Exhibitions
Jacobus Mathey (Jaquet Maci, fl. c.1320-1350),
a French Illuminator of the Fourteenth Century
July - December 2005
Jaquet Maci was initiated in the decorative arts of the book during the second decade of the fourteenth century at Avignon . His influential presence there at the beginning of his career has been linked to the beautiful ornamentation found in the Collection of Jean XXII', an ensemble of fourteen manuscripts of works by Saint Thomas, now held at the Vatican Library. At Avignon he developed a unique style of very high quality, a true style d'atelier', sober and classical, and seems to have produced a large volume of work.
Moving to Paris in the latter part of the second decade of the century Maci quickly fell under the artistic influence of this new milieu, adopting its techniques whilst also retaining some of the earlier characteristics of his decorative style. In Paris he often worked in the circle of the great master illuminator Jean Pucelle (fl. 1320-1334). Jaquet Maci's name is found in the famous Robert de Billying Bible' (shown here), written in Paris in 1327, inscribed next to two other signatures, those of Jean Pucelle and a third master illuminator, Anciau de Cens.
Between 1327 and 1345 Maci's art evolved considerably, from that of his earlier classical style to the more abundant style seen in the Letters of Saint Augustin' (Vatican Library, MS Rossi 259), manuscript commissioned in 1345 by Grégoire de Rimini, theologian at the University of Paris. It is in this manuscript that we find Jaquet Maci's name for the first time inscribed in its more latinised form of Jacobus Mathey, indicating his status as an established master. His artistic success, particularly his mastery of the filigree ornamentation of historiated initials, helped him to impose his own decorative solutions on the Parisian artistic milieu of the time. Motifs he had developed in his first known works survived in his later manuscripts, albeit in more evolved forms. Much of his later work was produced for an ecclesiastical clientele, particularly from the pontifical entourage.
It is in three manuscripts, all executed around 1345-1350 for the Saint-Chapelle de Bourges, that Jaquet Maci's calligraphic decoration', as it has been described by scholars, truly reveals its outstanding beauty: the Saint-Chapelle Missal', the Saint-Chapelle Evangeliary', and the Saint-Chapelle Epistle Lectionary' (all shown here). His originality does not rest only on the decoration of the initials themselves but rather in the pen flourishings and the striking motifs elongating these initials in the margins. Some of Maci's favourite motifs in these manuscripts include the heraldic eagle and the gold and blue half fleurs-de-lis border.
Jaquet Maci was an exceptional artist and is considered to have been a leader in filigree ornamentation reaching a status similar to that of Jean Pucelle in miniature painting. Maci made an essential contribution to what has been described as the revival of manuscript ornamentation in Paris starting from the middle of the fourteenth century. His influence in this field persisted well into the next century.
Other manuscripts attributed to Jaquet Maci include: Saint Ambrosie, Hexaemeron and other works (Paris, Bibl. Nat., MS Lat. 1723); Speculum vel Ymago mundi editus a fratre Vincentio ordinis fratrum predicatorum (Paris, Bibliothèque Nationale, MS Lat. 4907 A); Bernard Gui, Flores Chronicorum (Paris, Bibliothèque Nationale MS Lat. 4975); Epistolier a l'usage de Saint-Germain-des-Pres (Paris, Bibliothèque Nationale, MS Lat. 12069).
