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 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.

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

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.

De optimo reip.statu, dequenova insula Utopia, libellus vere aureus, nec minus salutaris quam festivus ... / Thomae Mori

Printed Basle 1518

Printer Johann Froben

NLA RB MISC 3276

Quote from J. Hillis Miller's 'President's Column' in Theory Now and Then

Image ‘David Foster Wallace Marginalia’ via Gladys Santiago

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 book of hours was produced in the first quarter of the 15th century in North-East France. The contents of its calendar point to Paris but include saints particularly associated with Soissons. The same association can be found in the Hours of the Virgin. The manuscript has a fairly standard cycle of miniatures but they are notable for the intricate patterning found in their backgrounds; most especially with the coils of vine scrolls that comprise the setting for Christ in Majesty (fol. 79r). In addition, several folios throughout the text contain marginal dragon-like creatures that can often be seen biting at their own wings. The original patron of the manuscript was male and his portrait can be found on fol. 157r accompanying a seated Virgin and Child.

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

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 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 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 from ca. 1480 was possibly made in Tournai. The manuscript passed through the hands of several women, and while the first owner was anonymous, the text and imagery reveals she had Franciscan sympathies. An eighteenth-century inscription at the front of the manuscript suggests it was presented to Philippa of Guelders (ca. 1480-1562) by Pope Leo X upon her ordination at the Franciscan convent of Sainte-Clare in Pont-a-Mousson in 1520. The quality of the miniatures suggests that the artist was a novice, yet his expressive individual style and unusual marginalia, in which figures and animals hold scrolls inscribed with French phrases, provide the manuscript with considerable charm.

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

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.

Platz des heutigen Freiheitsmonuments ?

Update, Jan. 07

Pēteris Cedriņš in his blog Marginalia about the history of this and other monuments

lettonica.blogspot.com/2007/01/some-musings-on-monuments.... :...

'Peter the Great first appeared in Rīga in a sort of orgy of tsarist and Russian chauvinist fervor, in 1910, marking the two hundredth anniversary of Rīga's coming under Russian rule (when, as Rihards Rubīns put it, "the Enightenment began to caress Europe, whilst here it began to stink of Asia") -- only five years after the 1905 Revolution, the tsar in attendance and the bourgeoisie licking his boots.

The monument has had a busy life. Five years after it was unveiled, it was evacuated in the face of the German advance (along with much of everything, inluding Rīga's renowned industry) and borne on a ship to St. Petersburg. However, a German submarine sank the ship. The equestrian statue spent nineteen years undersea before being salvaged by Estonians and sold back to Rīga, where it languished in a warehouse.

Yevgeny Gomberg, a millionaire, restored it.' ...

Update November 2008:

Heikle Denkmalpflege im Baltikum

Russische Minderheiten und Machtpolitik des Kreml

Von Birgit Johannsmeier im Deutschlandradio

""Der Stadtrat von Riga wollte Peter den Großen so schnell wie möglich loswerden und bot ihn St. Petersburg zur 300 Jahrfeier an. St. Petersburg hätte das Geschenk gerne angenommen, aber das russische Außenministerium lehnte ab. Also haben wir in Riga eine Kopie anfertigen lassen, die jetzt in St. Petersburg steht. Und unser Peter blieb hier. Umstritten wie eine heiße Kartoffel."

Ein Thema, das auch den Leiter der Denkmalbehörde in Riga beschäftigt. Guntis Gailitis ist in der lettischen Hauptstadt verantwortlich für alle Ehrenmale. Auch er hat den restaurierten Peter aus der Nähe gesehen und kann die Berührungsängste der Politiker mit der eigenen Geschichte nicht verstehen.

"Kaum beginnen wir, über Peter den Großen zu sprechen, weichen alle aus. Die Leute fürchten, er sei ein Machtsymbol. Aber man kann Peter den Großen nicht mit Lenin vergleichen." "

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 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 richly illuminated fourteenth-century German homilary is particularly interesting for its rare bifolium of drawings bound in at the front of the book. The headgear worn by the nuns in the drawings is characteristic of Cistercensian and Premostratensian nuns in northern Germany as early as circa 1320. Evidence for dating and localization is also found in the manuscript's relationship with a second homilary in the Bodleian Library (Oxford, Bodleian Library, Ms. Douce 185). Despite minor codicological differences--page layout, textblock dimensions, and ruling--it seems likely that the two homilaries were composed as a set in one scriptorium. The drawings at the beginning of the Walters manuscript were inspired by miniatures within the book and are very similar to the style of Master of Douce 185, recently identified as a collaborator of the Willehalm Master. Although the Walters homilary lacks internal evidence for localization, it can be attributed to the lower Rhine on the basis of general affinities between work of this region and English art. The Walters homilary is stylistically close to the small ivory book illustrated with fourteen paintings of the Passion in the Victoria and Albert Museum (London, Victoria and Albert Museum, inv. no.11-1872), which has Westphalian and north German characteristics. Palette, figural drawings, the use of checkered spandrels, large ivy-leaf terminals, and ape marginalia in the Walters homilary are also close to fragments of an antiphonary from Westphalia scattered in German collections (Düsseldorf, Universitätsbibliothek, Ms. D. 37a, b, c and Hamm, Städtisches Gustav-Lübcke-Museum, Mss 5474-5476). A second group of stylistically related manuscripts can be found in a two-volume antiphonary from the Dominican nunnery of Paradise near Soest (Düsseldorf, Universitätsbibliothek, Mss. D.7 and D.9).

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

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 richly illuminated fourteenth-century German homilary is particularly interesting for its rare bifolium of drawings bound in at the front of the book. The headgear worn by the nuns in the drawings is characteristic of Cistercensian and Premostratensian nuns in northern Germany as early as circa 1320. Evidence for dating and localization is also found in the manuscript's relationship with a second homilary in the Bodleian Library (Oxford, Bodleian Library, Ms. Douce 185). Despite minor codicological differences--page layout, textblock dimensions, and ruling--it seems likely that the two homilaries were composed as a set in one scriptorium. The drawings at the beginning of the Walters manuscript were inspired by miniatures within the book and are very similar to the style of Master of Douce 185, recently identified as a collaborator of the Willehalm Master. Although the Walters homilary lacks internal evidence for localization, it can be attributed to the lower Rhine on the basis of general affinities between work of this region and English art. The Walters homilary is stylistically close to the small ivory book illustrated with fourteen paintings of the Passion in the Victoria and Albert Museum (London, Victoria and Albert Museum, inv. no.11-1872), which has Westphalian and north German characteristics. Palette, figural drawings, the use of checkered spandrels, large ivy-leaf terminals, and ape marginalia in the Walters homilary are also close to fragments of an antiphonary from Westphalia scattered in German collections (Düsseldorf, Universitätsbibliothek, Ms. D. 37a, b, c and Hamm, Städtisches Gustav-Lübcke-Museum, Mss 5474-5476). A second group of stylistically related manuscripts can be found in a two-volume antiphonary from the Dominican nunnery of Paradise near Soest (Düsseldorf, Universitätsbibliothek, Mss. D.7 and D.9).

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

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.

Non-original binding. Modern dark-brown goatskin on wood, blind-tooled with lines and dots forming a cross of guilloche-work within a trilobe outline on the upper cover, and, on the lower cover, a design of interlacing circles. Three thong-clasps are missing.

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.

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 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.

Eumenides {1-63: .gr | .de}:

1-5 | 6-10 | 11-15 | 16-20: Pentaden of the solonic calendarium.

21-30: The last days of the 29-days-months or 30-days-months were counted backwards.

30: Caesura (Diairesis) falls in between the 'ME' and the 'TWN'. Meton was an astronomer. His concept of a reform of the greek calendar was adopted in 432 BC, i.e. at the change from the hellenic to hellenistic epoche.

The marginalia, annotations and inscriptions were written during 1989/90 in Berlin-Schöneberg by me onto the pages 186-189 of the book Aeschylus: Tragödien und Fragmente. Hrsg. u. übers. von Oskar Werner. Artemis 4. Auflage 1988.

: : . Πυθιάς . : :

01 . πρῶτον μὲν εὐχῇ τῇδε πρεσβεύω θεῶν

02 . τὴν πρωτόμαντιν Γαῖαν: ἐκ δὲ τῆς Θέμιν,

03 . ἣ δὴ τὸ μητρὸς δευτέρα τόδ᾽ ἕζετο

04 . μαντεῖον, ὡς λόγος τις: ἐν δὲ τῷ τρίτῳ

05 . λάχει, θελούσης, οὐδὲ πρὸς βίαν τινός,

06 . Τιτανὶς ἄλλη παῖς Χθονὸς καθέζετο,

07 . Φοίβη: δίδωσι δ᾽ ἣ γενέθλιον δόσιν

08 . Φοίβῳ: τὸ Φοίβης δ᾽ ὄνομ᾽ ἔχει παρώνυμον.

09 . λιπὼν δὲ λίμνην Δηλίαν τε χοιράδα,

10 . κέλσας ἐπ᾽ ἀκτὰς ναυπόρους τὰς Παλλάδος,

11 . ἐς τήνδε γαῖαν ἦλθε Παρνησοῦ θ᾽ ἕδρας.

12 . πέμπουσι δ᾽ αὐτὸν καὶ σεβίζουσιν μέγα

13 . κελευθοποιοὶ παῖδες Ἡφαίστου, χθόνα

14 . ἀνήμερον τιθέντες ἡμερωμένην.

15 . μολόντα δ᾽ αὐτὸν κάρτα τιμαλφεῖ λεώς,

16 . Δελφός τε χώρας τῆσδε πρυμνήτης ἄναξ.

17 . τέχνης δέ νιν Ζεὺς ἔνθεον κτίσας φρένα

18 . ἵζει τέταρτον τοῖσδε μάντιν ἐν θρόνοις:

19 . Διὸς προφήτης δ᾽ ἐστὶ Λοξίας πατρός.

20 . τούτους ἐν εὐχαῖς φροιμιάζομαι θεούς.

21 . Παλλὰς προναία δ᾽ ἐν λόγοις πρεσβεύεται:

22 . σέβω δὲ νύμφας, ἔνθα Κωρυκὶς πέτρα

23 . κοίλη, φίλορνις, δαιμόνων ἀναστροφή:

24 . Βρόμιος ἔχει τὸν χῶρον, οὐδ᾽ ἀμνημονῶ,

25 . ἐξ οὗτε Βάκχαις ἐστρατήγησεν θεός,

26 . λαγὼ δίκην Πενθεῖ καταρράψας μόρον:

27 . Πλειστοῦ τε πηγὰς καὶ Ποσειδῶνος κράτος

28 . καλοῦσα καὶ τέλειον ὕψιστον Δία,

29 . ἔπειτα μάντις ἐς θρόνους καθιζάνω.

30 . καὶ νῦν τυχεῖν με τῶν πρὶν εἰσόδων μακρῷ

31 . ἄριστα δοῖεν: κεἰ παρ᾽ Ἑλλήνων τινές,

32 . ἴτων πάλῳ λαχόντες, ὡς νομίζεται.

33 . μαντεύομαι γὰρ ὡς ἂν ἡγῆται θεός.

34 . ἦ δεινὰ λέξαι, δεινὰ δ᾽ ὀφθαλμοῖς δρακεῖν,

35 . πάλιν μ᾽ ἔπεμψεν ἐκ δόμων τῶν Λοξίου,

36 . ὡς μήτε σωκεῖν μήτε μ᾽ ἀκταίνειν βάσιν,

37 . τρέχω δὲ χερσίν, οὐ ποδωκείᾳ σκελῶν:

38 . δείσασα γὰρ γραῦς οὐδέν, ἀντίπαις μὲν οὖν.

39 . ἐγὼ μὲν ἕρπω πρὸς πολυστεφῆ μυχόν:

40 . ὁρῶ δ᾽ ἐπ᾽ ὀμφαλῷ μὲν ἄνδρα θεομυσῆ

41 . ἕδραν ἔχοντα προστρόπαιον, αἵματι

42 . στάζοντα χεῖρας καὶ νεοσπαδὲς ξίφος

43 . ἔχοντ᾽ ἐλαίας θ᾽ ὑψιγέννητον κλάδον,

44 . λήνει μεγίστῳ σωφρόνως ἐστεμμένον,

45 . ἀργῆτι μαλλῷ: τῇδε γὰρ τρανῶς ἐρῶ.

46 . πρόσθεν δὲ τἀνδρὸς τοῦδε θαυμαστὸς λόχος

47 . εὕδει γυναικῶν ἐν θρόνοισιν ἥμενος.

48 . οὔτοι γυναῖκας, ἀλλὰ Γοργόνας λέγω,

49 . οὐδ᾽ αὖτε Γοργείοισιν εἰκάσω τύποις.

50 . εἶδόν ποτ᾽ ἤδη Φινέως γεγραμμένας

51 . δεῖπνον φερούσας: ἄπτεροί γε μὴν ἰδεῖν

52 . αὗται, μέλαιναι δ᾽ ἐς τὸ πᾶν βδελύκτροποι:

53 . ῥέγκουσι δ᾽ οὐ πλατοῖσι φυσιάμασιν:

54 . ἐκ δ᾽ ὀμμάτων λείβουσι δυσφιλῆ λίβα:

55 . καὶ κόσμος οὔτε πρὸς θεῶν ἀγάλματα

56 . φέρειν δίκαιος οὔτ᾽ ἐς ἀνθρώπων στέγας.

57 . τὸ φῦλον οὐκ ὄπωπα τῆσδ᾽ ὁμιλίας

58 . οὐδ᾽ ἥτις αἶα τοῦτ᾽ ἐπεύχεται γένος

59 . τρέφουσ᾽ ἀνατεὶ μὴ μεταστένειν πόνον.

60 . τἀντεῦθεν ἤδη τῶνδε δεσπότῃ δόμων

61 . αὐτῷ μελέσθω Λοξίᾳ μεγασθενεῖ.

62 . ἰατρόμαντις δ᾽ ἐστὶ καὶ τερασκόπος

63 . καὶ τοῖσιν ἄλλοις δωμάτων καθάρσιος.

SOURCE of the edited text:

► Aeschylus, with an English translation by Herbert Weir Smyth, Ph. D. in two volumes. 2.Eumenides. Cambridge, Mass., Harvard University Press; London, William Heinemann, Ltd. 1926.

scholastical comments on this text:

► Dissertations on the Eumenides of Aeschylus: with the Greek text and critical remarks from the german by Carl Otfried Müller, Cambridge 1835. M.DCCC.XXXV.

B L O G S

► Google Search Results (01012011: 457)

► The Deficiencies of the Roman Calendar by Godwill A. Paul, April 2011

In 45 BC Julius Caesar established a calendar based on a solar year of 365 and ¼ days. In this system, the accumulated ¼ days were dealt with every four years by a convention called the leap year. This calendar, known as the Julian calendar, fixed the normal year at 365 days, and the leap year, every fourth year, at 366 days. Leap year is so named because the extra day causes any date after February in a leap year to “leap” over one day in the week and to occur two days later in the week than it did in the previous year, rather than just one day later as in a normal year. In 44 BC Julius Caesar changed the name of the month Quintilis to Julius (July), after himself and the month Sextilis was renamed Augustus (August) in honor of the Roman emperor Caesar Augustus, who succeeded Julius Caesar.

The Julian calendar became the most acceptable all over the world because it provided a regular standard and eliminated most of the inconsistencies in the other forms of calendars. The Julian calendar also established the other of the months and days of the week as it exists in the current calendar. There have been several considerations about a more suitable calendar and so many methods of arriving at the most suitable format of the calendar has been propounded over the years but none has been approved. However, the Julian was fine tuned to produce the Gregorian calendar which is still in vogue.

► My Geeky Resolution: Write in the Margins by Jonathan Liu, January 1, 2011

{ECHOES: @technologywebblog | @tweetmeme | @treehugger | @floridatoday | @family matters | @dads matters | @parenting matters | @technoded}

... I like the idea of leaving a trail behind me when I make my way through a book. It’s like dropping a few bread crumbs or pebbles so that I can follow them on my next journey, or leaving a message for the next person to read the book. I like the idea that my library could be more than just a collection of books on shelves, but that they could actually tell a story about who I am, in my own words.

So that brings me to my New Year’s Resolution for 2011. This year, I’m going to try to get over my reluctance to mark in my books. I’ll probably start with pencil, and maybe I’ll never progress to pens and highlighters. I certainly don’t see myself marking up a text like the image above. But at the very least, I’ll put a date in a book when I’ve read it, maybe the date and place I acquired it.

Of course, probably I’ll end up switching to ebooks this year and all of this will be moot.

-----------------

01022011, 11:30: .... 264

01022011: 15:53: .... 276

01042011: 15:53: .... 316

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.

On Saturday May 9, 2015, local DC artist Molly Springfield talked about her work and her current exhibition at Flashpoint Gallery, “The Marginalia Archive.”

This talk was presented in partnership with CulturalDC.

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 produced in the first quarter of the 15th century in North-East France. The contents of its calendar point to Paris but include saints particularly associated with Soissons. The same association can be found in the Hours of the Virgin. The manuscript has a fairly standard cycle of miniatures but they are notable for the intricate patterning found in their backgrounds; most especially with the coils of vine scrolls that comprise the setting for Christ in Majesty (fol. 79r). In addition, several folios throughout the text contain marginal dragon-like creatures that can often be seen biting at their own wings. The original patron of the manuscript was male and his portrait can be found on fol. 157r accompanying a seated Virgin and Child.

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

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.