The appetite for Filareto’s bindings has been regularly stimulated by lists of the extant volumes, which show them to be much rarer than the “Apollo and Pegasus” bindings with which they are often compared. At present, seventeen Filareto bindings are recorded. In 1926, G.D. Hobson published a list of 9 volumes, recapitulated the same year by E.P. Goldschmidt;1 in 1948, that number was raised to 11 by Nicolas Rauch;2 in 1960, to 13 by Tammaro De Marinis, his list recapitulated in 1975 by Anthony Hobson.3 In 1991, Hobson added a 14th volume to his list; a 15th binding was subsequently added by Federico Macchi.4 Two more are added here. Six of the recorded Filareto bindings are still in private hands: three in the Bibliotheca Brookeriana, the 1535 Aldine Lactantius (last seen in the Esmerian sale, in 1972), an empty binding (thought to have once housed the second part of the 1497 Aldine Iamblichus, last seen in the Wittock sale, in 2004), and the poorly-preserved Petrarca (rebacked, corners repaired) which entered the market in September 2023.
Eleven of the recorded Filareto bindings cover Venetian books, five are on Lyonese imprints, and one is a manuscript (in an altered binding, possibly a remboîtage). The earliest was published in 1497 and the latest in 1542. The books have the owner’s name lettered in gold in an oval compartment on the lower cover: apollonii philareti, and on the upper cover, beneath the gold-tooled name of the author or title, is his proud device: a medallion of an eagle soaring above a perilous seashore, and motto: Procul Este (Virgil, Aeneid, VI, 258). Although all the bindings feature the same medallion, it is generally accepted now that they were produced in three different shops: ten bindings in Rome, by Niccolò Franzese;5 three in Rome, by Marcantonio Guillery;6 and four in Northern Italy, perhaps in Bologna, by an anonymous shop.7 All three bindings in the Bibliotheca Brookeriana are from Niccolò Franzese’s shop. All three incorporate decoration by a lily tool and (on lower covers) a clasped hands tool, these symbolising their owner’s allegiance to the Farnese family.
The intaglio stamp for applying the impresa evidently belonged to Filareto, and was lent to the bookseller who sold him the book and made the binding. Filareto possibly designed the device himself, or it may have been conceived by his friend and colleague in Farnese service, Claudio Tolomei, who is the probable inventor of the “Apollo and Pegasus” device employed by Giovanni Battista Grimaldi. The maker of the plaquette is unknown. G.D. Hobson thought he might be one of the gem-engravers then working for Pope Paul III; Anthony Hobson was uncommitted.8
The books seem to have been bound in batches at different times, in 1542-1544 in Rome, then in 1545-1547 in Northern Italy, where Filareto had travelled with his master, Pier Luigi Farnese. Filareto was arrested in Piacenza on 10 September 1547 by the assassins of Pier Luigi, and sent to Milan for imprisonment. His library evidently was left behind, as some volumes entered the Dominican monastery of S. Giovanni in Canale, in Piacenza.9 After three years’ incarceration, Filareto was released, and returned to Rome. In 1552, Cardinal Alessandro Farnese, Pier Luigi’s son, bestowed on Filareto the arcipretura of S. Sisto in Viterbo, and he died there in 1569.10
1. Geoffrey Hobson, Maioli, Canevari and others (London 1926), pp.112-119, Pls. 6, 54-56. E.P. Goldschmidt, Gothic & Renaissance bookbindings exemplified and illustrated from the author's collection (London 1928), I, pp.280-281.
2. Nicolas Rauch, Catalogue 1: Catalogue de très beaux livres (Mies, Vaud [Switzerland] 1948), item 43.
3. Tammaro De Marinis, La Legatura artistica in Italia nei secoli XV e XVI (Florence 1960), nos. 814-826. Anthony Hobson, Apollo and Pegasus: an enquiry into the formation and disposal of a Renaissance library (Amsterdam 1975), pp.91-95.
4. Anthony Hobson & Paul Culot, Italian and French 16th century bookbindings (Brussels 1991), pp.18-21 no. 4. Federico Macchi, Legature di pregio nella biblioteca “A. Mai” (website, link).
5. Bound by Niccolò Franzese: 1. Bembo, 2. Castiglione, 3. Catullus, 4. Dio Cassius, 5. Martialis, 6. Sententiae, 7. Terentius Afer, 8. Thucydides, 16. Judah Abravanel, 17. Petrarca.
6. Bound by Marcantonio Guillery: 12. Della Casa, 13. Ptolomaeus, 14. Iamblicus.
7. Bound in Northern Italy: 9. Lactantius, 10. Macrobius, 11. Vettori. Macchi provisionally adds no. 15 Ovid to this group, noting however that some of the tooling on the restored lower cover could be Roman. In 1975, Anthony Hobson placed the binder in “Parma or Piacenza” (op. cit., p.93); in 1991, he placed him “probably in Bologna” (op. cit., p.21).
8. Anthony Hobson, Humanists and bookbinders: the origins and diffusion of the humanistic bookbinding, 1459-1559 (Cambridge 1989), p.122. Anthony Hobson, “Plaquettes on bookbindings” in Studies in the History of Art, Vol. 22, Symposium Papers IX: Italian Plaquettes (Washington, DC 1989), pp.165-173 (p.171).
9. Four bindings certainly entered the convent library, as they retain a relevant inkstamp and/or inscription: 3. Catullus, 6. Sententiae, 7. Terentius Afer, 11. Vettori. Two other bindings have evidence of deletion of that stamp or inscription: 4. Dio Cassius, 10. Macrobius.
10. Giuseppe Signorelli, Viterbo nella storia della Chiesa (Viterbo 1940), II, pp.362-363.
(1) Pietro Bembo, Epistolarum Leonis decimi pontificis maximi nomine scriptarum libri XVI (Lyon: Thibaud Payen, 1540)
Bound by Niccolò Franzese
(15) Publius Ovidius Naso, Quae hoc volumine continentur. Annotationes in omnia Ouidij opera. Index fabularum et caeterorum, quae insunt hoc libro secundum ordinem alphabeti. Ouidii metamorphoseon libri XV [part I only] (Venice: Heirs of Aldo Manuzio, 1533)
Bound in Northern Italy