Perhaps Weyhe bought it from Brentano and then sold it to Detterer?ĭetterer was a calligrapher, teacher, and typographer who spent the last part of his career as Curator of the John M. Perhaps the two features of the Newberry heading that stand out as most idiosyncratic to the casual viewer are the exceptionally tall letter "I"s in the first and last lines, and the "A" at the very end of the second line, slightly raised above the curve of the preceding "R": Sanvito's coloured capitals were so admired by contemporaries that he was often commissioned to add them to books whose main text was written by other scribes, and so although the main text of the Newberry leaf did not look to me like his hand, I wondered if the heading in epigraphic capitals might be by him. Here is an example of a heading by Sanvito, using the same colours in the same sequence, but with the addition of lines of gold (another of his favoured colour-sequences): These colours, alternating in this order, are characteristic of the famous Paduan scribe Bartolomeo Sanvito (also discussed in this blogpost). The heading is written in very elegant epigraphic capitals, in lines of blue, red, olive green, and dark purple inks. As the heading tells us, this initial "C" introduces Eusebius of Caesaria's De praeparatione evangelica, Book I. One of the finest I saw is a large paper 15th-century Italian Humanistic leaf, with an illuminated bianchi girari initial, shown above. In May last year I visited the Newberry Library and spent a stimulating morning looking at leaves and cuttings (one of which I subsequently discussed here). Chicago, Newberry Library, Case MS 137, no.
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