Artworks
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
Breviary, use of Rome, in Latin, illuminated manuscript on vellum. Northeastern Italy, c. 1480.
With 5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
5 historiated initials, 24 full historiated borders, 49 three-sided illuminated borders, and small illuminated initials throughout, three- to seven-line initials extending into the upper and lower margins.
A most unusual and beautifully decorated book of hours in humanistic script and with a fascinating pictorial programme, created by a group of illuminators around two of the most respected artists of the Florentine Renaissance: Francesco d'Antonio del Chierico and Zanobi Strozzi.
This Breviary is a wonderful example of Northern Italian manuscript illumination with its vibrant and eye-catching colouring on contrasting black background. Most likely created as a private object for an affluent Italian member of a religious order, the Breviary provided a splendid feast for the eyes during prayer and captures its viewers’ attention with its rich and narrative illuminations.
The main texts are introduced by 24 full borders edged in gold. Most of them bear lush, fleshy acanthus leaves in various shades of red, orange, blue, and green on a black ground, accentuated with fine gold ornaments. The tapestry of acanthus leaves is interspersed with fruits and flowers. All kinds of insects, birds, animals, dragons, human figures and hybrid creatures cavort in the foliage and sometimes hide in the undulating leaves. In most of the borders, round or rectangular fields provide room for small miniatures that are related to the accompanying texts, showing either saints or pious scenes from the story of salvation.
The concept of the border on f. 90r differs slightly from the rest in that it is divided into various gold-framed fields containing the epitome of Renaissance motifs like candelabra work, putti, medallions with busts, portraits and saints. Miniatures are often set within simple landscapes, with skies that blend rapidly from pale to dark blue. Some roundels contain busts of sublime characters reminiscent of medals by Pisanello demonstrating the versatility and skill of the workshop at hand.
