Abstract
This study examines how and why illuminators of the late fifteenth and sixteenth centuries copied images from printed book illustrations, focusing upon three manuscripts of Dante's Commedia (Paris, Bibliotheque nationale de France, MSS NAF 4530 and 4119; and Florence, Biblioteca Medicea Laurenziana, MS Plut. 40.7) that derived their images from woodcut illustrations of two printed books produced in Venice in 1491. Analysis of the manuscript miniatures and their sources in the printed editions reveal subtle variations indicating particular interests, ideological orientations, and pedagogical concerns of these illuminators.
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