Maestro del Salterio di Federico da Montefeltro
Long referred to as the «Master of the Pear-Shaped Putti», according to the definition of Albinia de la Mare, this anonymous artist was active between the ’60s and ’80s of the fifteenth century and probably educated in the workshop of Francesco di Antonio del Chierico, as indicated by the use of friezes teeming with animals from different species. Like many others of the period, his career coexisted with that of Vespasiano da Bisticci, under whose guidance he collaborated in the work for the manuscripts of the Badia di Fiesole between 1463 and 1464, as well as that for the libraria feltresca, for which he may have worked on more than ninety manuscripts. Often in collaboration with other artists, such as Bartolomeo di Domenico di Guido (Urb. lat. 80), Francesco Rosselli (Urb. lat. 280) and the Maestro del Senofonte Hamilton (Urb. lat. 91). It is in light of new acquisitions that Ada Labriola dedicates ample space to this illuminator in the description of the catalog entitled Ornatissimo codice (Urb. lat. 9), while also suggesting to change the name, chiefly so as not to limit the artist’s activity to mere decoration, but rather to attribute the entire construction of the page to him as well, since this is executed with a clear design and with great attention to naturalism. The Maestro also works on Urb. lat. 185, 187, 328.
DE LA MARE, Vespasiano da Bisticci as Producer, pp. 181, 198; LABRIOLA, I miniatori fiorentini, pp. 53-67; LABRIOLA, Repertorio dei miniatori fiorentini, pp. 227-234; LABRIOLA, Scheda nr. 1, pp. 138-142.
Urb. lat. 9, f. 1r - Urb. lat. 185, f. 7r
Urb. lat. 187, f. 2r - Urb. lat. 328, f. 1r