MÜNTZ, EUGÈNE. — Archaeologist and art historian, born on 11 June 1845 at Soultz-sous-Fôrets near Strasbourg, died on 30 October 1902 in Paris. He was a member of the Académie Française and of the *Société nationale des Antiquaires de France*; Italy welcomed him into nearly all its academies and also into some local historical societies. His publications amount to about 20 volumes and 500 articles.
After completing his classical studies, he immediately became a contributor to the *Revue de l'Instruction publique* and the *Gazette des beaux-arts*. Having moved to the École des Chartes, he began independent research and travelled in Germany, Switzerland, and Austria. When a Roman section of the École française d'Athènes was established in 1873, MÜNTZ was admitted along with Bayet, Bloch, Collignon, and Duchesne, remaining in it both in 1874, when the section was transformed into the École archéologique de Rome, and in 1875, when it became the École française de Rome.
Following the path then indicated by G. B. De Rossi for epigraphic studies, MÜNTZ devoted himself to the search for documents on the history of art in the codices of libraries and the papers of archives, places which he called “sanctuaries of learning” (*Florence et la Toscana*, pp. 255 and 270). In the Vatican Archives he extracted from the account books of the papal court all those notices which he later assembled in three volumes between 1878 and 1882, namely: *Les arts à la cour des Papes pendant le XVe et le XVIe siècles*. Volume I (1878) covers the period from the pontificate of Martin V (1417) to that of Pius II (1464); Volume II (1879) is devoted to the pontificate of Paul II (1464); Volume III (1882) runs from Sixtus IV (1471) to Julius II (1513). Also the fruit of his personal research are his studies on *La bibliothèque du Vatican au XVIe siècle* (Paris 1886) and *La bibliothèque du Vatican au XVe siècle d'après des documents inédits* (in collaboration with Paul Fabre), in *Bibliothèque des Écoles françaises d'Athènes et de Rome*, 18 (1887); and also *La bibliothèque du Vatican pendant la Révolution française*, in *Mélanges Julien Havet*, Paris 1895, pp. 579–591. In collaboration with A. L. Frothingham: *Il tesoro della basilica di S. Pietro in Vaticano dal XIII al XV sec.* with a selection of unpublished inventories, in *Archivio della Società romana di storia patria*, 6 (1883), pp. 1–137. Of great importance are his *Recherches sur l'œuvre archéologique de Jacques Grimaldi ancien archiviste de la Basilique du Vatican d'après les manuscrits conservés à Rome, à Florence, à Milan, à Turin et à Paris*, in *Bibliothèque des Écoles françaises* etc., I, II, Paris 1877, pp. 225–69. Also *Les architectures de St-Pierre de Rome d'après des documents nouveaux* (1477–1549), in *Gazette des beaux-arts*, 19 (1879), pp. 353–368; 20 (1880), pp. 506–529; *Les tombeaux des papes en Allemagne et en France*, in *Revue de l'art chrétien*, 7 (1896), pp. 347–56; 453–56.
Noteworthy too is his study on *La tiare pontificale du VIIIe au XVIe siècle*, in *Mémoires de l'Académie des inscriptions et belles-lettres*, 36 (1898), pp. 235–324; original is his work on *Les roses d'or pontificales*, in *Revue de l'art chrétien*, 5th series, 12 (1901), pp. 1–11. The residence of the popes at Avignon inspired him to write a series of articles on the architects of the Papal Palace in the *Bulletin des Antiquaires de France* between 1882 and 1890, later collected together; he studied *Les peintres d'Avignon pendant le règne de Clément VI*, in the *Bulletin monumental* (1885); in particular the paintings of Simone Martini in *Mémoires des antiquaires de France*, 45 (1885), pp. 67–92; and *La statue du pape Urban V au musée d'Avignon*, in *Gazette archéologique*, 9 (1884), pp. 98–104. For Christian archaeology E. M. wrote *Les sources de l'archéologie chrétienne dans les bibliothèques de Rome, de Florence et de Milan*, in *Mélanges d'archéologie et d'histoire*, 8 (1888), pp. 81–146. He collected a series of documents relating to Christian museums in Rome, Naples, Siponto, Capua, Vercelli, Olona, and Albenga, in twelve articles in the *Revue archéologique* from 1874 to 1901; three studies on those of Ravenna and Rome appeared in the *American Journal of Archaeology* (1885, pp. 115–30; 1886, pp. 295–313; 1890, pp. 1–9). In the *Mémoires de la Société des Antiquaires de France* (52 [1891], pp. 238–322), he dealt with the techniques of museums; in *Mélanges Paul Fabre* he gathered the notices on *Les premiers historiens des mosaïques romaines* (Paris 1902, pp. 478–95). E. M. lived for the glorification of art, of artists, and of their patrons; his ideal was above all the Renaissance.
MÜNTZ, Eugène — See Ritzatto.
His volume *Les précurseurs de la Renaissance* appeared in 1881, followed as an appendix by *Les collections des Médicis au XVe siècle*, Paris 1888; the two volumes were revised by the author and translated into Italian by Guido Mazzoni (*Precursori e propagatori del Rinascimento*, Florence 1902). He felt the fascination of Italian art. Then came his three large volumes on *L'histoire de l'art pendant la Renaissance*: I. *L'Italie. Les primitifs*, Paris 1886 (Italian ed.: *L’arte italiana nel Quattrocento*, Milan 1894); II. *Italie. L'âge d'or*, Paris 1891 (Italian ed.: *L’età d’oro dell’arte italiana*, Milan 1895); III. *Italie. La fin de la Renaissance. Michel-Ange. Le Corrège. Les Vénitiens* (Paris 1895). He highlighted the work of Francesco Laurana, importer into France of Renaissance art, the constant collaboration during the 14th century of Italian and French artists, the influence of Italians in France during the Middle Ages in the art of medals, and above all the Italian origin of French Renaissance. His stay in Florence inspired the volume: *Florence et la Toscana; paysages et monuments, moeurs et souvenirs historiques*, Paris 1897 and 1901.
He had a particular predilection for Raphael; indeed he wrote: *Raphaël, sa vie, son œuvre et son temps* (Paris 1881; 2nd ed. 1886; 3rd ed. 1900; English eds., London 1882, 1888, 1896). *Les tapisseries de Raphaël au Vatican et dans les principaux musées ou collections de l'Europe*, Paris 1897. After a series of articles on Leonardo da Vinci, his time and his works, he published the volume *Léonard de Vinci, l'artiste, le penseur, le savant*, Paris 1899, translated into English in two volumes. He devoted a volume to Donatello while his work on Botticelli was cut short by his death. Also *Pétrarque, ses études d'art, son influence sur les artistes, ses portraits, et ceux de Laure, l'illustration de ses écrits*, Paris 1902. As early as 1874 E. M. had published documents on the Gobelins workshops in the first half of the 17th century in France, Italy, and Flanders (*Revue des Sociétés Savantes*, 5th series, 8 [1874], pp. 509–20). His stay in Italy bore fruit in the volume *Histoire de la tapisserie*, Paris 1878–84, followed by the volume *La tapisserie* (ibid. 1884, translated into English and Spanish), as well as a series of articles on *Les tapisseries d'Arras à la fin du XIVe et au commencement du XVe siècle* (*Le Courrier de l'art chrétien*, 5 [1886]). Also *Les tapisseries à l'époque de Louis XII* (*Les lettres et les arts*, Paris 1886) and again on *L'inventaire des tapisseries de la Tour de Londres à la mort du roi Henri VIII, 1547* (*L’oeuvre d’Art*, 1899). He did not neglect miniatures either, as shown by his studies on Matteo de Pasti (*Le Courrier de l'art chrétien*, 2 [1883], p. 599 ff.), on Florentine miniature in the 15th century (*L'art*, 1 [1883], p. 157 ff.), French miniatures in Italian libraries (*La bibliografia*, 1902), and the volume *Études iconographiques et liturgiques sur le moyen-âge*, Paris 1887, in which he also treats Irish and Anglo-Saxon miniature of the 9th century. In the field of goldsmithing too E. M. studied the work of Giovanni Bartolo of Siena, goldsmith to the papal court at Avignon in the 14th century, in *Archivio storico italiano*, 5th series, 2 (1888), pp. 1–20.
They refer to the Chestnut in the mosaics in the Mascoli chapel in S. Marco in Venice. Ridolfi speaks of a Bernardo da M. as the author of a painting of St Helen, now in the Accademia in Venice. The artist reveals himself as following the late manner of Cima da Conegliano. Another Bernardo da M., who signs a Madonna with two saints of 1462 in the Museo Correr in Venice, is only a mediocre painter of votive images (for artists’ glass, V. TROPO).
Nolfo di Carpegna
LUDOVICO ANTONIO