Fig. 154. A writer at work. From a French translation of Valerius Maximus, written and illuminated in Flanders in 1479, for King Edward IV.
I now pass to a totally different way of fitting up a study, which seems to have been common in Italy, to judge by the number of paintings in which it occurs. It consists of a massive desk of wood, one part of which is set at right angles to the other, and is connected in various ways with shelves, drawers, pigeon-holes, and other contrivances for holding books and papers. In the example I here figure ([fig. 152]), from a painting by Fra Filippo Lippi (1412-1469) representing S. Augustine's vision of the Trinity, there are two small recesses above the desk on the saint's right, both containing books, and behind the shorter portion of the desk, three shelves also with books on them. Attached to the end of the desk is a small tray, probably to contain pens.
A similar desk occurs in the beautiful picture by Catena in the National Gallery[542], representing S. Jerome reading, of which I give a reproduction on a reduced scale ([fig. 153]). This picture also contains an excellent example of a cupboard in the thickness of the wall, a contrivance for taking care of books as common in the Middle Ages as it had been in Roman times[543].
Cupboards in the thickness of the wall are also to be seen in the frontispiece ([fig. 154]) to a copy of a French translation of Valerius Maximus[544], written in Flanders in 1479 for King Edward IV. The writer—probably intended for the author or the translator of the book—is seated at a desk, consisting of a plank set at an angle and capable of being turned aside by means of a central bracket, like that used by the Carmelite ([fig. 136]). Observe the two weights hanging over the edge of the desk and the ends of the two horns, intended to hold ink, projecting through it. The window, as in the picture representing the author of the Chronicles of Hainault at work, is glazed in the upper part only, while in the lower are two framed trellises of wire-work. Behind the writer are two cupboards in the thickness of the wall. One of these is open, and shews books lying on their sides, upon which are some pomegranates. I cannot suggest any reason for the introduction of these fruits, except that from their colour they make a pleasing variety; but I ought to mention that they occur very frequently in miniatures representing a writer at work. On the other side of the window is a small hanging cupboard. Here again a fruit is introduced on the lowest shelf. Round the room is a settle, raised above the floor on blocks at intervals. The seat is probably a chest, as in the settles described above in the Vatican Library.
The last picture ([fig. 155]) in this series of illustrations represents what I like to call a scholar's room, at the beginning of the fifteenth century[545]. The owner of the apartment is busily writing at a desk supported on a trestle-table. He holds a stylus in his left hand, and a pen in his right. The ink-horn he is using is inserted into the desk. Above it are holes for two others, in case he should require ink of different colours. Above the inkstand is a pen stuck in a hole, with vacant holes beside it. The page on the desk is kept flat by a weight. Above this desk is a second desk, of nearly equal size, on which lies an open book, kept open by a large weight, extending over two-thirds of the open pages. Behind the writer's chair is his book-chest. The background represents a well-appointed chamber. The floor is paved with encaustic tiles; a bright fire is burning on the hearth; the window, on the same plan as that described in the last picture, is open; a comfortable—not to say luxurious—bed invites repose. The walls are unplastered, but there is a hanging under the window and over the head of the bed.
With this simple room, containing a scholar's necessaries and no more, I will contrast the study of the Duke of Urbino.
This beautiful room, which still exists as the Duke left it, is on an upper floor of the castle, commanding from its balcony, which faces the south, an extensive view of the approach to the Castle, the city, and the country beyond, backed by the Apennines. It is of small size, measuring only 11 ft. 6 in. by 13 ft. 4 in., and is somewhat irregular in shape. It is entered by a door from the Duke's private apartment. The floor is paved with rough tiles set in patterns. The walls are panelled to a height of about eight feet. The bare space between the top of the panel-work and the ceiling was probably hung with tapestry. The ceiling is a beautiful specimen of the most elaborate plaster-work, disposed in octagonal panels. The decoration of the panel-work begins with a representation of a bench, on which various objects are lying executed in intarsia work. Above this bench is a row of small panels, above which again is a row of large panels, each containing a subject in the finest intarsia, as for example a portrait of Duke Frederick, figures of Faith, Hope, and other virtues, a pile of books, musical instruments, armour, a parrot in a cage, etc. In the cornice above these is the word FEDERICO, and the date 1476.
