By 1539 Giulio Clovio had produced three frontispieces for manuscript copies of a commentary written by his patron Cardinal Marino Grimani. A reading of the commentary, which belongs to a body of literaturewritten against Martin Luther in the 1530s, establishes the relationship of these miniatures to each other and the text. Within the context of a religious polemic, style becomes an important vehicle formeaning. The romanitá of the cardinal’s language and of Clovio’s miniatures both supplements the commentary’s argument, promulgating the authority of the Roman Church, and represents their desire for grazia˜religious, courtly, and artistic.
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