With 15 full-page illuminations and more than 200 decorated pages, the Wedding Hours is an opulent witness to the ambitions of the Visconti-Sforza dynasty. The intricate and rich illustrations were completed by the Master of Anna Sforza (possibly Nicoletto da Modena). With its opulent Renaissance motifs completed in gold and heavily saturated colours, the manuscript’s style demonstrates the genius of the artist, who combined techniques of illumination and goldsmith’s work (seen in medallions with red and blue backgrounds that simulate painted enamel). This quality, along with the intricate architectural elements, is characteristic of late fifteenth-century Milan. The Master of Anna Sforza would have been influenced by the vibrant artistic community of Milan, which included figures such as Donato Bramante, Leonardo da Vinci, and brothers Cristoforo and Giovanni Ambrodio de Predis.
The magnificent decoration includes abundant references to Antiquity, including cornucopia, candelabra, gilt goblets, putti, wreaths, and cameos with inscriptions. However, no matter the pervasiveness of secular references, the imagery remains imbued with the sacred. The elaborate 15 full-page miniatures illustrate scenes of the life of Christ, while within the more than 160 extravagant full-borders, bold, yet delicate, medallions with busts of saints, animals (mythical and real), and skulls, appear among colourful, curling acanthus leaves and flowers. The incredibly precise execution of the design can be observed particularly in the kaleidoscopic combination of illusionistic gems and pearls set within the borders.
This jewel-like illumination was designed to honour and perpetuate the Sforza family bond as Bianca moved away from Italy and north of the Alps. Renaissance art, such as this book, was intricately tied to the concept of patronage and this sumptuous manuscript demonstrates how effectively art was used to link social, religious, and political life during this period. It was commissioned as a wedding gift by Ludovico Sforza, Bianca’s uncle, who, through his niece’s arranged marriage to Maximilian, hoped to gain the ducal title of Milan. The marriage also served Maximilian’s political ambitions. He had inherited his father’s undivided power upon his death, but was not yet crowned emperor, so, he needed finance and safety for his coronation in Rome.
At least ten pages directly mark their marriage with impressive and exquisite combinations of both families’ heraldry and mottos. Ludovico’s involvement as commissioner is indicated by the presence of his arms in the border of the Hours of the Virgin at None (f. 61 r). Bianca’s ownership is indicated by the device of the ‘Sempervivum tectorum’ plant with the motto ‘Mit Zeit’ (f. 44v), which was originally used by her grandfather Francesco (d. 1466) and her father Galeazzo (d. 1476). Her monogram (BI.MA) also appear. Many of these heraldic devices, such as impresa and badges, contain personal details that indicate to whom the refer: a bear for Maximilian, a greyhound or veltro in repose for Francesco Sforza, rabbits for fertility, griffons, a deer, and the sun and moon.
With all of the references to her extended family, as well as her new husband’s, Bianca could use her magnificent Book of Hours to pray for saintly support or for the salvation her own soul, as well as those of her closest relatives. The book’s small size created an intimate experience, while the brilliant colours and splendour of the manuscript would remind her of the warmth of her native Milan.
The Wedding Hours is a highly important work of cultural heritage and is of exceptional historical and art-historical value.
