This binding of the Ovid Transformazioni (Metamorphoses)

This binding with vegetal decoration in blue, red, green and gold serves as a showcase for Ovid’s Metamorphoses translated by Ludovico Dolce (1508 – 1556), humanist and Italian literator. It is emblematic of the influence of Islamic decorative arts in Venice in the middle of the siwteenth century, a period when this type of “lacquered” object was spreading throughout he laguna.

The technique used is incorrectly named “lacquer”. In fact, the decoration is not applied using a resinous sap as on Chinese objects, but a thick varnish covers the painted decoration. It is this technique which was used in Islamic decorative arts. The period when this binding was made corresponds to the time when the Ottoman book art workshops mastered this type of decoration, also practised in Iran from the Timurid period[1] (1370 – 1506). Venetian “lacquer” was used to decorate very varied objects, and it was also used quite considerably in the field of bookbinding.

In fact, book art was, with textiles, the main ambassador of Islamic art in Italy from the Mamluk period (1250 – 1517)[2]. In addition, the works created in the Orient, arriving in Italy through trade and diplomatic exchanges were, in the absence of antique models, the most refined models available, associated in the imagination to the humanists of the antique Orient. The same phenomenon can be observed in Renaissance painting, when the scenes of the lives of saints are depicted in a frame populated with oriental characters[3].

The decoration of the board is organised into two zones. The central part with a many lobed medallion cut in profile flanked by two appendices with corner stones which are also cut in profile is a classic scheme for the decoration of Islamic book binding boards[4]. This decorative scheme developed in book art but also on other items[5], both in Turkey and in Iran. The border is decorated with two red and blue interlaced foliages, one with a flower pattern, the other made of rumi half palm leaves, a motif which was present in the Islamic decorative repertory from the twelfth century[6]. The same repertory is used in the central part, where composite flower motifs inspired by the Chinese lotus, “saz” leaves and motifs of Chinese qi clouds. These motifs were used in various materials of Ottoman decorative arts: ceramics[7], textiles, rugs[8]. It is interesting to note that in Venice, in the same way, objects as varied as weapons, caskets or musical instruments[9] adopt this decoration.

Everything is therefore “à la turque”: the technique, the symmetrical composition, the motifs, the colours themselves (red, blue, green, gold) which recall the highlights of painting on Ottoman bindings, as well as the chromatic range used on prestigious objects in the Topkapi palace treasury[10]. The resemblance to Ottoman models continues into the detail: the small pointed and cut leaves are the same as those which appear on hard stone incrusted with gold in the Topkapi treasury[11]. On the other hand, the decoration is more airy than on the Islamic pieces and the binding system is different.

We can relate this work to another Venetian binding covering a political document relating the nomination of a doge to the status of procuratore of Saint Mark in 1572[12]. There are a great number of Venetian bindings inspired by Ottoman models which contain official texts: this reveals the general taste of the elites for this type of decoration.

[2] Cf. on this topic, the binding of an Opera by Virgil, Italy, Venice, 1460s, London, The British Library, inv. MS. Harley 3963.

[3] Vittore Carpaccio and worskhop, Saint Etienne preaching, Venice, v. 1514, Paris, musée du Louvre, Painting department, inv.181.

[4]  Binding of the Sahîh, Al-Bukhârî, Turkey, 1529, London, The Nasser D. Khalili collection.

[5] Ivory mirror with painted and gilded decoration, Iran, end 15thth century, Paris, musée du Louvre, inv. S.276. - beg. 16

[6] Coran pulpit from the tomb of  Jalâl al-Dîn Rûmi, Turkey, Konya, 1279, hazelnut wood, painted and gilded decoration, Konya                        museum.

[7] Panel from the mausoleum of Selîm II, Turkey, c. 1577, Paris, musée du Louvre, inv. OA 3919/ 2-265.

[8] Rug decorated with medallions, Turkey, Ushaq, end XVIe s., Paris, musée du Louvre, inv. MAO959.

[9] Spinet in gilded and lacqured wood, ivory, ebony and paint, Venice, 1572, Paris, depository of the museum of decorative arts at the Music museum, inv. D.AD.Pe.1803.

[10] Gold work objects from the 16th century from the Topkapi treasury often use this colour, obtained by using different precious stones (rubies, emeralds,…) with gold (ceremonial vessel, finery etc.).

[11] Cf. for example the binding in jade encrusted with gold and rubies, 16th century, Istanbul, Topkapi Sarayi Müzesi, inv. 2/2095. 

[12] Manuscript containing the document nominating the Doge Alvise Mocenigo de Girolamo da Mula to the status of procuratore of Saint Mark, Venice, 1572, Chicago, The Newberry Library.