SAINT MINIAS, martyr. – A *Passio* of St Minias, dating from before the 9th or at least the 10th century (BHL, 5965-66), recounts his decapitation on the hill at Florence, which later took the martyr’s name, on 25 October between the 24th and 25th, during the reign of the emperor Decius. It is impossible to establish the birthplace and deeds of M., since the information derives from the legendary narrative of the *Passio*.
No proof exists on the hill where the basilica of St M. stands of a paleo-Christian cemetery, nor that the martyr’s tomb was there in antiquity. In the diploma of Charlemagne, drawn up in 786-87, mention is made of the martyr’s relics and not of the entire body (MGH, *Diplomata karolinorum*, I, no. 155, p. 210). In 969 or 970, Bishop Theodoric of Metz translated them to his city.
SAINT MINIAS, martyr – Detail of the mosaic in the apse of the church of the same name (1297) – Florence, church of S. Miniato al Monte.
MINIATURE – Byzantine miniature, vignette with the funeral of Albert, Book of Kings – Vatican Library, cod. Vat. gr. 333, f. 34v (11th-12th century).
It is not excluded that these relics were eulogiae of the famous Egyptian martyr St Menas (v.), widely diffused in the East and West from the 6th century. This hypothesis would also explain how the ancient Christians of Florence built churches to Roman martyrs. A 13th-century legend made St M. the son of the king of Persia or an Armenian king himself. He is also presented as a king in the inscription in the apse museum of S. Miniato from the end of the said century.
The Roman Martyrology commemorates his feast on 25 October.
MINIATURE. – Properly the art of painting or adorning manuscripts; ornamentation that in antiquity was executed predominantly with the colour red, minium, whence the name miniature. Limited at first to initials, in time it came to include true paintings in small proportions, executed with special technique, which made manuscripts into highly prized treasures, of great importance for the study of art history.
I. TECHNIQUE
As regards technique, it should be noted that ancient miniature was always executed on parchment with opaque colours and thus also employed white lead, which was later abandoned when, from the 18th century, miniature was done on thin ivory sheets with transparent colours; in this way the ‘highlights’ are provided by the white of the ivory. The colours are thinned in a mixture of gum arabic, candy sugar and water, while the parchment is appropriately prepared with fish glue.II. HISTORY OF MINIATURE
77. Antiquity
Miniature was certainly not unknown to the ancients; various writers speak of it, including Ovid, Pliny and Aulus Gellius; Varro employed a Greek artist, Lala of Cyzicus, to adorn his *Hebdomades* with portraits, but nothing has survived to the present day except for some copies dating no later than the 4th century, among which the famous *Virgil* codex (Vatican Library, lat. 3225), in the concise style characteristic of Alexandrian art. With Byzantine art miniature became one of the greatest expressions, undergoing the influence of Egypt, Syria and Armenia. It seems indeed that it was the Egyptians who first adorned their papyri, and from Alexandrian art the Byzantines derived their pictorial manner, while the later Syrian and Armenian influence was more prevalent in ornamental character. Although the works that have come down to us are often only copies, it has been possible to establish with sufficient approximation the prototype from which they derive. Among the best products may thus be cited the Calendar of 35, with characteristics of Hellenistic art, to which are related the *Iliad* (Ambrosian Library [5th century]), the *Dioscorides* (Vienna [524], a copy of an earlier original) and the Joshua Roll (Vatican [7th century]). Of the 6th century is also the prototype of the *Topography of Cosmas Indicopleustes* (Vatican), where one can already discern a principle of evolution, probably determined by the art of mosaic, which also applies to the group of Purple Codices (Vienna Genesis [570]; Rossano Gospels [c. 580]; fragments of the Sinope Gospels [c. 600], National Library, Paris). In the group of Syrian and Armenian manuscripts should be mentioned the Rabbula Gospels (586, Florence, Laurentian Library) and Gospel no. 229 (Library of Etchmiadzin [902], but reproducing an original of the 6th century). The iconoclastic controversy does not seem to have had a great impact on miniature; indeed some tend to affirm the opposite. Consider the Chludov Psalter (10th century, Moscow), with marginal vignettes. The golden age of Byzantine miniature falls between the 10th and 12th centuries; major productions include the Psalter in the National Library of Paris (Greek 139), the Bible, the Menologion and the Codex of John Climacus (all in the Vatican: Reg. I, Greek 1613, Greek 394).2. Medieval miniature in Europe outside Italy (see also MEDIEVAL PERIOD,
XIII. Art)
Miniature in Europe spread especially through the work of Irish monks; there were, however, various schools: the Merovingian, with figures reduced almost exclusively to stylized ornament and a few flat tints (e.g., the *Frédégisaire* of the 7th century [National Library of Paris, lat. 19910]); the Visigothic (prototype the Ashburnham Pentateuch, National Library of Paris); the very important Irish school, with ornamental initials in interlace (Gospels of St Gall [c. 760]; Book of Kells [c. 760], Dublin, Trinity College; Gellone Sacramentary [late 8th century], National Library of Paris, lat. 12048). Derived from the Irish is the Anglo-Saxon miniature; a combination of the Irish manner with Byzantine and classical styles is found in southern England (Canterbury Gospels [c. 785], British Museum; Codex Aureus of Stockholm [c. 790]). The importance of Irish miniature also lies in the influence it exerted on Carolingian miniature and on the ornamental style of Roman sculpture.The Carolingian Renaissance (v. CAROLINGIAN, ART) finds some of its finest productions precisely in miniature painting, where various monastic schools distinguished themselves: the Palace School with the Evangelistary of Aix (c. 800) and the Evangelistary of Charlemagne (c. 810; Vienna, Imperial Treasury), both rather of Byzantine derivation; the school of Reims, also of Byzantine derivation, with the Liber Canonum (Biblioteca Vallicelliana, Rome, cod. A. 5) and the Utrecht Psalter (before 837; Utrecht, University Library); the Rhenish group, also called the Ada group or Godescalc group, with the Evangelistary of St-Sernin of Toulouse (c. 785; Paris, National Library), executed by Godescalc for Charlemagne, and the Ada Evangelistary (c. 800; Trier Cathedral); the school of Tours, with the Fleury Bible (before 818; Paris, National Library); Bamberg Bible (c. 835; Bamberg Library); the Lothair Evangelistary (Paris, National Library, lat. 266; c. 840); the Bible of Charles the Bald (Paris, National Library, c. 850); the school of Metz, with works close to the Rhenish style (Sacramentary of Metz [c. 850, Metz Library]); the school of St-Denis and that of St. Gall, rather conservative; the school of Fulda, derived from the Ada group and foreshadowing the style of Ottonian miniature (Codex Wittechindaeus [c. 950], Berlin). Of particular importance is the Mozarabic group of Spain, which also influenced the south of France; a notable document (especially for the formation of Romanesque iconography) is the Commentary on the Apocalypse by Beatus (composed in 784 in the Asturian monastery of Liebana, known to us through many illustrated copies, mostly from the early 10th century and revealing the influence of Islamic miniature); also the Beatus of Madrid (from the abbey of Tavara, completed in 970), that of Valladolid (970), of Gerona (975), and the best-known, that of Saint-Sever (Paris National Library, between 1028 and 1072; ms. lat. 8878); the Bible
Miniatures – Byzantine miniature. Vignette with the funeral of Abner. Book of Kings – Vatican Library, cod. Vat. gr. 333, f. 34v (11th–12th century).
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