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An illuminated manuscript is a formally prepared document where the text is often supplemented with flourishes such as borders and miniature illustrations. Often used in the Roman Catholic Church for prayers, liturgical services and psalms, the practice continued into secular texts from the 13th century onward and typically include proclamations, enrolled bills, laws, charters, inventories and deeds.
While Islamic manuscripts can also be called illuminated, and use essentially the same techniques, comparable Far Eastern and Mesoamerican works are described as painted.
The earliest illuminated manuscripts in existence come from the Kingdom of the Ostrogoths and the Eastern Roman Empire and date from between 400 and 600 CE. Examples include the Codex Argenteus and the Rossano Gospels, both of which are from the 6th century. The majority of extant manuscripts are from the Middle Ages, although many survive from the Renaissance, along with a very limited number from Late Antiquity.
Most medieval manuscripts, illuminated or not, were written on parchment or vellum.These pages were then bound into books, called codices (singular: codex). A very few illuminated fragments also survive on papyrus. Books ranged in size from ones smaller than a modern paperback, such as the pocket gospel, to very large ones such as choirbooks for choirs to sing from, and "Atlantic" bibles, requiring more than one person to lift them.
Paper manuscripts appeared during the Late Middle Ages. Very early printed books left spaces for red text, known as rubrics, miniature illustrations and illuminated initials, all of which would have been added later by hand. Drawings in the margins (known as marginalia) would also allow scribes to add their own notes, diagrams, translations, and even comic flourishes.
The introduction of printing rapidly led to the decline of illumination. Illuminated manuscripts continued to be produced in the early 16th century but in much smaller numbers, mostly for the very wealthy. They are among the most common items to survive from the Middle Ages; many thousands survive. They are also the best surviving specimens of medieval painting, and the best preserved. Indeed, for many areas and time periods, they are the only surviving examples of painting
Known today as the St. Francis Missal, this manuscript is traditionally believed to be the very book consulted by St. Francis and his companions in 1208. According to early accounts, St. Francis and two followers were debating what God’s plan for them might be. Unable to decide, they sought answers at the church of San Nicolò in Assisi, which Francis often attended. They opened the Missal, which sat on the altar, three times at random and in every case, the text on the page urged renouncing earthly goods. This pivotal moment laid the foundation for the Franciscan order. An inscription in the book on fol. 166r lends support to the legend that surrounds it, for it documents the Missal's creation for the church of San Nicolò, and also mentions the book's patron, Gerard of Ugo, who is documented in Assisi in the late 12th century. Due to its possible contact with the saint, Franciscans worldwide consider it to be a relic of touch, and every year many make pilgrimages to Baltimore to be in its presence, and to see the three places they believe Francis opened the manuscript to (fols. 119v-120r, 132v-133r, and 249v-250r). The manuscript underwent intensive conservation from 2017-2019, a special project made possible by the Mellon Foundation.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Esta foto participó en el juego En un lugar de Flickr
El detalle del dintel (segundo bloque a la derecha) de la portada principal, occidental (1260-74-85), de la Iglesia de Santa María la Real (XIII-XV) de Olite, la capital de la Merindad de Olite que se encuentra en la comarca geográfica de Tafalla, La Zona Media de Navarra, España.
LA LEYENDA DE LA MARGINALIA PRIMAVERAL DE OLITE:
En cuanto a la interpretación de este episodio escultórico representado en el dintel de la portada occidental de la Iglesia de Santa María la Real de Olite no hay opinión unánime, pues diferentes autores ven en esta composición las versiones siguientes:
1) Según M.Lucía Lahoz (Contribución al estudio de la Portada de Santa María La Real de Olite), se trata de «seres fantásticos de tipo monstruoso, centauro y ser híbrido».
2) De acuerdo con Eukene Martínez de Lagos (¿Una marginalia realizada en piedra? : a propósito del dintel de Santa María de Olite),
«...un centauro, ser mitad hombre mitad equino, cubierto con capirote y con espada al cinto, aparece arrodillado ante un híbrido de cuerpo y cola de reptil y cabeza humana al que un dragoncillo muerde en el lomo. Parece implorarle algo o rezar ante él, si consideramos la posición de sus manos en claro gesto de oración. Los centauros son otros de los seres fantásticos más dinámicos en la época medieval, aparecen plasmados en diversas actitudes bien como sagitarios enfrentándose a ciervos y sirenas, bien en luchas con otros seres híbridos o con hombres. Sus orígenes mitológicos clásicos, asi como su presencia también en algunos pasajes de las Sagradas Escrituras y en fuentes literarias de diversa índole divulgaron su imagen y sus diferentes significaciones otorgándole un carácter ambivalente. En cuanto al ser fantástico ante el que se arrodilla podemos constatar la presencia de dos híbridos realmente similares en el pedestal que sostiene la escultura de la reina de Saba en la fachada occidental de la Catedral de Notre-Dame de Reims. Otros ejemplos de este tipo de dragón-serpiente con rostro humano aparecen en el Ms. Latin 14284, Libro de Horas francés realizado en el Norte de Francia a finales del S.XIII y conservado en la Biblioteca Nacional de París. También en el fol.2 del Ms. Latin 6299 realizado hacia 1310, podemos ver el mismo tipo de híbrido en un extremo de la marginalia inferior. Una pareja, hombre y mujer, con idéntica configuración de cuerpo de reptil y cabeza humana aparecen en el fol. 126v del Ms.W. 38, Libro de Horas iluminado en el Norte de Francia en el primer cuarto del S.XIV.
Respecto a la naturaleza de la escena en la que un ser semi-humano ora ante otro, hemos podido localizar modelos similares en la marginalia del fol. 51 del Ms.W. 104, Libro de Horas también realizado en la misma zona en el primer cuarto del S.XIV, donde una mujer híbrido cubierta con capiello y toca presenta la misma actitud que el centauro de Olite, con las manos juntas y rezando ante un híbrido masculino de similar configuración. Ambos presentan largas colas serpentinas terminadas en floridas ramas vegetales al igual que nuestro ser fantástico del dintel, cuya larga cola bifurcada en dos, termina confundiéndose con la decoración vegetal desarrollada en torno a la escena. Otro ejemplo de monje-híbrido rezando ante un ser de igual categoría decora la marginalia del fol. 153 del Vidal Mayor. Pudiéramos pensar que estamos ante un intento de desacralización de una acción concreta, como es el rezo o la oración, a la vista de los dos protagonistas de la escena, o también que dicha escena contiene una intención claramente satírica y un componente marcadamente antireligioso. Las invocaciones a un ser fantástico, presentes en algunos manuscritos, han sido relacionadas con el culto a los ídolos antiguos, sin embargo y aunque la idea final pueda ser similar resulta más probable la posibilidad de cierto matiz crítico o burlesco hacia unas creencias o hacia el estamento eclesiástico. Las representaciones de este tipo de motivos propician además que la acción de orar pierda toda su trascendencia, ante la naturaleza fantástica de quienes la practican.»
3) Conforme con el estudio de Lorenzo García Echegoyen (Adveniat regnum tuum. Mensaje iconográfico de la portada de Santa María la Real de Olite), este episodio del dintel de Santa María de Olite que representa un calendario pétreo corresponde a plena primavera: un centauro con capucha y armado con un puñal al cinto está arrodillado ante una dama convertida en dragón al tiempo que es mordida en la grupa por un ave con una cara perruna, mientras otras dos acechan desde lo alto de las ramas, una sacando la lengua de manera procaz y la otra enseñando los dientes. La vegetación que envuelve a los personajes es propia de la primavera y distinta de la anterior escena y de la posterior (unas hojas carnosas y lozanas con incipientes frutos menudos).
El centauro parece implorar a la dama-dragón, considerando la posición de sus manos en claro gesto de oración, y esta composición evoca ”una típica escena galante, un cortejo de amor” que se asocia con el segundo poema del Cantar de los Cantares (2,8-17) que precisamente describe el goce de los amantes en comunión con la naturaleza que despierta en primavera:
“¡La voz de mi amado! Vedle que llega saltando por los montes, triscando por los collados. Es mi amado como una gacela o el cervatillo. Vedle que está detrás de nuestros muros, atisbando por las ventanas, espiando por entre las celosías. El esposo dice: ¡Levántate ya amada mía, hermosa mía y ven! Que ya ha pasado el invierno y han cesado las lluvias. Ya se muestran en la tierra los brotes floridos...”
Pero el hecho de que “los protagonistas sean un centauro y un dragón femenino nos sitúa ante un argumento moralizante. Porque si bien el centauro simbolizaba en el mundo antiguo las preciosas cualidades de actividad, de celeridad, de fuerza puestas al servicio de la inteligencia del hombre, la mayoría de las veces significaba esas mismas cualidades puestas al servicio de las bajas pasiones humanas, del orgullo, de la lujuria y de la concupiscencia. Y en cuanto a los dragones-mujer, un bestiario describe que las doncellas de una determinada región encierran en sus cuerpos serpientes, lo que hace sumamente peligroso deflorarlas.”
4) Por el pelo corto del ser híbrido con la cola de serpiente es posible que se trata de un hombre-dragón y una centáuride (centauresa o centaura) enamorada que representan:
- una relación medieval con el bestiario clásico (las centáurides que figuran en Las metamorfosis de Ovidio (Libro XII: La batalla de Lápitas y Centauros), en los mosaicos antiguos griegos y romanos de los siglos V-IV a.C.);
- una versión cristianizada de la leyenda sobre la diosa pagana vasco-aragonesa Mari (Maya o Maddi), también conocida como La Dama Yegua o La Señora de las Fieras, y su consorte, macho-dragón llamado Maju (Maja, Sugar, Sugaar, Herensugue):
Mari vive bajo tierra, en cuevas y grutas de las altas montañas, rodeada de riquezas, desplazándose de vez en cuando al exterior a través de simas y otros conductos subterráneos; o se traslada por el aire visitando sus variadas moradas en las distintas sierras montañosas vascas.
Mari puede hacerse notar de innumerables maneras: una de las más extendidas es como una bellísima y elegante mujer, pero es frecuente que muestre parte de sus extremidades de forma animal (pies de ave, de cabra o de yegua); viajando por los aires es observada rodeada de fuego, en forma de nube rojiza o ráfaga de viento.
Se asegura que Mari es la reina del resto de genios y cuando ella se reune con con Maju se generan fuertes tempestades. Una de las principales ocupaciones de Mari es su dedicación a propagar grandes tempestades, por ello quien le realice ofrendas (un carnero u otro animal, monedas...) se verá libre de las graves consecuencias de aquellas. Además, es posible invocarle para obtener favores e, incluso, visitarle en su morada, siempre siguiendo unas determinadas reglas de comportamiento. De las leyendas se deduce que Mari castiga a los mentirosos, los orgullosos, los vanidosos y los ladrones. También se cuenta que Mari se bebe la vida de los hombres y los hace infelices. En la tradición aragonesa Mari es, sin embargo un ser benéfico que ayuda a los humanos. Existen numerosas leyendas sobre Mari (en muchos casos con elementos posteriores al cristianismo, como el demonio, el bautizo, etc.).
- En el Bestiario Toscano del siglo XV están incluídas tres tipos de seductoras que representan la tentación, el pecado carnal y la lujuria: mujer-ave, mujer-pez y mujer-yegua.
5) Considerando el hecho de que esta composición escultórica decora una edificación religiosa y la interpretación de la simbología de los centauros en la cultura medieval, es bien evidente su relación con la Biblia, la leyenda de Lamia y la leyenda de Lilit:
La confusión consiste en que existen diferentes variedades de centauros y distintas traducciones de la misma frase de la Biblia.
Los centauros se dividen en:
- Hipocentauros: son seres monstruosos con la parte inferior de su cuerpo con forma de caballo y la parte superior con forma de hombre; en este grupo se incluyen también las mujeres-yeguas.
- Onocentauros: es mitad hombre y mitad burro (asno); según diferentes versiones del Fisiólogo (el bestiario más popular medieval), “De éstos dice Isaías: son semejantes a ellos los hombres que tienen doble cuerpo y doble palabra, es decir, que dicen el bien por delante, y mal por detrás.”
- Bucentauros: una la combinación del torso superior de un hombre con el cuerpo y la fortaleza de un toro.
- Capricentauros (port.) - o cabracentauros (cast.): son sátiros - mitad hombre mitad carnero, con orejas puntiagudas y cuernos en la cabeza, abundante cabellera, una nariz chata, cola de cabra y un priapismo permanente (procedentes de la mitología griega) - o faunos (de la mitología romana). Las representaciones romanas confundían a los sátiros con los faunos, quienes solían tener piernas de chivo. En este grupo se incluyen también las mujeres legendarias con las pies de cabras.
En la Biblia, de toda esta familia de los centauros tan variopintos, se mencionan sólo los onocentauros y los sátiros, pero como los protagonistas del mismo episodio:
Según EL FISIÓLOGO LATINO: VERSIÓNB. TRADUCCIÓN Y COMENTARIOS por José A. VILLAR VIDAL y Pilar DOCAMPO ÁLVAREZ, en la pintura medieval los centauros muchas veces se representan en combinación con la sirena-ave, sirena-pez y serpiente: «La razón de que aparezcan juntos, y en un mismo capítulo (tanto en el Fisiólogo griego como en las versiones latinas), estriba en que también en la versión griega de la Biblia (Isaías 13, 21-22) aparecen asociados. Más tarde, cuando a partir de De bestiis el texto latino anterior del pasaje de Isaías fue sustituido por el de la Vulgata, que ahí no traduce "onocentauro" -aunque sí en Is 34, 14—, sirena y onocentauro pueden independizarse, y a veces figurar uno solo, generalmente en detrimento del onocentauro. A veces, tanto en las traducciones actuales como en los estudios, se genera confusión al rehuir el término onocentauro que está en los manuscritos (y en la Biblia) y sustituirlo por centauro o por hipocentauro.»
«...En las miniaturas de los manuscritos las sirenas y los onocentauros aparecen juntos en el mismo recuadro, aunque sean independientes las escenas. En los Bestiarios lo habitual es que estén en viñetas distintas...El onocentauro en algún caso está solo sujetando una serpiente (así en el ms. Morgan 81). En el Fisiólogo de Berna están sobre un tronco enfrentados la sirena (con larga cola enroscada) y el onocentauro.»
De acuerdo con esta sugerencia resulta que en la marginalia primaveral de Olite está representado el onocentauro (o el sátiro) delante de la Lamia o Lilit en correspondencia con el pasaje del Libro de Isaías 34.14:
Reina Valera 1960 en Español: Isaías, 34:
14. Y se encontrarán allí los demonios o seres malignos con los onocentauros , y gritarán unos contra otros los sátiros; allí se acostará la lamia y encontrará su reposo.
En la versión de la Biblia publicada en 1824, traducción del padre Felipe Scío de San Miguel:
14: Y se encontrarán los demonios con los onocentauros , y el peludo gritará el uno al otro: allí se echó la lámia, y halló reposo para sí.
La traducción oficial del Vaticano: Isaias, 34 - Castigo de Dios sobre Edom:
14 Las fieras del desierto se juntarán con las hienas, los sátiros se llamarán unos a otros. Allí también descansará Lilit y tendrá un lugar de reposo.
15 Allí anidará la serpiente y pondrá sus huevos, los incubará y los hará empollar; y allí también se reunirán los buitres, cada uno con su pareja.
Lamia y su leyenda:
Lamia es un personaje femenino de la mitología y el folclore grecolatinos, caracterizado como asustaniños y seductora terrible. A menudo se la asocia con figuras similares de la cultura griega (Empusa) o hebrea (Lilith), aparece en el folclore neohelénico, vasco y búlgaro como herencia de la tradición clásica.
«...Según el historiador griego Diodoro Sículo, Lamia era una reina de Libia a la que Zeus amó, hija de Poseidón o Belo y Libia. La esposa de Zeus, Hera, celosa, la transformó en un monstruo y mató a sus hijos (o, en otras versiones, mató a sus hijos y fue la pena lo que la transformó en monstruo). Lamia fue condenada a no poder cerrar sus ojos, de modo que estuviera siempre obsesionada con la imagen de sus hijos muertos. Zeus le otorgó el don de poder extraerse los ojos para así descansar, y volver a ponérselos luego. Lamia tenía el cuerpo de una serpiente, los pechos y la cabeza de una mujer.»
A pesar de la venganza de Hera, hay algunas tradiciones que sostienen que la primera sibila era hija de Zeus y Lamia.
Lilit (o Lilith) y su leyenda:
Lilit es una figura legendaria del folclore judío, de origen mesopotámico. Se la considera la primera esposa de Adán, anterior a Eva.
El nombre "Lilit" proviene del vocablo asirio-babilónico lilitu, "demonio femenino" o "espíritu del viento", que constituía parte de una tríada mencionada en los conjuros babilónicos. La etimología popular hebrea al parecer derivó "Lilith" de layit, que significa "noche" de ahí su relación con un monstruo nocturno y peludo, cosa que también pasa en la tradición popular árabe.
La representación de Lilit: Se entiende que Lilith siempre esté relacionada a la oscuridad, vista como fantasma o monstruo de la noche, de las tinieblas, los momentos de la vida en que no se da la presencia de la luz. El animal con el que se la representa es la lechuza, un ave de noche. Se la ninguneaba llamándola ramera, vampiro o serpiente que consumía a sus amantes y los dejaba secos. La describían de modos muy variados, como una bella mujer con cabellos rojizos muy largos, una melena rizada prominente, con un cuerpo escultural, con unos pies de aves que terminan en pezuñas que ella se encarga de afilar cada vez que lo cree necesario o como una visión fantasmal nocturna que puede adquirir las formas distintas, pero siempre con el toque de seducción y tentación irresistible...
La historia de Lilit:
Se considera que Lilit es el antecedente más remoto de la brujería, espíritus malignos y vampiros. Su primer advenimiento se presenta en el poema de Gilgamesh, un antiguo texto literario mesopotámico. Los sumerios la representaban como una especie de mujer pájaro con patas y garras de lechuza parada sobre un par de chacales y a sus lados con dos lechuzas, sus pájaros sagrados. Más adelante los asirios y babilonios la absorben como un demonio alado. Esta figura influiría en las culturas hebreas antiguas quienes representaron a Lilith como espíritu nocturno o demonio femenino. Esta idea se extendería hasta Grecia asumiendo el nombre de Lamia.
Lilit – Lillake de Gilgamesh:
Los primeros datos de Lilith se ubican a mediados del tercer milenio antes de nuestra era, en la época sumeria, en el área conocida como Mesopotamia. Se encuentra como Lillake en una tablilla sumeria del año 2000 a.C. hallada en Ur, que abarca el relato de Gilgamesh y el sauce. Aquí se refiere a Lilit como un demonio hembra que habita en un sauce custodiado por la diosa Inanna (Anat) en las riveras del Éufrates. En la tablilla XII se localiza la narración siguiente:
"Entre sus raíces, la serpiente "que no conoce reposo" había situado su nido;
en su copa, el pájaro de la Tempestad, había colocado su cría; en el centro Lillake construyó su casa.(...)
Gilgamesh se quita de su talle su armadura, Cuyo peso es de cincuenta minas. (...)
Gilgamesh empuñó su hacha en la mano, (hacha) que pesaba siete talentos y siete minas,
y entre las raíces del árbol golpeó a la serpiente "que no conoce reposo";
y en su copa el pájaro de la Tempestad le robó su pequeñuelo, teniendo que huir el pájaro a la montaña.
Gilgamesh destruyó la casa de Lillake Y dispersó sus escombros. Cortó el árbol por las raíces, golpeó su copa,
Y luego las gentes de la ciudad vinieron a cortarla. Entregó el tronco a la brillante Inanna Para hacerse un lecho,
(Gilgamesh) con las raíces fabricó un pukku y con la copa un mikku".
Desde entonces se asocia a Lilith con serpientes, aves nocturnas como las lechuzas y dragones.
Lilit – Lilitu – Ardat Lili:
La demonología de Mesopotamia ejerció gran influencia sobre las ideas hebreas y cristianas en torno a los demonios y al diablo. Los demonios de Mesopotamia eran por lo regular espíritus hostiles de menor dignidad y con menos poder que los dioses. Prácticamente existían demonios para todos los males humanos de entre los cuales figuraba Lilitu o Ardat Lili como uno de los más aterradores valiendo como prototipo ancestral de la Lillith bíblica. Lilitu era la representación de una "virgen de desolación", frígida, estéril, que vagaba de noche para atacar a los hombres como súcubo o bebiéndoles la sangre.
Lilit en la Biblia:
«...La única mención en la Biblia de dicha criatura aparece en Isaías 34:14.
En la Biblia de Jerusalén este pasaje se traduce como: «Los gatos salvajes se juntarán con hienas y un sátiro llamará al otro; también allí reposará Lilit y en él encontrará descanso».
En la Vulgata la palabra que corresponde a Lilit en la Biblia de Jerusalén se tradujo por Lamia, equivalencia que se conserva en algunas traducciones modernas, como la de Nácar-Colunga: «Y las bestias monteses se encontrarán con los gatos cervales, y el peludo gritará a su compañero: la lamia también tendrá allí asiento, y hallará para sí reposo». Otras versiones, en fin, traducen el término como ‘criatura nocturna’ o ‘lechuza’. Al tratarse de un término que aparece testimoniado en una sola ocasión (hápax legómenon), no resulta posible saber con certeza si para el autor del texto aquella palabra (לילית) era un nombre propio o común, y en este último caso, si se trataba de una criatura sobrenatural o de una rapaz nocturna.»
El origen de la relación de Lilit con la Biblia:
El origen de la leyenda que presenta a Lilit como primera mujer se encuentra en una interpretación rabínica de Génesis 1, 27. Antes de explicar que Yahvéh dio a Adán una esposa llamada Eva, formada a partir de su costilla (Génesis 2:4-25), el texto dice: «Creó, pues, Dios al hombre a su imagen; a imagen de Dios lo creó; varón y mujer los creó». Si bien hoy suele interpretarse esto como un mismo hecho explicado dos veces, otra interpretación consiste en que el Dios creó en primer lugar una mujer a imagen suya, formada al mismo tiempo que Adán, y sólo más tarde creó de la costilla de Adán a Eva. La primera mujer a la que alude Gn. 1, 27 sería Lilit, la cual abandonó a su marido y el jardín del Edén.
El doble triángulo: Dios, Lilit, Adán – los tres ángeles:
El Génesis Rabba, recopilado en el siglo V en Palestina, señala que Eva no existía todavía en el sexto día de la Creación. Entonces Yahvéh había dispuesto que Adán diese nombre a todas las bestias, aves y otros seres vivientes. Cuando desfilaron ante él en parejas, macho y hembra, Adán —que ya era un hombre de veinte años— sintió celos de su amor, y aunque copuló con cada hembra por turnos, no encontró satisfacción en el acto. Por ello exclamó: «¡Todas las criaturas tienen la pareja apropiada, menos yo!», y rogó al Dios que remediara esa injusticia.
«...Adán y Lilit nunca hallaron armonía juntos, pues cuando el deseaba yacer con ella, Lilit se sentía ofendida por la postura reclinada que él exigía. "¿Porqué he de yacer debajo de ti? -preguntaba-. Yo también fui hecha con polvo y por tanto, soy tu igual." Como Adán trató de obligarla a obedecer, Lilit pronunció el nombre mágico de Dios, se elevó por los aires y lo abandonó.
Adán se quejó a Dios: "Mi compañera me ha abandonado". Dios envió inmediatamente a los ángeles Senoy, Sansenoy y Semangelof para que buscaran a Lilit y la hicieran volver. La encontraron junto al mar Rojo, región que abundaba en demonios lascivos, con los cuáles engendró lilim a razón de más de cien al día. "¡Regresa con Adán de inmediato -dijeron los ángeles- o te ahogaremos!" Lilit preguntó: "¿Cómo puedo regresar con Adán y vivir como una esposa honesta después de mi estancia en el mar Rojo?". "¡Si te niegas morirás!", replicaron ellos."¿Cómo puedo morir -volvió a preguntar Lilit- si Dios me ha ordenado que me haga cargo de todos los recién nacidos: de los niños hasta el octavo día de vida, el de su circuncisión, y de las niñas hasta el vigésimo día? No obstante, si alguna vez veo vuestros tres nombres o vuestras efigies en un amuleto sobre un recién nacido, prometo perdonarle la vida." Los ángeles accedieron al trato, pero Dios castigó a Lilit haciendo que un centenar de sus hijos demoníacos perecieran cada día; y cuando ella no podía destruir la vida de un infante debido al amuleto angelical, se volvía en rencor contra los suyos propios."
Según las tradiciones judías medievales, desde entonces Lilit intenta vengarse matando a los niños menores de ocho días. Por eso existe una constumbre de poner un amuleto alrededor del cuello de los niños recién nacidos con los nombres de aquellos tres ángeles.
Lilit y el enigma de su poder:
Sin embargo parecía que el problema principal entre Adán y Lilit iba más allá de aquellos desacuerdos sexuales. Pues lo que le mortificaba a Adán era que ella conocía el nombre secreto de Dios. Lilit era la única que conocía el secreto nombre de Dios. Por algo le había dado Dios a ella el dato de cómo se llamaba. Y eso le daba un poder especial que a Adán debía de molestarle mucho. Lilit abandonó el paraíso antes de que Adán y Eva comieran el fruto prohibido. Lilit no fue expulsada del paraíso y no es mortal, es eterna, mientras que Adán y Eva son mortales. Aunque al principio a Adán no le importó la partida de su mujer, pasado un tiempo no muy largo él no pudo soportar vivir sin ella y le rogó a Dios en varias oportunidades que por favor hiciera algo para que retornara a su lado. A pesar de ello y desafiando al mismo Dios creador Lilith nunca volvió a estar en los brazos del primer hombre. Mucho más que eso, ella vivió en libertad teniendo muchos hijos, a los que luego se los denominaban demonios o lilim (uno de los cuales supuestamente era “el Hombre Verde” que aparece tantas veces en la escultura románica y gótica). Lilit tuvo la audacia de abandonar el Paraíso y comenzar una nueva vida de la forma que ella creía conveniente, trazando sus propias reglas.
Lilit y Yahveh en el mito hebreo:
Según el Yalqut Reubeni, colección de comentarios cabalísticos acerca del Pentateuco, recopilada por R. Reuben ben Hoshke Cohen (muerto en 1673) en Praga:
Yahveh formó entonces a Lilit, la primera mujer, del mismo modo que había formado a Adán. De la unión de Adán con esta hembra, y con otra parecida llamada Naamá, hermana de Túbal Caín, nacieron Asmodeo e innumerables demonios que todavía atormentan a la humanidad. Muchas generaciones después, Lilit y Naamá se presentaron ante el tribunal de Salomón disfrazadas como rameras de Jerusalén.
“...La imagen de Lilith cambió entrando la edad media en donde se le situó en el lugar de consorte de Yahveh quien al buscar una compañera recurrió a Lilith; como resultado de ello se despliegan tantas enfermedades, guerras, muertes y males que acechan al mundo y que cesarán en el momento en que Yahveh y Lilith dejen de pecar.”
Mientras tanto, cuando Lilit no acompaña a Yahveh, ella anda vagando por los desiertos y ciudades desoladas, malversando el sueño a los hombres, buscando de la sangre de los niños, saciando su desbordante sexualidad y nuevamente huyendo a los lugares donde puede encuentrar armonía entre las lechuzas.
Lilit en el El Libro de los Seres Imaginarios de Jorge Luis Borges:
“...Lilith: Porque antes de Eva fue Lilith, se lee en un texto hebreo. Su leyenda inspiró al poeta inglés Dante Gabriel Rossetti (1728-1882) la composición de Eden Bower. Lilith era una serpiente; fue la primera esposa de Adán y le dio glittering sons and radiant daughters (hijos resplandecientes e hijas radiantes). Dios creó a Eva, después; Lilith, para vengarse de la mujer humana de Adán, la instó a probar el fruto prohibido y a concebir a Caín, hermano y asesino de Abel. Tal es la forma primitiva del mito, seguida por Rossetti. A lo largo de la Edad Media, el influjo de la palabra layil, que en hebreo vale por noche, fue transformándolo. Lilith dejó de ser una serpiente para ser un espíritu nocturno. A veces es un ángel que rige la generación de los hombres; otras es demonios que asaltan a los que duermen solos o a los que andan por los caminos. En la imaginación popular suele asumir la forma de una alta mujer silenciosa, de negro pelo suelto.”
El misterio de Lilit:
- ¿Si ella es una criatura nocturna siniestra, monstruosa, fatídica, diabólica, provocadora, atractiva, sensual, peligrosa Señora de la Serpiente?
- ¿ O es una enigmática mujer inmortal, de belleza irresistible, inteligente, luchadora e independiente, que defendía su derecho de igualdad humana buscando su felicidad y su bienestar, navegando contra la corriente para vivir en su libertad; la inolvidable amante de Adán y la dama de poderes excepcionales que sedujo al mismo Dios, quien le reveló su nombre secreto y no la destruyó después de su rebellón por alguna razón?...
* Marginalia – decoración de los márgenes de los códices medievales (donde se desarrollaban los motivos moralizantes, satíricos, burlescos o fantasiosos “paralelos” al mundo religioso).
M.Lucía Lahoz (Contribución al estudio de la Portada de Santa María La Real de Olite):
www.euskomedia.org/PDFAnlt/arte/18/18077112.pdf
Lorenzo García Echegoyen (Adveniat regnum tuum. Mensaje iconográfico de la portada de Santa María la Real de Olite): dialnet.unirioja.es/servlet/articulo?codigo=1088385
EL FISIÓLOGO LATINO: VERSIÓNB.
2. TRADUCCIÓN Y COMENTARIOS por José A. VILLAR VIDAL, Pilar DOCAMPO ÁLVAREZ
Ovidio, Las metamorfosis, Libro XII: La batalla de Lápitas y Centauros
Jorge Luis Borges: El Libro de los Seres Imaginarios, Lilith (p.38)
Lilith: la primera mujer de Adán
Mitologías: Lilith y Caín ¿Rebeldes o revelaciones?
Referencia sobre el Bestiario Toscano y la mujer-yegua
ALEXANDER UGALDE ZUBIRI Y GONZALO MARTÍNEZ AZUNENDI (2000). Euskal Herria: Un pueblo. Sua edizioak. MITOLOGÍA VASCA.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
lIluminated Manuscript (15th century).
Marginalia in Medieval Manuscripts at
johanphoto.blogspot.nl/2013/02/in-de-kantlijn-van-middele...
Rockall, the most westerly point of Scotland, in the style of an Ordnance Survey map.
Elevation digitised from "First Map of Rockall" (Thanks to Dave Grzybowski for the digitising) and adjusted for coordinate established by Nick Hancock's 2014 expedition.
The map is for illustrative purposes only, it is not intended to be a definitive representation. Coordinates are lat/long on WGS84 and metres on UTM 28N.
Style adapted from an Ordnance Survey Explorer map although the marginalia is coincidentally closer to the FT style.
Beacon icon and rock symbols were adapted from the OS 1:25k raster legend. The rock symbols use a number of marker lines symbols with a randomly generated offset.
Terrain shaded using QGIS Visible Sky and Terrain Shading/Shadow tools.
The inset globe was designed following instructions by Alasdair Rae.
A texture was blended over the map to replicate the look of paper.
Ok this is not a title from the thriller novel A Girl on The Train by Paula Hawkins ( I has finished this novel and I don't like it .... kekekkekek )....I think she just thinking about Ahok, the Jakartans most famous governor in history.
Read : www.nytimes.com/2017/02/11/world/asia/chinese-indonesian-...
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
Happy Me hugging MY wall 😆 with the Master of Horse after a long, fun & fruitful day of working in situ. I created a bit of intuitive marginalia beside my Master of Horse portrait, while Rachel worked on the colorful coal screen on the right. A Truly magical & memorable day at The Ruins Project (Whitsett PA).
Photo by Rachel Sager
This beautifully bound Book of Hours was completed in Bruges ca. 1490. The illuminator's style was influenced by the Master of Edward IV, active ca. 1470-90, and followers. The manuscript includes twelve full-page miniatures and twenty-five small miniatures, along with sacred and secular marginalia and some illusionistic borders. While the sheer volume of miniatures is remarkable, the decoration program as a whole only strengthens the manuscript’s impact. Select marginalia motifs reinforce the compositional motifs of the miniatures; see fols. 25v and 26r for Passion motifs.
Bound in Belgium(?) ca. sixteenth century; crimson velvet over wooden boards; sides are embroidered in panel-and-frame design, displayed and cupped flowers in relief are worked in silver wire wrapped around thread, silver gilded thread wound around dyed yellow silk thread is used for foliate pattern; spine covered with crimson velvet, hollow and lined with red buckram since rebacking in 1949 by MacDonald, New York; endbands of a heavy yellowish rose thread; edges gilded, gauffered with punched Italianate plaitwork design (cf. inscription dated 1546); evidence of former fastening by tie attached by rivets to center fore-edge of upper and lower boards (holes on front and back pastedowns, impressions on front flyleaves).
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
The newest addition to my collection: Baedeker's Northern Italy (1909). This is the most fragile book I've handled. Some of the pages and maps crumble like eggshell. The book has foxing and water stains; it certainly didn't have an easy life.
However, this was exactly the type of book I search for. I'm currently working on www.retrotravels.net, a non-commercial website that will highlight (no pun intended) the notations, marginalia and ephemera found in my personal collection of travel guidebooks (1880s-1930s). The site will attempt to present the ephemera and marked pages and maps found within the guidebooks as graphics. I will also try to reconstruct the journeys taken by these "retro travelers" based solely on the added marginalia and ephemera (like the notations shown here).
The newest addition to my collection: Baedeker's Northern Italy (1909). This is the most fragile book I've handled. Some of the pages and maps are so brittle, they crumble like eggshell. The book has foxing and water stains; it certainly didn't have an easy life.
However, this was exactly the type of book I search for. I'm currently working on www.retrotravels.net, a non-commercial website that will highlight (no pun intended) the notations, marginalia and ephemera found in my personal collection of travel guidebooks (1880s-1930s). The site will attempt to present the ephemera and marked pages and maps found within the guidebooks as graphics. I will also try to reconstruct the journeys taken by these "retro travelers" based solely on the added marginalia and ephemera (like the notations shown here).
First quarter 14th century CE
www.flickr.com/photos/medmss/10873541025/in/photostream/
Book of Hours, Marginalia, Walters Manuscript W.88, fol. 8r
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
The foundations of the buildings on the promontory, with the probable chapel in the foreground.
The Book of Deer, probably in the 'marginalia' because the rest of it contains gospels, contains a reference to a 'Cathair of Abbordobor', which Mormaer Bede the Pict made over to St Drostan on his arrival at Aberdour in the 6th century. Although Aberdour (Abbordobor) is a little west of here, it is thought that the cathair referred to was the fort here at Dundarg.
In 1212, William Comyn married Marjorie, heiress to Fergus, the last Celtic Earl of Buchan, thus becoming earl in right of his wife. He was already Warden of Moray and was later given the Lordship of Badenoch, which meant that he was the most powerful man in the north of Scotland, with direct control of a territory that stretched from one coast to the other.
It is thought that it was WIlliam Comyn that turned the Pictish fort into a medieval castle. The evidence for this is circumstantial, there being no solid evidence, either documentary of archaeological - indeed until 1911 when the first of three archaeological digs took place, nobody knew very much about Dundarg at all. If Dundarg Castle was built in the mid-13th century, it lasted less than a century, as it must have been destroyed by Bruce in 1308 following his defeat of the Comyn Earl of Buchan at the Battle of Barra - but again, there is no evidence of this taking place.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
Description: Detail of a page from a 13th century Abbreviatio (abridgement) of Domesday Book. A black man wearing brightly coloured stockings is suspended from the initial letter 'I'.
Date: c.1240
Our Catalogue Reference: E 36/284
This image is from the collections of The National Archives. Feel free to share it within the spirit of the Commons.
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This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.
Walters Ms. W.82, Psalter-Hours
www.thedigitalwalters.org/Data/WaltersManuscripts/html/W8...
www.flickr.com/photos/medmss/sets/72157648093090558
Shelf mark W.82
Manuscript
Psalter-Hours
Text titlePsalter-Hours
Abstract
This manuscript was created ca. 1315-25 in the region of Ghent, likely for the woman depicted in the margin of fol. 171r. Combining both a Psalter and a Book of Hours, and including a series of hymns, this manuscript provided its owner with extensive texts for personal devotion. A series of thirty-three historiated initials provide visual associations with the readings, while its rich marginal drolleries would have delighted the reader. The illumination is in the style of the Master of the Copenhagen Hours (Copenhagen, Kongelige Bibliotek, MS. ThoU 547 4). Added prayers, as well as ownership inscriptions ranging from the fifteenth through twentieth centuries, attest to the long life and use of the manuscript.
Date
Ca. 1315-1325 CE
Origin
Ghent
Form
Book
Genre
Devotional
Language:
The primary language in this manuscript is Latin.
Support material
Parchment
Medium weight parchment, well prepared
Extent
Foliation: i+213+i
Flyleaves are modern parchment; two sets of modern pencil foliation: lower right corners versos, and upper right corners rectos (used here)
Collation
Formula: Quire 1: 14 (fols. 1-14); Quires 2-14: 12 (fols. 15-170); Quire 15: 6 (fols. 171-176); Quire 16: 14 (fols. 177-190); Quire 17: 6 (fols. 191-196); Quire 18: 14, lacking eighth folio (fols. 197-209); Quire 19: 6, lacking second, fourth, and fifth folios, and with seventh folio tipped in (fols. 210-213)
Catchwords: None
Signatures: None
Comments:
Dimensions
11.1 cm wide by 16.2 cm high
Written surface
7.5 cm wide by 10.9 cm high
Layout
Columns: 1
Ruled lines: 22
Ruled in plummet; layout does not apply to calendar (5 columns, written surface 9.4 x 11 cm)
Contents: fols. 1v - 213v:
Title: Psalter-Hours
Contents: Liturgical Psalter combined with Book of Hours and hymnal; added prayers at end
Hand note: Textura quadrata; hand change at fol. 164v, line 12; additions to end of text in several later hands: fols. 212v-213r written in varying versions of textura, while fol. 213v written in littera batarda
Decoration note: One historiated initial lacking after fol. 203r; thirty-three extant historiated initials (5-9 lines); enlarged decorated initials in burnished gold mark secondary text divisions (2-4 lines); small flourished gold initials throughout (1 line); some texts have decorative borders, often inhabited by drolleries; line fillers throughout in gold, blue, and rose; rubrics in red; text in black ink
fols. 1v - 13r:
Title: Calendar
Contents: Calendar half full; graded for monastic use in red and black; Egyptian verses, and some zodiac notations; feasts included emphasize diocese of Cambrai, with some Liège saints; of note are Odilo (Jan. 1), Remigius and Hilary (Jan. 14, normally Jan 19 and 13), Vincent (Jan. 22), Waldetrudis (Feb. 3), Landoald (Mar. 19), Walburga (May 1), Macarius (May 9), Relics of Peter Celestine (May 18, normally May 19), Augustine (May 26), Gurwal (June 6), Basil (June 14), Amalberga (July 10), Benedict (July 13), Wandregisil (July 22), Cucufas, James the Greater, and Christopher (July 25), Lawrence (Aug. 10), Gaugeric (Aug. 11), Philibert (Aug. 20), Dorothy (Sept. 9), Lambert (Sept. 17), Relics of St. Lawrence (Sept. 24), Winnoc and Leonard (Nov. 6), Willibrord (Nov. 7), Martin (Nov. 11), Andrew (Nov. 30), Agericus (Dec. 1), Autbert (Dec. 14), 'O sapientia' (Dec. 17)
fols. 15r - 126r:
Title: Liturgical Psalter
Incipit: Beatus vir
Contents: Eight-partite liturgical psalter, with divisions at Psalms 1, 26, 38, 52, 68, 80, 97, and 109
Decoration note: Historiated initials mark liturgical psalms, fols. 15r, 31r, 42r, 52r, 62v, 75v, 87v, and 100r; marginalia and drolleries accompany initials
fols. 126r - 136v:
Title: Canticles
Rubric: Canticum ysaie prophete.
Incipit: Confitebor tibi domine
fols. 137r - 141r:
Title: Litany, petitions, and collects
Incipit: Kyrieleyson
Contents: Saints in Litany, fols. 137r-138v, reflect those in calendar, and include John the Baptist as "sancti patriarche et prophete;" sixteen apostles/disciples, from Peter to Mark; twenty-nine martyrs, including Lawrence, Marcellus, Gereon, Nicasius, Lambert, Livin, Marcellinus and Peter; thirty-seven confessors, including six popes from Silvester to Gregory, Peter Celestine, Silvinus, Eleutherius, Basil, Gaugeric, Autbert, Gudwal, Landoald, Ghislain, Bavo, Benedict, Bernard, Wandregisil, Philibert, Bertin, Winnoc, and Anthony; twenty-two virgins including Mary Magdalene, Mary Egyptian, Elizabeth, Reineldis, Rictrudis, Gertrude, Margaret, Aldegund, Walburga, Amalberga, Christina, and Ursula; fols. 138v-139v: petitions; fols. 139v-141r: collects
fols. 141r - 164v:
Title: Hymns
Rubric: Incipit hymnarium sancti Ambrosii episcopi. Omnibus sabbatis que sunt de hystoria cantata ad vesperos. exceptis illis de adventu. et de passione domini. Hymnus.
Incipit: O lux beata trinitas
Contents: Selection of hymns: fols. 141r-151r: attributed to St. Ambrose; fols. 151r-157r: for Vespers, Lauds, and nocturns on feast days from Dec. 6-Mar. 21; fols. 157r-164v: "Canticum" for Advent, Christmas, Quadragesima, apostles, martyrs, confessors, confessor-pope, virgins, Sundays, St. Michael
fols. 164v - 168v:
Title: Office of the Dead
Incipit: Dilexi quoniam
Text note: Use of St.-Bavo, Ghent
Decoration note: Historiated initial and marginalia fol. 164v
fols. 169r - 170v:
Title: Commendation of souls
Incipit: Subvenite sancti dei occurrite angeli
Decoration note: Historiated initial and marginalia fol. 169r
fols. 171r - 190r:
Title: Hours of the Virgin
Incipit: Domine labia mea
Decoration note: Historiated initials and marginalia begin each hour, fols. 171r, 175r, 179v, 181v, 182v, 184r, 185r, and 188r
fols. 190r - 197r:
Title: Long Hours of the Holy Spirit
Rubric: Incipit ore de sancto spiritu.
Incipit: Domine labia mea
Decoration note: Historiated initials and marginalia fols. 190r, 191v, 192v, 193r-v, 194v, 195r, and 196r
fols. 197r - 202v:
Title: Seven Penitential Psalms
Rubric: Incipiunt .vii. psalmi.
Incipit: Domine ne infurore
Decoration note: Historiated initial and marginalia fol. 197r
fols. 202v - 203v:
Title: Litany, petitions, and collects
Incipit: Kyrieleyson
Contents: Litany, fols. 202v-203r: twelve apostles from Peter to Barnabas; thirteen martyrs, including Quentinus, Livin, Dionysius; eleven confessors, which include three popes, Remigius, Vedastus, Bavo, Martin, Alexius, Amandus, Nicholas, Winnoc; thirteen virgins including Felicitas, Perpetua, Catherine, Margaret, Agnes (twice, as "Agneta" and "Agnes"), Spes, Fides, Karitas, Cecilia, Tecla, Amalberga, Elisabeth; fol. 203r-v: petitions; fol. 203v: collects
fols. 204r - 212r:
Title: Long Hours of the Cross
Incipit: ...[bene]dictionem amen
Contents: Incomplete: missing eight folios at beginning of text; begins imperfectly with the end of text that precedes the first lesson in Matins
Decoration note: Historiated initials and marginalia fols. 205v, 207r, 208v, 209v, 210v, and 211v
fols. 212v - 213v:
Title: Three prayers
Incipit: O ihesu xriste
Contents: Three added prayers: the first added in the fourteenth century to the blank verso of fol. 212: Prayer to Christ (O ihesu xriste filii dei unigeniti qui descendisti de celo) with an invocation to the Virgin (Regina celi letare); the second and third prayers added on a tipped-in single folio in the fifteenth century (now fol. 213): fol. 213r: Post-communion prayer for St. Anthony (Prosit nobis ad salutem quesumus domine sacris); fol. 213v: Prayer to Christ ([D]omine ihesu xriste qui hanc sacratissimam)
Hand note: Three different hands
Decoration:
fol. 15r:
W.82, fol. 15r
Title: Initial "B" with David playing the harp (above) and slaying Goliath (below); jousting knights in margin
Form: Historiated initial "B," 8 lines
Text: Psalm 1
fol. 31r:
W.82, fol. 31r
Title: Initial "D" with an enthroned David pointing to his eye before God; dogs attack unicorn in margins
Form: Historiated initial "D," 6 lines
Text: Psalm 26
fol. 42r:
W.82, fol. 42r
Title: Initial "D" with David standing, pointing to mouth before God
Form: Historiated initial "D," 6 lines
Text: Psalm 38
fol. 52r:
W.82, fol. 52r
Title: Initial "D" with a fool before David enthroned; man carrying horse on back in margin
Form: Historiated initial "D," 6 lines
Text: Psalm 52
fol. 62v:
W.82, fol. 62v
Title: Initial "S" with David in the water below God, who blesses him; ape rides unicorn in margin
Form: Historiated initial "S," 6 lines
Text: Psalm 68
fol. 75v:
W.82, fol. 75v
Title: Initial "E" with David ringing bells; apes trapping birds in margin
Form: Historiated initial "E," 6 lines
Text: Psalm 80
fol. 87v:
W.82, fol. 87v
Title: Initial "C" with clerics singing at lectern; men climbing ladder to reach birds in margin
Form: Historiated initial "C," 6 lines
Text: Psalm 97
fol. 100r:
W.82, fol. 100r
Title: Initial "D" with the Trinity; men and women at bathhouse in margin
Form: Historiated initial "D," 6 lines
Text: Psalm 109
fol. 164v:
W.82, fol. 164v
Title: Initial "D" with draped casket and candles; reading women and digging man in margin
Form: Historiated initial "D," 7 lines
Text: Office of the Dead: Vespers
fol. 169r:
W.82, fol. 169r
Title: Initial "S" with dying man receiving last rites from abbot; woman dances on shoulder of bagpipe player in margin
Form: Historiated initial "S," 6 lines
Text: Commendation of Souls
fol. 171r:
W.82, fol. 171r
Title: Initial "D" with the Annunciation; kneeling female donor in margin
Form: Historiated initial "D," 9 lines
Text: Hours of the Virgin: Matins
fol. 175r:
W.82, fol. 175r
Title: Initial "D" with the Visitation; ape riding unicorn in margin
Form: Historiated initial "D," 6 lines
Text: Hours of the Virgin: Lauds
fol. 179v:
W.82, fol. 179v
Title: Initial "D" with the Nativity; merman feeding stork with spoon and man sitting in basket of eggs in margins
Form: Historiated initial "D," 5 lines
Text: Hours of the Virgin: Prime
fol. 181v:
W.82, fol. 181v
Title: Initial “D” with Annunciation to shepherd; flower-gatherer and hunter in margin
Form: Historiated initial “D,” 5 lines
Text: Hours of the Virgin: Terce
fol. 182v:
W.82, fol. 182v
Title: Initial “D” with Adoration of the Magi; man combing hair and ape with crossbow in margin
Form: Historiated initial “D,” 5 lines
Text: Hours of the Virgin: Sext
fol. 184r:
W.82, fol. 184r
Title: Initial “D” with Massacre of an Innocent; apes, owl, falconer, and dragon in margin
Form: Historiated initial “D,” 5 lines
Text: Hours of the Virgin: None
fol. 185r:
W.82, fol. 185r
Title: Initial “D” with Flight into Egypt; hunting scene in margin
Form: Historiated initial “D,” 5 lines
Text: Hours of the Virgin: Vespers
fol. 188r:
W.82, fol. 188r
Title: Initial “C” with Presentation in Temple; hunting scene in margin
Form: Historiated initial “C,” 5 lines
Text: Hours of the Virgin: Compline
fol. 190r:
W.82, fol. 190r
Title: Initial “D” with Trinity; nude man with horn and apes in margin
Form: Historiated initial “D,” 9 lines
Text: Long Hours of the Holy Spirit: Matins
fol. 191v:
W.82, fol. 191v
Title: Initial “D” with nimbed apostle and pseudo-inscribed scroll; unicorn, mermaid, and hunting scene in margin
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Holy Spirit: Lauds
fol. 192v:
W.82, fol. 192v
Title: Initial “D” with nimbed apostle and pseudo-inscribed scroll; crane-headed woman, apes bowling with eggs in margin
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Holy Spirit: Prime
fol. 193r:
W.82, fol. 193r
Title: Initial “D” with nimbed apostle and pseudo-inscribed scroll; hybrid figures and apes in margin
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Holy Spirit: Terce
fol. 193v:
W.82, fol. 193v
Title: Initial “D” with nimbed apostle and pseudo-inscribed scroll; beggar, ape, and man with large coin in margin
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Holy Spirit: Sext
fol. 194v:
W.82, fol. 194v
Title: Initial “D” with nimbed apostle and pseudo-inscribed scroll; dragon with man's head and apes jousting in margin
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Holy Spirit: None
fol. 195r:
W.82, fol. 195r
Title: Initial “D” with nimbed apostle and pseudo-inscribed scroll
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Holy Spirit: Vespers
fol. 196r:
W.82, fol. 196r
Title: Initial “C” with nimbed apostle and pseudo-inscribed scroll; warrior with sword and beast head, stork and ape in margin
Form: Historiated initial “C,” 5 lines
Text: Long Hours of the Holy Spirit: Compline
fol. 197r:
W.82, fol. 197r
Title: Initial “D” with God blessing King David praying before altar; dragon and juggler in margin
Form: Historiated initial “D,” 8 lines
Text: Seven Penitential Psalms: Psalm 6
fol. 205v:
W.82, fol. 205v
Title: Initial “D” with Christ before Pilate; unicorn, apes jousting, and hornplayer in margin
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Cross: Lauds
fol. 207r:
W.82, fol. 207r
Title: Initial “D” with Flagellation; beggars and ape in margin
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Cross: Prime
fol. 208v:
W.82, fol. 208v
Title: Initial “D” with Christ carrying the Cross; cart driver and turreted city in margin
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Cross: Sext
fol. 209v:
W.82, fol. 209v
Title: Initial “D” with Crucifixion
Form: Historiated initial “D,” 5 lines
Text: Long Hours of the Cross: None
fol. 210v:
W.82, fol. 210v
Title: Initial “D” Deposition; tall man with club, ape and hare in margin
Form: Historiated initial “D,” 4 lines
Text: Long Hours of the Cross: Vespers
fol. 211v:
W.82, fol. 211v
Title: Initial “C” with the Entombment; man playing harp in margin
Form: Historiated initial “C,” 5 lines
Text: Long Hours of the Cross: Compline
Binding
The binding is not original.
Green velvet binding by Léon Gruel, Paris, late nineteenth or early twentieth century; five cords re-sewn at what appear to be original places; page edges painted red; leather dealer tabs added
Provenance
Created ca. 1315-25 for Benedictine use, in the region of Ghent and the diocese of Tournai based on the Use of the Office of the Dead; female lay owner possibly depicted in margin of fol. 171r; heraldic(?) markings on shields fols. 194v and 205v
Jacques Mauze(?), fifteenth century inscription on fols. 167r and 213v (latter now erased)
"Ex libris Crouzon," seventeenth- or eighteenth-century inscription on fol. 1r
G.E. Street, nineteenth-century ownership inscription on fol. 1r
Léon Gruel, Paris, late nineteenth or early twentieth century; his number, "No 46," inscribed on fol. 1r
Henry Walters, Baltimore, purchased from Gruel between 1895 and 1931
Acquisition
Walters Art Museum, 1931, by Henry Walters' bequest
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Contributors
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbert, Lynley
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Conservators: Owen, Linda; Quandt, Abigail
Contributors: Emery, Doug; Herbert, Lynley; Izer, Emily; Noel, William; Schuele, Allyson; Tabritha, Ariel; Toth, Michael B.; Wiegand, Kimber
Publisher
The Walters Art Museum
License
Licensed for use under Creative Commons Attribution-ShareAlike 3.0 Unported Access Rights, creativecommons.org/licenses/by-sa/3.0/legalcode. It is requested that copies of any published articles based on the information in this data set be sent to the curator of manuscripts, The Walters Art Museum, 600 North Charles Street, Baltimore MD 21201.