Medieval Charm: Illuminated Manuscripts for Royal, Aristocratic, and Ecclesiastical Patronage (Florence,

6a00d8341c464853ef017ee99f8105970d-500wiISI Florence, International Studies Institute, Via della Vigna Nuova
18, 50123 Firenze, October 20, 2015

Medieval Charm: Illuminated Manuscripts for Royal, Aristocratic, and
Ecclesiastical Patronage // Fascino medievale: manoscritti miniati per
i sovrani, l’aristocrazia e il clero
International Conference // Convegno Internazionale

Organized by Stefano U.Baldassarri, Francesca Marini, Florence Moly

Among the main goals of this conference at ISI Florence is increasing
knowledge of medieval and Renaissance illuminated books, especially
luxury manuscripts.

As part of investigating issues linked with the iconography, patronage,
collection, production, exchange, and costs of illuminated manuscripts,
the papers will focus on topics such as:
– The making of illuminated manuscripts and the collecting habits of
European courts, including the Visconti-Sforza in Lombardy, Alfonso V
of Aragon, and Charles V of France.
– Luxury books commissioned by either aristocrats or clergy in
Catalonia, and those produced for such important ecclesiastical
institutions as the Opera del Duomo in Florence.
– Iconographic themes that medieval and Renaissance culture considered
crucial to religious ideology, such as Paradise from the Divine Comedy
illustrated by the Sienese Giovanni di Paolo.
– Finally, an evaluation of female patronage of illustrated manuscripts
through examples such as The Book of Hours of Joana of Castile, and the
so-called «Alphabet» of Mary of Burgundy.

The conference will thus adopt a variety of scholarly approaches to
promote a fruitful interdisciplinary exchange stimulating dialogue on
the social and economic background of luxury manuscripts in medieval
and Renaissance Europe.

To this purpose, particular attention will be given to the role played
by the patrons who commissioned such works, their manner of choice for
the artists and the iconographic programs used on the basis of the
specific historic and geographic contexts for the splendid illuminated
manuscripts of the period.


Tuesday, October 20, 2015 / Martedì, 20 ottobre 2015

Welcome remarks
Stefano U. Baldassarri (Director, ISI Florence)

Keynote speech
Giovanna Lazzi (Biblioteca Riccardiana)

Session 1
Chair: Gert Jan van der Sman (Istituto Universitario Olandese)

Florence Moly (Université du Temps Libre, Perpignan)
La culture des élites: la collection Visconti-Sforza de Pavie et leurs
grands connaisseurs, du chancelier ducal à l’historien moderne

Gennaro Toscano (Institut National du Patrimoine, Paris)
Una passione per i libri: la committenza di Alfonso V d’Aragona detto
il Magnanimo (1396-1458)

10.45 Coffee break

Francesca Marini (ISI Florence)
«Larghi d’oro in oro per parte di miniatura»: i costi della miniatura
tra ‘400 e ‘500 a partire da alcuni codici per l’Opera del Duomo di


13.00 Lunch break

Session 2
Chair : Sonia Chiodo (Università degli Studi, Firenze)

Annette Hoffmann (Kunsthistorisches Institut in Florenz)
The Great Feast: Courtiers and Crusaders in Charles V’s «Grandes
Chroniques de France»

Josefina Planas (Universitat de Lleida)
Manoscritti miniati in Catalogna durante gli ultimi secoli del
Medioevo: promotori, artisti e centri di creazione artistica

Bette Talvacchia (University of Oklahoma)
Paradise Emblazoned and Embodied in Giovanni di Paolo’s Illumination of
Dante’s «Commedia»

Eberhard König (Freie Universität, Berlin)
Books for Women Made by Men? The Hours of Juana la Loca in London (Add.
Ms. 18852) and the So-called «Alphabet» of Mary of Burgundy


Concluding remarks

International Studies Institute, Florence
Kunsthistorisches Institut in Florenz – Max-Planck-Institut
Istituto Universitario Olandese di Storia dell’Arte, Firenze
Biblioteca Riccardiana, Firenze
Universitat de Lleida
Crédit Agricole – France


Published by James Alexander Cameron

I am an art historian working primarily on medieval parish church architecture. I completed my doctorate on sedilia in medieval England in 2015 at The Courtauld Institute of Art.

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