This philosophical treatise engages with Plato’s Symposium and his theory of love. Ficino interprets Plato’s concept of Eros from a Neoplatonic and Christian perspective, in which love is described as a divine force guiding the soul toward knowledge and union with the divine. He integrates ethical, astrological, and metaphysical aspects into his theory of love. In his view, beauty is reflected at all levels of the cosmos, allowing the human soul to ascend to higher knowledge through love. Although Ficino used the emerging printing press for several of his works, this commentary was handwritten in the tradition of medieval manuscripts. Nevertheless, the scribe used a modern ‘humanist’ cursive script. Ficino’s writings, in both manuscript and print forms, along with numerous incunabula from his intellectual circle, formed the foundation of the private library “Serlupiana,” which initially resided in the Villa “Le Fontanelle” in Careggi—the former site of the “Platonic Academy,” founded by Ficino in 1462.

The edition of Dante’s Divine Comedy, annotated by Cristoforo Landino, is a prime example of the interplay between scholarship, art, and the emerging technology of printing. Landino was able to publish his extensive humanistic commentary on Dante’s early 14th-century epic within just a few months and in an astonishingly large print run, thus ensuring wide dissemination of his ideas. His commentary surrounds Dante’s text, which is printed in larger type, and significantly exceeds it in volume. Although originally intended to include 100 illustrations to appeal to a wide audience, this ambitious plan was only partially realized due to the complex printing process. From the standpoint of the history of science, Landino’s commentary was of epochal significance, as evidenced by its many reprints.

With this compact and affordable booklet, mathematician Calandri created a practical manual and reference work designed for students as well as merchants and bankers, useful both for study and everyday life. Calandri taught the twelve-year-old Giuliano Lorenzo de' Medici, later Duke of Nemours, to whom the booklet was dedicated. It demonstrates the versatility and potential of the young printing process. Printing allowed for standardized and reproducible presentation of mathematical content, greatly enhancing knowledge dissemination. Beyond trade and economics, mathematics during the Renaissance was also crucial for architecture, navigation, and, not least, the arts.

Hartmann Schedel’s World Chronicle (1440–1514) narrates world history in a medieval tradition, structured into seven world ages from Creation to the Last Judgment. At the same time, it utilizes the most advanced publishing techniques of its time (around 1480), combining movable type with woodcuts. With over 1,800 illustrations, it was the most richly illustrated publication of its era. The publishing industry in Nuremberg, with its organized division of labor, was crucial to realizing a project like the World Chronicle. A German translation of the original Latin edition made the work accessible to a broader audience, contributing to its wide success. Numerous city views also enabled virtual travel through the rapidly expanding world as seen from a European perspective around 1500.

The Dominican friar, preacher, and reformer Girolamo Savonarola, known for opposing corruption, moral decay (especially within the Church), and luxury, addresses death and the preparation for it through a virtuous life in his Sermon on the Art of Dying Well. He recommended hanging three images in the bedroom and viewing them every morning to remain aware of life’s transience. The printed version of the sermon contains woodcuts depicting these images. Savonarola rejected the Neoplatonism popular in his time, particularly that of Marsilio Ficino, and instead advocated for a strict, Bible-centered piety, rejecting the embrace of classical knowledge.

In Compendium Revelationum, Savonarola published his visions and prophecies from his time preaching in Florence. These writings revolve around the Church reforms he championed, as well as societal renewal, which, according to him, required a turn away from moral decay and corruption. He believed Florence would play a central role in this renewal and envisioned the city as a “New Jerusalem,” a model for a purified Christian society.

Published in Venice by the renowned printer Aldus Manutius, this work is full of mysteries, beginning with the author, whose identity remains uncertain to this day. It describes the dream journey of a young man searching for his beloved Polia through a fantastical world filled with enchanting landscapes, meticulously described ancient ruins, mythological creatures, and gods. The book is also notable for its innovative typography and seamless integration of woodcut illustrations into the text. The interplay of text and image forms a completely novel and creative synthesis. Its detailed descriptions have inspired countless artists and architects.

The Opere Varie brings together works from Piranesi’s early years in Rome (1740–1743), showcasing his exceptional etching technique, his calling as an architect, and his passion for archaeology. Piranesi perfected the etching process by combining various techniques—step etching, drypoint, and line etching—achieving unique effects of depth and light. These complement his often ‘surreal’ spatial fantasies, where monumentality and spatial complexity converge. Piranesi was unmatched in his ability to depict the physical force of ancient ruins and the drama of their destruction. His etchings were highly valued in his lifetime and remained influential in art, architecture, and even literature.

Unlike the etchings of his contemporary Piranesi, the etchings in this collection were not made by Canova himself, but by various engravers based on his paintings. Stylistically, they differ greatly from Piranesi’s work. Canova was the most important sculptor of his time, renowned for his Neoclassical aesthetic. He also experimented with tempera paintings (particularly in his birthplace Possagno), inspired by the frescoes of Herculaneum and their late 18th-century publication. The figures in this etching series unmistakably reflect his sculptor’s perspective, as well as his interest in choreographed scenes, dynamic figure groupings, and the allure of newly discovered ancient painting. The bright figure groups stand out against dark backgrounds, and subtle shading suggests the solid presence of marble while also conveying grace and movement.

The literary masterpiece of French writer Marcel Proust, In Search of Lost Time, is divided into seven parts published between 1913 and 1927. It is a profound meditation on memory, time, love, and society, characterized by Proust’s introspective and detailed narrative style that intricately weaves together memories and reflections. À l’ombre des jeunes filles en fleurs, the second volume, was published in 1919 and won the prestigious Prix Goncourt, solidifying Proust’s literary fame. A year later, La Nouvelle Revue Française published a deluxe edition limited to 50 copies, one of which is held in the Serlupiana. It was printed on thin paper in an unusual quarto format. In addition to a frontispiece portrait of Proust, these copies include manuscript inserts with handwritten corrections and additions by the author for the final print. This rare edition may have served as a fundraising effort for continuing Proust’s work.

This semi-autobiographical novel, which portrays a nameless protagonist’s experiences of same-sex love, was initially published anonymously at a time when homosexuality was still criminalized. The very minimalistic, almost austere illustrations were created by Cocteau himself. With expressive line work and a focus on a few dominant elements, he crafted touching, introspective characters and intimate scenes, sometimes with enigmatic distortions. In the Serlupiana copy, 17 of the lithographs were hand-colored by the Canadian painter and graphic artist Frank Milton Armington, adding depth and sometimes stronger emotional impact to Cocteau’s linear imagery.

This collection of 31 etchings, commissioned by Ambroise Vollard in 1936 and published by Martin Fabiani in 1942, illustrates excerpts from the Histoire Naturelle by naturalist Georges-Louis Leclerc, Comte de Buffon (1707–1788). Using various etching techniques (aquatint, drypoint, etching), Picasso portrayed different animals in his distinctive style that oscillates between naturalism and abstraction. With expressive simplicity, he captured the essence of each animal through specific line and texture, blending great expressiveness, subtle humor, and an evocation of unique environments.