St Augustine, and three monastic saints wearing Camaldolese habits.

The small dimensions of the panel suggest that it was painted for private devotion.

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The irregularly shaped panel was originally the central pinnacle of an altarpiece. It shows a highly emotional representation of Christ’s suffering on the cross, with the cross extending the full height of the composition at its centre. At the base and to the left, the fainting Virgin Mary is supported by one of the Holy Women and St John, while Mary Magdalen grieves, clutching the bloodstained cross. To the right of the cross are various bearded men who introduce the beholder to the tragic scene. Angels hover around the Saviour on the cross, either lamenting Christ’s death or collecting his precious blood. Six larger angels framed separately at the sides originate from a different altarpiece, probably painted by Jacopo di Cione, and were added to the Crucifixion by a nineteenth-century collector.

Several other panels of the original altarpiece, probably a triptych, were also identified in various collections.