Guido de Columnis: The Trojan War

Guido de Columnis: The Trojan War

Guido de Columnis (1210–1290) was a Sicilian poet from Messina. At the end of the 13th century, he wrote his most famous work, the Historia destructionis Troiae. This story about the destruction of Troy stands in the long tradition that has built itself around the mythological tale of the downfall of the ancient city. This material, Homer’s epic among others, was well-loved in the Middle Ages. For the impressive manuscript in the Austrian National Library, one has to reach back to the Latin original by Guido de Columnis, which was translated into German – albeit in the dialect of Bavaria and Austria. Thus the most-comprehensive German language Trojan cycle arose in a magnificent manuscript!

A Master from Regensburg

On 478 pages measuring 37 x 27.5 cm, the famous Cod. 2733 of the Austrian National Library in Vienna collects 334 miniatures, some even full-page. These magnificent paintings are richly embellished with gold and silver, once again highlighting the worth of the entire manuscript. The master responsible for these paintings was a miniaturist named Martinus. He immortalized himself in gold text on fol. 1r as martinus opifex. An unusual detail! One such illuminator named Martin was active in Regensburg during the middle of the 15th century, which allows conclusions to be made about the origins of the manuscript. In is believed among researchers that the manuscript of the work by Guido de Columnis was made in Regensburg in the years 1432–1456.

Courtly Life and Bloody Battles

The miniatures of the German translation of the work by Guido de Columnis offer a glimpse into the lifeworld of the 15th century. Gorgeous courtly scenes illustrate the tale of the downfall of Troy and the events associated with it. For example, a handsome procession of noble ladies and elegant noblemen, who ride out amidst a verdant green landscape, along with a court jester who rides together with an ape on a horse. Gothic architecture, e.g. a splendid doorway, surrounds some of the depictions. Yet, the painter did not shrink back from drastic depictions. A telling facial expression characterizes the brightly-dressed figures before an ornamental gold background.