The Renaissance represents the highest point of a process of renewal of the arts and culture in Italy between the fifteenth and sixteenth centuries. The merit goes not only to the artists, the architects, the men of letters and the scientists behind the remarkable achievements of this period in the history of culture. We must also bear in mind the role of the noble houses under whose auspices these various activities took place – princes, sovereigns and noble governors who, through their actions as rulers, and enlightened patronage, turned their courts into centres of the arts in which the greatest talents of the age were given full rein. Over the entire period of the Renaissance, the practice of book production, as an art form, owed its exist-ence practically exclusively to illustrious patrons and the major noble houses. In terms of the quality of the works produced, it was a truly unique period in history.

The triumph of BeautyThe Renaissance and the great patrons of the arts

Unveiling wondersBooks as works of art

For hundreds of years, the very idea of putting into action a plan for a single collection of the finest books in the world would have been impossible. However, thanks to the enormous technological progress of recent years in the field of facsimile reproduction, it is now possible to make every bibliophile’s ‘dream’ of an “impossible library” of the most beautiful books of Renaissance illumination, perfectly practicable. Here is a collection of stunning works commissioned by princes and sovereigns who bore such names as Visconti, Sforza, Medici, Este, Aragon and Farnese.La Biblioteca Impossibile came about in an effort to rediscover this amazing artistic her-itage, and to turn it to best account by creating an unprecedented series of publications dedicated to the most important codices of the great noble houses of the Renaissance period. These works (once the exclusive reserve of great patrons, but now within the reach of all libraries, both public and private) travel the world as ‘ambassadors’ representing the arts and the culture of Italy.

All Panini facsimile reproductions are achieved by means of the most sophisticated technolog-ical image processing resources, and also by means of the oldest and most noble hand-crafting techniques, in order to respect all the characteristics that we find in the original.The codices are subjected to in-depth study so that no characteristic – however well hidden – can escape our attention. This study is followed by a photographic campaign, conducted in the conditioned atmospheres in which the works are stored. The prepress colour proofs are then compared with the originals, page after page, and adjusted according to require-ments in order to ensure top-fidelity reproduction of the manuscript. Reproduction of the gilding is an aspect of cardinal importance. The gold leaf is applied by hot plate or in powder form according to the type of gilding of the original. The pages are then die-cut individually in order to reproduce any irregularities in the edges of the pages of the original manuscript.

Perfection right down to the smallest detailProduction of Panini facsimiles

The facsimile is bound at the workshops of our special-ised artisans, who have conserved the crafts and the highly refined techniques that were adopted during the period of the Renaissance.

Written and illustrated in about 1496, this didactic codex was the Latin grammar of Massimiliano Sforza − the son of Ludovico il Moro, Duke of Milan. The illuminations in the volume provide a fascinating account of the day-to-day life of the young prince, while also providing a faithful portrait of the Renaissance court of the Sforza family.

THE EDUCATION OF A pRINCE ∙ The codex, also known as Donato or Ianua, is a Latin grammar treatise. The manuscript was inspired by the work of Aelius Donatus, a fourth-century grammar-ian also known to have been the tutor of Saint Jerome. Its texts were a fundamental resource for scholars not only throughout the Middle Ages but also into the era of Humanism. The work was more than just an instrument for the teaching of Latin. It was also intended as a means for fostering the moral and civic virtues considered indispensable in a Renaissance prince.

SCENES FROM THE LIFE OF THE COURT ∙ The illustrations are to be attributed to various illumi-nators of Lombardy. The most noteworthy of these was Ambrogio de Predis, who worked with Leonardo da Vinci on the Virgin of the Rocks. The two portraits of the child Massimiliano and his father, Ludovico, opening and closing the codex, are perhaps Ambrogio de Predis’s crown-ing achievement as an artist. We note also the extraordinary cycle of illuminations presenting moments of the day-to-day life or special occasions in the life of the young Massimiliano. Many images are accompanied by a caption in vernacular Italian, and the rest of the text is in Latin. The manuscript has conserved its original leather binding, adorned with gilded emboss-ing representing the coats of arms and exploits of Duke Sforza.

The Sforza Grammar

FORTHCOMING WORK

The Sforza Grammar was the most precious of Massimiliano’s ‘school books’. The prince Massimiliano – Ludovico il Moro and Beatrice d’Este’s eldest son – was born in 1493 with the name Ercole (it was then changed in homage to the Emperor, Maximilian). Since the Duchy of Milan was to pass into his hands, Massimiliano had to receive an

education that was worthy of his rank. The Court of the House of Sforza was a haven for great artists, such as Leonardo and Bramante. It was a period of regeneration throughout Lombardy, both economic and artistic.

THE CODEX RECONSTRUCTED ∙ One of the most noteworthy aspects of this facsimile consists in the fact that the codex has been returned fully to its original state. The frontispiece page, removed during the early decades of the twentieth century and then completely lost, has been reconstructed: an early twentieth-century monographic work provides a black and white illustration of the lost page and this image has been subjected to a special colouring process so that the original chromatic values may be virtually reconstructed. This facsimile therefore represents an opportunity to admire this splendid codex precisely as young Massimiliano Sforza saw it in his schoolroom.

COMMENTARYThe work is accompanied by a book with commentary, with texts by J. J. G. Alexander, P. L. Mulas and M. Pontone.

DESCRIpTION OF THE WORK∙ Facsimile reproduction of Ms. 2167 of the Biblioteca Trivulziana in Milan· Volume of 108 pages; size 18 x 27.5 cm· 12 sumptuously illuminated pages (2 full-page illuminations)· Inclusion of leaf 3, removed from the codex in the early twentieth century· Brown morocco binding with embossing on the front and back covers

The Medici Rothschild Hours serves as a record of a great lord of the Renaissance period and of his love for his daughter. The book was a wedding gift from Lorenzo il Magnifico to Maddalena de’ Medici, his favourite daughter, who married Count Franceschet-to Cybo, the natural son of Innocent VIII. This exquisitely crafted work is truly worthy of such a noble lady as Maddalena.

THE BOOK OF HOURS AS A WEDDING GIFT ∙ It was customary at that time, among noble fami-lies, to commission Books of Hours as a part of the trousseau of the daughters of the House. Books of Hours are small codices provided for the private devotional use of the betrothed daughter. The higher the social rank of the lady in question, the more elaborate and costly the work dedicated to her would be. In the Europe of the fourteenth and fifteenth centuries, the creation of Books of Hours was a widespread practice. Such works were treasured also in Italy, where they were commissioned to great artists by the major noble dynasties, such as the Este, Medici, Visconti, Sforza, Gonzaga and Farnese families.

A BRILLIANT DISpLAY OF GILDING AND COLOUR ∙ This refined codex is adorned with sump-tuous illuminations. The twelve pages of the Calendar are given over to illustrations of the labours of the months of the year. The seven frontispiece pages for the various Offices feature illuminated initials and highly elaborate frames. A further eight pages feature illuminated ini-tials and are bordered with floral motifs. The text contains many small gilded initials. Heraldic devices – the diamond ring, the laurel branch and the peacock – are frequently included.

LEADING ARTISTS ∙ The illustrations of the Medici Rothschild Hours were the work of a number of the greatest illuminators of late fifteenth-century Florence, or of these illuminators’ disci-ples. In this case, we may cite the names of Gherardo and Monte di Giovanni del Fora and, above all, Mariano del Buono. See, for example, f. 203r with its Pentecost, with, to one side, one of Mariano del Buono’s favourite motifs, the Bust of an Angel over a large gem.

The Medici Rothschild Hours

The codex is believed by scholars to be part of a set of sump-tuous Books of Hours commissioned by Lorenzo de’ Medici to the Florentine workshop of the copyist Antonio Sinibaldi in around 1485. These works were listed in the old Medici inventories. One of these small books of prayer (“libriccini”), now in Munich, fea-

tures the Medici and Salviati coats of arms. It was for Lucrezia, who married Jacopo Salviati. Another codex, currently at the Biblioteca Medicea Laurenziana library, was for the betrothed of Giovanni di Pierfrancesco Medici, Luisa, who died before the wed-ding took place. Lastly, we have the book of prayer bearing the Medici and Cybo coats of arms, currently a part of the Rothschild Collection at Waddesdon Manor. It was a wedding gift for Maddalena, who married Franceschetto Cybo.

THE EXqUISITELY ADORNED BINDING ∙ The original binding has been lost. In-depth historical and philological research was therefore conducted in order to reconstruct the binding just as, in all likelihood, it had been originally conceived. The very fine gilded silver cover encasing the manuscript can be separated from the elegant red velvet binding. Joined by five elaborate hinges and closed by two clasps in the form of intertwining cordage, the covers feature two examples of enamel work representing the Annunciation − an iconic element propitious for newlyweds − and the saints John the Baptist and Mary Magdalene (or Maddalena). This masterpiece of the art of book binding was created by master jewellers from Florence, and is a prime example of the work of jewellers during the era of the Renaissance.

COMMENTARY ∙ The work is accompanied by a book with commentary, edited by Laura Regnicoli and with a contribution by Pippa Shirley.

DESCRIpTION OF THE WORK∙ Facsimile reproduction of Ms. 16 of the James A. de Rothschild Collection (Waddesdon Manor, England) ∙ Volume of 470 pages; size 9.5 x 15.2 cm ∙ 27 illuminated pages (among them, 12 Calendar pages and 7 frontispiece pages)∙ Gilded silver cover; red velvet binding with enamel work∙ Limited edition of 550 numbered and certified copies

The majestic liturgical book known as the Lezionario Farnese, produced in Rome shortly after the mid-sixteenth century for Cardinal Alessandro Farnese, represents a high point for the art of illumination. Given its size – the work is of monumental pro-portions – and the wealth of embellishments, we may consider the Lectionary a codex of exceptional merit.

THE MISSAL OF THE SISTINE CHApEL ∙ By commissioning this truly sumptuous work, Ales-sandro Farnese brought into being a codex which, for hundreds of years, served as one of the Missals used by the Popes and Princes of the Church during the solemnities held at the Sistine Chapel. In its splendid full-page illuminations and wonderful gilded frames – adorned with putti, masks and floral motifs – we note the influences of the grand art of the Renaissance and, in particular, of the work of Michelangelo.

A WIDELY ACCLAIMED ILLUMINATOR ∙ The Farnese Lectionary represents one of the mas-terpieces of Giulio Clovio (1498-1578), the most widely acclaimed illuminator of the late six-teenth century. Clovio was praised by the Florentine historian, Giorgio Vasari, in the second edition of his Lives of the Artists, as the “little Michelangelo”. Vasari cites the Farnese Book of Hours and the Lectionary as the most important of the works of Clovio, who, after leaving his native Croatia in 1516, achieved great renown as an illuminator in Italy.

THE NEO-GOTHIC BINDING ∙ The original binding went missing with the arrival of Napoleon’s troops. The codex was then re-bound in 1809-1810 in a red velvet Neo-Gothic cover of considerable beauty and refinement (the work of the London binders, Benjamin II and James Smith). We may note the wrought and gilded silver ferrules and clasps and, on the front cover, the polychrome porcelain coat of arms of the Towneley family, the last owners of this work.

The Farnese Lectionary

The Lectionary was commissioned by Alessandro Farnese (1520-1589), the grandson of Pope Paul III Farnese (who ordained Alessandro as cardinal in 1543, at the age of fourteen). In the early 1540’s, Clovio entered the service of Alessandro Farnese during the Cardinal’s early days as a patron of the arts. Farnese became the leading financer of artistic projects in mid-sixteenth century Rome. Clovio served the cardinal for the rest of his life,

and bequeathed his own fine collection of codices and artworks to his patron. In 1589, the Cardinal bequeathed the Farnese Lectionary to the College of Cardinals for use in the Sistine Chapel, where it is found to have been listed in the eighteenth-century inventories.

COMMENTARY ∙ The work is accompanied by a book with commentary, edited by Jonathan J. G. Alexander, with writings by Elena Calvillo, Nicholas Barker and Clive Wainwright.

DESCRIpTION OF THE WORK∙ Facsimile reproduction of Ms. MA 91 (Towneley Lectionary), held by the New York Public Library∙ Volume of 64 pages; size 33.8 x 48.7 cm∙ 6 full-page illuminations and 6 large illuminated and gilded borders∙ Red velvet binding (silver ferrules, clasp strips and coat of arms of the Towneley family in porcelain)∙ Limited edition of 550 numbered and certified copies

This precious Book of Hours is truly a triumph of the art of illumination in Lombardy. The splendid cover is that of the original work, which includes many illuminated il-lustrations. Since it is so small, we may conclude that it was produced for the use of a noble lady. A TRIUMpH OF THE ART OF ILLUMINATION IN LOMBARDY ∙ The Torriani Book of Hours is just one of a small handful of this period manuscripts which still have their original bindings. It is therefore an exceedingly rare item. The two binding covers, with their gilded silver filigree work, are adorned with cameos representing Saint Catherine and Saint Lucy. Inside the bind-ing covers, we also find 14 enamel inserts representing The Kiss of Judas, The Way to Calvary and twelve busts of saints. The wealth, luxury and refinement of the times is clearly illustrated by the Torriani Book of Hours, alongside other devotional works produced by the jewellers’ workshops of Milan under the House of Sforza.

THE REFINEMENT OF THE EMBELLISHMENTS ∙ Thirty illuminations adorn this priceless devo-tional codex for private use: twelve illustrate the Calendar and eighteen decorate the Offices of the Virgin. Among these miniatures we find six full-page illuminations and twelve pages with illuminated initials featuring imagined architectural works, floral motifs, putti, birds and rabbits.

A MASTER’S WORKSHOp ∙ The illustra-tions for the Torriani Hours may be as-cribed to the Milanese ‘bottega’ (work-shop) of the master, Giovanni Ambrogio de Predis. This leading workshop operat-ed in full awareness of the latest develop-ments in the field of painting in Lombardy at the close of the fifteenth century, and, in particular, of the art of Leonardo da

The Torriani Book of Hours

Vinci (with whom de Predis worked in 1483, on the Virgin of the Rocks). The embellishments of the borders, with their markedly naturalistic representations of animals, jewels and floral sprays, are the work of the young Matteo da Milano – one of the leading illuminators of Milanese origin – who received commissions from the most important Houses of Renaissance Italy.

COMMENTARY ∙ The work is accompanied by a book with commentary, edited by Pier Luigi Mulas, with writings by Marco Collareta, Jean-Baptiste Lebigue and Monica Visioli.

DESCRIpTION OF THE WORK∙ Facsimile reproduction of Ms. 83 of the Bibliothèque du Château de Chantilly ∙ Volume of 288 pages; size 6.5 x 8.2 cm∙ 30 illuminations (6 full-page)∙ Bound by hand (covers and spine with gilded silver filigree work)∙ 2 enamel inner cover inserts∙ Limited edition of 980 numbered and certified copies

The codex was commissioned by the Della Torre or Torriani house, an old and illustrious family of Lombardy which, for some time, ruled over Milan. Further confirmation of the Milanese origin of the work is to be found in the inclusion of certain features, such as local saints, in the Calendar, and the church of Santa Maria Maggiore,

Milan’s old cathedral, surmounted by a statue of Saint Ambrose (the Patron Saint of Milan). However, the identity of the lady for whom the codex was made, perhaps a lady of the court of Ludovico Sforza, is unknown.

This extremely refined early sixteenth-century masterwork of the Italian Renaissance was, in all likelihood, commissioned by Francesco Ghislieri, who belonged to a leading family of Bologna, on the occasion of the birth of his grandson, Bonaparte. Also Bolo-gnese was the copyist, pietro Antonio Sallando (a grammarian at the city’s university and a renowned calligraphy master).

A TREASURY OF MASTERpIECES ∙ Perugino, Lorenzo Costa, Francesco Francia, Amico Asper-tini – this codex is unique in its inclusion of the works of such renowned masters. Francesco Ghislieri’s intention was to produce an anthology of the finest illuminators in Italy during this period. To this end he called upon a number of the leading artists of the times, each of whom was to produce a full-page illumination. Matteo da Milano, a leading illuminator, was entrusted

with the task of coordinating the work of these artists. He was also responsible for the splen-didly adorned borders, enriched by inclusion of trompe-l’oeil effects. THE pAGE BY pERUGINO ∙ The page by Perugino represents the Martyrdom of St Sebastian. As the only illumination ever executed by this Umbri-an artist (who was lauded by his contemporaries as the greatest of all the painters of his times), this is the most notable leaf of the codex. The page, with Perugino’s signature, is at present not to be found in the codex. However, for the pur-poses of the production of this facsimile copy, it has been restored once more to its original position. This Book of Hours has therefore been brought back to its original, integral state.

The Perugino Book of Hours

The work’s original owner, as indicated by the coat of arms on leaf 16r, was Bonaparte Ghislieri, who was elected a senator in Bolo-gna following the assassination of his father, Virgilio, in 1523. When the codex was produced, Bonaparte Ghislieri was very young, and it may be that this Libro d’Ore was commissioned either by Bo-naparte’s father, or, as it is more likely, by Bonaparte’s grandfather,

Francesco, for the edification of the youngster who was to be heir to the house’s fortunes. The codex passed from the house of Ghislieri into the hands of the Albani family of Urbino, where, according to record, it was to be found in the eighteenth century. In the nineteenth century, the work reached Britain, where it was purchased by Henry Yates Thompson in 1897. It has been at the British Library in London since 1941.

MARVELLOUS EMBELLISHMENTS ∙ Notable, too, are the embellishments framing the illustra-tions, produced with an abundance of references to the classic tradition. Indeed, a number of pages include grotesque figures inspired by the decor of the ‘Grotte’ (caves) of the Esquiline Hill in Rome, the site of the buried remains of Nero’s Domus Aurea. When uncovered in 1480, it immediately attracted the attention of the artists of that period.

THE ELABORATE INLAY WORK OF THE BINDING ∙ The morocco binding, with its finely executed inlay floral motifs on polychrome silk satin, is quite remarkable. The two centrally positioned roundels feature the figures of the Annunciation – the Archangel Gabriel on the front cover and the Virgin on the back. Above and below the figures, we find, on each cover, two semi-precious stones.

COMMENTARY ∙ The work is accompanied by a book with commentary, edited by Massimo Medica, with writings by Giancarlo Benevolo and Peter Kidd.

DESCRIpTION OF THE WORK∙ Facsimile reproduction of Ms. Yates Thompson 29, of the British Library (London)∙ Volume of 274 pages; size 14.5 x 20.7 cm∙ 32 pages of illuminations and more than 1,000 gilded initials∙ Morocco binding adorned with silver and enamel work and semi-precious stones ∙ Limited edition of 980 numbered and certified copies

The Durazzo Book of Hours, which takes its name from its last owner, is in two ways quite different from all other devotional codices. One is the use of purple parchment. The other is chrysography, or writing in letters of gold – the work of the master cal-ligrapher, pietro Antonio Sallando.

THE ILLUMINATION WORK OF A GOLDSMITH AND jEWELLER ∙ The illumination work is by the painter from Parma, Francesco Marmitta (1462/1466-1505) – who was also a painter, jeweller and engraver. This versatile and highly successful artist, admired by Giorgio Vasari, was the creator of splendid works such as the Missal of Domenico della Rovere, belonging to the museum of the municipality of Turin (Museo Civico di Torino) and the Pala di San Quintino altar-piece, currently at the Louvre. The leaves of these masterpieces reflect the artist’s sensi-tivity, delicacy, lightness of touch and a taste for jewellery, medals and illuminated cameos.

A MASTERWORK IN GOLD AND pURpLE ∙ Marmitta’s references to the revived classic tradition indicate a meditative approach. This aspect comes to the fore in his use of purple and of gold lettering, and is also underscored in the motifs adopted. However, as a painter, the approach adopted for the Calendar and Offices of the Virgin reveals his awareness of the latest tendencies reflected in the culture of the figurative arts in Bologna. Architectural ele-ments, illuminated scenes, motifs harking back to classic models and the very fine lettering all combine in this masterpiece, proudly displayed by its first owner in the famous portrait by Par-migianino, at London’s National Gallery.

The DurazzoBook of Hours

In all likelihood, Giovanni de’ Rossi di San Secondo, a member of one of the most powerful noble houses of Parma, commissioned the book in 1502 for his son, Troilo. He may have chosen the purple parchment as a reference to the family name (Rossi in Italian means Red). Indeed, it is not by chance that Giovanni de’ Rossi di San Secondo should be portrayed in a red garment in one of the illuminations. The manuscript takes its current name from the Marquis, Marcello Luigi Durazzo (1790-1848), the last

descendant of a Genoese noble family. The Marquis, a refined connoisseur of the arts and keen collector, purchased the codex from a dealer in 1826 and then bequeathed it to the Berio Library in Genoa, where it is to be found today.

THE HIGHLY ELABORATE BINDING ∙ The elegantly crafted binding dates back to the time of the codex itself. Indeed, the taste displayed in the embellishments is the same. The binding features wrought and embossed silver, in part gilded, on purple velvet. It also features a splen-did profusion of classical motifs (acanthus and palmette motifs, ears of wheat, grapes, vases, masks, scarabs and bucrania). The silver clasps are adorned with two small rubies.

COMMENTARY ∙ The work is accompanied by a book with commentary, edited by Andrea De Marchi, with writings by Davide Gasparotto, Federica Toniolo, Beatrice Bentivoglio-Ravasio, Laura Malfatto and Laura Nuvoloni.

DESCRIpTION OF THE WORK∙ Facsimile reproduction of m.r. Cf. Arm. I of the Biblioteca Civica Berio, Genoa ∙ Volume of 432 pages; size 9.7 x 14.3 cm∙ 45 illuminations (6 full-page) and more than 200 illuminated initials∙ Velvet, gilded silver binding with precious stones∙ Limited edition of 980 numbered and certified copies

The Bible of Federico da Montefeltro was produced during the latter half of fifteenth century, and is now held by the Vatican Library. Within the ambit of the art of books, this large two-volume manuscript may be considered one of the most superlative works ever produced. This masterpiece embodies the peak of development of the art of illumination.

A WORK OF MONUMENTAL pROpORTIONS ∙ The work was produced at a time when the practice of printing with movable types was spreading fast. This two-volume Bible differs from the usual codex in its size and in the number of leaves (more than five hundred, thirty-five of which feature illuminations of a truly painterly character).

MASTER ILLUMINATORS ∙ The script of this Bible – the most beautiful codex of Federico da Montefeltro’s library – is by Ugo Comminelli da Mézières. The adornments, executed in Flor-ence in just two years (1477-1478), are by Francesco di Antonio del Chierico, an illuminator

who had reached the peak of fame at that time, and who was generously ‘loaned’ to the Duke of Urbino by Lorenzo de’ Medici. Alongside these illuminations by Francesco, we find the work of other historically renowned illuminators such as Attavante degli Attavanti, Francesco Rosselli and, in all likelihood, Davide Ghirlandaio (the brother of the more well-known Domenico Ghirlandaio).

THE INFLUENCES OF RENAISSANCE MASTERS ∙ In these Bible works we find many ‘echoes’ of the immense heritage of the figurative arts of fifteenth century Florence, and notably also of the major artists of the Tuscan Renaissance.

The Bible of Federico da Montefeltro

The Duke of Urbino, Federico da Montefeltro, transformed the capital of his small duchy into one of the most imposing cultural centres of the Italian Renaissance. He called to his court archi-tects and artists such as Luciano Laurana, Melozzo da Forlì, Giusto di Gand and Piero della Francesca. He also founded one

of the largest libraries of the times, where, over the years, dozens of scribes tran-scribed books which were then sent to the Florentine workshop of Vespasiano da Bisticci to be embellished by the most widely renowned illuminators.

COMMENTARY ∙ The work is accompanied by two volumes of commentary, edited by Ambrogio M. Piazzoni, with writings by, among others, Antonio Paolucci, Giovanni Morello, Gino Benzoni and Luis Duval-Arnould.

DESCRIpTION OF THE WORK∙ Full facsimile reproduction of the Urb. Lat. 1 and Urb. Lat. codices of the Biblioteca Apostolica Vaticana, Rome· Two volumes; size 47 x 63 cm each (total 1108 pages)· Pure-silk velvet binding, outer covers with needlework and silver bosses and clasps· Limited edition of 500 numbered and certified copies

Les Très Riches Heures du Duc de Berry

Les Très Riches Heures du Duc de Berry (Bibliothèque du Château de Chantilly, Ms. 65) is perhaps the most famous of all works of book illustration. This splendid codex, which came into being in the early fifteenth century, is the work of the three leading illuminators of the times, Herman, paul e jean de Limbourg. The three brothers (from Nijmegen) worked on the codex between 1411 and 1416 (the year in which they died in mysterious circumstances). The codex therefore remained unfinished until about 1485, when Charles I (Duke of Savoy) commissioned another excellent illuminator, Jean Colombe, to complete the work. The work represents the highest point of the art of illumination in Europe during the period of the decline of the Gothic mode and of the dawning of Renaissance art. On each page we find an abundance of embellishments of all kinds. The 208 folios include more than 3,000 gilded initials and as many as 130 raised silver and gold illuminations.

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The Divine Commedy of Alfonso of Aragon

This splendid Divina Commedia manuscript (London, British Library, Ms. Yates Thompson 36) includes more than 100 marvellous illuminations, with illuminated initials opening each part. The calligraphy and decorations are Tuscan, dating back to approximately the mid-fif-teenth century. The work was commissioned by a great patron and enlightened Humanist – the King of Naples, Alfonso of Aragon. An important quality of this manuscript consists in its being one of the few that fully illustrate all three parts of the Divine Comedy. The illumination work is by two artists, both from Siena – Lorenzo di Pietro, known as il Vecchietta (responsible for all the initials and the Inferno and Purgatory scenes, produced between 1442 and 1450), and Giovanni di Paolo, who embellished the Paradise. In the 115 illuminated scenes at the foot of

the pages we see that the two artists’ approaches are markedly different. While il Vecchietta’s is a world of drama, Giovanni di Paolo’s is one of stunningly beautiful landscapes, inspired by the Tuscan countryside. We also note the unifying presence of the two figures of Dante and Beatrice in most of the illuminations. Finely executed work in gold, in the frames, accompanies these extraordinarily evocative illuminations. This is most evident in the Paradise scenes, in which the frames seem to shed extra light upon the episodes recounted. Also noteworthy is the elegance of the script, ar-ranged in a single column and accompanied by initials. This work can be easily read, and an appreciation of the poem itself enhances our enjoyment of the images.

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The Book of Hours of Lorenzo de’ Medici

This codex (Florence, Biblioteca Medicea Laurenziana, Ms. Ashburnham 1874) is one of the “libriccini delli offitii, di donna” (small books of the offices, for the use of ladies) of the inventory drawn up in 1492 following the death of Lorenzo de’ Medici, who commissioned these works for the weddings of his daughters. The codex is hardly larger than a postcard. Before even considering the content, one is struck by its extraordinary violet velvet binding, with gilded silver filigree work bosses and ferrules. On each cover we find a large lapis lazuli and four rose quartzes. In all its parts, this codex is most surely a work of the highest order. This is quite evi-dent in its binding, the harmonious script and the marvellously refined illumination, ascribed to the engraver, illuminator, cartographer and painter, Francesco Rosselli, who (like Francesco di Antonio del Chierico) was a major exponent of the Florentine school. The nine full-page illumina-tions are stunning, but each of the 233 leafs of the manuscript includes at least one adornment, an initial or frieze, to delight the eye of even the most discerning and exacting bibliophile.

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The Visconti Book of Hours

Known as the Offiziolo Visconti (or Libro d’Ore Visconti) this two-volume illuminated Book of Hours (Florence, Biblioteca Nazionale Centrale, Mss. BR 397 and LF 22) is a particularly lavish work. We owe the texts to the copyist, Brother Amedeo. The illuminations, dating back to sepa-rate periods, are the work of two artists who differ greatly the one from the other. With the aid of colleagues, Giovannino de’ Grassi, working for Gian Galeazzo Visconti, is responsible for the opening pages. On this master’s death in 1398, the work came to a halt. When Gian Galeazzo’s son, Filippo Maria, ascended to the duchy in 1412, the work was taken up again by Belbello da pavia. Toward the end of his life, Gian Galeazzo raised the two cities of Pavia and Milan to the rank of major European centres for the production of a truly unique series of illuminated books on a very broad range of subjects.

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Of considerable charm and interest, this manuscript, known also as the Tacuinum Sanitatis (Rome, Biblioteca Casanatense, Ms. 459), is an encyclopaedia of natural history. It includes descriptions of plants, minerals and animals, with particular reference to their medicinal and therapeutic properties. This codex, which can be dated back to the close of the fourteenth century, was produced at the court of Gian Galeazzo Visconti. Visconti offered it as a gift to Wenceslas IV, the King of Bohemia and Germany. The sections of the 295-leaf manuscript are ordered alphabetically. The detailed illustrations of plants (more than 500) eloquently attest to the considerable advances that had been made in the field of botany in Italy by the close of the Middle Ages. Alongside the botanical illustrations we also find more than 80 illustrations of animals from which curative substances may be extracted, and more than 30 illustrations of substances of mineral origin. We also find many scenes taken from day-to-day life situa-tions. Many of the initials include half-length portraits of physicians or scholars.

Historia Plantarum

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The Bible of Borso d’Este

Dating back to 1455-1461, this Bible (Modena, Biblioteca Estense Universitaria, Mss. Lat. 422 and Lat. 423) was produced for the Duke of Ferrara, Borso d’Este. It is the most beautiful of all Renaissance codices. A number of the major artists of the times contributed to this Bible, thus producing a work that would, for hundreds of years to come, celebrate the splendour of the Este court and the munificence of its Duke. The illuminators, including the renowned Taddeo Crivelli and Franco dei Russi, embellished the recto and verso of each leaf. We note an aware-ness of the new rules concerning perspective, and considerable attention to natural detail (a typically Flemish trait). The friezes include many marvellous mythological, animal and heraldic decorative motifs. The Bible of Borso d’Este – unrivalled by contemporary works and of truly astounding worth – provides a priceless record of the artistic heritage of the Renaissance.

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The new patronsThe “Franco Cosimo et Amicorum” Club

Facsimile production is a complex process that pools the skills of experts from various fields. However, we must also remember the role of collectors, connoisseurs and bibliophiles who, by purchasing faithful reproductions of illuminated codices, conserve the value of a corpus of cultural production. They are a fundamental player in the efforts to fully convey the appreciation of a given period of history and its artistic and cultural life, as reflected in each facsimile edition. Collectors of facsimile editions may be counted among the true patrons of the arts of our times, and worthy heirs to the great lords of Renaissance times, who spared no expense in commissioning such masterpieces of the art of book production as these. Facsimiles repre-sent an investment. They create assets – Beauty and Culture – which, while immaterial, are essential to our wellbeing.

Franco Cosimo Panini Editore has created a collectors’ club, “Franco Cosimo et Amicorum”, for book-lovers who, as third-millennium patrons of the arts, have purchased works from the Biblioteca Impossibile. Club “Franco Cosimo et Amicorum” is a close circle of bibliophiles for whom privileges and services are specifically reserved, including vis-its to historic libraries, free tickets to major cultural events and other exclusive benefits. Please contact us for further infor-mation: amicorum@fcp.it

Franco Cosimo Panini Editore · Via Giardini 474/D · 41124 Modena · ItalyPh. +39 059 2917311 · info@fcp.it · www.francopanini.it