The seven volumes which then were covered with crimson velvet and
silver bosses and enamels, are now simply bound in red morocco. In the
middle of each cover are the arms of Emanuel King of Portugal. Vols. v.
and vii. have those of Dona Isabel, his Spanish wife.
The initials and ornaments show that the art of Italy is freely mixed
with that of Portugal. Indeed, from the signatures in the volumes it is
seen that the work of the penman was Italian; vol. i. being written at
Ferrara by Sigismundo de Sigismundis, the well-known Italian
calligrapher, in 1495. The second volume, also finished in 1495, bears
the name of Alessandro Verazzano, another famous copyist, who wrote
several of the volumes illuminated by Attavante. Vol. iii. is dated
1496, and is unsigned. The next three volumes are also without
signature. Vol. vii. is the work of Antonio de Holanda, who from his
name appears to have been of Dutch descent. His work is certainly
excellent, and renders this volume a very precious monument of the art
of Portugal. He was the official herald of the King, and he and his son
Francesco gave their whole time to the practice of illumination. His
son's Memoirs give a most interesting account of his travels and
intercourse with Giulio Clovio and the other Italian artists whom he met
with in Rome.
Pages:
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275