Meeting of Minds: Saint Barlaam meets Prince Josaphath for the first Time

Lombardy, Italy, c. 1285-1290

This miniature captivates one of literature’s most poignant encounters, depicting the first meeting of Saint Barlaam with his pupil Josaphath. Wonderfully executed by the Master of Monza.

22'000,- CHF (VAT not included)

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Tempera on vellum. Rest of text below the miniature written in brown ink, in a rounded Italian bastarda. – Very few scratches of creases, some minor rubbing, otherwise in excellent condition.

130 x 120 mm.

of 257

As a rare and well-preserved fragment from a significant hagiographic manuscript, this miniature beautifully captures the transformative encounter between Prince Josaphath and Saint Barlaam, a moment rich with religious significance.

Overview

This wonderful miniature vividly depicts the poignant encounter between Prince Josaphath, an Indian prince secluded in a palace by his father to prevent him from converting to Christianity, and Saint Barlaam, a hermit saint who introduces him to Christian teachings.

After King Avenir’s astrologers foresee that Prince Josaphat will convert to Christianity, the pagan ruler confines him to a palace, where he only experiences the world’s pleasures and is shielded from illness, death, and poverty. Despite these precautions, the hermit Barlaam is able to visit the Prince, teaching him Christianity through parables.

The miniature masterfully captures the moment of transformation for Josaphath, symbolising his enlightenment and spiritual awakening. Barlaam, depicted with a halo and dressed in a Cistercian habit is engaged in a lively conversation with the young prince, dressed in a blue tunic. Looking out from a castle, is the Prince, slightly older, wearing a costly tunic, richly decorated with gold.

The style of the miniature is characteristic of late Romanesque Lombard painting. The figures are rendered with a distinctive figural style — short and stocky with small heads, heavy dark brows, and red cheeks and lips. The flesh tones are skilfully modelled with white and light grey lines, and hair and beards are boldly drawn. The dark blue background, adorned with white dots arranged in triangles and finely painted shrubs, enhances the visual richness of the piece.

The Master of Monza ingeniously condences one of world literature's most significant moments, and renders it in beautiful geometrical forms and striking colours, typical for Lombard illumination.

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