A Lifelike Fly in Margins of Manuscripts: a Symbol as Trompe l’Oeil

Abstract

Most studies devoted to the theme of illusorily painted fly in 15th century paintings address the issue whether this just a symbol or a Plinian imitation of nature to deceive a credulous viewer, while attesting to the painter’s virtuosity. Seen in this context, the illuminations in Bohemian manuscripts have been left completely unnoticed so far, even though they rank among the oldest extant examples. This study seeks to answer the question whether both aspects, symbol and illusion, are mutually exclusive or whether the illusory way of painting itself could also encompass a semantic component. The study traces the explanation of the fly as a symbol in medieval encyclopaedias and exegetic writings, examining – on the example of Bohemian manuscripts – the relationship between the fly and the accompanying text, and comes to the conclusion that meaning is invariably dependent on the context. The deceitful, illusory way of painting is part and parcel of the message, directly epitomizing the period idea of the Devil whose characteristic property is, precisely, illusion and deception. A faithfully depicted fly often stands in contrast to a more schematic rendering of the other scenes on which the insect seems to be sitting. It is probable that in this manner the painter implies that the fly belongs to the earthly, real and transient world, while the main scene is treated in a “perspective of salvation”, outside space and time.