Sforza Legendarium

Sforza Legendarium

As the Duke of Milan, Geleazzo Sforza was famous as a great patron of music and the arts. As such, the famous illuminator Cristoforo de Predis created one of the most beautiful manuscripts of the Italian Renaissance for him in 1476, the opulently furnished Sforza Legendarium. As a book for private devotion and meditation, the legendarium illustrated the histories and legends of the Virgin Mary’s parents, as well as her childhood up the Annunciation. Following seamlessly is the tale of the life, miracles, and Passion of Christ up to the events of the Pentecost. The life of John the Baptist is similarly portrayed. The richly illustrated volume closes out with masterful miniatures of the Last Judgement.

An Exceptional Diversity of Images

Boasting 324 miniatures altogether, the legendarium impresses its beholder. Each individual depiction shines in a metallic gloss in combination with an astounding palette of intensely luminous colors. The variety of scenes from the salvation history of the New Testament is also unmatched. The North Italian inspiration is obvious in everything from individual architectural elements to entire edifices to fashion. Galeazzo was intended to recognize his own Duchy as the backdrop of the biblical scenes. The combination of powerful colors, which are finely nuanced, and shimmering filigrees of gold lend an exceptional liveliness to the illustrations. In doing so, the creations remain in a harmonious balance between concrete reality and imaginary space, between the holy and the profane, as well as the aristocratic and the folksy.

A Deaf-and-Dumb Painter with Special Observation Skills

The Milanese miniaturist Cristoforo de Predis was born deaf-and-dumb and was already a highly esteemed miniaturist at the Sforza court since 1471. His painting is distinguished by its many small details from contemporary life and an exceptionally intuitive gesticulation of the figures. He was always carefully observant with a curious attentiveness to reality: the city surrounding him, the everyday life and emotions of his fellow human beings. Resulting therefrom are the gentle countryside of the Po Valley, wide horizons, thronged streets and Piazzas, but also elegant dining halls and simple chambers. Numerous building materials used at that time such as bricks, stone, marble, colored plaster, and wood were taken into account, and he also dealt intensely with lighting effects in interior spaces. There are even traces of the recently invented central perspective to be found in his compositions.