Maestro del Senofonte Hamilton
The artist owes his renown to the Triumph of Ferdinando d’Aragona in the Cyropaedia di Senofonte (Berlino, Kupferstichkabinett, ms. 78 C 24 – Hamilton 686), completed around 1475. The scene here shows that he gained his pictorial formation in common with Attavante. Precisely this aspect has prompted critics to diverge, forming (at least) two approaches: those who have preferred to keep the two figures distinct (Annarosa Garzelli in Miniatura fiorentina del Rinascimento, pp. 157-162) and those who have instead considered the differences in style to imply two distinct moments in the artistic timeline of Attavante (Fahy, Scheda nr. 14, pp. 96-97). Milvia Bollati expresses herself in favor of this second position, since it concerns a very short period of time, just a decade, within which the activity of the Maestro seems to end “in clear coincidence with Attavante’s rising” (original text: Bollati, Maestro del Senofonte, p. 667). Maintaining the name of Maestro del Senofonte for convenience’s sake, we can say that he collaborated in the decoration of the two volumes commissioned for Santa Maria del Fiore in Florence, along with Francesco di Antonio del Chierico, whose series of expressive styles left their mark on the Maestro. He also collaborates with him for the creation of the Bible of Federico da Montefeltro (Urb. lat. 1-2), but critics also recognize his contribution in Urb. lat. 26, 57, 60.
Miniatura fiorentina del Rinascimento, pp. 157-162; FAHY, Scheda nr. 14, pp. 96-97; BOLLATI, Maestro del Senofonte, pp. 666-667; LABRIOLA, I miniatori fiorentini, pp. 53-67; LABRIOLA, Repertorio dei miniatori fiorentini, p. 230.
Urb. lat. 1, f. 55v - Urb. lat. 2, f. 31v