Bartolomeo di Domenico di Guido
Despite a very broad artistic production, which was long-lasting and served a diverse array of clientele, the biography of this Florentine illuminator now relies on limited assumptions. One such clue is Bartolomeo’s registration in the Compagnia di San Paolo for almost ten years, from 1465 to 1473. In the books of the Badia di Fiesole his name appears as an independent stationer from 1487 to 1500, but in the 1460’s he had worked alongside Zanobi di Mariano for the Medici family. He is likely to be identified with the same figure of Bartolo di Domenico who died in September of 1521 and was buried in St. Ambrose in the Tuscan capital. In any case, from the mid-sixties of the fifteenth century, he played an important role in the development of the Florentine illuminated book (among other things) together with Francesco di Antonio del Chierico. His style is built on the use of bianchi girari and on the execution of “characters and settings” that become “cursive and immediate” (original text: Bollati, Bartolomeo di Domenico, p. 63); this combination distinguishes his style from the vivid pages of del Chierico. Within the collection of Federico da Montefeltro, Bartolomeo’s hand is probably present in the Breviary, Urb. lat. 111 and, perhaps in collaboration with del Chierico, in a manuscript of Virgil, Urb. lat. 350.
LEVI D'ANCONA, Miniatura e miniatori, pp. 39-41; Miniatura fiorentina del Rinascimento, pp. 164-170, 446-448; DE LA MARE, Vespasiano da Bisticci as Producer, pp. 194 nt. 189, 198-199 nt. 93; BOLLATI, Bartolomeo di Domenico, pp. 63-64.
Urb. lat. 350, ff. 2v and 46v