Divine Comedy - Urbinate Manuscript

Divine Comedy - Urbinate Manuscript

Dante Alighieri (ca. 1265–1321) is considered the father of the Italian language. His Divina Commedia is not only the preeminent work of all Italian literature but is also counted among the most important poems of the Middle Ages. The work has since influenced countless other authors and is one of the most frequently referenced works in the Western literary tradition. Guided by the Roman poet Virgil (70–19 B.C.), the author and protagonist of the Divine Comedy travels through Hell, Purgatory, and Paradise on a spiritual and philosophical journey that has had a lasting impact not only on Italian literature but on European society as a whole. After its completion in 1320, Dante’s masterpiece was copied in numerous magnificently illuminated manuscripts, including the manuscript known as the Dante Urbinate from the Bibliotheca Apostolica Vaticana.

For a Bibliophile Condottiere

The magnificent manuscript was commissioned by the bibliophile mercenary leader Federico da Montefeltro (1422–1482), Duke of Urbino, and created at the ducal court between 1477 and 1482. The Duke’s library comprised one of the largest manuscript collections of the 15th century and has survived largely intact to this day. This collection remains in the holdings of the Vatican Library by virtue of a special decree issued by Pope Alexander VII (1599–1667) on August 7, 1657.

Three Steps to a Masterpiece

With its outstanding illumination, the Urbinate Manuscript is a highlight of this famous collection. After Matteo de’ Contugi da Volterra had transcribed the text with the utmost calligraphic precision, the Este court painter Gugliemo Giraldi and his workshop—which may have included Alessandro da Milano—began illustrating the pages. They were responsible for a large portion of the illumination of the Inferno, as well as the incipit page and the first two miniatures of the Purgatorio. After about two years of work, Giraldi returned to the Este court in Ferrara, whereupon the work was continued and initially completed by Franco dei Russi and his workshop. The team illuminated the Purgatorio and added three miniatures to the Inferno.
Over 100 years later, the Duke of Urbino, Francesco Maria Della Rovere (1548–1631), decided to commission Valerio Mariani to add further miniatures to the Purgatorio and the Paradiso.

The Exquisite Splendor of the Early Renaissance

The result is an exceptionally magnificent and richly illuminated Dante manuscript featuring 120 large, some full-page, miniatures reminiscent of panel paintings in their elaborate frames. They are characterized by their rich colors and imaginative, wide landscapes, against which the finely executed figures appear. Dante and Virgil, in particular, are distinguished by their individual facial features and can be clearly identified thanks to their differently colored robes: Dante, in his blue cloak, follows the red-robed Virgil through scenes that are also remarkable for their extraordinary emotional intensity. Furthermore, the images and text are accompanied by ornate white vine initials and borders, whose ornamentation—typical of the period—underscores the unique aesthetic of the Italian Early Renaissance.