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 Gutenberg Bible, digitised by the HUMI Project, Keio University, July 2005; © National Library of Scotland

 

The Gutenberg Bible was the first book printed with moveable type. Printed in Mainz, Germany, around 1455 by Johannes Gutenberg, the inventor of printing, and Johannes Fust. One of around only 20 complete copies to survive out of the original 180. Two volumes. Also known as The 42-line Bible or The Mazarine Bible.

Page from the New Testament - Gospel according to Mark, contains handwritten red rubrics. Decorated initial M; historiated initial I depicting the evangelist St Mark writing the Gospel of Mark; St Mark's symbol is a lion. Marginalia visible but faded through washing.

Full Page ....

 

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.

Nice to see the signals are still working! When is the last time a train ran on these rails? It is a viable track, connecting two active lines, but I don't think it's seen any use in a good long while.

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 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.

Dated to the tenth century, this manuscript is the oldest Armenian codex in North America and the fifth oldest among documented Armenian Gospel Books. The principal colophon on 2v indicates that Sargis the Priest completed the text in 415 [966]. Within the framed area, the commission of the codex is described: a priest, whose name was replaced by the later owner T’oros, commissioned the work "as decoration and for the splendor of [the] holy church and for the pleasure of the congregation of Rznēr." As the codex was written and commissioned by priests, the manuscript is referred to as the “Gospels of the Priest.” It was formerly known as the “Gospels of the Translators,” as, following the date 415, someone erased the formula “of the Armenian era” and replaced it with “of our Lord,” suggesting an earlier date and that the text was based on the original translation of the Gospels into Armenian during the fifth century. The text is copied in large angular erkat‘agir script. The full page paintings and marginal ornaments bear stylistic characteristics of Armenian illumination of the tenth and eleventh century associated with non-royal patronage. The illustrations comprise the Canon Tables, with only the last two remaining; the Virgin and Child on a wheeled chariot; the framed colophon; ornamental cross with donor’s portrait; portraits of Mathew and Mark together (7sv, at the end of Matthew); and Mark with Luke (114v, at the end of Mark); two unknown saints (192a, at the end of Luke). Marginalia is found throughout the text. It has been suggested that the scribe was also responsible for the illumination.

 

To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

 

The pages of a medieval manuscript were not numbered. Margin drawings served as bookmarks.

 

Marginalia in Medieval Manuscripts at

johanphoto.blogspot.nl/2013/02/in-de-kantlijn-van-middele...

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.

Travessa da Rua 25 demarço, Parque Dom Pedro, São Paulo.

Ao centro, no topo, pode-se ver os prédios próximos ao Páteo do Colégio.

 

Cromo Velvia, ISO 100, vencido e revelado como Negativo (processo cruzado).

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 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 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.

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

  

Bibliography

De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935; p. 773, cat. no. 99.

Janson, H.W. Apes and Ape Lore. London: Studies of the Warburg Institute, 1952; pp. 168, 188, 190, 193, 197, 198, Pl. xxvib.

Randall, Lilian M.C. "A Medieval Slander." Art Bulletin 42 (1960): 25-38; p. 27, Fig 1.

Randall, Lilian M.C. Images on the Margins of Gothic Manuscripts. Berkeley: University of California Press, 1966; Figs. 10, 70, 82, 90, 391, 393, 581, 649.

Stones, M.A. "Illustrations of the French Prose Lancelot in Flanders, Belgium, and Paris, 1250-1340." PhD diss., University of London, 1970-1; pp. 225, 226, 232, 233, 238, 461, 472, 497, 507-511.

Helsinger, H. "Images on the Beatus Page of Some Medieval Psalters." Art Bulletin 53 (1971): 161-176; 171, 174, Fig. 15.

Verdier, Philippe. "Woman in the Marginalia of Gothic Manuscripts." In The Role of Woman in the Middle Ages, edited by Rosmarie Thee Morewedge, 121-160. Albany: State University of New York Press, 1972; pp. 132, 133, 136, 153, 155, 172, 175, Figs. 7, 11.

Randall, Lilian M.C. "Women in Manuscripts: Ms. in Miss." Bulletin of the Walters Art Gallery 28 (1975): 2-4; pp. 2-4, Fig. 4.

Freeman, Margaret B. The Unicorn Tapestries. New York: Metropolitan Museum of Art, 1976; pp. 41, 42, Figs. 32, 33.

Carlvant, K.B.E. "Collaboration in a Fourteenth Century Psalter: The Franciscan Iconographer and the Two Flemish Illuminators of MS 3384.8 in the Copenhagen Royal Library." Sacris Erudiri. Jaarboek voor Godsdienstwetneshappen 25 (1982): 135-166; pp. 136, 145, 149, 150.

Stones, M.A. "Notes on Three Illuminated Alexander Manuscripts." In The Medieval Alexander Legend and Romance Epic: Essays in Honor of David J. A. Ross, edited by P. Noble, L. Polak, and C.C. Isoz, 193-241. Millwood, NY: Kraus International Publication, 1982; p. 206.

Stones, M.A. "Another Short Note on Rylands French 1." Romanesque and Gothic: Essays for George Zarnecki, edited by N. Stratford. Woodbridge, Suffolk, and Wolfeboro, NH: Boydell Press, 1987; pp. 188-190.

Camille, M. Images on the Edge: The Margins of Medieval Art. London: Reaktion Books, 1992; p. 133, Fig. 70.

Smeyers, M, et. al. Naer natueren ghelike: Vlaamse minaturen voor van Eyck. Louvain, 1993; pp. 71, 125.

Carlvant, K. Exhibition Catalogue: Gent duizend jaar: p. 349, reference under 575.

Bousmanne, Bernard. Item à Guillaume Wyelant aussi enlumineur: Willem Vrelant, un aspect de l'enluminure dans les Pays-Bas méridionaux sous le mécénat des ducs de Bourgogne Philippe le Bon et Charles le Téméraire. Bibliothèque Royale de Belgique. Turnhout, Belgium: Brepols, 1997; p. 356 (n. 14).

Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997: pp. 77-85, cat. no. 225.

Smeyers, Mauritius. Flemish Miniatures from the 8th to the mid-16th Century: The Medieval World on Parchment. Turnhout, Belgium: Brepols, 1999; pp. 114 (fig. 1), 115, 172 (n. 63 for p. 141).

Gy, Pierre-Marie. "Bulletin de liturgie." Revue des sciences philosophiques et théologiques 84 (2000): 513-544; p. 520.

Barasch, Moshe. Blindness: The History of a Mental Image in Western Thought. New York: Routledge, 2001; pp. 100-101, 173 (n. 79).

Joslin, Mary Coker, and Carolyn Coker Joslin Watson. The Egerton Genesis. Toronto: University of Toronto Press, 2001; pp. 52-53 (fig. 21), 87, 91, 97-98, 101, 130, 132, 176-177, 203-204, 206-207, 209, 210 (figs. 73-74), 211, 213, 218-220, 222-224, 226-227, 233, 240-241.

Moore, Elizabeth B. "The Urban Fabric and Framework of Ghent in the Margins of Oxford, Bodleian LIbrary, MSS Douce 5-6." In "Als Ich Can": Liber Amicorum in Memory of Professor Dr. Maurits Smeyers, edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, 983-1006, vol. 2. Leuven: Peeters Press, 2002; p. 985 (n. 13).

Nevins Teresa. "Book of Hours." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy. Turnhout, Belgium: Brepols, 2002; pp. 236-37, cat. no. 54.

Gil, Marc, and Ludovic Nys. Saint-Omer gothique: les arts figuratifs à Saint-Omer à la fin du Moyen Âge, 1250-1550 : peinture, vitrail, sculpture, arts du livre. Valenciennes Cedex: Presses Universitaires deValenciennes, 2004; p. 76.

Kessler, Herbert L. Seeing Medieval Art. Ontario: Broadview Press, Ltd, 2004; p. 139.

Mellinkoff, Ruth. Averting Demons. Los Angeles: Mellinkoff Publications, 2004; p. 151 (fig. VII.8).

Mellinkoff, Ruth. "Break a Leg!" In Tributes in Honor of Jonathan J.G. Alexander: The Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art, and Architecture. Edited by Susan L’Engle and Gerald B. Gest, 233-248. Turnhout, Belgium: Harvey Miller Publishers, 2006; p. 243.

Metzler, Irina. Disability in Medieval Europe: Thinking about Physical Impairment during the High Middle Ages, c. 1100-1400. Oxford: Routledge, 2006; p. 327 (n. 427 for page 175).

Les marges à drôleries des manuscrits gothiques, 1250-1350. Geneva: Librairie Droz, 2008; pp. 69, 113, 116-117, 123, 133, 147, 202, 314, 344, 354, 356.

Stones, Alison. "Manuscripts, Illuminated." In The New Arthurian Encyclopedia: Updated Paperback Edition. Edited by Norris J. Lacy, Geoffrey Ashe, Sandra Ness Ihle, Marianne E. Kalinke, Raymond H. Thompson, 299-308. NY: Routledge, 2008; p. 306.

Hourihane, Colum. Pontius Pilate: Anti-semitism, and the Passion in Medieval Art. Princeton, NJ: Princeton University Press, 2009; p. 304.

Leo, Dominic. Images, Texts, and Marginalia in a "Vows of the Peacock" Manuscript (New York, Pierpont Morgan Library MS G24). Leiden, Netherlands: Brill Publishers, 2013; pp. 53 (n. 12), 347.

  

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.

 

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

  

Bibliography

De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935; p. 773, cat. no. 99.

Janson, H.W. Apes and Ape Lore. London: Studies of the Warburg Institute, 1952; pp. 168, 188, 190, 193, 197, 198, Pl. xxvib.

Randall, Lilian M.C. "A Medieval Slander." Art Bulletin 42 (1960): 25-38; p. 27, Fig 1.

Randall, Lilian M.C. Images on the Margins of Gothic Manuscripts. Berkeley: University of California Press, 1966; Figs. 10, 70, 82, 90, 391, 393, 581, 649.

Stones, M.A. "Illustrations of the French Prose Lancelot in Flanders, Belgium, and Paris, 1250-1340." PhD diss., University of London, 1970-1; pp. 225, 226, 232, 233, 238, 461, 472, 497, 507-511.

Helsinger, H. "Images on the Beatus Page of Some Medieval Psalters." Art Bulletin 53 (1971): 161-176; 171, 174, Fig. 15.

Verdier, Philippe. "Woman in the Marginalia of Gothic Manuscripts." In The Role of Woman in the Middle Ages, edited by Rosmarie Thee Morewedge, 121-160. Albany: State University of New York Press, 1972; pp. 132, 133, 136, 153, 155, 172, 175, Figs. 7, 11.

Randall, Lilian M.C. "Women in Manuscripts: Ms. in Miss." Bulletin of the Walters Art Gallery 28 (1975): 2-4; pp. 2-4, Fig. 4.

Freeman, Margaret B. The Unicorn Tapestries. New York: Metropolitan Museum of Art, 1976; pp. 41, 42, Figs. 32, 33.

Carlvant, K.B.E. "Collaboration in a Fourteenth Century Psalter: The Franciscan Iconographer and the Two Flemish Illuminators of MS 3384.8 in the Copenhagen Royal Library." Sacris Erudiri. Jaarboek voor Godsdienstwetneshappen 25 (1982): 135-166; pp. 136, 145, 149, 150.

Stones, M.A. "Notes on Three Illuminated Alexander Manuscripts." In The Medieval Alexander Legend and Romance Epic: Essays in Honor of David J. A. Ross, edited by P. Noble, L. Polak, and C.C. Isoz, 193-241. Millwood, NY: Kraus International Publication, 1982; p. 206.

Stones, M.A. "Another Short Note on Rylands French 1." Romanesque and Gothic: Essays for George Zarnecki, edited by N. Stratford. Woodbridge, Suffolk, and Wolfeboro, NH: Boydell Press, 1987; pp. 188-190.

Camille, M. Images on the Edge: The Margins of Medieval Art. London: Reaktion Books, 1992; p. 133, Fig. 70.

Smeyers, M, et. al. Naer natueren ghelike: Vlaamse minaturen voor van Eyck. Louvain, 1993; pp. 71, 125.

Carlvant, K. Exhibition Catalogue: Gent duizend jaar: p. 349, reference under 575.

Bousmanne, Bernard. Item à Guillaume Wyelant aussi enlumineur: Willem Vrelant, un aspect de l'enluminure dans les Pays-Bas méridionaux sous le mécénat des ducs de Bourgogne Philippe le Bon et Charles le Téméraire. Bibliothèque Royale de Belgique. Turnhout, Belgium: Brepols, 1997; p. 356 (n. 14).

Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997: pp. 77-85, cat. no. 225.

Smeyers, Mauritius. Flemish Miniatures from the 8th to the mid-16th Century: The Medieval World on Parchment. Turnhout, Belgium: Brepols, 1999; pp. 114 (fig. 1), 115, 172 (n. 63 for p. 141).

Gy, Pierre-Marie. "Bulletin de liturgie." Revue des sciences philosophiques et théologiques 84 (2000): 513-544; p. 520.

Barasch, Moshe. Blindness: The History of a Mental Image in Western Thought. New York: Routledge, 2001; pp. 100-101, 173 (n. 79).

Joslin, Mary Coker, and Carolyn Coker Joslin Watson. The Egerton Genesis. Toronto: University of Toronto Press, 2001; pp. 52-53 (fig. 21), 87, 91, 97-98, 101, 130, 132, 176-177, 203-204, 206-207, 209, 210 (figs. 73-74), 211, 213, 218-220, 222-224, 226-227, 233, 240-241.

Moore, Elizabeth B. "The Urban Fabric and Framework of Ghent in the Margins of Oxford, Bodleian LIbrary, MSS Douce 5-6." In "Als Ich Can": Liber Amicorum in Memory of Professor Dr. Maurits Smeyers, edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, 983-1006, vol. 2. Leuven: Peeters Press, 2002; p. 985 (n. 13).

Nevins Teresa. "Book of Hours." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy. Turnhout, Belgium: Brepols, 2002; pp. 236-37, cat. no. 54.

Gil, Marc, and Ludovic Nys. Saint-Omer gothique: les arts figuratifs à Saint-Omer à la fin du Moyen Âge, 1250-1550 : peinture, vitrail, sculpture, arts du livre. Valenciennes Cedex: Presses Universitaires deValenciennes, 2004; p. 76.

Kessler, Herbert L. Seeing Medieval Art. Ontario: Broadview Press, Ltd, 2004; p. 139.

Mellinkoff, Ruth. Averting Demons. Los Angeles: Mellinkoff Publications, 2004; p. 151 (fig. VII.8).

Mellinkoff, Ruth. "Break a Leg!" In Tributes in Honor of Jonathan J.G. Alexander: The Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art, and Architecture. Edited by Susan L’Engle and Gerald B. Gest, 233-248. Turnhout, Belgium: Harvey Miller Publishers, 2006; p. 243.

Metzler, Irina. Disability in Medieval Europe: Thinking about Physical Impairment during the High Middle Ages, c. 1100-1400. Oxford: Routledge, 2006; p. 327 (n. 427 for page 175).

Les marges à drôleries des manuscrits gothiques, 1250-1350. Geneva: Librairie Droz, 2008; pp. 69, 113, 116-117, 123, 133, 147, 202, 314, 344, 354, 356.

Stones, Alison. "Manuscripts, Illuminated." In The New Arthurian Encyclopedia: Updated Paperback Edition. Edited by Norris J. Lacy, Geoffrey Ashe, Sandra Ness Ihle, Marianne E. Kalinke, Raymond H. Thompson, 299-308. NY: Routledge, 2008; p. 306.

Hourihane, Colum. Pontius Pilate: Anti-semitism, and the Passion in Medieval Art. Princeton, NJ: Princeton University Press, 2009; p. 304.

Leo, Dominic. Images, Texts, and Marginalia in a "Vows of the Peacock" Manuscript (New York, Pierpont Morgan Library MS G24). Leiden, Netherlands: Brill Publishers, 2013; pp. 53 (n. 12), 347.

  

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.

 

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 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 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 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 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 fragmentary Book of Hours was created in Ghent for the use of a woman with Dominican ties ca. 1300. Although quite a bit of text and imagery is missing, including the calendar and Office of the Dead, this tiny manuscript is lavishly decorated on nearly every page with marginal drolleries and grotesques, making it a rich and charming book even in its fragmentary state.

 

To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

 

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 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 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 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 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 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.