Petrarca: Trionfi - Spain Codex

Petrarca: Trionfi – Spain Codex

Despite its small side, this outstanding manuscript is furnished with extraordinarily refined miniatures as well as historiated initials and frames with an unbelievable level of detail that were made from refined color palette and plenty of gold. The seven full-page miniatures appear at the beginning of each Triumph, the titles appear in gold, and blue and gold initials mark the beginning of new sections. Aside from the text of the Trionfi, this manuscript also contains a Vita concerning Petrarch, a poem written in terza rima with examples of some of the Triumphs and descriptions of biblical and historical figures. These figures serve as examples for the universal themes that Petrarch explores in the text, such as the nature of time and what the true meaning of love is. This small manuscript unites one of the most important literary works of the 14th century with the magnificence of Italian Renaissance art!

Journey to Spain

The manuscript came into the possession of Cardinal Francesco Saverio de Zelada (1717–1801) during his time at the Papal Curia in Rome, but its history before remains mostly a mystery. It is assumed that it was at his behest that the codex was rebound and given its current binding of sumptuous red velvet with gold and silver threads forming a cardinal’s hat, which is kept close by strands of silk that can be tied. Zelada was not known for his piety but rather for his fines tastes as an antiquarian and collector of books, coins, medals, various works of art, and even scientific machines. He was appointed Librarian of the Holy Roman Church on the 15th of December 1779, a position he held for the rest of his life. This copy of the Trionfi was sent to Spain along with the rest of his collection of manuscripts in the late-18th century. After being part of the collections of the Toledo Cathedral Library, it found its way into the National Library in Madrid, where it remains today.

Debate Concerning the Artist

The identity of the talented master responsible for this gem of 15th century Italian book art remains a topic of debate. Some point to artistic similarities in another Trionfi manuscript that was illuminated by Francesco di Antonio del Chierico (1433–1484) for Lorenzo de Medici (1449–92) in 1475. These scholars to speculate that the favorite illuminator of the greatest art patron of Renaissance Italy was responsible for this manuscript as well. However, some of their colleagues have recently begun to put forward the name of another, less famous candidate: Riccardo di Nanni (fl. 1449–80). They argue that the technical details of the seven outstanding full-page miniatures are more indicative of the Florentine artist’s work. What everyone can agree on is that this is a small book treasure.