Officium beatae mariae virginis of Anna Sforza

Officium beatae mariae virginis of Anna Sforza

The so-called Hours of Anna Sforza probably originated from a commission by cardinal Ippolito d’Este (1479–1520) ca. 1500 in Milan. Ippolito 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.

A Precious Gift to Anna Sforza

The focus of the miniatures on female saints allows one to discern a connection of the manuscript with a woman. The Officium found its way into the possession of Anna Sforza (1476–1497) – presumably 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.