Recuperi e reinvenzioni della miniatura in Italia tra Otto e Novecento

This research explores the revival of medieval and Renaissance manuscript decoration in Italy between the late 19th and early 20th centuries. Although part of a broader European resurgence of interest in illuminated manuscripts, the phenomenon in Italy remains underexplored in scholarly literature. The study seeks to consolidate evidence of this movement and its impact across various societal levels, highlighting key figures and works. It aims to deepen the understanding of the illuminated manuscript’s reception, its influence on modern decorative arts, and its broader cultural significance in shaping Italy’s collective memory. The investigation first examines the socio-cultural context that fueled this renewed interest in manuscript illumination, linking it to the rise of neo-medievalist taste in Italy. By drawing on medievalism studies, the research underscores the integration of manuscript traditions into Italy's collective consciousness. A review of European literature on the 19th-century revival follows, focusing on historiographical advancements and how they influenced the study and reproduction of illuminated manuscripts. This context highlights the similarities and differences between the Italian revival and broader European trends. The study then examines significant case studies of 19th-century illustrated editions that shaped how illuminated manuscript images were reproduced and viewed. Girolamo Scotto’s Alfabeto di iniziali (1844) serves as an early example, reflecting 19th-century methods of engaging with medieval manuscript imagery. The core of the research investigates the role of manuscript ornamentation in Italy’s late-19th-century movement to construct a national grammar of ornament, with figures like Oderisio Piscicelli Taeggi, Ulrico Hoepli, and Alfredo Melani contributing to this debate. Finally, the research highlights the revival of miniature painting techniques by artists at the turn of the 20th century, who reinterpreted medieval forms as part of their broader artistic and social aspirations.