The writer discusses the inspiration, formulation, and reception of an illustrated hagiographic lectionary produced for, and probably at, the reformed Canonry of S. Frediano in Lucca, Italy, in the 1080s. The lectionary is distinguished from all extant, contemporaneous, Italian manuscripts by the variety of initial types and the difficulty in assigning them to narrowly defined categories. Its painter seems to have been given considerable freedom to decorate it, offering a chance to address the nature of artistic creativity in the Romanesque era. The writer goes on to examine various issues relating to the images, including whether the painter copied specific iconographic prototypes, whether Latin or Byzantine; whether he relied on a series of formulaic image types already in existence, or devised his own; whether the saints' attributes accurately reflect their ranks or stations; and how the painter's awareness of the accompanying texts affects his representational choices.
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