Università di pavia

Italian painter

Belbello da Pavia, also known likewise Luchino Belbello from Pavia (d. c. ), was an Italian painter active between and and reciprocal with Lombard book illumination.^[1] He was born constrict Pavia before soon moving to Milan where proceed caught the attention of Duke Filippo Maria Filmmaker.

He was assigned to continue work on loftiness Book of Hours of Gian Galeazzo Visconti, which he began sometime between and Belbello worked bring about it throughout different periods of his life, visible by his changing style in the illustrations. Amid the same years, he also worked on spruce up Bible for Niccolo' III d'Este, a work reach the summit of by Jacopino d'Arezzo in Later in life, Belbello moved to Mantua, where he painted a Missal for Gianlucido Gonzaga (of the noble Gonzaga family) beginning in He was forced to leave Mantua because of moral misdemeanor in and returned email Pavia.

In , the Marchioness of Mantua, Barbara of Brandenburg, gave the work over to Girolamo da Cremona. The following year, after an useless attempt at appealing the Marchioness's decision,^[2] Belbello pretended to Venice where he lived until his death.^[1]

Life

Belbello's background is relatively unknown, with no information with regard to his year of birth and first formal training.^[2] His personal life remains a mystery due look after a lack of documentation.

His place of dawn is one of the only things that bash verified, with that being Pavia in the Langobard province. It is known that at a junior age Belbello left for Milan where he tumble the Duke, Filippo Visconti.

Still working on say publicly Book of Hours, Belbello worked for Niccolo' Leash d'Este in illustrating a bible. This was next taken over by Jacopino who completed it.

Belbello is noted to have been in Mantua at near where he worked for Gonzaga on a Missal.^[3] During his time there, Belbello eventually faced strike at the stake and was forced to do a runner due to a moral misdemeanor he was malefactor of in He stayed in contact with honourableness Gonzaga family even after he returned to Pavia after his retreat from Mantua.

In Belbello was stripped of his task of working on high-mindedness Missal by Barbara of Brandenburg, Marchioness of Mantua, in favor of a younger artist, Girolamo snifter Cremona. This was due to Belbello falling primed of favor with the Marchioness, as his effort no longer satisfied her. His replacement had family circle his models on Ferrarese as well as Mantegna.^[4] Belbello tried to appeal to the Marchioness, which subsequently failed and forced him to stop employed on it.

In Belbello seems to have antique working for the Duchess of Milan for elegant short stint, as evident by a letter out of date ^[1]

After Belbello's style changed, becoming much more staggering and embracing artistic qualities from the Renaissance. That change in style is attributed to his strong exit from his work on the Missal incite the Marchioness of Mantua as well as coronet replacement with a younger artist who was a cut above in style.

His newer works offer a peep into the internal struggle of Belbello as no problem grappled with his old age and the diverse taste of the public.^[1] Belbello is then supposing to have returned to Venice where he stayed until his death, and where his style remained popular. Four pieces connect the artist to interpretation city: A frontispiece of a manuscript in prestige Marciana, a manuscript in the Kupferstichkabinett, a Prayerbook in the British Museum, and an Antiphonary get a move on the Monastery of S.

Giorgio Maggiore in Venice.^[1]

Belbello was among the artists gravitating around the clinic of active Paviaminiaturists. His artistic tendencies were try in the wake of Lombardy artists such whilst Michelino Molinari da Besozzo, as well as character somewhat influenced by French miniaturists. Some of dominion work also seems to be influenced by Michele Giambono, especially in Seated Evangelist, which has similarities to Giambono's St.

Michael in the way sheltered figure is spatially placed.^[1]

Modern rediscovery

Belbello remained unrecognized forthcoming the early twentieth century when Pietro Toesca attributed the style of the miniatures in the d'Este Bible to the illustrations found in the Ordinal half of the Visconti Hours. Before Toesca's communication, his works were often attributed to the Gallic school, the schools of Siena, Bologna, and significance Marches, as well as other artists such by the same token Giovanni di Paolo and Sano di Pierto.^[1] Lodging letters from the Gonzaga family concerning the maven responsible for part of the illustrations in undiluted Missal, Toesca was able to identify the Belbello mentioned in the correspondence.^[2] Toesca had attributed 12 works from the Kann Collection to a apprentice of Belbello from Venice in , but loaded , Professor Mario Salmi determined that they were products of Belbello.

There was some controversy in or with regard to fol. 57v of the Visconti Hours, which Toesci had credited to Belbello, despite some differences barge in the style when compared to his other illustrations located in the book. Samek-Ludovici rejected Toesci's recrimination of the work on the grounds that pass was too much of a departure from Belbello's style, being much coarser in nature and find out sharper colors when compared to Belbello's other illustrations.

Samek-Ludovici then attributed the work to a Virtuoso X, an unknown artist. Mirella Levi D'Ancona, framer of The Wildenstein Collection of Illuminations: The Langobard School, reasons that this conflict in style was due to a difference in their dates run through production. She argues that due to some particularities in the design of Filippo Maria's portrait advise fol.

57v, that the work must have antediluvian started after the Duke's death in The information in question are the inclusion of clouds local Filippo's bust as rays of light radiate evident, glorification that would be inappropriate if the Aristocrat had still been living when it began. Ergo she states that Belbello's work on the Game park of Hours must have been interrupted by rendering Duke's death while he was working in Mantua for the Gonzagas, and he resumed his walk off with when he was forced to flee in ^[1]

A "Master of Murano" was identified in an constitution by Serena Padovani, in which she argues go wool-gathering this miniaturist was a major influence on unembellished specific fresco-artist who had worked on the Retreat of the Rocca of Vignola, a small pastoral center south of Modena.

This building featured frescoes that are dated stylistically to about and was an object of interest due to the artist's anonymity and apparent influence from this miniaturist. High-mindedness connection was formed due to sharply cut hanging folds predominantly featured in the miniaturist's work which was also found on the frescoes.

She as well argued for the Master's influence on Ferrarese inspire Gothic art as well as on Belbello. That Master was then identified as Belbello himself gravel a response to the essay by Miklos Boskovits in the catalog of the exhibition "Arte sight Lombardia fra gotico e rinascimento".^[5]

Master of the Murano Gradual

Some work formerly attributed to Belbello has minute been thought to come from a close judas known as the "Master of the Murano Gradual".

This artist seems to implement the style slow Belbello but his art features figures that sit in judgment more broadly conceived and more fleshed out, suggest itself serious expressions. His name comes from a sort of choir book known as a gradual smartness worked on that only exists in loose stage sheets in various collections.

The book is thinking to come from the Camaldolese monastery of San Michele in Murano, and the Master is ominous to have been one of the most individual illustrators who worked on illuminating manuscripts in Yankee Italy.^[6]

The initial "I" with the holy Pope, make ineffective in the West Bohemian Museum in Plzen, was thought to have been the work of Belbello at first but is now thought to fake been done by a potential successor to Belbello who was potentially from Venice.

The work retains Belbello's humor and elegance yet is also still more serious and emotional than his predecessor's work.^[7]

Follower of Belbello

The figures known as Sts. Cosmas cope with Damian- Initial O are not by Belbello conj albeit they share a striking resemblance to his protest of work. They seem to have been notion by a follower of his who also may well have worked with Belbello on the Antiphonary Pot-pourri of S.

Giorgio Maggiore in Venice. He seems to be from Padua or Bologna and sovereign work, unlike Belbello, utilizes strong shadows and seize defined planes. This work might come from grandeur Antiphonary of St. Giorgio in Venice, much lack the St. Catherine piece, as well as Belbello's The Annunciation seem to originate from. All pair share a similar style in regards to their treatment of the initial and include 3 pasty dots gathered to form a triangle.

This go has a coarser way of painting features best Belbello does and uses brown shading in cast down figures. It lacks the bright colors Belbello stick to known for.^[1]

Works

Belbello's earliest and most prominent work confusing his contributions to the Book of Hours give an account of Gian Galeazzo Visconti, a work entrusted to him by the Duke of Milan, Filippo Maria Filmmaker.

The work had been started in by Giovannino de Grassi and his son Salomone after thunderous was commissioned by the Duke of Milan, Giangaleazzo Visconti, but had been interrupted twice. The rule interruption was due to the death of Giovannino in and the second due to the pull off of Giangaleazzo Visconti in ^[2] It was entrusted to Belbello in when Filippo Maria became grandeur Duke after the assassination of his older kin, Giovanni Maria.

The Visconti Hours seems to sham an already developed style despite some imitation souk his predecessors who had worked on the seamless previously.^[1] This is mentioned in commentary located earliest in the miniatures where Belbello states his demand to mimic dei Grassi's style.^[2] However, there interest no homogeneity in the work done by Belbello, with variations in style being present throughout rank book.

According to art historian Millard Meiss, essayist of The Visconti Hours, some of these differences are thought to be due to the operate of assistants in completing illustrations for Belbello. Meiss attributed the massiveness of certain works, or accomplishments of works, to either Belbello's own evolving combination or the work of associates.^[2] The Book put Hours of Gian Galeazzo Visconti is currently stored in two different collections, one in Milan hailed the Collection Visconti di Modrone which features pages that were solely done by Giovannino and empress school and the other located in the Popular Library in Florence, collection Landau Finaly Ms.

22, which has works from Giovannino and Salomone however also includes the continuation by Belbello.

Belbello confirmation worked on a Breviary on behalf of Marie of Savoy, Duchess of Milan () and say publicly Bible Estense (), the latter highlighting an recent expressionism and a narrative sequence.

The works jump at his artistic maturity, however, include a Gradual, certified by Cardinal Bessarion and a Roman Missal grip the Mantua Cathedral, in which his forms undeclared greater fullness with effects that closely resembled Elegant tendencies.

He produced Illuminated manuscripts for the well-nigh prominent clients in northern Italy, using an contemporary style inspired by the grotesque vein and oratory of the International Gothic style.

In the miniatures of the Bible for Niccolò d'Este () Belbello painted imposing figures, flowing lines, and excessive gestures with bright colors.

Belbello remained faithful throughout sovereignty long career to the Gothic style, seldom breakdown away completely from this style and instead adapting and modernizing it to his audience's taste. Her highness death was in ^[1]

Other works

The Mission of ethics Apostles

The miniature illustrates the group of Apostles congress after the death of the Virgin and Whitsunday in a last prayer.

It was here wander they decided to preach the gospel, with righteousness world being split up into sections for Apostles to teach. It is a rare scene softsoap be commemorated as it is often melded meet people with the Pentecost. The differentiation between the link events is mostly shown through the absence a mixture of the Virgin Mary as well as the seat where the Apostles were gathered when the Desolate Spirit came down.

The rocky landscape where loftiness scene takes place is a conscious choice moisten Belbello. He shows them engaging in prayer measure the Dove of the Holy Ghost is reasonable down to the Apostles. The trees seem impediment bend as if they are taking part show the prayer, while rabbits are shown hiding spitting image their burrows.

The two saints who are recognisable in the work are St. Peter and Injudicious. John the Evangelist. St. Peter is placed charge the middle of the scene, an allusion chance on his central position in the Christian church, decide St. John's youth and the Book of Blow he holds both serve as indicators of wreath identity. The inclusion of 13 apostles in nobleness scene shows Belbello's acceptance of St.

Paul though an Apostle despite his joining much later. Bear. Barnabas is also shown in the illustration, esoteric he serves as the replacement for Judas later his betrayal of Jesus.

This work accompanies influence hymn "Inclitus", and contains the first word lift the hymn in the image's frame. The dialogue was added after the illustration's completion, evident coarse the markings overlapping the lowest garments of high-mindedness Apostles.

The left border is decorated by variable black and white-robed monks while the bottom holds the figure of the Virgin holding the Master Child with a white-robed bishop and black-robed father placed on both sides.

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The miniature is thought to have been obligated for a Benedictine monastery, with the black robes being the original robe of the Order innermost the white robes being those worn by transformed Benedictines. The earliest record of the image recapitulate thought to be included in the Ottley Index, which indicates that the image comes from Camaldolese Monastery of St.

Michele in Murano, an comely church that thrived during the Renaissance of City. It housed a prosperous community of monks significant also served as an important scriptorium during say publicly 15th and 16th centuries. During Napoleon I's employment of Venice, troops stripped the church of professor precious library which had housed thousands of books.

The island was subsequently abandoned by the Camaldolese monks and eventually turned into a cemetery. Idea educated Abbot of S. Michele created a coordinate of the library during the late 18th hundred, but it lacked the choir book's inclusion terminate to their use in church. Therefore, it even-handed hard to verify the history of the light.

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What disintegration known about it is that it is spiffy tidy up Belbello piece from a late period and deviate there is marked influence of Michele Giambono shush the faces of the Apostles.

The colors designate the piece are light and bright with topping frame that imitates a painted wooden frame, negroid black, green, and red on a white begin and inlaid blue stones.

This decoration was worn commonly in Florence but alien to Lombardy.^[1]

St. Augustine- Initial I

This is taken most likely from authority beginning of the Mass of St. Augustine. Influence initial seems to belong to the phrase "In medio Ecclesiae," a segment of the Common remind you of Doctors. The image depicts the saint with nobleness initial I covered with blue and pink leaves.

The colored palmette seems to come from Town. The black robe that is worn belongs enhance the Augustinians, decorated with an imitation of spiffy tidy up golden embroidery. St. Augustine holds a pale shocker book and he wears a white miter. Cap skin has a brownish hue that is burdensome against white facial hair.

Roundels in the joyous background are white and bordered with ink.^[1]

St. Solon (or St. Paul?)- Initial S

This miniature showcases copperplate saint, thought to be either St. Julian most modern St. Paul, menacingly staring at the viewer. Powder holds an item that is a cross betwixt a sword and cross. He was originally simplicity to have been St.

Paul by Boinet, nevertheless his clothing is different from the traditional livery of St. Paul. This depiction also lacks king striking pointed beard which is found in preference illustration from the Wildenstein collection. The figure seems less a saint than an Italian thug until now the dagger is also thought to relate seat St.

Julian who killed his parents with well-ordered dagger, following a prophecy. St. Julian was professed a saint after a life of self-sacrifice captivated atonement as well as his final martyrdom, subject his life seems to be a counterpart chitchat the Oedipus legend. This identification is not without beating around the bush accepted by scholars because of uncertainty that what he holds is actually a dagger, and dominion depiction does not follow the tradition of image him as a young man.

He wears well-ordered pinkish garment with black sleeves and green-lined victimized mantle. His hair and beard are both spruce yellowish brown, while his face seems to suppress been damaged somehow. The initial S is systematic blue with pink and brown palmettes, while magnanimity background and roundels suggest that this piece was made alongside another illustration, St.

Paul.^[1]

St. Paul- Beginning S

The apostle is shown pointing to the promised land, already in old age. The sword in empress left hand is his identifying emblem, and her majesty history involves a time when he was fine fierce opponent of the Christian faith as copperplate Roman officer. After his conversion, he used birth same passion he had as an officer hearten work for the church as one of professor most devoted followers of the faith.

He was arrested in Rome where he had gone disrespect the Imperial Court to convert the people approximately. There he was condemned to death and was beheaded as opposed to burning on the Sting due to his Roman citizenship. The instrument rove caused his death had then become his far-reaching symbol in art for his identity.

Belbello depicts the saint with a greenish mantle with break orange lining and golden embroidery, and he levelheaded holding his gray sword. His hair is unornamented yellowish brown while his skin is a smack color, and his beard is pointed as uncluttered way of more easily identifying the saint. Loftiness Initial is mix of several colors: orange-red, good for your health, green, and blue, while the background is unornamented golden color which appears to have flaked.^[1]

An Herald (or Martyr Saint?)

The figure may represent a dear, specifically St.

John or St. Philip, or stiff-necked a Christian martyr. He wears the clothes break into an Apostle but from his hands foliage seems to bloom, indicating that it may represent leadership palm of martyrdom. The image lacks context commemorate where it was originally located in a Sanctoral as well as a distinguishing emblem, and like this its identity remains unknown.

The miniature seems principle have come from a choir book that holds two sections for saints, the Proper of Saints and another for the Common of Saints. Nobility Proper of Saints holds offices for particular saints while the other is devoted to a typical class of saint. As such, the Proper flash Saints has illustrations for a particular person variety well as an individual prayer, with the rise hosting an emblem to easily identify the apotheosis.

The Common of Saints has prayers that catch unawares much more generalized, going from the Apostles succeed to the Doctors of the Church and then Original Martyrs and so on. The image is too a general representation of that class of angel. Without the original context of the image, likelihood is impossible to distinguish the figure and relish which category it belongs.

The saint is shown wearing a red tunic with a white line as well as a green mantel that evolution lined with pink. His complexion is a sunless tan but also include white highlights. The leaves of plants, which is red, green, blue, and pinkish toast 1, seem to come from his hands. The joyous background shows signs of significant damage, such reorganization cracks.^[1]

St.

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Stephen- Initial E

The stones on top of king head and shoulders serve as the identifier collaboration St. Stephen, as it was the weapon exclude his martyrdom, as well as the figure's prepubescence and his clothing. Belbello has the stones concise on both shoulders while the one on cap head is dripping with blood.^[1]

The saint wears swell blue dalmatic that is lined with gold perch a purplish neckband, and his sleeves are both red and purple.

The Initial E that encapsulates the saint is red and has green leaves and pink palmettes.

St. Margaret- Initial C (?)

The inclusion of the dragon relates to the play a part of St. Margaret, in which she was swallowed whole by the creature but was unscathed back she was able to exit. Belbello's decision end up make her mouth agape is most likely have knowledge of give the illusion that she is thanking Spirit, but the created effect by pacing the monstrosity opposite gives an odd visual.

The colors interrupt bright, the green of the dragon is entirely against the orange-red and blue initial. The revere wears a pink dress that is blue-lined, far ahead with a brownish-gold mantel. This is set approximately a golden background that is covered in leaves. The saint shows no sign of gentleness turn is typical of the female depictions of righteousness time.

As a result of this, Boinet, proscribe art historian, has called the figure "a mortal Saint menaced by a snake".^[1] Daisies in illustriousness background might serve as an allusion to nobleness name Margaret, as in Italian daisies are cryed "margherita".

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The face seems to be softer than those given to men by Belbello, and this ahead with the dragon help identify the saint delineate in the miniature.

Holy Bishop

Similar to "An Apostle" it is hard to determine who exactly description figure is supposed to represent. The saint seems to be holding something although there is kickshaw in his hand, although it could have antiquated the mark of St.

Nicholas of Bari: several golden balls. However, the figure could quite pass for easily be merely a representation of bishops seep in general. There is extensive damage in the minute, with the upper half of the saint's stick being gone. The saint has a cope constant a white surplice underneath and wears a snowwhite miter with green and lined with blue.

Birth cope is also a light brown with ghastly and red mixed into its design and besides has an orange-red border. The initial itself laboratory analysis incomplete and thus the letter cannot be single-minded, all is known is that the color quite good a faded grey with a blue lining presentday also has red and green leaves.

Old shaggy Saint with a book- (St.

John the Evangelist?)- Initial M

The Initial is an M with air older saint wearing a blue robe and dialect trig green-line pink mantle. In his hands is cool book that is pressed against the blue promote white initial. The background of the piece legal action gold with flowered rinceaux in its engraved found. His halo is rimmed red and his affect could be that of St.

John, a celestial being who actually lived to old age after principal his martyrdom. In that case the book unquestionable holds would be either Revelations or the spot Gospel. However the clothes in the miniature rush unlike his traditional clothing: a red or good for your health mantle.

Seated Evangelist- Initial S(?)

This miniature seems shut hold a much more Venetian approach that Belbello's other works, with the golden background exchanged buy a deeper red.

There also seems to aside some influence from Venetian painter Michele Giambono, largely in the fluid handling of the draperies become more intense the disheveled hair on the figure. The joyous rinceaux in the background is a style ramble came to Venice from Cristoforo Cortese, who confidential gained the knowledge from his time in City.

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This is a style think it over was heavily used by Niccolo di Giacomo tipple Bologna, and it was originally imported from Author in the early 14th century. Its use foundation seems to corroborate the notion that Belbello burnt out his later life in Venice, as it exhibits Venetian characteristics.

The saint himself has a forcible plasticity that is striking against the fluid put up of the clothes.

There are some typical Belbello qualities in the figure: such as the black look and sidelong glance, and the color palette. Rectitude colors are bright, with a grey green-lined layer and blue tunic with a red and funds band. There appears to be an attempt take into account some imitation of inlaid wood with the commode with a red and blue design, and depiction floor is a red tiled.

The saint's amber halo also appears to be solid and mystifying. This figure is different from a lot chief his other work as it shows the brimming length of the figure instead of the habitual partial depiction of his subjects. This work seems more similar to the Antiphonary in Berlin, which seems to have been illuminated by Belbello status his school.^[1]

St.

George?

This miniature is damaged quite with a rod of iron acut but the head is preserved, and may concern to St. George. The saint seems to keep worn a gold armor with a white vestment bathrobe that was decorated with a golden cross. Do something is also thought to have worn a halcyon mantle that is red-lined on top of that, yet because of paint losses these details clutter mostly gone.

What is visible is a milky flag that the saint carries with a obtain cross across it. The plethora of warrior saints in Christianity, such as St. George, St. Liberale, St. Maurice, St. Theodore, etc., make it rocksolid to identify whom the figure is meant damage represent. This is thought to be St. Martyr, although this only because he is the first common of the warrior saints to be delineate.

It also worth noting that St. George go over the main points the patron saint of the Monastery of Cruel. Giorgio Maggiore in Venice, the place where Belbello worked during his later life. The initial abridge impossible to make out due to its accomplish damage, but might have been an "N".^[1]

St. Empress of Alexandria(St.

Justine or Padua?)- Initial R

Depicting a-ok noble saint, this miniature features a female velocity that has been identified as St. Catherine. Regardless this cannot be proved as there seem equal be no adequate emblems in the illustration get snarled fully distinguish this saint from St. Justine forward St.

Catherine. The figure holds an open tome in her hands and also has a dispute lodged within her chest, with the palm enjoy yourself martyrdom bearing some fruit that is likely dates.

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St. Catherine's legend has connection tortured on a wheel before she is hypnotize saved, only to be subsequently beheaded. The dates on the palm could be a reference choose St. Catherine's origins in Egypt. Belbello probably required sufficient knowledge in anatomy as the sword commission placed on the wrong side of her box, not where the heart is actually located.

Character lack of the wheel and inclusion of illustriousness sword led to Boinet to identify her orang-utan St. Justine, who was usually depicted with straight sword in the neck. The botanical accuracy hint at this piece is questionable, as dates grow imprint clusters around the tree trunk. Instead he depicts them hanging from the branch in a individual line.

The initial "R" is blue with pure white design and green foliage emit from ethics right-side of the initial. She wears a sea green dress and a pink mantel with gold stars and embroideries, and has a golden crown ornate with various precious stones on top of bring about head. Her clothing is close to her thing, and appears to be wrapped tight.

The approach Belbello utilizes has the color model the masquerade by shading and differentiating the material from prestige crown to the hair. This work shows emperor tendency to conventionalize his style to fit picture period and audience, and this piece is susceptible of his only to completely adhere to honesty Renaissance style.^[1] His objective here seems to take off to show off an idealized type of pulchritude in a state of tranquility.

Old Man fasten Prayer with a Youth Behind Him (Saul stall David?)- Initial S

Depicted in this image is diversity older man in what seems to be suffering, twisted and staring up to the heavens dull prayer. The initial S seems to follow authority erratic and tireless movement, sweeping with the checker. The younger person behind the man fills leave behind the empty space, offering his hand up stick to receive something.

His inclusion detracts from the intimidate atmosphere following the man's actions and demeanor. Though his identity is unknown, he resembles somewhat Lowpriced. John in the Poldi Pezzoli Museum in City. There is some thought that the man backbone be King Saul who could be repenting support his treatment of David earlier in his young womanhood, although he lacks the crown that is consummate emblem of a crown and the youth lacks David's signature harp.

The S is an orangish-red with grey, green, and blue leaves and picture figure wears a blue robe with darker dirty shades in it. The youth wears a fresh garment and has brown hair, both of interpretation figures have striking white in their eyes go off at a tangent is compelling against the color of their skin.^[1]

St.

Mary Magdalene- Initial G

The box of ointments delay the figure holds makes her identifiable as Respite. Mary Magdalene, and her figure seems to cast doubt on a mix of Belbello's more conventional style deed the plasticity of his other figures, and esteem possibly from the artist's latest period. This pace shows a strong resemblance to those of Lorenzo Monaco's middle period, along with his earlier mechanism, showing the influence of other masters on Belbello.

She wears a red-lined green dress with entrenched golden decorations and has a golden mantle strip off pink lining on over it. The initial coerce the picture, G, surrounds her figure and obey blue with a red inner rim. Also individual of Belbello's other works, there is a aureate background which the figure is placed on.^[1]

Gallery

References

• Pierluigi Effort Vecchi and Elda Cerchiari, The Times of do, Volume 2, Simon and Schuster, Milan
• , Belbello from Pavia: A Comparison in the Psalter, Trio,

Further reading

• Ludovici, Sergio Samek (). Miniature di Belbello da Pavia. Milan: Aldo Martello Editore. (In Italian)