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Full text of "Reproductions from illuminated manuscripts. Fifty plates from mss. in the R. Medicean Laurentian library with preface and illustrative notes by Dr. Guido Biagi"

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University of California Berkeley 

Gift of 
PROFESSOR ROBERT HARLAN 



Fifty plates from the MSS. 

of the 
R. Laurentian Library 



REPRODUCTIONS 




FIFTY PLATES 

FROM MSS. IN THE R. MEDICEAN LAURENTIAN LIBRARY 

WITH PREFACE AND ILLUSTRATIVE NOTES 

BY D. R GUIDO BIAGI 



LONDON FIRENZE 

BERNARD QUARITCH T. DE MARINIS 

\ \ GRAFTON ST., BOND ST. W. 5 PIAZZA STROZZI 



Florence, Stabilimento Tipografico Aldino 

Plates by Istituto Veneto di Arti Grafiche, 

Venice. 



PREFACE 



These reproductions from one of the most notable 
Italian collections may well, I deem, furnish useful ma- 
terial for the yet unwritten history of miniature painting 
in relation to illuminated manuscripts. Up to the present 
this history has been neglected both by bibliographers 
and art critics, as the ornamentation of books comes 
neither within the scope of palaeography nor within that 
of the history of painting. The miniatures which are pre- 
served in the Medicea Laurenziana and rank among its 
most vaunted treasures, are in such number and of such 
great worth as of themselves to provide materials for a 
fine and rich collection of reproductions. They range 
from the VI cent, to the XVIII cent., and contain 
examples of every age and every school. For this volume, 
the first of a series which it is hoped may comprehend 
miniatures and valuable manuscripts in various Ita- 
lian collections, I have selected only a few of the most 
characteristic that are to be seen in the glazed cases, at 
present all too scarce, in the Laurenziana, whose treasures 
it is my ambition to expose in an ordered Exhibition that 
shall form the Museo del Libro, when the Salone di Miche- 
langiolo is to have its completion in the Tribuna, desi- 
gned by the artist and which I ardently desire to see erected 
as the first saloon of the future Museo. 

In compiling this Album we have followed the example 



6 

set by the British Museum in its Reproductions from Illu- 
minated Manuscripts edited by George F. Warner, and I 
have endeavoured to give a short and complete description 
explanatory of the brief notes placed below each facsimile. 
To describe the various collections of the Laurenziana, 
whence the originals here reproduced have been taken, 
would be useless for those with knowledge of such, and 
tedious for those without. It is sufficient to recall that 
this notable collection begun by Cosimo pater patriae 
while still a young man (in whom the love of books 
had been instilled by Ambrogio Traveraari, the little monk 
of the Angioli who was one of the founders of Humanism 
in Florence), enlarged and enriched by the Medici, citizens 
and rulers of the Eepublic, and again by the Medici, 
Grand Dukes, and by the House of Lorraine, and lastly 
by the Italian Government with the addition of the ce- 
lebrated Ashburnham MSS. is still preserved and to be 
admired in the old Medicean seat, erected by Buonarroti, 
here by the side of the Church of Brunellesco and the Me- 
dicean sepulchres. The ancient tree of the old humanistic 
culture flourishes and grows green again, envied and admi- 
red by foreigners, while unknown or almost unknown to the 
great majority of Italians, who are ignorant of the golden 
age of books, when books were held in high esteem as a 
treasure-house of knowledge worthy of every adornment 

that art could bestow. 

GTJIDO BIAGI. 

The Medicea Laurenziana 
Easter 1914. 



LIST OF PLATES 



I-III. EVANGELIA SYRIACE CONSCRIPTA. MS. on vellum. VI cent. 
336 mm. X 266 mm. (Laur. Pint. I. 56). 

This is the celebrated Syrian MS. written by the monk Rabiila ; 
it came from the monastery of St. John of Zagba in Mesopo- 
tamia, and bears the date A.D. 586. The miniatures occupy fourteen 
leaves, of which the first, second and last are pasted in on modern 
guards. In this MS. a complete representation of the Crucifixion 
and the Resurrection (plate I) occurs for the first time, and of 
such reality and precision in the manner of its execution as al- 
most to make it a model for the Christian artists of the succeding ages. 
Following this, come the Ascension (plate II), and Christ between two 
bishops and two monks (plate III). It may be said that, in this por- 
trayal of the great scenes of the Christian faith, religious iconography 
possesses one of its first documents. The name " Loginos ", written in 
Greek uncial characters above the figure of the centurion in the first mi- 
niature, has given rise to the thought that the MS. may have been 
copied from a Greek original. But the influence of the sculptural art 
apparent in the figure of Christ, similar to those seen in the apses, 
and in general throughout the ornamentation, would rather lead to 
the belief that these miniatures were copied from the mosaics in the 
sanctuaries of Palestine. In any case it is also evident from this MS. 
that the art of Syria and Palestine was not without influence on 
Byzantine and Western art. 

IV- VII. VBTUS ET NOVUM TBSTAMBNTUM. MS. on vellum. VII- 
VIII cent. 500 mm. X 340 mm. (Laur. Amiatino I). 

This is one of the most precious MSS. of the Vulgate, and came 
to the Laurenziana from the Abbey of San Salvadore on Monte Amiata. 
It is well established that it was written in Northumbria by order of 



Ceolfrid, abbot of St. Paul's at Jarrow and a disciple of St. Bene- 
dict Biscop. From an antiqua translatio which he brought back 
with him from Rome, on his fourth journey with Benedict in 678, 
he caused three copies to be made. The Amiatino MS., copied at Jarrow 
under the direction of the Venerable Bede, is the same copy that Ceol- 
frid on his last journey to Rome, in 715, desired to present to Pope 
Gregory II. Ceolfrid died on his way there, at Langres in 716, but his 
wish was carried out by his disciples, and from Rome, at the close 
of the IX cent, or the beginning of the X cent., the MS. was transferred 
to the monastery of Monte Amiata. The abbot of the monastery erased 
the name of Ceolfridus Anglorum from the inscription, putting his 
own, Petrus Langobardorum, in its place, and changed the words Corpus 
and Petri, in the first two lines of the inscription into the words Ce- 
nobium and Salvatoris. Through the surmises and researches of De 
Rossi, G. F. Browne, S. Berger and Dr. Hort it has been possible to 
re-integrate the original inscription. The MS. contains the entire Latin 
Bible except Baruch, with the proem to every book. In the octavo 
preceding the text, which is supposed by some critics to be of Cassio- 
dorian origin and which contains a page on a purple ground, are the 
inscription of Ceolfrid (plate IV), three tables of the Canon of the Old 
and New Testament (plate V), a plan of the Tabernacle and a minia- 
ture representing Ezra (plate VI) restoring the sacred MSS. At the 
beginning of the New Testament there is a miniature (plate VII) re- 
presenting Christ in glory in the centre of the heavens blessing the 
world : at the corners are the four Evangelists. 

VIII-IX. EVANGELIARIUM. MS. on vellum. XI cent. 245 mm. X 357 
mm. (Laur. Acquisti e Doni 91). 

This MS., written in two columns in a minute upright hand, has 
rich ornamental initial letters in various colours and five large minia- 
tures of the Byzantine school representing the four Evangelists with 
their symbols and the Ascension of Christ. Plates VIII and IX re- 
present St. Matthew and St. Lube. The postils and marginal notes 
are of the XIV cent. 



X-XII. S. AUGUSTINUS, DE CIVITATE DEI. MS. on vellum. XII 
cent. 248 mm. X 357 mm. (Laur. Pint. XII. 17). 

This MS. which belonged to Pietro di Cosimo dei Medici, as shown 
by the writing Liber Petri de Medicis Cos. fiP. , is written in minute 
Carolingian characters by several hands. The four miniatures it contains 
show the special characteristics of English art, though it cannot be 
affirmed that the manuscript does not also present signs of continental 
influence, perhaps German. The first miniature (plate X) represents 
St. Augustine with an open book in his hand, under a round arch, his 
figure standing out against a purple ground: to right and left are groups 
of disciples. The second miniature (plate XI), on the opposite right- 
hand page, is divided into two compartments ; in the upper one are 
seen six persons, holding a scroll and tablets, engaged in discussion ; 
and in the lower one seven persons in the same attitude, one of them 
wearing a low mitre of antique form. The third miniature has been 
reproduced by the New Palaeographical Society (Part. VI. pi. 138). 
The fourth miniature (plate XII) represents the City of God. The MS. 
has richly decorated initials. 

XIII-XIX. DOMENICO LENZI " IL BIADAJOLO ". MS. on vellum. 
XIV. cent. 270 mm. X 386 mm. (Laur. Tempiano n. 3). 

This is a kind of ledger in which Domenico Lenzi, corn-chandler, 
almost daily wrote, in a fine Italian Gothic hand with frequent rubrics, 
the prices of corn and oats in the piazza of Or San Michele from 1320 
to 1335, adding, with a moral purpose, city news specially concerning 
harvests and famines. It is ornamented by an initial letter in which 
Abundance is represented, and by 8 full-page miniatures executed 
undoubtedly by a Tuscan artist. Plate XIII is meant to represent 
the driving out of the poor from Siena during the famine of 1328- 
1330, but in it we have a view of Florence with the arms of Siena, 
and there are to be seen the first city walls, the Porta del Vescovado, 
Santa Reparata, the campanile of the Badia, and Giotto's Tower not 
yet completed. Plate XIV shows the same walls, the Porta del Ve- 
scovado, the Baptistery, the campanile of the Badia, the tower of the 



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Bargello, and other edifices of the time, and the compassionate welcome 
which, during the famine, the priors and the citizens of Florence exten- 
ded to the poor, giving them wherewith to satisfy their hunger. Plate 
XV depicts a harvest scene : people mowing, thrashing corn and gathe- 
ring it in with joyful faces, while above is an angel from whose mouth 
there issue through a trumpet the words " con allegrezza ogn' uom 
canti cho meco " and " voi abbondate in fructi e in benedi[zioni] ". Be- 
hind the angel is a hand grasping a third trumpet from which issue the 
words : " posso rimuover tucto, me ringrazia ! ". Plate XVI shows 
the corn-market in a year of plenty, and above are two angels, one of 
them shouting through three trumpets " chon allegrezza ogn' uomo 
canti cho meco ", "in dovizia fa ben che mal non segua " and 
" tropp' aver ben non ti faccia peggiore ". Plate XVII represents another 
harvest scene : above is the menacing monster of hunger, and the an- 
gel, the twisted and broken trumpets falling from his hands, is seen 
flying towards the heavens exclaiming : " torno e lor lascio in alpestre 
pastura " : two arms extended from a cloud on high, await the celestial 
messenger with the words " rimenato m' a in ciel piii netta e pura ". 
Plate XVIII shows us the corn-market of Or San Michele in a year 
of famine, with the miraculous tabernacle of the Virgin, as it must 
have been before the later embellishments, with the official sitting 
at the bench with the candle lighted for the contracts. Great confusion 
reigns in the market ; some appear to be quarrelling, others are weeping 
and lamenting : standing out among the crowd are guards armed with 
lance and shield who have come up to still the tumult. High above 
is an outstretched hand, the hand of God, delivering a sword to the 
monster of hunger, which in response to the divine words " 1'anima 
serva e il corpo sia punito ", answers " io far6 come tu m' ai largito ". 
From the wings of this Devil issue the lines " piangi ch'ai donde ch'ad- 
dietro il ben torna ", " in fame in charo vi faro dolere ", " duol sopra 
duol che dio ci lascia al peggio ". The angel, his broken trumpets fal- 
ling earthwards, is seen flying towards the cloud shouting : " gioconda 
allegra son dentro al mio si to ". Plate XIX affords us a view of Colle 
di Valdelsa from whose gates come forth unladen beasts of burden on 
their way to Fiorenza and laden ones on their way to Pisa, to record 



li- 
the fact that the citizens of that place refused to send to Florence 
the promised corn in order to sell it a little dearer to Pisa. 

XX-XXII. VITA SANCTI ANTONII ABBATIS. MS. on vellum. XIV 
cent. 366 mm. X 270 mm. (Laur. Med. Pal. 143). 

The MS. contains the life and miracles of St. Anthony Abbot and 
was compiled by Friar Johannes Marcellarii, sacristan to the Monastery 
of St. Anthony at Vienne in France, by order of Friar Johannes da 
Montecanuto, cellarer of the Monastery, who likewise caused the minia- 
tures to be executed. The MS. was presented to Pope Eugenius IV, 
probably during the Florentine Council of 1439. It contains 201 mi- 
niatures, one on each page, and almost all standing out in white and 
gray, illuminated in gold, from a green and red background. The mi- 
niature in Plate XX represents St. Anthony restoring speech to a wo- 
man's son, binding her not to reveal the miracle during the life of the 
Saint. In Plate XXI the Saint is portrayed in a vessel with the 
nuncios who are to bear him to land. In Plate XXII demons are 
seen wounding the Saint, Satan fearing that he would live in the her- 
mitage. These miniatures belong to the French school and are of sin- 
gular importance regarding the history of costume. 

XXIII. EVANGELISTARIUM. MS. on vellum. XV cent. 285 mm. X 
415 mm. (Laur. Aedilium. Eccl. Flor. 115). 

Besides the elegant miniatures of the first page, (plate XXIII), 
this MS. contains 34 initial letters enclosing small scenes of extraordi- 
narily fine execution and 37 beautiful vignettes of the Florentine 
school, perhaps from the hand of Filippo di Matteo Torelli. At the 
end is inscribed " Scribere cum penna docet me Sancta Maria. Talis 
sum scriptor Augustinus nomine vocor. MCCCCLXVI ". The MS. still 
bears the original binding in red velvet with clasps of cloth of gold 
and silver niellos attributed by Bandini to Maso Finiguerra. An ancient 
tradition affirms that this book lay on the altar in the Chapel of the 
Duomo, during the mass, on the day of the conspiracy of the Pazzi 
(26 April 1478). 



12 

XXIV-XXVIII. HORAE B. MARIAE VIRGINIS. MS. on vellum. 
XV cent. 199 mm. X 153 mm. (Laur. Ashburnham. 1874). 

This Book of Hours, illuminated for Lorenzo de' Medici by Fran- 
cesco d'Antonio del Cherico, and written in a most elegant hand by An- 
tonio Sinibaldi in 1485, is one of the marvels of Florentine art. The 
miniatures, unequalled for perfection of execution and richness of com- 
position, occupy 9 full pages : nor are lacking ornamented figure-initials, 
and small scenes for every month in the calendar with which the Book 
of Hours begins. Plate XXIV, with which the Office of the Blessed 
Virgin begins, shows the Annunciation, the Nativity, and the coming 
of the Magi to the stable, and within the initial the Madonna and Child. 
Plate XXV, with which the Office of the Dead begins, has two small 
scenes illustrating an episode from the legend of S. Macario, and the 
Resurrection of Lazarus. Plate XXVI has, at the beginning of the 
seven Penitential psalms, the figure of David prostrate befcre the 
Lord, and, within the initial, David on the throne with a Prophet stand- 
ing before him. Plate XXVII represents the Crucifixion, and, in the 
initial at the beginning of the Office of the Cross, the Ecce Homo. 
In Plate XXVIII, before the small Office of the Cross, are a re- 
presentation of the Deposition and, in the initial, the Kiss of Judas. 
Nothing could be more marvellous than this Book of Hours worthy 
indeed of the Magnifico. For the ornamentation the miniaturist has 
drawn from every possible decorative element, so that this small MS. 
may be said to form, as it were, an encyclopaedia of decorative 
art, while in the admirable miniatures the goldsmith's art itself is 
surpassed in richness and splendour. The MS. was restored to the 
Medicean collection after having been taken abroad at some unde- 
termined period : in the seventeenth century it was in Belgium and be- 
longed to the de Merode family. It was purchased by the Italian Go- 
vernment in 1884 with the Ashburnham collection, of which it is one 
the most precious gems. 

XXIX-XXXII. ROMULEON, J. MlELOT INTERPRETS. MS. on 

vellum. XV cent. 410 mm. X 280 mm. 2 vols. (Laur. Med. Pal. 156). 
This " Romuleon ", a compendium of Roman history, was transla- 



13 

ted from the Latin into French by Jean Mielot, canon of the Collegiate 
Church of St. Peter's in Lille, for Philip, Duke of Burgundy and written 
by David Aubert, official calligraphist, from 1464 to 1465. From Philip 
the Good, who died in 1467, the MS. passed into the hands of Charles 
the Bold who kept it by him even on the field, and was probably taken 
as spoil of war by Rene II, surnamed De Vaudemont, when he defeated 
Charles the Bold under the walls of Nancy. The son of Rene, Anthony 
the Good, had it divided into two tomes on the 6th of June 1510, and 
from the library of the Dukes of Lorraine the manuscript passed to 
the Laurenziana after their coming to the Grand Duchy of Tuscany. 
The 14 fine miniatures that adorn it are the work of Loiset Liedet, 
one of the official illuminators to Philip and Charles, Dukes of Bur- 
gundy, and were finished almost certainly before 1467. For their excel- 
lence and freshness these miniatures may be compared with those 
of the Histoire de Charles Martel in the Royal Library at Brussels, exe- 
cuted by the same artist. The miniature of the proem (Plate XXIX) 
portrays David Aubert, the Court calligraphist, being charged by the 
Duke of Burgundy, Philip the Good, with the work of executing a copy 
of the Romuleon. The one at the beginning of the third book (Plate 
XXX) represents Coriolanus being beseeched by Veturia, his mother, 
and Volumnia, his wife, to save Rome. The miniature preceding the 
tenth book (Plate XXXI) represents two episodes in the Life of the 
Emperor Hadrian written by Elio Sparziano : in the first there is the 
triumph of Trajan, the simulacrum being seen ; in the other, the em- 
peror endeavouring to run himself through with his sword, but withheld 
by the prefect and his son. The miniature on Plate XXXII repre- 
sents the 10 Sibyls. 

XXXIII. C. PLINIUS, HISTORIA NATURALIS. MS. on vellum. 
XV cent. 278 mm. X 417 mm. (Laur. Plut. LXXXII. 3). 

This is one of the many MSS. illuminated for Pietro di Cosimo 
de Medici, in whose writing are the words at the end : " Liber Petri 
de Medicis Cos. fil. ". The rich and varied ornamentation is formed 
of a kind of white arabesque of intertwining tendrils on a plain ground, 
a style of ornamentation used especially and with great taste and 



14 

skill by the Florentine miniaturists, - - interspersed with figures of 
animals, puttos, and pretty heads looking out from a gilt frame run- 
ning round the whole page along the centre of the ornamental border. 
In the hollow of the initial L are three rings set with a diamond, the 
emblem of Pietro de' Medici ; and in the lower part of the border, 
upheld by flying puttos and surrounded by cherubs' heads, is the 
Medicean coat of arms with the nine red balls and the motto Semper. 

XXXIV. PLUTARCHUS, VITAB. MS. on vellum. XV cent. 252 
mm. X 358 mm. (Laur. Plut. LXV. 26). 

A very graceful border consisting of sprigs and flowers and gold 
spots interspersed with puttos and birds encloses the page, and at 
the foot in the centre of the border, there is a candelabrum with the 
Medicean coat of arms and four festoons of leaves and fruits, with 
the diamond rings from which issue the three Medicean plumes. In 
the initial Q there is a scene from the life of Theseus, who is depicted 
in the act of slaying the Minotaur. Between two diamond rings set 
on the upper part of the initial there is the name of the miniaturist 
Franciscus, while between two lower rings is written pin-xit. Fran- 
cesco d' Antonio del Cherico, one of the most skilful of the Florentine 
miniaturists has in this case put his signature to his work ; but without 
the signature, his hand would be recognizable in the elegance, liveli- 
ness and grace displayed in the decoration, and in the high excellence 
of the illumination. At the end of this MS. also are written the words : 
" Liber Petri de Medicis Cos. f. ". 

XXXV. JOSEPH FLAVIUS, DE BELLO JUDAICO. MS. on vellum. 
XV cent. 247 mm. X 342 mm. (Laur. Plut. LXVI. 9). 

As shown by the subscription at the end of the MS. it was " scriptus 
manu mei Gherardi Joannis del Ciriagio civis florentini pro Johanne 
Cosmae de Medicis cive optimo florentino ". It was the same artist 
who, perhaps at a later time, illuminated the Plinius (plate XXXIII) 
which this Joseph Flavius (plate XXXV) resembles in the rich and 
varied arabesque-like ornamentation of intertwining tendrils, in the gilt 



- 15 - 

frame running round the page, and in the medallions containing sin- 
gularly perfect scenes. The son of Cosimo, Giovanni, died in Octo- 
ber 1463 ; so this MS. is necessarily of antecedent date. 

XXXVI. P. VERGILIUS MARO, AENEIS. MS. on vellum. XV cent. 
223 mm. X 336 mm. (Laur. Plut. XXXIX. 6). 

This Virgil is written in fine characters by a fifteenth century hand, 
and, on the first page, which has no miniature facing it on the leaf 
opposite, it has an ornamented and pictured border bearing the title of 
the work. The absence of any miniature on the opposite leaf, the fact 
that the initial which begins the text is almost independent of the 
scene adorning it, the larger hand, the cameos, the gems adorning 
the border with its plump and chubby puttos, all point to a new mi- 
niaturist whose manner recalls that of Gherardo. The arms of the 
Sassetti with the motto A mon pouvoir inform us that the present MS. 
is one of those that Francesco Sassetti (the man of letters and artist 
of this family of merchants, who was a partner of the Medici in their 
business, and who imitated them in their love of the arts) caused to 
be written and illuminated for his library, at a cost of over 800 florins. 
Francesco Sassetti was born in 1420 and died in 1491. The medallion 
at the top in the centre represents the Judgment of Paris : the one 
to the right, the Rape of Helen : the one to the right, half-way down 
the page, the departure of Aeneas from Carthage : the one lower down, 
Paris as a shepherd playing his pipes. The scene by the initial represents 
the entry of the wooden horse and the burning of Troy (plate XXXVI). 

XXXVII. PAUSANIUS, GRAECIAE DESCRIPTIO. MS. on vellum. 
XV cent. 218 mm. X 334 mm. (Laur. Plut. LVI. 10). 

The humanistic Greek writing with rubricated glosses in the margins, 
one of which, on the first page, the miniaturist has artistically set like 
an inscription on a tablet, shows that the MS. belongs to the second half 
of the fifteenth century. The miniature of the initial page is architectural 
in character, with columns and pilasters, between which are trophies 
of arms, cameos, gems and musical instruments. At the foot within 



16 

the border there is a coat of arms with bands argent on a field gules sur- 
mounted by a cross also of silver : and a side-view of the same coat 
of arms is also seen near the column on the right upheld by a winged 
putto of the prettiest shape. Light green and light red predominate 
in the miniature, which is evidently an intentional classical imitation, 
rarely met with in the Medicean MSS. (plate XXXVII). 

XXXVIII-XLI. MISSALE ROMANUM. MS. on vellum. XV cent. 
379 mm. X 280 mm. (Laur. Aedilium Flor. Eccl. 109). 

This splendid missal was written for the Church of Santa Maria 
del Fiore by the priest Zanobio Moschini who finished his task in De- 
cember 1493, and it was illuminated by the brothers Monte di Gio- 
vanni and Gherardo, two of the most perfect artists of the Florentine 
school, whose manner resembles that of Domenico Ghirlandaio. The 
verso of the first leaf (plate XXXVIII) bears the lily of Florence, the 
arms of the people and of the Comune, and the sheep that is the 
symbol of the Arte della Lana and of the Opera del Duomo. Within 
the garland, in letters of gold on a blue ground is the title of the MS. 
On the opposite page (plate XXXIX) the text begins, enclosed in a 
very rich border with candelabra, festoons, puttos, animals, and tondos 
containing the heads of Prophets. In the medallion at the top in the 
centre, is God the Father with a crown of Seraphs : in the one at the 
foot San Zanobi in the pontifical chair with a deacon on either side. 
The initial A encloses the figure of David playing the Psaltery. In the 
upper part of the page, in a miniature unequalled for beauty and excel- 
lence, there is a representation of the Annunciation. In plate XL, a 
rich frame encloses the text that is in two columns, and there is a mi- 
niature in the lower portion of the frame containing a tondo supported 
by angels in which is the Ecce Homo, whose countenance betrays the 
saddest emotion. Around the decoration, which is of architectural 
character with candelabra and symbols of the Passion, runs a rosary 
of pearls and gems, the execution of which gave the artist an opportu- 
nity of showing how the miniaturist's art could rival that of the gold- 
smith. In Plate XLI, also enclosed in a frame similar to the other, 
there is the Crucifixion, and below, in a kind of predella, the De- 



17 

position of Christ. The beauty of the composition is enhanced by 
the liveliness of the colours and the azure background of sky, against 
which stands out a view of Jerusalem with a long train of armed men 
on foot and on horseback entering the gate. 

XLII-XLIII. PLOTINJ VITA ET OPERA, M. FICINO INTERPRETS. 
MS. on vellum. XV cent. 243 mm. X 353 mm. (Laur. Plut. 
LXXXII. 10). 

The verso of the first leaf has a magnificent border, enclosing a 
tablet containing the title of the MS. and six tondos with the heads 
of Prophets and two Medicean coats of arms. Between the tondos are 
amorini, some of them supporting the Medicean arms and emblems, 
the ring with the three plumes and the motto Semper, and the green 
trunk with the motto Le temps revient, which is that of Piero, the 
son of Lorenzo dei Medici. Around the title runs a necklace of pearls, 
diamonds and other gems so real that it might almost seem a mira- 
culous production of the goldsmith's art (plate XLII). On the oppo- 
site page (plate XLIII), containing the text which is in Italian cha- 
racters of the end of the fifteenth century, there is an admirable border 
of a similar kind, with six tondos and figures of Prophets, the Medicean 
coat of arms with the blue ball adorned with lilies, and in the initial 
the portrait of Marsilio Ficino. This is one of the finest MSS. illumi- 
nated by Attavante degli Attavanti, for Piero di Lorenzo dei Medici, 
and in it are revealed all the skill and elegance of style of this artist, 
who certainly executed these miniatures alone, showing himself to 
be a perfect painter of figures and a pleasing and skilful painter of 
ornamentation . 

XLIV-XLV. T. LIVIUS, HISTORIAE. MS. on vellum. XV cent. 
258 mm. X 356 mm. (Laur. Plut. LXIII. 33). 

This MS. was illuminated for Julian, duke of Nemours whose 
brother's emblem it bears the yoke with the motto suave which 
was Leo the Tenth's with the motto Par le feu reverdira and the 
initial N which are his own, besides other Medicean symbols and coats- 
of-arms. Plate XLV has a rich candelabrum with gems and tondos 
in the form of cameos. Plate XLIV contains other Medicean insignia 



- 18 - 

in the tondos such as the bees, the yoke, and the diamond ring with 
the three plumes. These miniatures which are of a most elaborate 
composition, reveal the hand of a new miniaturist which appears to 
us to resemble greatly the hand of Giovanni di Giuliano Boccardi called 
Boccardino (il vecchio), who perhaps worked also at the beginning 
of the XVI cent. 

XLVI-XLVII. PSALTERIUM DAVID. MS. on vellum. XV cent. 
367 mm. X 533 mm. (Laur. Plut. XV. 17). 

This is one of the most admirable MSS. that Monte and Ghc- 
rardo ever illuminated, and was intended for that Corvinian Library 
that was dispersed almost ere it had been brought together. The pre- 
cious volume, which was not yet complete when the king Matthias 
Corvinus died in 1490, did not leave Florence but was added to the 
collection of Lorenzo il Magnifico. The first of the miniatures (plate 
XL VI) depicts various episodes in the life of David, enclosed in a frame 
having two rich candelabra in the pilasters and classical bas-reliefs in 
the capitals. Remarkable are the figures of Matthias Corvinus, and of 
his natural son John, and Charles VIII who are seen one at either side 
of the king. In a kind of predella between the pedestals there is a re- 
presentation of the anointing of David by the hand of Saul. The princi- 
pal scene shows David prostrate before the Lord ; on the right in the 
lower portion of the background there is a green landscape with a mill, 
and, on the other side, the shepherd David bending over the waters of 
a brook, in which his image is reflected, to pick up the stone with 
which in the upper portion of the background he is seen in the 
act of slaying the giant Goliath, before the walls of Jerusalem. In the 
sky is a flight of ravens, the bird that the King of Hungary took as a 
striking device. In this scene there is to be observed the influence that 
must have been exercised on the art of the miniaturist, and especially 
on the mode of conceiving a composition, by the engravings of Martin 
Schongauer and Albert Diirer, which at that time became known in 
Florence, and which Gherardo, according to Vasari, set himself to 
imitate ; hence in these miniatures an almost Flemish intimacy and 
sentimentality are noticeable. In the other miniature with which the 
text of the Psalter begins, there is seen a border of the same kind as 



1Q _ 

i. 7 

those of Attavante with tondos enclosing busts of patriarchs and pro- 
phets, and puttos, cameos, and more circles with the arms of Hungary. 
The coat of arms below was left vacant and unfinished on account 
of the death of Matthias Corvinus. Very fine is the scene preceding 
the text, showing Hebrew horsemen led by David advancing against 
the Philistines coming out of their tents. In the background, which is 
divided into two parts by a green rock, there is a view of Hebron, and 
among its edifices are recognizable the Palazzo Vecchio, the loggia of 
Orcagna with four arches, and the little church of S. Piero Scherag- 
gio. Under the incipit, in the figure of King Solomon, is seen the portrait 
of Matthias Corvinus. In fineness of composition and skilfulness of 
the foreshortening, the miniatures of this page vie with the most 
grandiose battle-scenes painted either in fresco or on panels. 

XL VIII. HORATTUS, CARMINA CUM FRANCISCI PETRARCHAE ADNO- 
TATIONIBUS. MS. on vellum. X cent. 184 mm. X 261 mm. (Laur. Plut. 
XXXIV. 1.). 

This MS., which contains the Carmina of Horace, is most valuable 
not only for its notable antiquity but also as it belonged to Francesco 
Petrarch whose ex libris : " Liber francisci petrarchae qui post obitum 
eius remaneat penes heredem suum " appears on the verso of the 2nd 
leaf. A brief note on the recto of the same leaf declares it to have 
been bought at Genoa, the 28th Nov. 1327 (" Emptus. Jan. 1327. No- 
vember 28 "). Against the Horatian text Petrarch has here and there 
made several annotations in his own hand : such for example is the 
one we reproduce (plate XLVIII) to be read in the left-hand margin, 
and beginning : " Ad iulium florum scribit hanc ultimam episto- 
lam " etc. 

XLIX. VARIORUM CARMINA. MS. on vellum. XIV cent. 208 mm. X 
285 mm. (Laur. Paut. XXXIII. 31). 

This rich Latin miscellany of writings in prose and verse, all by 
the hand of Giovanni Boccaccio, is well-known to those familiar 
with these antiquities, not only through the description by Bandini 
(Catal. Codd. latin. II. 124-128), but also through that given of it by 



20 

Remigio Sabbadini in Le scoperte del codici latini e greci ai secoli XIV 
e XV (Firenze, 1905). The page reproduced (plate XLIX) contains 
the end of the collection of the 80 Priapeia discovered by Boccaccio 
and transcribed by him in this MS. now considered the fundamental 
text. 

As is known, the Priapeia were generally attributed by the hu- 
manists of the XV century to Virgil, and Boccaccio, too, concurred 
in this attribution, for before the " Explicit Priapeia ", contained in 
the page we reproduce, he had written " Priapeia Maronis Virgili expli- 
cit " of which the syllables NiS. Vir are still visible under the erasure. 

L. HERODIANI HISTORIA, A. POLITIANO INTERPRETS. MS. on 
paper XV cent. 219 mm. X 298 mm. (Laur. Rinuccinianus 20). 

It contains the autograph text of the Latin version that Angelo 
Poliziano made of the eight books of the Herodiani Historia de imperio 
post Marcum, and dedicated to Innocent VIII. 

Cardinal Giovanni Battista Cibo being elected pontiff (29th August 
1484, and taking the name of Innocent VIII), Poliziano, as he nar- 
rates in the Proem to his translation, had repaired to Rome with the 
Embassy of the Florentine Republic to do homage for Florence to the 
new Pope and was there invited by the latter to translate into Latin 
some Greek histories that should illustrate the deeds of the Roman 
emperors. On his return to Florence, Poliziano turned his attention 
to Herodianus who described the Imperial fasti from the year 180 up 
to his own day, and translated into Latin the eight books of this 
author, which on being presented to the pontiff, brought him high 
praise and a gift of 250 scudi. Our reproduction (plate L) shows 
leaf 21 recto of the autograph MS. 




EVANGELIA SYRIACE CONSCRIPTA. 

Cod. membr. saec. VI. 
Laur. Plut. /. 5 (>. 




EVANGELIA SYRIACE CONSCRIPTA. 

Cod. membr. saec. VI. 
Laur. Plut. I. 56. 



Ill 




EVANGELIA SYRIACE CONSCRIPTA. 

Cod. membr. saec. VI. 
Laur. Plut. I. 56. 



IV 




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Laur. Amiatinus i. 



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V.OPK-IBVS SACIMS 
ESDRA DO ftRVlNS' HOC Mr.\l\AVU 0[VS 




VETUS ET NOVUM TESTAMENTUM. 

Cod. membr. ssec. VII-VIII. 

Laur. Amiatinus i. 



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Cod. membr. saec. XIII. 

Laur. Plut, XII. 77. 



XII 




D. AUGUSTINUS - DE CIVITATE DEI. 

Cod. membr. ssec. XIII. 

Laur. Pint. XII. 17. 



XIII 




DOMENICO LENZI IL BIADAJOLO . 

Cod. membr. ssec. XIV in. 

Laur. Tempiano n. 3. 



XIV 




DOMENICO LENZI IL BIADAJOLO. 

Cod. membr. saec. XIV in. 

Laur. Tempiano n. 3. 



XV 




DOMENICO LENZI IL BIADAJOLO . 

Cod. membr. saec. XIV in. 

Laur. Tempiano n. j. 



XVI 




DOMENICO LENZI IL BIADAJOLO*. 

Cod. membr. saec. XIV in. 

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XVII 




DOMENICO LENZI IL BIADAJOLO . 

Cod. membr. saec. XIV in. 

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XVIII 







DOMENICO LENZI IL BIADAJOLO . 

Cod. membr. saec. XIV in. 

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XIX 




DOMENICO LENZI IL BIADAJOLO . 

Cod. membr. saec. XIV in. 

Laur. Tempiano n. j. 



XX 




VITA SANCTI ANTONII ABBATIS. 

Cod. membr. ssec. XIV. 
Laur. Med. Pal. 143, fol. 32. 



XXI 



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VITA SANCTI ANTONII ABBATIS. 

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Laur. Med. Pal. 143, fol, 37. 



XXII 





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crafts fatdu^ 













VITA SANCTI ANTONII ABBATIS. 

Cod. membr. saec. XIV. 
Laur. Med. Pal. 143, fol. 14. 






XXIII 



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. Aedilium Eccl. Flor. 115. 



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Cod. membr. saec. XV. 
Laur. Med. Pal. 156.1. 



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ROMULEON J. Ml^LOT INTERPRETE. 

Cod. membr. saec. XV. 
Laur. Med. Pal. 156.1. 



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ROMULEON J. MJELOT INTERPRETE. 
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ROMULEON >> J. MlELOT INTERPRETE. 

Cod. membr. saec. XV. 
Laur. Med. Pal. 156.2. 



NCIPIT 
'<! 6VSTVM IAPERATOREMTJLBROS NAIVRAUS H1STORTE 



XXXIII 



I BROS N/nVMift HySWE HOYI CM 

CA/1FHIS Q^IR.ITiW\ TVORVAl OPVS HATV I 
'ict me pronin.1 fount licenncnr epiftola nar 
mtt ccnifttnn nbi icxundi(limi- imtrator Sir 
oumhx nuprtftnonenllinu dummajcunerb 
fendcir in p.inr Honici- tu (olekifpunrc -iliqurn >^ 
cflc meaf mujaf nr CKticeir motliam catullum i ( 
conttmneutn meum arniofaf A. her cafttcnfe tier 
bum Illrmimurlcrfttmuttatilpnorikuffylbi 
bif dunulciiltim le fair ej iioltiur gnfttniati Juer 
iuc4i! nnfit fiuniilif firnul urine me fcnilantu 
fiat qucd pitmtur non ficn micllnl tf malm ptp 

S cianr q. omnef q pcequo titum muar i 
i trtumpKilif A ccnfctuifni ftvtef q- cemfiu AC in 
bunioe- potrftatif putuapf <S- qct hif nol 
i afti dtim illtid patn panrcr A eciueftn ordim 
eftaf ptiftduf ptetotv euif mnu a. \fc < 
i p A nobif qutcietn qtuuf mcaftrcnfi com 
bonw neqiuccfinte mucitiir <t>rtunc ampli 
^^^ mhif ruli ur ptranlr lannmdem pcwf 
urudlff Inq-cumcetsnl; utenetanonem tut patrant cmn ilia notnfad colmdu tr 
inirmlvmtif .xudacu (bU fup-ncft nanc imtur nbi unputabif ^"innoftra ctilpa ntn icmo 
(ccf Pctfncui (anem ncc atnf . oroftn quemunutn .ilu uw acuntf inmnf 4 Icmcmtfer 

nffeeundiir. quanto tu OBP mtnf budef nmaf qiiantoftatnf.itnaf duanntf incof- 
ticaef Omacnta fttuncutaf.inuivi qitemaclmcaumltaKmt quoq. iirutarenf cxccmnifh. 
Sea kfi aiu(poflirintttpiciufe?cnniaw'(utnntruf uignujtiutuatcuimprefecnniLicff 
ftntm' Heq-entmftniilil'dVccnidinopublicannuni A'nonttnatim nbi aicannurnTu 
p) (i in eucetr quid ilia Icqif tmpeiawr ' humtli ul<jt> fcnpta lunr acmcolatrum : opifieiii 
tutte- clone], ftudiornm corfirqutd tt uidicem feaf-' Cum hanc opetam ccmdiccrcm 
ncmetaf mnx albo. ^Vaiotimte faebaro q urdefctnfurum hue punif Pmrrea tft- queaa 1 
pitbltca enant exucutorura tncho>/tttur lib 4 M.Tulliu) c?cna crninnem inqenttalta 
pofiraf cSrqet nuvtmur per jduccaturo deftncuntr nee indoftiflitnifmanuini ocrfiutn her 
leror nclo. mmutn eonmttnuolo Cm ft hat luctluif q ttt pnmuf concudtr Ihli nafttm 
quad abufumein*uttitpctanc>nemttpttntir Pamtifenttrilanmeunicarnienconfaitrftr 
1 tuuo unct uitiipT.mo tinutf eutt ifti- cemtinentr Hafum autttn diftr eld uiniocraoo 
ntf ftgTtum ueJ ma^inte- nafo declacwidii dicoidum c|i efl- Si aduocanim fibi putatitr 
cicero mutuattcuim pttfetnm cum ae nt p (cnqetrr quanto ncf ^ccu&nuf abalicjuo i 



C. PLINIUS . HISTORIA NATURALIS. 

Cod. membr. saec. XV. 

Laur. Pint. LXXXIL j. 



XXXIV 




THESE! VfTA 



^ 







VEMADMODVM IN ORRIS TERR-E SITV 
OESCRWENPO HISTORIC! SOLE NT.- VT AD 
cruemtpfi coortmonc afptrarr no poftbm extrarof 
tabtifarutn parabuf fijppteiiiftinfquifMifHam adiici 
unr focof efle uafh>f arenofof.3 &do tmaq^ pemi 
nam a^uarum.-aurfitmun rnfuperaf>itctr>.utrnon 

** 



rtitronnn cotlatione perpmia Trrtitn (yi 
Ihma quantum prokafctfi oranone aflecfiti pcaumuf diifquoffupT^mcmoatii 
tnuf uinf tempota percurTennbtjritrtic luitit aftrmare . u<e cn> annatuo 
acuetulbomlunt tramca monftruola poecr 4 fefnifdi irrum rcrtpwrrt" 

/ I 

occupanr nee ultra ftdiemullain nee cemnufinem ore fe frrunr. C utn totnn 
Ueuroi leoum (aronf <%nuTn^tTatfrcfaeftal'[tttenf-mandauertinf baud af> 

O O Cl C _, 

re fitent' adromtifum orattonem oonuertere'-q|tri 4-fnfhnia tpft adctuftero 
pora q prope'accertttnuf. Sedtnifn dtu coontano fnitcuin' urtnauir dcfnlul" 
qutfconuenirer-qtiem tilt opponeran -butf dionuf fccutn in ccnnpaiaticme 

conumpi pofler uifttm eft tandem fect'endntn efle-.ura quo celefnrata atf>ent 

o ' 
enftum atntaf'atnp&ftcata eft.-ctim okmodfltt 

parmtr confrrretn e^comparaTrm . Ltcer attr nofnrrwcdif'fabuItCa 
claram btfbpn* tueetn cS-uentatem arcedrre.Quodfieubi neceflital'coOTt 
nof at hac paru-mper'diaTYfloTad-Kf . qtiod uenfimtfe- confrrrr/fit a quo ftntaf 
fe- fnfhnna aMorrtat:nec adtmttar ullum cum profuSihratr comerttutn.jf 
audttontuf optif ertr. qutq. benwne'<? fmmane'uttiutn oranontf e-raudtat 
pprotenr'.Vu(eir tfftnirtf>eiettriTmInf de caufif rotnufo S'fimtffimul'cr 
.amfeo entm cum Iptmi <*ofrfcun fbrent^crvtitnan fttnfadiifitntnortali 
buf procrran efle. Amto cnatn bdftcofi ac tnanti ftrenui . hoc qutc(etn otnneflci 
mnT ur qia tnaartma fien ponirt prudentta prefhwtjm . Ex dtiabtil cy u ocj, c(a 
rtflumfetuttanfmfroma <^atf)eni("attenam fnccondicftr alttratn tile notttfcofo 
tttr-wnptetur'. Femtnarum prrterea raptu)' de-utroq. frninntr.' Nee eortttn q^C|" 

domefticam cladetn ^cntnina luorum efluotr .fed poftretno atnbo dtcuntur 

o 
in mutdtam <$ oftrnfionem ctuium 



traoice'dtci uidenttir'acftirrttatcm concfudtr'. Thefa cjutdem patrrnnrn ge 
nufin crtTctnn ac prunol tndiprnafrcWur! Matcrnutn uett> in pefooein 








? ^s:> 

* .^v * 



PLUTARCHUS . VITAE. 

Cod. membr. saec. XV. 

Lanr. Pint. LXV. 26. 



XXXV 



m 



LAsm losfPHt PKoiLoqvs IN UBTUS DE BELI.O 
'IVDAICO VNCIPIT. I-EC^E EVM. FELICITEP^---*-^ 

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v <nnbufc)Utdatn non quodrrfnif tntcrfumnr fcduana d'tnooncr- 
f ruanarrantiurrr(b^nciefaunbufcoUtffentcfcnuarrummoTTpcrrcn 
bunr . CHH uero prefto fuerunr aurromanorum obfepto aurodto 
omtra fulem rerutn fWa conftrmamr fcnpnf autcm corn 
*.-:'' partttn accufatio parnm lau^atto oonnnetur: nuft^uam uero 

ftiefrepentur biftortc . Idcirco em>ftatui cperarobarbanf antea 
tntft patnaltno-ua diocfta .grecanuncbifquiTxymanore^tinmritr) 
peno ejcponert lofepbuf matbatbiefttiuf bd>reuf^tictT facerdofejc 
bterofoUimf cjut cJ'tnmo cum rumamf bdlo omfUja 
que neceffttaf ^cwtt interfui : TM am cumbtc ut: di^i motuf ^cortuf Mj 
eflet (rrautflftmuf 7x>manortim cjuulcm popukim domcfhcuf morbuf . 
babebar . ludeorum autem qua ctateuahdi cHnnw turbulenti 
eranr. manu fimul acpecunia uiotnttf adeotemportbufrnfolcn . J 
terabuft funr. urprDtumultufmaonitucitnc bofpo(Ti<lcntlarum ) 
fpcf . illof atmttentiarum parnum nnnttf metuf muatiera- . Quo ^> 
tnam md qui<iem cunftof ejui rranfeufraten dftnr q-ermf noftre 
ettam fuof fecwm TrbeUattn-ef cflfe crecliietant Komanof aucetn 
cSrftnttimi o-alati* imtabanr necmanuf cdtica quicforf?ar dbflcn 

pleriaomnia poft-neronem rf-multof qutdcm pa^efj 



o 



* 



JOSEPH FLAVIUS . DE BELLO JUDAICO. 
Cod. membr. saec. XV. 
Later. Plut. LXVI. 9. 



XXXVI 



R.MA VIIWMQ.CA 
NO TIUMAF ^ 
PMMVS ABORTS 
ITAL.IAM FA TO 
PIVOFVGVS IAVINA 
Q VF VE NlT 
L 1 TTO RA M VI ,T VM 
ILLEFTTERRI I AC 
TAT V5F.T ALTO. 



i lupcnim ucucC'memorem ittnonit 

ulta auociuc drbello pafH^dum condem ' urbcm 

ntrrrer a,deol lano . genul undc I annum : 



ufa mibi cauUf memora . quo numinc' 
utd uc ciolen! rccnna deum 

tetatr'uirwn tor'adire'labore 



mttlerir ', tanr<c r nc' antmtfc < e!el}iburinf'. r/ 



rbfannoua fliir' tni tmuerc' colcmz 



arrbagp italiam contra. : nbcnnaia, 
o 1 

oftia: diuefopum ftvidtifq, afpemma belli 

uatnlunofmur'tcrnl maOTlommbufunam 
ollhabtra colititTc'Samo- htc illtuf arm>^ 



tc currufltiir' hocrttmumdeaofennbufeflc' 

o o 

iqua feta finanr' tarn cum tendtr, f 

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rooemcm leaentm rroiano ajancnane'duci 
""* ^^- o 




P. VERGILIUS MARO . AENEIS. 
Cod. membr. saec. XV. 
Laur. Pint. XXXIX. 6. 



XXXVII 



Z AWOY EAAAA02 PBPIH 



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PAUSANIAS . GRAECIAE DESCRIPTIO. 

Cod. membr. saec. XV. 

Laur. Pint. LVI. 10. 



XXXVIII 




MlSS ALE ROMANUM. 

Cod. membr. saec. XV. 
Laur. Aedilium Flor. Eccl. 109. 



XXXIX 



expectant non 
5ou0tiu 
TcmoniURmi 
cdcnntio nuo crvxc I 




MlSSALE ROMANUM. 

Cod. membr. ssec. XV. 
Laur. Aedilium Flor. Eccl. 109. 



XL 




MlSSALE ROMANUM. 

Cod. membr. saec. XV. 
Laur. Aedilium Flor. Eccl. 109. 



XXXXI 




MlSSALE ROMANUM. 

Cod. membr. saec. XV. 
Laur. Aedilium Flor. Eccl. 109. 



XXXXII 




PLOTINI VITA ET OPERA, M. FICINO INTERPRETS. 

Cod. membr. saec. XV. 
Laur. Pint. LXXXII. 10. 



XXXXIII 






c < f r 

j-uttlxjm. nf<7muif>ve mf DortAfrt (fntti pmtrti mA+r&r 

' 



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r. j 

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PLOTINI VITA ET OPERA, M. F"ICINO INTERPRETE. 
Cod. membr. ssec. XV. 
. LXXXII. 10. 



XXXXIV 



I 
cam i nrpTHMn AiLx <\ : 

v<*ps5iliu,.mimtt 

o-iium pnino libra cctmnen 

& * 

nir Nutrirons fiha aMartt 

cotnprcfla .fsLiri Romulus 3 
Retmi5 AtmtltuS obmkStus. 
Vrbab Romaic condu, 1 . 
ni? U&u5.cum Sabtms betlatu. 
Opunx rpolurioiu rtixtrio laca 
''eietirts inAi I^o 
.ivn tradidir 



I ncentunafpoputu5 diiull 

muluS confecrana5 Numa PompdiuS rmiS f; 
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ca populif prunus claudr Cumdea E^-o. fibi conordTu5 net 
turncS c(Te ftmulans feroc<*f popiUianii-nof.'. < per 

pulir.Ancu5 Alartuifoenmonus a | ^atna in(Kcuta5 renota 
utt . Latint5 ut At? A' ad .ruucatrm adfcvn? montnr> auttmnu 
affimiauit Politrm.ir< urtetn L '.nnoi: bello ncpfatatn auatn M 
cnnla Latun occupiiuranr dirurr Pcwcr 1 fubttnum inT\-beta 
fecir laniculutn colletn ^rb^ addtdu Fines tmpftni pu>mur H 
oltutn condidur Tullul"hofb.lutfA.l.batv-rbeLlc'petitt Poft hec 
Tnc>tttnn<?rufn pujria Oranusabfolutus.Mcni Si'JTifnituc 
pliciuin Albadi.-upca Albani tnciuitatcrnrecepn.Sabtnifli'I 
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niuf Pnfcuf in Ina atmcttiatn neccptuf ccrrn.'W a-ultn5 Pattri 
numermn aircur Lannoffubdmr. Cvrcum defignautr ludofcdi 
,iit Sabmorum bcllopeuoj5 eauuoitrt Ceiituna.': atnpliauir Tep 
tandc fcwntur caufx Accu Nauu Au^urt5 ccmtitluinc frrcuf 

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T. LlVIUS . HlSTORIAE. 

Cod. membr. saec. XV. 
Laur. Pint. LXIII. 33. 



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T. LlVIUS . HlSTORIAE. 

Cod. membr. ssec. XV. 
33. 



XXXXVI 







PSALTERIUM DAVID. 

Cod. membr. saec. XV. 
Laur. Pint. XV. 17. 



XXXXVII 




PSALTERIUM DAVID. 

Cod. membr. saec. XV. 
Laur. Plut. XV. 17. 



XXXXVIII 



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HORATIUS . CARMINA CUM FRANCISCI PETRARCHAE ADNOTATIONIBUS. 

Cod. membr. ssec. X. 
Laur. Pint. XXXIV. i, fol. ioz v . 



XXXXIX 



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VARIORUM CARMINA. 
Cod. membr. saec. XIV ex. 
. XXXIII. 31, fol. 







HERODIANI HISTORIA, A. POLITIANO INTERPRETE. 

Cod. chart, saec. XV. 
Laur. Rinuccinianus 20.