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Giovan Battista Belluzzi, also known as Il Sanmarino (MS. Ricc. 2587)

In her book titled Il Sanmarino. Giovan Battista Belluzzi, architetto militare e trattatista (Florence: Olschki, 2007), Daniela Lamberini confirms the attribution of this treatise to Giovan Battista Belluzzi (1506-1554). Born in San Marino, Belluzzi was Cosimo I de’ Medici’s first military engineer. In the second volume of her book (pp. 393-449), Lamberini publishes Belluzzi’s treatise and comments on it extensively. The author signed the autograph copy now at the Biblioteca Riccardiana (MS. 2587, addressed to the Medici general Stefano Colonna) as “Bellucci”, thus using the Florentine form of his last name. In this work, Il Sanmarino (as he was nicknamed) discusses above all the first stage in the making of a fortress, that is, the “terraglio” (a foundation made of “earth”, “terra” in Italian, and wood), to which stones and bricks were added at a later stage (thus making it “incamiciato”, as the jargon of the time would say, as if it were covered with a shirt, Italian “camicia”). In his book, the very first of its kind, Belluzzi provides ten most helpful drawings to illustrate each phase in the making of these structures and all related instructions. The text ends with a description of the works made to the bastions and the city walls of Pistoia under Belluzzi’s supervision. These works were completed (both quickly and efficiently, within just a few months) in 1544.

 

IThis digital facsimile has been realized thanks to the support of
Fondazione San Marino.

 

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Dante Alighieri, Divine Comedy (MS. Ricc. 1035)

This famous copy of Dante’s Commedia was transcribed by Boccaccio and illustrated by him with seven drawings to depict some passages from Inferno.
Once compared with other drawings by Boccaccio, the illustrations in this manuscript prove him to be as witty and lively in the visual arts as he was in writing. This is not surprising, if one considers the artists’ milieu that he was acquainted with and that he describes in some of his famous short stories.
Also, this manuscript, which was once owned by Bartolomeo Fortini (whose father, Benedetto, succeeded Coluccio Salutati as chancellor of Florence), is further testimony to Boccaccio’s outstanding ability as a Dante scholar.

 

This digital facsimile has been realized thanks to the support of
Ente Nazionale Giovanni Boccaccio.

 

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(Ricc. 453)

This manuscript consists of two distinct sections, which were probably joined in the early fourteenth century. Of these two stories, only the one recounting the martyrdom of Margaret of Antioch is illustrated. Its miniatures serve as a visual commentary on the text, highlighting the most important episodes on almost each page.

The codex was made in Bologna toward the end of the thirteenth century. Its 33 miniatures and their many classicizing features stand out as the richest illustration of this legend; certainly, a book like this was conceived for an aristocratic setting.

In this regard, the suggestive theory has been raised that the making of this codex may be connected with Blessed Margaret, daughter of Bela IV (king of Hungary). A Dominican nun, Margaret led a most pious life, eventually receiving the stigmata. At the time she could not be worshipped openly, as the Church had not canonized her as a saint yet. However, she could be venerated through the saint bearing her same name.

This digital facsimile has been realized thanks to the support of
Manageritalia Milano

 

 

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Virgil, Works (MS. Ricc. 492)

Known as “Virgilio Riccardiano” this manuscript bears a closing inscription by the famous scribe Niccolò Riccio (nicknamed “Spinoso”) who worked for Vespasiano da Bisticci and his workshop.

The 88 miniatures in the lower section of the folios (which have been attributed to Apollonio di Giovanni and his assistants) illustrate Aeneas’ travels. In them, one can easily detect allusions to Florentine artworks of the time, especially the Magi Chapel, which Benozzo Gozzoli painted in the Palazzo Medici in 1459.

References to the 1439 Council of Florence, the fall of Constantinople in 1453, and contemporary chronicles are also obvious in the monuments and the Eastern clothes depicted in these illustrations. These miniatures thus serve as a visual narrative at once rich in innuendos as well as allegories and firmly rooted in the history of its own time.

Illuminations decorate the very first page of Virgil’s Bucolics and Georgics, whereas the Aeneid is only decorated until the end of Book 3. Illuminations on ff. 93-98 are only partially colored, whereas the ones on ff. 101-104 (showing men at work in some busy workshops) are only sketched.

This digital facsimile has been realized by Art Codex – Atelier del Codice Miniato

 

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Psalter (Ricc. 323)

Around 1235/37 Frederick II commissioned this wonderful psalter for his third wife, Isabel of England. Usually ascribed to copyists from Acre, it was most likely produced by an artist who added a typically Italian sense of color and shape to a Byzantine background.

Against a German iconographic backdrop, the figure of Christ stands out in these miniatures. Thanks to its flexible, reoccurring features it almost serves as a signaling device to the reader. The opening miniature is at once particularly complex and meaningful. By summing up the whole Christmas liturgy (which alludes to Christ’s death and resurrection), it brings together both the Old and the New Testament.

A note in the manuscript reads: “Property of Sister Margaret Da Scorno, nun in the convent of St. Silvester.” Originally from Pisa, the Da Scorno family had many contacts with southern Italy, where they probably came in possession of this manuscript.

This digital facsimile has been realized by Vallecchi Casa Editrice Firenze.

 

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More Articles ...

  1. Piero della Francesca’s Archimedes
  2. Bartolomeo Ammannati’s drawing notebook
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Biblioteca Riccardiana

Via Ginori,10 - 50123 Firenze
Tel. +39 055212586 ; Fax +39 055 2113770 ; Direzione +39 055293385
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