Facsimile edition made in 1996 of one of the smallest mined manuscripts that exist: the Triumphs of Petrarca, whose original of the fifteenth century is preserved in the National Library of Spain, sign. Vitr. 22-4.
Facsimile bound in red velvet on wood, embossed in silver and gold thread, with 2 fastenings on tape. Format 8.5 x 12.2 cm. 180 pages of special paper imitating the fine calf. Texts in ancient Tuscan Italian.
Limited edition to 1,460 copies, numbered and doubly certified and signed: by notary and by the publisher.
The facsimile is presented in a small box of methacrylate with edges in gilded aluminum, which acts as a precious music stand that allows to display the codex. Format 23.5 x 17.7 x 5.5 cm.
Accompanied by the corresponding book of studies in Spanish, made by Asunción Madinaveitia, Manuel Sánchez Mariana and Elisa Ruiz de Elvira. Translation of Hernando de Hoces made in the sixteenth century. Bound hardcover, format 14,2 x 23 cm. 156 pages.
The painting of this tiny Petrarch is a truly surprising work, since it combines an exceptional artistic sense with a totally out-of-the-ordinary technique, having to be executed using a magnifying glass and a very fine brush to add the very delicate gold leaf decoration . According to Durrieu, “there is nothing more delicate than the seven full-page miniatures it contains, surrounded by exquisite marginal decoration which is repeated in the opposing text pages,” and relates the manuscript to another larger Petrarca copied in 1475 for Lorenzo de ‘Medici, who attributes to the illuminator Francesco d’Antonio del Chierico. However, more recently, Annarosa Garzelli has identified it as a work of the late Florentine illuminator Ricciardo di Nanni.
The manuscript was brought from Italy by Cardinal Zelada in the 18th century. It contains the Life of Petrarch and the Trionfi, that is, the poems in chained triplets that develop the Triumphs of Love, Chastity, Death, Fame and Time.
Bound in red velvet, and silk in the planes, it is embroidered in silver highlight, among other reasons, a capelo without a doubt alluding to the dignity of its last possessor, Cardinal Zelada. Delicate miniatures, full page, preceding each of the “Triumphs”; Exquisite marginal ornamentation on the facing text pages. Titles in gold letters, and small initials alternating in gold and blue at the beginning of all triplets. The support is in very fine white vellum. Written in ancient Italian.
The poet Hernando de Hoces, the secretary who was the Duke of Medinaceli in 1554, authored the translation into Spanish that is attached to this edition, “in the same measure and number of verses that the thoscano has.”
Shipping costs for the account of the buyer, according to order and destination. Ask us without obligation (indicating the article reference) anything.