Author: Eszter Nagy
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Although the style of the miniatures in the Gradual of King Matthias has been classified since the beginning as French or Flemish, the origin of the illuminator and of the manuscript itself (whether it was produced in the Netherlands or in Buda) has remained highly disputed. Research carried out by Sandra Hindman and Akiko Komada resulted in the uncovering of a group of works that are more or less closely related to the Gradual. By closely examining the style of these works, I have attempted to revise this group, and to extend it with one new attribution. While the starting point for Hindman – a leaf from the Lehman Collection – has been excluded, there is convincing evidence to support the idea that the Cité de Dieu from Turin and a part of a Bible historiale from New Haven (Beinecke 129), first linked together by Barbara A. Shailor in 1984, were painted by the same hand, namely the Master of the Turin Augustine. With the help of a Book of Hours from the British Library, which shares certain characteristics both with the works of the Master of the Turin Augustine and with the Gradual, it is possible to argue that the Master of the Gradual was probably the apprentice of the Master of the Turin Augustine. Based on codicological, iconographical and stylistic features of these manuscripts, I now put forward some new arguments in support of Komada’s proposition, which localises the activity of the Master of the Turin Augustine and the origin of the Master of the Gradual around Tournai or Lille. The Gradual, however, was not produced in the Netherlands. The activity of the illuminator of the Gradual is also attested in Vienna: the frontispiece of an incunabulum from Klosterneuburg, depicting the Stephansdom in the background, was attributed to him by Hinrich Sieveking. This attribution has long served as the basis for arguing that the Gradual was created in Buda, but there is no more evidence for this than for Vienna. On the basis of the script, which – by virtue of its resemblance to the script in a group of Lombard choir books – can be attributed to a Northern Italian scribe, the suggestion that the illuminator may have brought the Gradual with him from the Netherlands can be ruled out. While many questions remained unanswered, it can be concluded that the Gradual of King Matthias was painted either in Buda or in Vienna by a Flemish illuminator, who had presumably received his training in Tournai or in Lille.

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