Marchetto da Padova and Giotto's Scrovegni Chapel Frescoes

Author(s): Eleonora M. Beck

Reviewed work(s):
Source: Early Music, Vol. 27, No. 1, Music and Spectacle (Feb., 1999), pp. 7-23
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/3128589 .
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Eleonora M. Beck
Marchetto d a P ad ov a and
G i otto' s
S crov eg ni C hap el
f res coes
To the
memory of Naomi C ummi ng
M
ARC HETTO
d a P ad ov a' s P omeri um
(1318/19),
a
wi d ely
read treati s e that lai d the
g round -
work f or notati onal
p racti ce
i n
Italy,
contai ns a
p as -
s ag e s ug g es ti ng
the author' s
knowled g e
of the lates t
d ev elop ments
i n Trecento
p ai nti ng .
He wri tes :
Art i mi tates nature as f ar as i t can
(as
Ari s totle s ai d i n Book
II
of the
P hys i cs ).
I s hall
p rov e
thi s wi th an
examp le:
he who
p ai nts
a
li ly
or a hors e s tri v es as f ar as he can to
p ai nt
i t s o as
to res emble a hors e or a
li ly
i n nature.'
Marchetto' s us e of the
p hras e
' i n nature' i s
s i g ni f -
i cant becaus e i t
ep i tomi zes
the ' new'
p ai nti ng s tyle
that f louri s hed
d uri ng
the f i rs t d ecad es of the
14th
century.
P ai nters
beg an
to
d ep i ct
real
objects
f rom
nature as
op p os ed
to
s tyli zed
v ers i ons .
Trees ,
bi rd s
and ani mals were rend ered wi th a f res hnes s as i f
s een i n the
countrys i d e.
The Florenti ne
G i otto,
who
d ecorated the
S crov eg ni C hap el
i n
P ad ua,
was the
g reates t p racti ti oner
of thi s
s tyle.2
G i otto' s wi d e-
s p read
f ame i n thi s
reg ard
i s attes ted to
by
an
excerp t
f rom
Day
VI,
s tory 5
of Boccacci o' s
Decameron
(1348-50):
G i otto was a man of s uch
outs tand i ng g eni us
that there was
nothi ng
i n the whole of creati on that he could not
d ep i ct
wi th hi s
s tylus , p en,
or brus h. And s o f ai thf ul d i d he remai n
to Nature
(who
i s the mother and the moti v e f orce of all
created
thi ng s ,
v i a the cons tant rotati on of the
heav ens ),
that whatev er he
d ep i cted
had the
ap p earance,
not of a
rep rod ucti on,
but of the
thi ng
i ts elf , s o that one
v ery
of ten
f i nd s , wi th the works of
G i otto, that
p eop le' s eyes
are
d ecei v ed and
they
mi s take the
p i cture
f or the real
thi ng .3
In
exp lai ni ng
the Itali an notati onal
s ys tem
Marchetto makes a notable
comp ari s on
between the
arti s t' s
abi li ty
to
cap ture
nature i n
p ai nti ng
and the
us e of
s p eci f i c
notati onal
d ev i ces , s uch as the ad d i -
ti on of ' tai ls to the notes ' . He wri tes :
S i nce, theref ore, the wri tten notes
p ertai n
to the art of mus i c,
althoug h
mus i c i s i n i ts elf an
accep ted s ci ence, i t was
ri g ht
that the tai ls ad d ed to the notes , whi ch were wri tten becaus e
of the need to hand d own the mus i c, s hould be ad d ed to
them i n accord ance wi th the
p erf ecti ons
f ound i n man hi m-
s elf , who i ns ti tuted thi s art; f or i n man i s f ound , i n
ori g i n,
the
ri g ht
and the lef t.
[...]
Theref ore the tai ls ad d ed to the
wri tten notes are
ri g htly
ad d ed to them on the
ri g ht
and the
lef t, as wi th
res p ect
to man.4
Marchetto
arg ues
that the wri tten notes
cap ture
the i ntenti ons of the
comp os er
as
clos ely
as
p os s i ble
' becaus e of the need to hand d own the mus i c' and
f or that reas on tai ls be ad d ed to the notes . For Mar-
chetto the
exp res s i on
of mus i cal ti me v i a naturae
ref ers to s emi brev es wi thout
s tems ,
whi le v i a arti s
d es i g nates
thos e wi th
s tems ,
s i nce the ad d i ti on of a
s tem to a s emi brev e
chang es
i ts natural v alue wi thi n
the
temp us .5
As wi th
p ai nti ng ,
mus i cal notati on
mus t
f ai thf ully rep rod uce
the s ound s of the mus i c
that are ' i n nature' .
My p urp os e
i n thi s arti cle i s to
exp lai n
and
account f or the
comp lex relati ons hi p
between the
comp os i ti on
and mus i cal theori es of Marchetto and
the
rep res entati on
of mus i c i n G i otto' s f res coes of
the
S crov eg ni C hap el.
For
examp le,
Marchetto' s
motet
Av e
reg i na
celorum / Mater i nnocenci e
d i s p lays
comp os i ti onal
li nks -i n both text and mus i c-
to G i otto' s
Wed d i ng p roces s i on
and Annunci ati on.6
Furthermore,
I s hall d emons trate that G i otto
Eleonora M. Beck i s As s i s tant
P rof es s or of
Mus i c at Lewi s and C lark
C olleg e
i n
P ortland ,
Oreg on.
Her book
S i ng i ng
i n the
g ard en:
mus i c and culture i n the Tus can
Trecento,
i s to be
p ubli s hed by
Li breri a Mus i cale Itali ana i n the
s p ri ng of 1999.
EARLY MUS IC FEBRUARY
1999 7
J-1I
W
11
C .r?
"Vi
KO:
MOM:
i k~rr
MM" Af r o"
1
The i nteri or of the
S crov eg ni C hap el, looki ng
toward s the eas t wall
8
EARLY MUS IC FEBRUARY
1999
rep ai nted
mus i cal i ns truments i n thes e
p ai nti ng s .
P erhap s
af ter a
s ug g es ti on
f rom
Marchetto, G i otto
chang ed
loud er i ns truments to s of ter ones
by
s hort-
eni ng
thei r
leng ths
and
g enerally toni ng
d own the
' mus i cal'
s ound i n hi s
p i ctures .
The
exp lorati on
of
connecti ons between arti s t and
comp os er
wi ll f ur-
ther i llumi nate the ri ch cultural
leg acy
of P ad ua i n
the
early
Trecento.
Yet to be cons i d ered i n the
mus i colog i cal
li tera-
ture,
Bernard i no S card eone' s authori tati v e De
anti qui tate
urbi s
P atav i i contai ns a
comp rehens i v e
hi s tory
of P ad uan mus i c and
comp os ers
f rom
anci ent ti mes unti l the med i ev al and Renai s s ance
p eri od s .7
In a
chap ter
enti tled ' De clari s mus i ci s
P atav i ni ' S card eone
beg i ns
wi th a
g eneral
account
of the
p ower
of mus i c and i ts rud i ments i n G reek
and Roman
s oci ety.
He then
s ki p s
to a
bi og rap hy
of
Marchetto-whom he calls the f i rs t
g reat
mus i ci an
of P ad ua-whi ch i s f ollowed
by bi og rap hi es
of
P ros d oci mo
Beld omand o,
Antoni o
Lyd i o,
Antoni o
Martorello,
Antoni o
Rota,
Frances co P orti nari o and
Anni bale P atav i no. S card eone' s s ecti on on Mar-
chetto i s
remarkably
ri ch and
d i v ulg es
new i nf or-
mati on about the
comp os er' s
li f e and acti v i ti es
wi thi n Itali an cultural ci rcles . He s tates that Mar-
chetto was known f i rs t as a
p hi los op her
and s econd
as a
g reat p racti ti oner
of mus i c i n P ad ua.
Marchetto d a
P ad ov a,
the f i rs t and mos t learned
p hi los op her
and man of
mus i c,
honoured hi s
p atri a
and
Italy g reatly
wi th
hi s celbrated art.8
S card eone then
d i v ulg es
that Marchetto was s o
well known and conv ers ant i n mus i c
d uri ng
hi s
ti me that he became the
g reat
f ri end of Robert of
Anjou, Ki ng
of
S i ci ly.
In the
f ollowi ng p as s ag e
we
learn about Marchetto' s
journey
to Robert' s court
i n
Nap les -a
new d etai l i n Marchetto' s obs cure
bi og rap hy:9
i t was s ai d that he
[Marchetto]
was the f i rs t to
p rov i d e
the
g eneral p ri nci p les concerni ng
how to us e tones i n mod ulati on
whi ch I und ers tand are called enharmoni cs . S i nce he was con-
s i d ered learned
by ev eryone
i n thi s
f i eld , he was i nv i ted
by
Robert, f amous
Ki ng
of
S i ci ly,
who
p atroni zed
all the mos t
learned men of the ti me. Marchetto went to the court of
Nap les
and there was
g i v en many p rai s es .' 1
Furthermore, S card eone
p rov i d es
an
ap p roxi mate
ti me f or thi s v i s i t.
In the meanti me he wrote the book ' On the
p recep ts
of the
art of meas ured
mus i c' , whi ch
he named the P omeri um.11
Thi s
p laces
Marchetto' s
tri p
to
Nap les
bef ore
1319,
the lates t
year
the P omeri um i s beli ev ed to hav e been
comp leted .12
In ad d i ti on, i t i llumi nates the reas on-
whi ch had
p rev i ous ly
been a
mys tery-f or
the s ub-
s equent
d ed i cati on of the P omeri um to Robert.
S card eone notes the d ed i cati on as f ollows :
at the outs et of the P omeri um we read : to the
P ri nce, Lord
Robert
by
the
g race
of G od ,
Ki ng
of Jerus alem and of
S i ci ly,
Marchetto of P ad ua d ed i cates thi s humble work.' 3
To conclud e hi s s ecti on on
Marchetto, S card eone
s tres s es that Robert and Marchetto
enjoyed
clos e
ti es .
He was , theref ore, clos e to Robert-at one ti me-as
Ti mothy
was clos e to
Alexand er,
who had learned how to calm and
exci te the s enti ments of the
Ki ng
to the
p oi nt
that Robert
li ked to
v ary
the s ound and
rhythm
of
s ong s .14
Thi s as s oci ati on wi th the
ki ng
of
S i ci ly p laces
Mar-
chetto i n the arti s ti c mi li eu of the mos t f amous
arti s ts and wri ters of
Italy-among
them Boccacci o
and P etrarch.15 Ev en G i otto was als o known to hav e
to hav e v i s i ted the
Ang ev i n
court.16
Both G i otto and Marchetto f louri s hed i n what
may
be called the
' g old en
d ecad e' f or culture i n
P ad ua. G i otto
p robably
res i d ed i n the
ci ty
between
1303
and
13o6.
Documents
p rov i d e
ev i d ence that
Marchetto worked there as cathed ral choi rmas ter
between
1305
and
1308;
F. Alberto G allo
s ug g es ts
that
d uri ng
thi s ti me he
p robably comp os ed
f or the
cathed ral
p olyp honi c p i eces
f or the d ramati c of f i ces
of the P uri f i cati on and As cens i on.17 P eter of
Abano,
a
mathemati ci an,
mus i c theori s t and as tronomer
who
taug ht
at the
uni v ers i ty,
was als o i n P ad ua at
thi s
ti me.18 C rowni ng
thi s
g lori ous p eri od
of P ad uan
culture i s the
p res ence
of Dante between March and
S ep tember of 13o6;
accord i ng
to Benev ento of
Imola,
the
p oet
went to the
ci ty
wi th the s ole
p urp os e
of
s eei ng
hi s f ri end G i otto.' 9
Dante i mmortali zed s ev eral members of the
P ad uan
ci ti zenry, namely
the i nf amous us urers
Reg i nald o S crov eg ni
and a member of the Vi tali ani
f ami ly,
i n the s ev enth canto of the
Inf erno.2o Ind eed ,
i t i s beli ev ed that
Reg i nald o
was s o
corrup t
and
av ari ci ous that, ev en on hi s d eath bed , he as ked
Enri co to hi d e the
key
to hi s s af e. Wi tnes s es to hi s
EARLY MUS IC FEBRUARY 1999 9
EAS T WALL
G od the Father s end s
G abri el to the Vi rg i n
14 15
Annunci ati on Annunci ati on
28 16
Jud as ' Vi s i tati on
Betrayal
C oretto C oretto
NORTH WALL S OUTH WALL
Folly
BIbcaf i Tem
P rud ence
12 27 39 S NAN r) OW
Wed d i ng C leans i ng
P entecos t Joachi m
P roces s i on the Temp le
d ri v en f rom
s P rop hetLthe Temp le
29 17
Las t S up p er Nati v i ty
Incons tancy
Forti tud e
11 26 38 wIN t0w
2
Marri ag e
of
Entry i nto As cens i on Joachi m
the Vi rg i n Jerus alem among the
30
18 S hep herd s
Was hi ng Ad orati on
Ang er
Temp erance
of the Feet of theMag i
8o 25 37 P rop het
S to
hw w3 1?I
P rayer of Rai s i ng
of Res urrecti on
Annunci ati on
the S ui tors Lazarus - -- - to S t Anne
t C hri s t taken P res entati on
Injus ti ce
IBi bli cal~
f i g
es Jus ti ce
P ri s oner at the Temp le
9 24 36 WI O 4
C eremony Marri ag e Mourni ng Joachi m' s
of the Rod s Feas t the Dead C EILING S acri f i ce
at C ana
C hri s t
Malachi Da
32
20
C hri s t bef ore Fli g ht i nto
Id olatry
Fai th
C ai ap has Eg yp t
8
23 35 4INO
5
P res entati on Bap ti s mof C ruci f i xi on
..I
Joachi m' s
at the Temp le C hri s t
`
C hl
Dream
33 21
Flag ellati on Mas s acre
Env y C hari ty
of the
Innocents
7 22 34
I
h Baruch 6
Bi rth of C hri s t Way of Meeti ng
the Vi rg i n among the the C ros s
atathe
Doctors G old en G ate
Des p ai r Bi bli calf i g ues Hop e
Las t Jud g ement
WES T WALL
2
Di ag ram
of G i otto' s f res co
p anels
i n the
S crov eg ni C hap el
10 EARLY MUS IC FEBRUARY
1999
d eath
s ay
that when he breathed hi s las t breath, a
long ,
i nf ernal
laug h
was
heard ,
wi th the s mell of s ul-
p hur,
a
s i g n
that Beelzebub had come to take hi m to
hell. In
1303
Enri co bui lt a
chap el
i n honour of the
Vi rg i n Mary,
the S anta Mari a Annunzi ata. He d i d
thi s as a
way
of
rep laci ng
the d ark s had ow cas t
by
hi s
treacherous
f ami ly
wi th the
li g ht
of
g ood
d eed s and
hi s red eemer. Thi s
chap el
i s s i tuated i n the old arena
or f orum of
P ad ua,
next to what once was the
S crov eg ni p alace.
The church was als o d ed i cated to
S anta Mari a d ella
C ari ta,
ap p rop ri ate
f or a d onor
looki ng
to atone f or hi s
f ami ly' s
s i ns . In March
1304
P op e
Bened i ct XI
g ranted i nd ulg ences
to thos e who
v i s i ted the S anta Mari a d el C ari th d e Arena i n
P ad ua.2' The
chap el
was
f ormally
cons ecrated on
25
March
1305,
the f eas t
d ay
of the Annunci ati on.
G i otto' s f res coes
rep res ent
the
p i nnacle
of hi s
achi ev ements and are
arg uably
the
s i ng le
mos t
i mp ortant
s eri es of
p ai nti ng s
i n the
hi s tory
of the
p re-Renai s s ance. They
cons i s t of s cenes d ed i cated
to the
s tory
of
Joachi m
and
Anna,
the li f e of the Vi r-
g i n,
the li f e of
C hri s t,
the
P as s i on,
the Las t
Jud g e-
ment, 14 p ers oni f i cati ons
of Vi rtues and Vi ces i n
i mi tati on,
p oli s hed
marble ni ches below the lowes t
reg i s ter
of f res coes on the s i d e walls of the
chap el,
d ecorati v e med alli ons and bord er
p i ctures .
The
lay-
out of the s cenes i s s hown
s chemati cally
i n
i llus .2.
The
p ri nci p le
narrati v e s cenes concern the
Vi rg i n
and are d i s tri buted i n three rows on each s i d e of the
chap el.
On the north wall there are three rows of s i x
s cenes ;
on the s outh wall there are two
g roup s
of f i v e
and one of s i x. Fi v e s cenes are
p laced
on the eas t
wall;
among
thes e i s the
Annunci ati on,
the mos t
p romi -
nent s cene of
all,
and the names ake of the
chap el.
The total number of f res coes wi thi n the
g ri d -li ke
conf i g urati on d es i g ned by
G i otto on the
north,
eas t
and s outh walls i s
39-thes e
are
eas i ly
counted
becaus e
they
are contai ned wi thi n a matri x of
g eo-
metri cally p ai nted
f rames . The Annunci ati on on the
eas t wall i s the
only
s cene that breaks thi s
ti g htly
kni t
comp artmentali zati on
becaus e i t cov ers the arched
s urf ace on the
wall,
and cons i s ts of an
up p er
and
lower half .23
The connecti on between G i otto' s
s p lend i d i mag es
and Marchetto' s
comp os i ti on
i s rev ealed
throug h
a
cons i d erati on of Marchetto' s motet Av e
reg i na
celo-
rum (i llus .3, op eni ng
trans cri bed as
ex.1).
F. Alberto
G allo has
s ug g es ted
that the motet was wri tten f or
the
op eni ng
ceremoni es of the G i otto' s
chap el
on 25
March 1305.24 He bas es thi s on the
p res ence
of acros -
ti cs f ound i n the texts . The
tri p lum
contai ns
G abri el' s s alutati on to the
Vi rg i n Mary (Luke 1: 28)
whi le the
d up lum
contai ns Marchetto' s name:
Tri p lum Dup lum
AVE
reg i na
celorum, Mater i nnocenci e,
p i a v i rg o
tenella. Aula v enus tati s ,
MARIA cand ens f los f lorum, Ros a
p ud i ci ci e,
C hri s ti [que] claus a cella C ella d ei tati s .
G RAC IA
que p eccatorum
Vera lux mund i ci e,
d i ra abs tuli t bella. Manna
p robati s .
P LENA od ore
ung uentorum,
P orta obed i enci e,
s ti rp i s
Dav i d
p uella. Arca
p i etati s .
DOMINUS , rex
ang elorum
Datri x
i nd ulg enci e,
Te
g i g ni t,
lucens s tella.
Vi rg a p uri tati s .
TEC UM manens ut nos trorum Arbor f ructus
g raci e,
tolleret s ev a tela. Nos tre
p rav i tati s .
BENEDIC TA mater morum, Vi rtus tue clementi e
nos tre morti s med ela. Me s olv at a
p eccati s .
TU
s i g natus f ons ortorum,
manna
[d as d ulci nella,
IN te lucet] lux cunctorum
quo p romo
d e te mella.
MULIERIBUS tu chorum
reg i s
d ulci v i ella,
ET v i ncula d eli ctorum
f rang i s
nobi s rebella.
BENEDIC TUS
[f uturorum]
ob nos
p otatus
f ella.
FRUC TUS d ulci s
quo
i us torum
clare s onat ci mella.
VENTRIS s i bi
p arat
thorum
nec i n te
corrup tella.
TUI zelo f abri s horum
lang ues cat
ani mella.25
Tri p lum:
Hai l, Queen
of the
Heav ens , tend er and
p i ous Vi rg i n
Mary,
whi te f lower
among
f lowers , s ealed cell of
C hri s t;
g race
that reli ev ed the s i nners of cruel
s trug g les .
Fi lled wi th the
p er-
f ume of s weet s mells ,
d aug hter
of the li ne of Dav i d . The
Lord ,
Ki ng
of
Ang els ,
has mad e
you
a
s hi ni ng
s tar and remai ns
wi thi n
you
i n ord er to remov e the cruel arrows f rom us .
Bles s ed Mother of
v i rtue, med i ci ne f or our d eath. C hos en
f ountai n of the
g ard en, you s weetly
hav e the manna.
In you
the
li g ht
of
ev erythi ng
i s li t; f rom
you
I take the
honey.
For the
women
you
lead the chorus wi th a s uav e v i ella
[f i d d le]
and f or
us
you
break the rebelli ous chai ns of s i ns . Bles s ed i s he who
d ri nks the bi le f or us , s weet f rui t f or whom the ci mella
[chalumeau]
of the
jus t p lays
wi th
clari ty.
In
you he
p rep ares
the
nup ti al bed , and there i s no
i mmorali ty. The li ttle s oul of
the creator of thes e
objects s hould
lang ui s h f or the lov e of
you.
Dup lum: Mother of i nnocence, hall of
beauty. Ros e of
EARLY MUS IC FEBRUARY
1999 11
?
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Marchetto of
P ad ua,
Av e
reg i na
celorum / Mater i nnocenci e: Oxf ord
Bod lei an Li brary,
Ms .
C anon. C las s . Lat.
112,
f f .61v
(abov e),
62r
(op p os i te, abov e),
62v
(op p os i te, below).
The
tri p lum
read s acros s the f i rs t f our s tav es of
61v ,
then the bottom two s tav es of 61v and 62r
combi ned ,
bef ore
f i ni s hi ng
on the f i rs t s tav e of 62v . The
d up lum
read s acros s the f i rs t three and a half
s tav es of 62r then
s ki p s
to the s econd s tav e of 62v . The tenor
ap p ears
on the s econd half of the
f ourth s tav e on 62r.
12 EARLY MUS IC FEBRUARY
1999
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It
.........
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:
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A A:::f
EARLY MUS IC FEBRUARY
1999 13
Ex.1
Marchetto of
P ad ua, Av e
reg i na
celorum / Mater
i nnocenci e,
op eni ng ; trans cri p ti on
f rom Itali an s ecular
mus i c,
ed . Kurt v on Fi s cher and F. Alberto
G allo, P olyp honi c
Mus i c of the Fourteenth
C entury,
xi i
(Monaco:
L' Oi s eau-Lyre,
1976), no.37
5
Tri p l
8
A.VE
re.
. g i .
Dup a
8
[Ma
.
ter i n
.no . .cen . .
ci
.
S [Ie
mi s s a
es t]
__ _
10
8
.na
ce
.lo
rum,
P i
.
a v i r
.
8 e Au .
8
g o te
=
nel
la. MA.RIl
A can
=
d ens f los f lo.rum,[C hri . s ti
8
.
la v e
.
nus
.
ta
. .
ti s .Ro
.
s a p u
.
20
.
que]
clau
.
s a cel
.
la.
G RA
.
C I
.
A
que
p ec.ca.to .
rum Di ra
ab.s tu
.
.
d i
. .
c
.
. ci . .
e,
C el
-
. la
14
EARLY MUS IC FEBRUARY
1999
chas ti ty,
cell of
d i v i ni ty.
True
li g ht
of
chari ty,
manna of
hones ty.
Door of
obed i ence,
tomb of
mercy.
Bes tower of
i nd ulg ence,
rod of
chas ti ty.
Frui t tree of
g race [ag ai ns t]
our
wi cked nes s . The
s treng th
of
your
merci f ulnes s s hall d i s s olv e
me f rom s i ns .
Both the
tri p lum
and
d up lum
texts are
d eep ly
f elt
laud s of the
Vi rg i n Mary.
The
tri p lum
i s an
amalg a-
mati on of two
p ri nci p al
chant
anti p hons
as s oci ated
wi th the
Annunci ati on,
the Av e
reg i na g rati a p lena
and Bened i cta tu i n muli eri bus and
s p eaks d i rectly
of
the
nup ti al
bed and the
Annunci ati on.26
Marked s i mi lari ti es ari s e f rom a
comp ari s on
of
the s tructure of Marchetto' s motet Av e
reg i na
celo-
rum and the numeri cal f ramework of G i otto' s f res -
coes .27 The motet makes allus i ons to the
39
s cenes
that
d i rectly
concern the li v es of the
Vi rg i n
and
C hri s t as
rep res ented
i n G i otto' s narrati v e. S tri k-
i ng ly,
Marchetto' s motet has a d urati on
of 39
long ae.
In
ad d i ti on,
the tenor of the
p i ece,
whi ch s eems to be
newly comp os ed , d i s p lays
a curi ous
juxtap os i ti on
of
the numbers 6 and
5.
The talea of the tenor has a
d urati on of s i x
long ae
and cons i s ts of f i v e
p i tches .28
The f acs i mi le s hown i n
i llus .3
s hows the tenor con-
s i s ti ng
of
g roup s
of f i v e
p i tches -three
i n
li g ature
and two
long ae-between
res ts
(trans cri bed
as
ex.2).
Thi s ref lects the s ame
g roup i ng
i n the
chap el
s i nce
G i otto has
p ai nted
three
g roup s
of s i x on the north
wall. In the
top
row of the
op p os i te
wall we f i nd s i x
more
s cenes ;
beneath thes e are two
g roup s
of f i v e
i mag es .
Thi s curi ous
juxtap os i ti on
of numbers i s
neces s i tated
by
the wi nd ows on the
ri g ht-hand
s i d e.
The motet cons i s ts of 6 x 6
long ae
of the talea
(the
color has a
leng th
of
18
long ae) arri v i ng
at the number
36.
The
p i ece
then conclud es wi th three
long ae
whos e
tenor contai ns a ki nd of cad ence and where the two
other v oi ces s low d own i n
ti me,
ad op ti ng
the s lower
mov ement of the tenor.
P erhap s
the three extra
s cenes allud e
numeri cally
to the Annunci ati on on the
tri ump hal arch,
cons i s ti ng
of the
ep i s od es :
G od the
Father
d i s p atchi ng
G abri el and the Annunci ati on
p rop er (The Ang el
G abri el and the
Vi rg i n).
The
s cenes i nclud ed i n our count
(and
Marchetto' s
39)
are thos e wi th whi ch the v i ewer
d i rectly
conf ronted
when
enteri ng
the s mall
chap el.
The text of Marchetto' s Av e
reg i na
celorum als o
contai ns s ev eral
s tri ki ng
mus i cal ref erences whi ch
recall G i otto' s
i mag es ,
mos t
notably
the f res co of
the
Wed d i ng p roces s i on (i llus .4),
whi ch
ap p ears
on
the north
wall, top ti er, jus t
to the lef t of the Annun-
ci ati on. Art hi s tori ans hav e extolled thi s s cene as a
mas terp i ece
and hav e
p rai s ed G i otto' s rep res enta-
ti on of the calm and
exqui s i te
mov ements of the Vi r-
g i n Mary.29
The s cene i s multi -d i mens i onal i n ti me.
One acti on cons i s ts of
Mary
and her
attend i ng
lad i es , comi ng up on
a
g roup
of mus i ci ans . The s ec-
ond mov ement
cap tures
the mus i ci ans who
p lay
thei r i ns truments bef ore the women' s arri v al. One
man bows a f i d d le whi le two blow i nto wi nd i ns tru-
ments . The mus i ci ans are clad i n C las s i cal
g arb,
hav -
i ng
s hort
d rap i ng
tuni cs and
weari ng
wreaths . The
up p er p art
of the
p i cture
has been
bad ly d amag ed ;
what remai ns i s a
balcony
wi th a
larg e leaf y
branch, a
s i g n
of the
Vi rg i n' s f orthcomi ng p reg nancy.
Li nes
19-20
of the
tri p lum
read ' Muli eri bus tu
chorum
reg i s
d ulci v i ella'
(' For
the women
you
lead
the chorus wi th a s uav e
v i ella' ).
The menti on of the
v i ella i s
p arti cularly s i g ni f i cant
s i nce that i s the
i ns trument i n the G i otto
p ai nti ng .
The menti on of
the v i ella
lead i ng
a chorus
corres p ond s
to G i otto' s
Mary lead i ng
her
g roup
of women.
Thoug h Mary
d oes not
actually
d o the
p layi ng (s he
i s nev er
d i rectly
p ortrayed
as
p layi ng
mus i cal i ns truments i n her
i conog rap hy, thoug h
mus i c
accomp ani es
her on
Ex.2 Marchetto of
P ad ua, Av e
reg i na
celorum
/
Mater
i nnocenci e, tenor
. .
.. . .
.
. .
.
o
A I
-
I I
.
.
II
E->
-I
I I
I I
V
I
EARLY MUS IC FEBRUARY
1999 15
.. ;. ......
OMNI,
"' '
. . .
.
. . . . . . . . .
?? M A
..---
2/ "
4 G i otto,
Wed d i ng p roces s i on (P ad ua, S crov eg ni C hap el; Bri d g eman
Art
Li brary, Lond on)
many occas i ons ) Mary ap p ears
as a cond ui t f or the
harmony
of the mus i c
p layed by
the i ns trument-
ali s ts .
Throug h Mary
the
v i rg i ns
hear the mus i c of
the v i ella and are ruled
by
i ts s trai ns . Thi s
i nterp reta-
ti on i s mad e clear
by Mary' s p lacement
at the centre
of the s cene as an
i ntermed i ary
between the
p layers
and the chorus of
v i rg i ns .
S he
g ui d es
them
by
the
metap hor
of her
i mp li ed
mus i c. Thi s
may
account
f or her
p laci d
d emeanour that has been
trad i ti onally
v i ewed as
extraord i nari ly
mus i cal
by
later commen-
tators .
Mus i c was alli ed wi th
v i rg i ni ty
i n the Mi d d le
Ag es .30 Des cri bi ng
the Lamb on Mount
S i on,
Rev ela-
ti ons
14:1-5 p rov i d es
the C hri s ti an s ource of thi s
beli ef :
And I heard a v oi ce f rom heav en li ke the s ound of
many
waters and li ke the s ound of loud
thund er;
the v oi ce I heard
was li ke the s ound of
harp ers p layi ng
on thei r
harp s ,
and
they s i ng
a new
s ong
bef ore the throne and bef ore the f our
li v i ng
creatures and bef ore the eld ers . No one could learn
that
s ong excep t
the hund red and
f orty
thous and who had
been red eemed f rom the earth. It i s thes e who hav e not
d ef i led thems elv es wi th
women, f or
they
are
chas te;
i t i s thes e
who f ollow the Lamb wherev er he
g oes .
Two
p erti nent i mag es relati ng
to G i otto' s f res co
ap p ear
i n thi s
p as s ag e.
Fi rs t,
the chas te f ollowers
16 EARLY MUS IC FEBRUARY
1999
who can hear the
s ong
of G od are remi ni s cent of the
g roup
of
v i rg i ns f ollowi ng Mary
i n the
Wed d i ng p ro-
ces s i on. Thomas
C onnolly
has noted that the
v i rg i ns
s i ng
a ki nd of ' i nner'
s ong ,
one that i s not heard .
Quoti ng
the P as s i o of the Roman
v i rg i n
S t C eci li a we
f i nd that s he
' s ang
i n her heart to G od alone' .31 The
' new s ong '
wi ll
help
to
clari f y why
i t i s not
Mary
who
p lays
the v i ella i n the
p i cture
and
why
s he s ti ll lead s
the choi r of
v i rg i ns
wi th the v i ella i n Marchetto' s
p oem.
The noti on of the ' new
s ong '
v ers us the ' old
s ong '
ori g i nates
i n the P s alms . Numerous li nes exhort
beli ev ers to
s i ng
a new
s ong .
For
examp le
i n P s alm
32
(i .e.
the Hebrew/Ref ormed P s alm
33)
we read
' P rai s e
the Lord on the
ci thara,
s i ng
to hi m wi th the
p s altery
of ten
s tri ng s ! S i ng
to hi m a new
s ong , s i ng
to hi m
well'
(li nes 2-3).
C hri s ti an commentators on the
P s alms ,
mos t
notably Aug us ti ne,
d ev i s ed i ntri cate
alleg ori cal i nterp retati ons
of the mus i c i n thes e
p oems
and hav e trans lated the
s i ng i ng
and mus i cal
i ns truments i nto C hri s ti an d octri ne.
Theref ore,
we
read
Aug us ti ne' s exp lanati on
of P s alm
33
as ' Di v es t
yours elf
of what i s
old ;
you
hav e learnt a new
s ong .
A
new
man,
a new
tes tament,
a new
s ong .' 32
The ' new
s ong '
becomes li nked wi th celes ti al
melod y,
the old
wi th melod i es of the f les h. In
ad d i ti on, i llumi nators
of the P s alms i nclud ed
i mag es
of the d i f f erence
between the old and new
s ong
i n thei r texts . Raucous
mus i ci ans i n
uns av oury
d emeanours wi th
tumbli ng
d anci ng f i g ures
were s hown wi th the
old ;
the
calm,
s eri ous and
p i ous
wi th the
new.33
In G i otto' s
f res co,
then,
we hav e a remi nd er of the women' s
chas ti ty
and thei r keen connecti on to mus i c i n heav en. In
thei r calm d emeanour
they rep res ent
the ' new
s ong ' .
Howev er,
thoug h Mary
i s of ten
d ep i cted
as the
lead er of the
v i rg i nal
choi r,
the menti on of the v i ella
i s
uni que
and f urther s oli d i f i es the
relati ons hi p
between Marchetto' s word s and G i otto' s
p i cture.
A connecti on als o exi s ts between the
f i d d le-p layer
and C hri s t. The
s tri ng
i ns trument has been li nked to
the
lyre,
the
p ri nci p al
i ns trument of
Ap ollo
on P ar-
nas s us .34
Ap ollo
i s
s ubs equently ali g ned
wi th C hri s t
becaus e he ' could well be
emp loyed [by C hri s ti ans ]
as a
p ers oni f i cati on of jus ti ce, both as g od of mus i c
whi ch, li ke
jus ti ce, red uces s tri f e and d i s cord to har-
mony,
and as the
g od
of the s un' as C hri s t was the
f i g ure
of
li g ht
and
heali ng .35
The noti on of
jus ti ce
and mus i c conti nues i n the
mus i cal ref erence i n li nes 25-6, ' Fructus d ulci s
quo
i us torum clare s onat ci mella'
(' S weet f rui t wi th
whi ch i t
p lays
wi th
clari ty,
the ci mella of the
jus t' ).
Jus ti ce i s a central theme i n G i otto' s f res coes , s i nce
i ts
p atron
Enri co
S crov eg ni
commi s s i oned the
chap el
i n the
hop e
of
renewi ng
the
ci ti zenry' s
f ai th i n
hi ms elf and hi s
f ami ly.
In the Las t
Jud g ement
on the
wes t wall abov e the entrance
trump eti ng ang els
bor-
d er the s eated C hri s t.36 Furthermore, i n
unp rece-
d ented
i conog rap hy,
G i otto
p ai nted
the s eated
v i rtue of
Jus ti ce
abov e a marble-li ke
p red ella
con-
tai ni ng
three women: one
p lays
a tambouri ne, one
s i ng s ,
a thi rd d ances .
The menti on of the ci mella i n Marchetto' s li nes
25-6 makes a s econd
i nteres ti ng
allus i on to G i otto' s
Wed d i ng p roces s i on.
Howard
Mayer
Brown trans -
lates ci mella as a chalumeau, or
s i ng le-reed
i ns tru-
ment.37 The i ns truments i n the G i otto f res co
may
be
v i ewed as s mall
s i ng le-reed
i ns truments .
Howev er,
thei r
i d enti ty
i s d i f f i cult to as certai n f rom the f res co
becaus e G i otto
chang ed
hi s mi nd about the
typ es
of
i ns truments he wi s hed to
rep res ent.
Ind eed ,
a
p ho-
tog rap h
taken af ter a res torati on i n the
1960s
s hows
that what now
ap p ear
to be
s hort, record er-li ke
i ns truments were
ori g i nally long -barrelled
trum-
p ets .
Thes e are the s ame ki nd of i ns truments that
ap p ear
blown
by ang els
i n the
f i g ures s urround i ng
G od i n the Annunci ati on, to whi ch we wi ll return.
The
p os i ti on
of the
p layers '
head s als o
betrays
G i otto' s
p enti mento,
or
chang e
of heart. The two
p layers '
head s are ti lted
up ward .
Thi s i nd i cates that
G i otto
p robably
f i rs t i ntend ed them to
p lay
trum-
p ets ,
s i nce the
p os i ti oni ng
of
long
i ns truments i n
thi s s cene
requi res
that the head be ti lted
up jus t p as t
hori zontal. If he had
ori g i nally
i ntend ed to
p ai nt
record er- or
s hawm-p layers ,
he
p robably
would
hav e had thei r head s ti led d ownward . Thi s i s true of
the f amous
record er-p layer
i n a f res co
by
S i mone
Marti ni i n the S t Marti n
C hap el
at
As s i s i .38
At s ome
p oi nt
af ter the f res co had d ri ed G i otto mad e a
chang e
to s of ter i ns truments . In
f act, the s ecco
p ai nti ng (p ai nti ng
on the
p las ter
af ter the f res co has
d ri ed ) i s d one wi th water
p ai nts ,
whi ch d i s s olv e eas -
i ly
and accounts f or the v i s i ble outli nes of the trum-
p ets
af ter the
cleani ng .
G i otto d i d i n f act make numerous
chang es
to hi s
EARLY MUS IC FEBRUARY
1999 17
S crov eg ni C hap el
f res coes . Leonetto Ti ntori and
Mi llard Mei s s d ocument alterati ons
i n,
among
others ,
the
Exp uls i on of Joachi m f rom
the
Temp le,
the
Nati v i ty,
the
Exp uls i on,
and the
Wed d i ng p roces -
s i on.39
Thes e were d one both wi th the
ap p li cati on
of
new
p las ter (i ntonaco)
or af ter the
p las ter
was d ri ed
(s ecco).
Ti ntori and Mei s s record at leas t one
chang e
i n the
Wed d i ng p roces s i on
i n the
clothi ng
of the
f i g -
ure s een
walki ng
i n f ront of the Mad onna.
They
note
that G i otto wi s hed to mai ntai n a s ens e of mov ement
by maki ng
the lower hem of the
g arments
i ncli ne
up ward
to the
ri g ht.
He achi ev ed thi s moti on
by
p ai nti ng
i n the
backg round
colour below
them,
and
then ad d ed a
f lowi ng
red li ne f rom the bottom lef t
up
to the knee lev el. In thi s f as hi on he turned a
heav y
cap e
i nto a
li g ht
mantle. The s ame
chang e
to a
' li g hter' ,
ai ri er and more
ap p rop ri ate
mood i s
achi ev ed
by
the
chang e
to the
rep res entati on
of
long
trump ets
to
hi g her
wi nd i ns truments . G i otto
may
hav e wanted to mi rror
Mary' s s up remely
calm
d emeanour i n hi s choi ce of
i ns truments ;
trump ets
are
trad i ti onally
loud ,
outd oor i ns truments that
p lay
i n
p roces s i onals ,
whi le the f i d d le and s hort reed
i ns truments are more i nti mate.
G i otto' s i ni ti al d eci s i on to
rep res ent trump ets
may
hav e been i nf luenced
by
the f act that he wi t-
nes s ed
many
P ad uan f es ti v i ti es
accomp ani ed by
loud i ns truments .
Noi s y wed d i ng
celebrati ons were
typ i cal
i n P ad ua and d eemed
p ubli c
nui s ances i n the
late
13th century.
G ennaro G ennari recounts that a
d ecree was mad e
concerni ng
the
' accomp ag namento
d elle
s p os e
nov elle' .40 He ci tes the P ad uan trad i ti on
i n whi ch
p arents
and f ri end s to
accomp any
the bri d e
to the hous e of her hus band wi th
g reat f es ti v i ty
of
' s uoni
e canti ' . The
ci ti zenry
beli ev ed that thes e
p ro-
ces s i ons created commoti on,
conf us i on and
p re-
s ented a hazard to the
p ubli c.
A law
p as s ed
i n
1277
ord ai ned that no more than 20
p eop le p er
s i d e of the
f ami ly
were allowed to march i n
p roces s i on.
G ennari
wri tes , ' Wi s e d ecree,
becaus e thes e
p op ulous g ather-
i ng s
could be
s us p ected
to be machi nati ons
ag ai ns t
the s tate.' 41
It i s
p os s i ble
that G i otto s aw the f amous P ad uan
ceremony
d ed i cated to the Annunci ati on of the Vi r-
g i n Mary.42
The Annunci ati on f res co has a
comp os i -
ti onal s tructure that
recalls
the
p lacement
of the Vi r-
g i n
and the
Ang el
G abri el i n
comp artments
f rom
whi ch
they s p oke
the li nes of the d ramati c of f i ce.
Trump ets
were
trad i ti onally
us ed i n the
p roces s i on-
als i n P ad ua that
accomp ani ed
the characters as the
f ollowi ng d es cri p ti on
i nd i cates :
Mary
and the
ang el
were
p laced up on
two
p latf orms
and car-
ri ed to the
Arena,
p reced ed by trump et p layers
of the
ci ty
and P ad uan cleri cs .
They
were f ollowed
by
the P od es th and
all the ci ti zens . The
Ang el
was to s alute
Mary
i n the court-
yard
of the Arena. Thi s was to be d one wi thout
p ayment by
the
ci ty
or the cleri cs . The s alari ed
trump et p layers
were to
p lay
thei r
trump ets
and
p layi ng accomp any
the
ang el
and
Mary
to the
p alace
of the Arena wi thout ad d i ti onal f und s .43
In ad d i ti on to thei r v i s ual
s i g ni f i cati on,
G i otto
may
hav e chos en the
trump ets
f or a
comp os i ti onal
reas on: to mai ntai n a
recurri ng
moti v e. The
long
li nes of the
trump ets
echo the li nes i n archi tecture
that
p ermeate
the enti re f res co
cycle.
The
trump ets
als o
ap p ear
i n the Annunci ati on
(where i nteres ti ng ly
s ev eral als o s eem
truncated )
and the Las t
Jud g ement
p layed by ang els .
Howev er,
i n
choos i ng
to truncate
the
trump ets ,
not
only
i n the
Wed d i ng p roces s i on
but
i n the
Annunci ati on,
G i otto has s of tened the tone of
the s cene to better f i t the d emeanour of the
Vi rg i n.
The thi rd mus i ci an i n the
Wed d i ng p roces s i on
d oes
not hav e the i ns truments at hi s
li p s ,
but s eems
p oi s ed
to
p lay
whi le hi s
comp ani ons
are
p erf ormi ng .
Thi s
may
account f or the
s i ng ular
f orm ci mella i n the
text. Marchetto d oes not menti on
trump ets
at
all,
but rather the ' new' i ns truments
p ai nted by
G i otto
i n the f res co.
They
s eem to be an i nv enti on us ed
s p eci f i cally
to f i t the
exi s ti ng
outli nes created
by
the
s hortened
trump ets .
Thi s has
i nteres ti ng i mp li ca-
ti ons . It i s
p os s i ble
that
Marchetto,
enjoyi ng
the d i s -
ti ng ui s hed rep utati on
of a
p hi los op her
and the
g reates t
mus i ci an i n
P ad ua,
may
hav e
i ns p ected
the
f res coes or been as ked about the
s ui tabi li ty
of the
trump ets .
Ti ntori and Mei s s conf i rm that G i otto
p ai nted
i n the trad i ti onal manner f rom the
top
d own,
s o the
Wed d i ng p roces s i on
would hav e cer-
tai nly
been
comp lete d uri ng
the earli es t
p has e
of
p ai nti ng , early enoug h
f or Marchetto to
s ug g es t
chang es
and wri te hi s motet
text.44
Marchetto' s moti v ati on f or
ref lecti ng
the f res co i n
thi s motet i s und ers tood i n the context of hi s con-
cern f or the
rep rod ucti on
of mus i c as i f
cap tured
f rom
reali ty.
In thi s cas e Marchetto not
only rep ro-
d uces on
p ap er
the notes he wi s hes hi s
s i ng ers
to
18 EARLY MUS IC FEBRUARY
1999
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~Atumrp
5 G i otto,
Annunci ati on
(P ad ua, S crov eg ni C hap el; Ali nari /Art Res ource,
New
York)
p rod uce,
but i n a v i s ual/mus i cal
p lay,
als o G i otto' s
comp lex
matri x of f res coes . Marchetto rend ers
G i otto' s f res coes wi th
p reci s i on
i n the
numerolog y
of hi s notati on and the
s ubtlety
of hi s text wi th i ts
acros ti cs and
d es cri p ti ons
of
i mag es .
S uch i nterd i s ci -
p li nary
d ecorati ons were not
uni que
at thi s ti me i n
P ad ua. G i otto' s
p ai nti ng s i ns p i red
a mi ni aturi s t to
d ecorate an
anti p honer
f or the cathed ral
d ati ng
f rom
c.1306.45
G i otto i s als o cred i ted wi th
hav i ng
d eco-
rated the walls of the S alone d ella
Rag i one,
the
p ro-
g ramme
of whi ch has been as cri bed to P eter of
Abano,
the
p hi los op her,
mus i c theori s t and as tro-
nomer.46 The monumental
i mp act
of G i otto' s f res -
coes was f elt
by g enerati ons
of P ad uan
arti s ts ,
who
i mi tated the
p ai nti ng s
i n the
chap el, p laci ng
P ad ua
on the
map
of Itali an
p ai nti ng .
The f i nal
p oi nt
I s hall cons i d er i s the
rep res enta-
ti on of
i mp li ed
mus i c i n the Annunci ati on f res co
(i llus .5).
The s cene i s d i v i d ed i nto two
p arts :
the
up p er,
whi ch
rep res ents
G abri el' s
mi s s i on,
the lower
whi ch takes
p lace
on earth. In G i otto' s
s equence
of
f res coes the Annunci ati on
f ollows the
Wed d i ng p ro-
ces s i on. G abri el kneels on the lef t whi le
Mary
hears
hi s word s on the
ri g ht.
G od i s s urround ed
by leg i ons
of
ang els ,
s ome of whom
p lay
i ns truments . Two
ang els p layi ng
lute and tambouri ne i n the lef t back-
g round
are mi rrored
by
two
ang els p layi ng p s altery
and
cymbals
i n the
ri g ht f oreg round .
Others
ap p ear
to be
s i ng i ng .
In the
ri g ht f oreg round
an
ang el p lays
the
' trump et' ,
whi ch li ke thos e i n the
Wed d i ng
p roces s i on
s eems to be cut of f
by
the
f rame;
another
p lays
what Howard
Mayer
Brown has d es cri bed as
a d ouble record er.47 The choi ce of i ns truments i s
typ i cal
of med i ev al
ang el choi rs .48
Marchetto
acknowled g es
the
i mag e
of the
ang el
choi r i n the f i rs t
p art
of hi s
Luci d ari um
when he
quotes Remi g i us :
EARLY MUS IC FEBRUARY
1999 19
' The v as tnes s of mus i c
encomp as s es
all that li v es and
all that d oes not
li v e;
thus the choi r of all the
ang els ,
archang els
and s ai nts
s i ng s
wi thout
end ,
chanti ng
"S anctus ,
S anctus " bef ore the
eyes
of
G od .' 49
Marchetto was f ami li ar wi th the clas s i f i cati on of
s ound i n three
g eneral g roup s ,
all of whi ch are
rep re-
s ented i n G i otto' s
p i cture.
He d es cri bes them i n
book
1,
chap ter 7
of hi s Luci d ari um as three
' s p eci es
of mus i c'
(p .89).50
The f i rs t i s
d es i g nated
as ' har-
moni c'
mus i c,
whi ch i s
p rod uced by
the v oi ce of
human
bei ng s
or ani mals . Thi s i s created
by
' s ound
of ai r s et i n v i brati on
by
the breath'
(p .91).
The s ec-
ond i s
' org ani c'
mus i c,
whi ch i s
p rod uced
not
by
the
v oi ce but s ti ll
by
the breath of humans as i n ' trum-
p ets ' .
Then he notes the i ns truments
ci melli s , and
' p i p es , org ans
and the li ke'
(p .97).
Noti ce that he
ci tes the s ame i ns trument here
(ci mella)
that
Howard
Mayer
Brown has d es cri bed as a
' s i ng le-
reed ' i ns trument. The thi rd and f i nal
categ ory
i s
' rhythmi c'
mus i c,
whi ch Marchetto contend s con-
s i s ts of all s ound that i s not v oi ce as i n the ' mono-
chord ,
the
p s altery,
the bell and s i mi lar i ns truments '
(p .lol).
Thi s
tri p arti te
d i s ti ncti on i n mus i cal s ound
i s f ound i n
Aug us ti ne' s
De ord i ne
2.39.
Each of thes e
typ es
of mus i cal s ound i s
d i s ti nctly
f ound i n G i otto' s f res co. Furthermore,
the
rep res en-
tati on of the Annunci ati on i n two
p arts -unp rece-
d ented i n the
hi s tory
of art-accentuates the mus i cal
quali ty
or moti on of the s cene. In the mi d s t of the
heav enly
mus i c,
G od s end s G abri el to announce the
bi rth of C hri s t to
Mary.51
There i s
i mp li ed
mus i cal
trans mi s s i on i n thi s s cene that
corres p ond s
to the
mus i cal d rama of the Annunci ati on
p racti s ed
i n
P ad ua at thi s ti me. In celebrati on cleri cs d res s ed as
Mary,
Anne,
Jos ep h
and
Joachi m
walked i n
p roces -
s i on f rom the
s acri s ty
around the cathed ral
carryi ng
s i lv er books . A s mall
boy-chori s ter
d res s ed to
rep re-
s ent G abri el
s i tti ng
on a chai r was carri ed f rom the
bap ti s tery
and taken i nto the church;
the cleri cs
s top p ed
i n the mi d d le of the church to
rep res ent
a
choi r. The s ubd eacon
p aus ed
af ter the
read i ng s
and
the word s ' Et
eg res s us ang elus
ad eam d i xi t' . At thi s
p oi nt
G abri el came f orward ,
kneeli ng
wi th two f i n-
g ers
of hi s
ri g ht
hand rai s ed and
beg an
the
anti p hon
Av e Mari a
g rati a p lena.
Thes e are the word s of Mar-
chetto' s acros ti c, and
p erhap s
the motet was
s ung
at
thi s
p oi nt
to
rep lace
the
s i ng i ng
of the
anti p hon.
The
connecti on to G i otto' s f res co i s f urther
s treng thened
becaus e i n hi s
p ai nti ng
G abri el i s
kneeli ng
wi th two
f i ng ers
rai s ed . Whi le
recei v i ng
the
s p i ri t (s ymboli zed
by
a
d ov e) Mary
ri s es and
s i ng s
the
anti p hon
Ecce
anci lla. Marchetto was
qui te
f ami li ar wi th thi s
anti p hon:
he us es i t i n hi s Luci d ari um as a mus i cal
examp le
i n hi s
chap ter
' Formati on of mod es ' .52 Thus
the
heav enly
mus i c i s trans mi tted to earth i n the
f i g -
ure of
Mary,
who i n the earli er s cene
g ui d es
the
chorus of beli ev ers wi th her v i ella.
The mov ement i n G i otto' s f res co f rom
heav enly
to
earthly
mus i c ref lects the i nteres t i n the
rep res en-
tati on of
earthly p henomena
as
exp eri enced
i n
nature. A s i mi lar
p rog res s i on ap p ears
i n Marchetto' s
two theoreti cal treati s es . The Luci d ari um
beg i ns
wi th
s ev eral
chap ters outli ni ng
the
hi s tory
of mus i c and
i ts
meani ng ,
whi le the P omeri um concerns mus i c as
a
s tri ctly p hys i cal p rop erty.53
The P omeri um contai ns
no
eloquent
allus i ons to
p as t
wri ters about mus i c-
Boethi us , C as s i od orus ,
or
Aug us ti ne-as
d oes the
f i rs t treati s e.
Rather,
when
d es cri bi ng
the
p rop erti es
of
i nterv als ,
Marchetto choos es to
quote
the s ci en-
ti f i c Ari s totle and hi s treati s e The
P hys i cs .
Another
i mp ortant
clai m to a return to nature i s Marchetto' s
choi ce of d ef i ni ti on f or the word ' mus i c' . In book
1,
chap ter
6 he notes that ' mus i c d eri v es f rom
moys ,
whi ch means
"water",
s i nce mus i c was d i s cov ered
by
the
waters ,
as
Remi g i us rep orts ;
f or
jus t
as water can-
not be touched wi thout i ts
bei ng
mov ed ,
s o can there
be no mus i c wi thout i t
bei ng
heard '
(p .87).54
The
s ame word s recur i n P eter of Abano' s
Exp os i ti o p rob-
lematum Ari s toteli s wri tten
c.1310.55
P eter was the
lead i ng p rop onent
of the Ari s toteli an natural s chool,
s tres s i ng
the s ci enti f i c
ap p reci ati on
of
objects
bas ed
on obs erv ati on.56 The
earthly
and s ci enti f i c
d es i g na-
ti on of mus i c f rom water i s a f ar
cry
f rom the
lof ty
later Trecento attri buti on of mus i c to the Mus es
(ulti mately
f ound i n Is i d ore of
S ev i lle) exp ound ed
by
Boccacci o i n hi s
C ommentary
on the Di v i ne C om-
ed y.57
For Boccacci o,
mus i c d eri v es f rom the ni ne
Mus es and can be d i v i d ed i nto ni ne
p arts ;
whereas
Marchetto menti ons
only
s i x-the
lung s ,
the throat,
the
p alate,
the
tong ue,
the f ront teeth and the
li p s
(p .91).
For Boccacci o,
the word
ori g i nates
i n P arnas -
s us , whi le f or Marchetto i t
ori g i nates
on earth.
The notati onal
p racti ces
of Marchetto and the
p ai nti ng
of G i otto i n the
S crov eg ni C hap el
s how a
20 EARLY MUS IC FEBRUARY
1999
s trong af f i ni ty
f or the
rep res entati on
of nature.
G i otto
cap tures
wi th
p reci s i on
the d etai ls of f lora,
f auna,
f aci al
exp res s i ons
and mus i cal i ns truments .
Marchetto
cap tures
the
s p i ri t
of the Annunci ati on i n
the
colourf ul
lang uag e
of hi s motet text and
s ym-
boli c notati on.
Tog ether they ep i tomi ze
the
p rev ai l-
i ng
i ntellectual and arti s ti c
s p i ri t
i n the
ci ty
of P ad ua
and i ts d ed i cati on to a s ci enti f i c
und ers tand i ng
of
natural
objects .
Both
rep res ent
the
p i nnacle
of med i -
ev al
thoug ht:
G i otto as the mas ter of
exp res s i on
and
f orm bef ore the
ad op ti on
of f ull-blown
p ers p ecti v e,
and Marchetto the las t breaths of
li nearly
d ri v en
mus i c
jus t
bef ore the
ad op ti on
of a more harmoni c,
metap hori cally
d ri v en
lang uag e.
1
' ...
ars i mi tatur naturam i n
quantum
p otes t (p er P hylos op hum,
s ecund o
P hys i corum).
P robati o
p er exemp lum:
nam
qui d ep i ng i t
li li um v el
equum,
ni ti tur
i p s a d ep i ng ere
i n
quantum
p otes t
ad s i mi li tud i nem
equi
s eu li li i
naturali s .' Marchetto d a P ad ov a:
P omeri um, ed . G . Vecchi
(Rome, 1961),
p p .50-51;
trans . K. Eales i n F. A. G allo,
Mus i c
of
the Mi d d le
Ag es ,
i i
(C am-
bri d g e, 1985), P P .115-16.
2 For G i otto' s
p ortrayal
of nature,
s ee
J. S tubblebi ne,
As s i s i and the ri s e
of
v ernacular art
(New York, 1985),
p p .89-9o,
and Robert Oertel,
Early
Itali an
p ai nti ng
to
1400 (Lond on, 1966),
p p .86-9.
3
' G i otto ebbe uno
i ng eg no
d i tanta
eccelenzi a, che ni una cos a d a la
natura,
mad re d i tutte le cos e e
op eratri ce,
col
conti nuo
g i rar
d e'
ci eli , che
eg li
con lo
s ti le e con la
p enna
o col p ennello
non
d i p i ng es s e
s i s i mi le a
quella,
che non
s i mi le, anzi
p i i t
tos to d es s a
p ares s e,
i n
tanto che molte v olte nelle cos e d a lui
f atte s i truov a che i l v i s i v o s ens o
d eg li
uomi ni v i
p res e errore,
quello
cred ento
es s er v ero che era
d i p i nto.'
G i ov anni
Boccacci o, Decameron, i i , ed . V. Branca
(Florence, 1960), p .149;
G i ov anni Boc-
cacci o, The
Decameron, trans . G . H.
McWi lli am
(Harmond s worth, 1972),
p .494.
4
' C um
i g i tur i p s ae
notae
s cri p tae
ad
artem mus i cae
p erti neant,
li cet
i p s a
mus i ca d e s e s i t
accep ta s ci enti a,
op ortui t erg o quod p rop ri etates
ad d i tae noti s i p s i s , s cri p ti s p rop ter
neces s i tatem mod i
trad end i , ad d eren-
tur ei s d em s ecund um
p erf ecti ones
rep ertas
ab
i p s o homi ne,
qui
i ns ti tui t
talem artem. In homi ne autem
p ri mo
et
p ri nci p ali ter
i nv eni tur d extrum et
s i ni s trum.' Marchetto d a P ad ov a:
P omeri um,
p .51.
5
Marchetto d a P ad ov a:
P omeri um,
chap . 3, I
et
s eq.
When there are three
s emi brev es i n a bar of
i mp erf ect
ti me
(roug hly equi v alent
to the mod ern
concep ti on
of a two-beat
bar),
the las t
brev e
naturally
i s
as s i g ned
the
g reater
v alue. S o we read ? J. When a s tem i s
ad d ed to the f i rs t brev e
(v i a arti s )
the
bar i s read J J. For more on thi s , s ee
W.
Ap el,
The notati on
of p olyp honi c
mus i c, 9oo-16oo (C ambri d g e, MA,
1953), p p .368-84.
6 The
s ug g es ti on
that the theori s t
wrote the motet Av e
reg i na
celorum
/
Mater i nnocenci e f or the
op eni ng
cere-
moni es of the
chap el
i n
1305
i s mad e i n
F. A.
G allo, ' Marchettus d e P ad ua und
d i e ' f ranco-v eneti s che' Mus i k d es
f ri i hen
Trecento' , Archi v
f i r
Mus i kwi s -
s ens chaf t,
xxxi
(1974), p p .42-56. G allo
s eems to back
away
f rom thi s
p os i ti on
i n hi s i ntrod ucti on to
P olyp honi c
Mus i c of the Fourteenth
C entury,
xi i
(Monaco, 1976),
where he makes no
s tatement whats oev er
connecti ng
the
motet wi th the
S crov eg ni C hap el.
7
S card eone' s book was
p ri nted
i n
P ad ua i n
1560.
For more on Mar-
chetto' s
bi og rap hy,
s ee 0.
S trunk, ' On
the d ates of Marchetto d a P ad ov a' ,
Es s ays
on mus i c i n the Wes tern world
(New York, 1974),
P P .39-43, ori g i nally
p ubli s hed
as ' Intorno a Marchetto d a
P ad ov a' ,
Ras s eg na
mus i cale, xx
(1950),
p p .312-15;
and N. P i rrotta, ' Marchettus
d e P ad ua and the Itali an Ars Nov a' ,
Mus i ca
d i s ci p li na, i x (1955), P P .55-71.
S ee als o the comp rehens i v e i ntrod uc-
ti on to The Luci d ari um
of Marchetto
of
P ad ua: a cri ti cal
ed i ti on, trans lati on,
and commentary,
ed .
J.
Herli ng er
(C hi cag o, 1985).
8 ' Ornav i t
erg o
hac celebri arte
p atri am, atque
Itali am f ere
p ri mus
Marchetus ,
cog nomento P ad uanus ,
d octi s s i mus
p hi los op hus ,
s i mi l et
Mus i cus ...'
S card eone, De
anti qui tate
urbi s P atav i i
(P ad ov a, 1560), p .262.
9
The f act of Marchetto' s
journey
to
Nap les
i s not noted i n S trunk, ' On
the d ates of Marchetto d a P ad ov a' ,
or P i rrotta, ' Marchettus d e P ad ua
and the Itali an Ars Nov a' .
1o ' ... qui
s ua aetate d e Mus i ca
p ri mus ,
i n eo mod uland i
g enere, quod
Enharmani um d i ci aud i o,
p raecep ta
g enerali a
d ed i s s e
p erhi betur. Quare
cum i lli s
temp ori bus mag ni
nomi ni s
es s et, et d octi s s i mus i n ea re a cuncti s
haberetur, i nv i tatus a Ruberto,
i nclyto
S i ci lae
reg e, qui
d octi s s i mos
quos que
ea
temp es tate
f ov ebat.
Neap oli m
p rof ectus
es t,
i bi d emcque
i n ei us aula
multa cum laud e v ers atus .' S card eone,
De
anti qui tate, p .262.
11
' S cri p s i t
i nteri m De
p raecep ti s
arti s Mus i ce mens urate li brum,
quem
P omari um nomi nav i t.' S card eone,
De
anti qui tate, p .262.
12 The
Luci d ari um, ed .
Herli ng er, p .3.
13
' ... i n cui us
p ri nci p i o
i ta
leg i tur:
P ri nci p i
d omi no Ruberto Dei
g rati a
Hi erus alem et S i ci li ae
reg i ,
Marchetus
d e P ad ua humi lem recommend ati o-
nem.'
S card eone, De
anti qui tate, p .262.
14 ' Fui t
i s
i g i tur ap ud Rubertum, ut
Ti motheus
oli m ap ud Alexand rum:qui
remi ttere et exci tare norat
reg i s
af f ec-
tus ,
p rout
v ari are
cantum, v oci s
que
mod os s i bi
p lacebat.' S card eone, De
anti qui tate, p .262.
15
Robert of
Anjou' s
connecti on to
mus i c i s f urther i llumi nated
by
a
mus i cal d ed i cati on to hi m i n a mus i c
manus cri p t
f rom
P rato; f or more on
the manus cri p t, s ee B.
P es cerelli , ' Un
omag g i o mus i cale a Roberto
d ' Ang i 6' ,
S tud i
mus i cali , xx
(1991), p p .173-9.
16 A.
Marti nd ale,
i n The
comp lete
p ai nti ng s of G i otto, ed . E. Bacches chi
(New York, 1966), p .5
17 G allo, ' Marchettus d e
P ad ua' ,
p p .42-3.
18 For
Abano, s ee F. Ales s i o ' Fi los f i a
EARLY MUS IC FEBRUARY
1999
21
e s ci enza: P i etro Da
Abano' ,
i n S tori a
d ella cultura v eneta: i l Trecento
(Vi cenza, 1976), p p .171-2o6.
19
A. G lori a, ' S ulla d i mora d i Dante
i n P ad ov a' , i n Dante e P ad ov a: s tud i
s tori co-cri ti ci
(P ad ov a, 1865), p .21.
20 For more on the
S crov eg ni f ami ly,
s ee C . Belli nati , ' La C ap p ella
d i G i otto
all' Arena e le mi ni ature d ell' Anti -
f onari o "G i ottes co" d ella C atted rale,
1306' ,
Da G i otto al
Manteg na,
ed . L.
G ros s ato
(Mi lano, 1974), p p .23-30.
21
J.
H. S tubblebi ne, G i otto: the Arena
C hap el f res coes (Lond on, 1969; R/1995),
p .105.
22 For the
hi s tory
of the Arena
C hap el
and a
commentary
on i t, s ee als o
R. S alv i ni , G i otto, the
S crov eg ni C hap el
i n the Arena at P ad ua
(Florence, 1953),
and G . Bas i le,
The Arena
C hap el
f res coes (Lond on, 1993).
23 I hav e not i nclud ed the
hug e
Las t
Jud g ement
on the wes t wall or the
14
Vi rtues and Vi ces i n
counti ng
the
number of f res coes .
They
are not
p art
of the three
cycles
of the narrati v e that
i nclud e Li f e or Joachi m,
Li f e of S t
Anne and the
Vi rg i n
and the P as s i on.
24
S ee n.6 abov e.
25
The texts are
rep rod uced
f rom
G allo,
' Marchetto d e
P ad ua' , p p .46-7.
26 G allo, ' Marchettus d e
P ad ua' , p .47.
27 Many
s tud i es hav e been wri tten
exp lori ng
the
comp lex relati ons hi p
between number
s ymboli s m
and the
s tructure of motets . The mos t f amous
examp le
i s C . Warren,
' Brunelles chi ' s
d ome and
Duf ay' s
motet' ,
The mus i cal
quarterly,
lxi x
(1973),
p p .92-1o5,
whi ch
as s erts that numeri cal
p rop orti ons
exhi bi ted i n G ui llaume
Duf ay' s
motet
Nup er
ros arum
f lores
ref lect the s truc-
tural
p rop orti ons
of the cathed ral i n
Florence. Warren' s
tantali zi ng
thes i s
has been s i nce ref uted , mos t
notably
i n C .
Wri g ht, ' Duf ay' s Nup er
ros arum
f lores , Ki ng
S olomon' s
Temp le,
and the
Venerati on of the
Vi rg i n' ,
Journal of
the Ameri can Mus i colog i cal S oci ety, xlv i i
(1994), P P -395-439,
whi ch
p oi nts
out
that
the
comp lex p rop orti ons
i n
Duf ay' s
motet d o not corres p ond
to
Brunelles chi ' s d ome but rather to a
d es cri p ti on
of S olomon' s temp le;
i n
hi s d i s cus s i on Wri g ht
af f i rms the
p rev alence
of number s ymboli s m
i n
the
rep ertory: ' P erhap s
thi s
i nherently
numeri cal
quali ty
accounts f or the f act
that the
i s orhythmi c
motet was the
f av ori te of
comp os ers wi s hi ng
to con-
v ey
a
mes s ag e beyond
the
exp li ci t
meani ng
of the text'
(P .437).
It has
been s hown that the number
30,
relat-
i ng
to the theme of
Jud as '
s elli ng
of
C hri s t f or
30 p ence,
i s of s tructural
s i g -
ni f i cance i n
Inf lammatus
i nv i d i a / S i cut
d e
li g no p arv ulus
/ Vi cti me
p as chali
laud es , an
anonymous
motet i n the
Roman d e Fauv el: s ee W. Arlt,
' Tri g i nta
d enari i s --Mus i k und Text i n ei ner
Mottette d es Roman d e Fauv el
ti ber
d em Tenor Vi cti mae
p as chali
laud es ' ,
P ax et
s ap i enti a:
s tud i es i n text and
mus i c
of li turg i cal trop es
and
s equences
i n
memory of
G ord on And ers on
(S tock-
holm, 1985), p p .97-113.
Number
alleg ory
i n relati on to
betrayal
i n
G ui llaume d e Machaut' s
i s orhythmi c
motet Amours
qui
a le
p ouv oi r
/ Faus
s amblant m' a d ecei i / Vi d i d omi num
i s d i s cus s ed i n M. Bent, ' Decep ti on,
exeg es i s
and
s ound i ng
number i n
Machaut' s Motet
15' , Early
mus i c
hi s tory,
x
(1991), p p .15-27).
It has als o
been s hown how the 11-note tenor talea
i n
John Duns table' s f our-v oi ce Veni
s ancte
s p i ri tus
/ Veni creator
s p i ri tus
recalls the d es cent of the
Holy S p i ri t
on
the 11
remai ni ng d i s ci p les :
s ee M.
Bent,
Duns tap le (Lond on, 1981),
P .55.
28 For an ed i ti on of Marchetto' s
motet, s ee G allo, ' Marchettus d e
P ad ua' ,
p p .54-6.
29
S ee C . G nud i ,
G i otto
(Mi lan, 1958),
p .138.
G nud i d es cri bes the enti re f res co
i n harmoni ous terms
p rai s i ng
i ts
' s trong mus i cali ty' ,
' s weet
rhythm' ,
and ' mus i cal aband on' .
30
S ee T.
C onnolly,
' The
leg end
of S t
C eci li a, II: Mus i c and the
s ymbols
of
v i rg i ni ty' ,
S tud i mus i cali ,
i x
(1980),
P P -3-44.
31 C onnolly,
' The
leg end
of S t C eci li a,
II' , p .19. C onnolly
notes that S t
C eci li a,
the f amous
v i rg i n
of Rome, was
d ep i cted
wi th i ns truments
beg i nni ng
i n the 14th century wi th
a
s tatue by the
Mas ter of S t Anas tas i a (c.1325) now i n
the Mus eo C as telv ecchi o of Verona:
s ee T. C onnolly,
' The cult and i conog -
rap hy of S . C eci li a bef ore Rap hael' ,
Ind ag i ni p er
un d i p i nto:
la S anta C eci li a
d i Raf f aello (Bolog na, 1983), p .129.
32 Trans lati on of commentary
and
text of P s alm
32
i n G .
C atti n, Med i ev al
mus i c, i , trans . S . Botteri ll
(C ambri d g e,
1984), p p .162-3.
The
comp lete
trans la-
ti on of
Aug us ti ne' s commentary
on all
the P s alms i s f ound i n
Exp os i ti ons
on
the Book
of
P s alms
by
S t
Aug us ti ne,
Bi s hop of Hi p p o,
6 v ols .
(Oxf ord , 1848).
33 12th-century p s alter
f rom the
Abbey
of S t
Remi g i us ,
Rei ms :
C ambri d g e,
S t
John' s
C olleg e,
Ms . B
18,
f f .I,
182,
rep rod uced
i n D. W. Roberts on, A
p ref ace
to C haucer
(P ri nceton, 1963),
p lates 29, 30.
34
Trecento thi nkers
certai nly
knew
of
Ap ollo' s
connecti on to mus i c: s ee
E. M.
Beck, ' Mus i c i n the corni ce of
Boccacci o' s Decameron' , Med i ev ali a
et humani s ti ca, xxi v
(1997), P P -33-49.
35
C hri s t could be as s oci ated wi th
Ap ollo
as G od of
li g ht, jus ti ce
and
mus i c: s ee
E. P anof s ky,
Renai s s ance
and Renai s s ance i n Wes tern art
(Almqui s t, 1960). Howev er, the con-
necti on between G i otto' s f i d d ler and
C hri s t could
jus t
as
eas i ly
be mad e
i f the
f i g ure
i s read as
Orp heus ,
who
was able to res urrect the d ead wi th
hi s
p layi ng .
36 J. Ri es s , ' Jus ti ce
and common
g ood
i n
G i otto' s
Arena
C hap el
f res coes ' ,
Arte cri s ti ana, lxxi i
(1984), p p .69-8o.
37
S ee The Luci d ari um, ed .
Herli ng er,
p .97. C oli n
Laws on notes that the
chalumeau was a
' s i ng le-reed
i ns tru-
ment of
p red omi nently cyli nd ri cal
bore, related to the clari net. The term
ori g i nally
d enoted a
p i p e
or
bag p i p e
chanter' , and f ound i ts
p op ulari ty
i n the
17th century:
s ee C . Laws on,
' C halumeau' ,
New G rov e
d i cti onary
of
mus i cal i ns truments , ed . S . S ad i e, i
(Lond on, 1984).
38
It has been
s ug g es ted
that the
s tri ng
i ns trument i s a li ra d a bracci o and the
f i g ure
i s as s oci ated wi th
Ap ollo:
s ee
M. Ed ward s ,
' Ap ollo
and
Dap hne
i n
the Arena
C hap el' ,
Bolletti no d el
Mus eo C i v i co d i P ad ov a, lxxv i i
(1988),
p p .15-35.
Thoug h
the allus i on to
Ap ollo
i s p laus i ble, the i ns trument
i s
not a li ra, whi ch
only
came i nto
bei ng
i n the
15th century
and was us ed as
accomp ani ment
to s i ng i ng
becaus e
chord s could be eas i ly p erf ormed
on i t.
39 L. Ti ntori and M Mei s s , The p ai nt-
i ng of the Li f e of
S t Franci s
of As s i s i
wi th
22 EARLY MUS IC FEBRUARY
1999
notes on the Arena
C hap el (New York,
1962).
40 G . G ennari , Annali d ella
ci ttai
d i
P ad ov a
(Bas s ano, 1804), i i i ,
p .24.
41 ' S ag g i o
ord i namento,
p erch?
le
ad unanze
trop p o
numeros e
p otev ano
es s ere
s os p ette
d i macchi nazi one
contro lo s tato'
(p .24).
42
B. Brunelli , ' La Fes ta d ell' Annunci -
azi one all' Arena e un af f res co d i
G i otto' ,
Bolletti no d el Mus eo C i v i co d i
P ad ov a,
xv i i i
(1925), p p .100-109,
notes
that the
ang el
and
Mary
are
p laced
i n
luog hi d ep utati
or
s p eci al
theatri cal
chambers us ed i n the d ramati c
rep re-
s entati on of the Annunci ati on i n
P ad ua.
43 ' S op ra
d ue catted re a
ci 6
d es ti nate,
montav ano
l' ang elo
e
Mari a,
e
cos i
v eni rano
p ortati
f i no
all' Arena,
p reced end o
i tubatori d el comune e i l
clero P ad ov ano,
e
s eg uend o
i l
s i g nor
p rod es t*
con tutti i ci ttad i ni e con
i
g as tald oni
d elle
arti ...
Nel corti le
d ell' Arena
l' ang elo
d ov ev a s alutare
Mari a con la s alutazi one
ang eli ca.
Tuttoci 6
s enza nes s una
s p es a
d el
comune o d ei ' monaci : i tubatori d el
comune e i
p ubli ci
s alari ati d ov ev ano
i n
ques to g i orno
s uonare le
trombe, e
s uonand o
accomp ag nare l' ang elo
e
Mari a d al
p alazzo all' Arena
s enza
p ag a
ne
p remi o
d i ' s orta ec.' A.
Dall' Acqua,
C enni s tori ci
s ullef ami g li e
d i P ad ov a
(P ad ov a, 1842), p p .104-5.
44
Ti ntori and
Mei s s , The
p ai nti ng of
the
Li f e of
S t
Franci s , p .160:
' The ov er-
lap p i ng
of the
p atches
of i ntonaco
p rov e beyond any ques ti on
that on
both nav e walls as well as on the
tri ump hal
arch G i otto worked i n the
normal and
p racti cal s equence
f rom
top
to d own.'
45
For
more, s ee C .
Belli nati , ' La
C ap p ella
d i G i otto
all' Arena' ,
p p .23-30.
46 G . F.
Ves cov i ni , ' P i etro d ' Abano
e i l s alone d i P ad ov a' ,
Labyri nthos ,
i x
(1986), p .57. G . Vecchi , ' Med i ci na e
mus i ca: v oci e s trumenti nel C onci li a-
tor
(1303)
d i P i etro d a
Abano' , Quad -
ri v i um, v i i i
(1967), p p .5-22.
P eter' s
wri ti ng s
about mus i c
ap p ear
mos t
p romi nently
i n
d i f f erenti a
83 of the
C onci li ator, and
p roblemata 19 of the
Exp os i ti o.
47 H. M. Brown, ' A
catalog ue
of
Trecento i ns truments ' , Imag o
mus i cae,
i i (1985), P .214.
48
S ee R. Hammers tei n, Di e Mus i k
d er
Eng el: Unters uchung en
zur Mus i k-
anchauung
d es Mi ttelalters
(Bern and
Muni ch, 1962).
49 ' Mag ni tud o
mus i ce
cap i t
omne
quod
v i v i t et
quod
non v i v i t; hanc
concentus
ang elorum, archang elorum,
s anctorumque
omni um ante con-
s p ectum
Dei S anctus , S anctus d i centes
s i nce f i ne d ecantant.' The Luci d ari um,
ed .
Herli ng er, P .77. Herli ng er
notes
that thi s
p as s ag e
i s not i n
Remi g i us
but
ap p roxi mated
rather i n Macrobi us
S omni um
S ci p i oni s 2.3.11.
All s ub-
s equent
trans lati ons of Marchetto' s
Luci d ari um are taken f rom the
Herli ng er
ed i ti on, to whi ch
p ag e
numbers i n the text ref er.
50o
The Luci d ari um, ed . Herli ng er, p .89.
51
S ee C .
Young ,
The d rama
of
the
med i ev al
church,
i i
(Oxf ord , 1933),
p p .248-50;
A. W.
Roberts on, ' Remem-
beri ng
the Annunci ati on i n med i ev al
p olyp hony' , S p eculum,
v i i
(1995),
p p .279-81; J. S tev ens ,
Word s and mus i c
(C ambri d g e, 1986), p p .308-11.
52
The Luci d ari um, ed .
Herli ng er,
p .489.
53
Mus i cal treati s es f rom the late
13th
and
14th
centuri es were of ten
p ai red
as s een i n the works
G arland i a, d e
Muri s and
P hi li p p e
d e
Vi try.
The f i rs t
concerns
f und amentals ,
the s econd
mens urati on: s ee The
Luci d ari um, ed .
Herli ng er, p p .5-6).
54
For the trad i ti on of mus i c
d eri v i ng
f rom the word
water,
s ee N.
S werd low,
' Mus i ca Di ci tur a
Moys , Quod
es t
Aqua' , Journal
of
the Ameri can Mus i co-
log i cal As s oci ati on, xx (1967), P P -3-9.
55
P eter of
Abano,
Exp os i ti o p roblema-
tum Ari s toteli s
(Mantua, 1475), 189r.
For more on
thi s , s ee F. A.
G allo,
i n
Mus i c
theory
and i ts
s ources ,
ed . A.
Barbera
(S outh Bend , 199o).
56
F.
Ales s i o, ' Fi los of i a e
s ci enza' ,
S tori a d ella cultura v eneta, i i
(Vi cenza,
1976), p p .171-2o6.
For more on
Abano' s
C ommentary,
s ee L.
Oli v i eri ,
P i etro d ' Abano e i l
p ens i ero
neolati no
(P ad ua, 1988).
57 G i ov anni Boccacci o,
II
comento alla
Di v i na C ommed i a ed
g li
altri s cri tti
i ntorno a Dante
(Bari , 1918), p .199.
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EARLY MUS IC FEBRUARY
1999 23