Officium beatae mariae virginis of Cardinal Ippolito d'Este

Officium beatae mariae virginis of Cardinal Ippolito d'Este

The precious Officium beatae mariae virginis of Cardinal Ippolito d'Este presents itself as a gorgeous testimonial to Milanese illumination ca. 1500. The history of the manuscript is closely associated with the tragic life of Anna Sforza, the first wife of Ippolito’s brother Alfonso d’Este. 12 large-format miniatures and countless fantastic historiated initials adorn the private prayer book, which wonderfully presents the artistry of the Milanese court painter Francesco Binaso in the Este cardinal’s commission.

A Manuscript for the Cardinal…

The so-called Hours of Ippolito d’Este originated from a commission by a cardinal of the same name ca. 1500 in Milan. Ippolito d’Este (1479–1520) came from the powerful ducal family of Este in Ferrara and was already a cardinal in his childhood and eventually became archbishop of Milan. Ippolito commissioned the miniaturist Francesco Binaso, who was active at the Sforza court in Milan at the end of the Quattrocento and beginning of the Cinquecento, with the fabrication of this costly prayer book.

Overwhelming Visual Adornment

Francesco Binaso splendidly decorated the Officium as a private devotional book and thereby stayed true to the traditions of the Italian Renaissance. Twelve large-format miniatures illustrate scenes from the life of the Virgin Mary and various female saints. The women are depicted with long, gorgeous hair and correspond to the all-around ideal of beauty at the time. The content of the texts is visually presented before the eyes of the beholder in the midst of gorgeous landscapes and impressive architectural backdrops. The manuscript is completed by 146 gorgeous historiated initials. Overall, they are richly ornamented, elegantly and colorfully designed. Artful tendrils and fantastic décor surround the initials.

...or for a Woman?

The focus of the miniatures on female saints allows one to discern a connection of the manuscript with a woman. The Officium presumably found its way into the possession of Anna Sforza (1476–1497) – as a present? Anna was the daughter of Galeazzo Maria Sforza, the Duke of Milan. She was married to Alfonso I d’Este in 1491, the future Duke of Ferrara and brother of Cardinal Ippolito. This union had already been agreed upon in the year after Anna’s birth. Nonetheless, the two experienced an unhappy marriage, Anna was first able to get pregnant after 6 years and finally died in childbirth. The manuscript is reminiscent of the woman and her eventful, but short life and simultaneously presents itself as a gorgeous artwork of Italian illumination ca. 1500.