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 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 beautifully bound Book of Hours was completed in Bruges ca. 1490. The illuminator's style was influenced by the Master of Edward IV, active ca. 1470-90, and followers. The manuscript includes twelve full-page miniatures and twenty-five small miniatures, along with sacred and secular marginalia and some illusionistic borders. While the sheer volume of miniatures is remarkable, the decoration program as a whole only strengthens the manuscript’s impact. Select marginalia motifs reinforce the compositional motifs of the miniatures; see fols. 25v and 26r for Passion motifs.

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

This book of hours was written in Dutch in the fifteenth century for the use of Utrecht. The Hours of the Virgin and of the Cross are accompanied here by the Dutch translation of Henry Suso's "Cursus aeternae sapientiae," a text that was particularly popular for private devotion in the Netherlands. Once owned by the English collector Lord Amherst, the manuscript is exceptional for its extensive illumination. Webs of foliage cover every margin, most sprouting medallions containing flora and fauna. The divisions in the text are marked by twenty richly painted full-page miniatures, often accompanied by related marginalia. Further illumination in the form of historiated and foliate initials marks minor breaks in the text, and the overall effect is a visual feast for the reader.

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 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.

Christians in late medieval and early modern Europe were deeply concerned with salvation. Could individuals, through the exercise of the will, ensure their own salvation? Or was God’s decree final? Was the human will too weak – too fallen –to change the status of any one individual soul? These were not just questions for theologians in the cathedrals and universities. The attitude of the Church towards these subjects had far-reaching implications for the practise of Christianity in society at large.

In late medieval Europe, most priests and congregations followed the Church’s teaching on salvation. The priest was a curate of souls, individuals could be saved through their own merit, and the Mass – conducted in Latin – allowed congregations to participate directly in Christ’s sacrifice. But there was also dissent. Complaints were heard about the inadequacy of priestly pastoral care; some wondered whether vernacular languages might be a better medium to communicate God’s word; and others suggested that the Mass might better be understood as a commemoration of Christ’s death rather than a daily miracle in which bread and wine literally became his body and blood.

The rise of lay or popular piety was an important feature of this landscape. Organisations like the Brethren of the Common Life stressed that Christian piety could be practised outwith official institutions. Private devotion, whether in the home or at work, was a valid way to reach God.

Those practising private devotion were encouraged to use images as an aid to spiritual reflection. Just as the congregant at Church might reflect on the crucifix, so the individual at home might use devotional objects or images to aid meditation. At the start of the Reformation, we often see printed devotional material using similar techniques to those found in late medieval manuscripts. Word and image are offered together as an aid to pious meditation.

- - - -

This is another woodcut by Lucas Cranach the Younger, this time on the title page of Luther's New Testament. Luther is shown on the right and on the left is his patron, John Frederick, Elector of Saxony. Both men are shown praying at the foot of the cross, Luther gazing at the crucified Christ while the Elector stares out at the viewer. The Bible's extensive marginalia confirm that it was owned by a pastor called Michael who ministered in the municipality of Giebelstadt in central Bavaria, probably during the later 16th century.

University of Glasgow Library

Special Collections

Luther, Martin: Das Newe Testament (1553)

Sp Coll K.T.7

One of 4 early ms. marginal sketches in a copy of Giovanni Boccaccio's Filocolo, printed in Venice on 24 December 1488 by Peregrinus de Pasqualibus (ISTC ib00744000):

Leaf h5v: dragon[?] with caption: [...]hina bochina [pictured here]

Leaf k1v: flowers with caption: Ia a mo

Leaf m7v: owl[?] with caption: angela .P.

Leaf n5v: bird in tree with caption: [...]ametta ..

The leaves of this copy are closely cropped at all margins with damage to each sketch. A ms. table headed "T.D.T. L. SS." appears on leaf s4v; it records the locations of the sketches (each denoted by an initial: S, R, C, and P, respectively) in order of appearance by the folio number of the facing leaf.

Established form: Pasqualibus, Peregrinus de, Bononiensis, active 15th century

Penn Libraries call number: Inc B-744 [catalog record]

All images from this book

This Book of Hours was completed for Use of Reims ca. 1450-1475 in northeastern France. The book was first owned by Collette, who is portrayed on fol. 76r with the Virgin and Child. An inscription from 1559 on the back pastedown records later ownership by female owner G. Marlot, as well as by her aunt, née Labourgue, wife of the merchant Jean Bourguet, followed by G. Marlot's daughter, Martine Marlot. The amount of female content in the book suggests that the patron, Collette, was very wealthy, as the book derives from a normal workshop program. This Book of Hours contains a heightened amount of prayers to the Virgin, virgins listed in the calendar and litany, as well as the Hours of St. Catherine in a devotional sequence. The manuscript also contains charming marginalia, most famously a garden party scene in which couples play music, and even games such as backgammon, together (fol. 16r).

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

[R.I.P. David Foster Wallace]

© Cynthia E. Wood

www.cynthiawoodphoto.com | FoundFolios | facebook | Blurb | Instagram

This book of hours was written in Dutch in the fifteenth century for the use of Utrecht. The Hours of the Virgin and of the Cross are accompanied here by the Dutch translation of Henry Suso's "Cursus aeternae sapientiae," a text that was particularly popular for private devotion in the Netherlands. Once owned by the English collector Lord Amherst, the manuscript is exceptional for its extensive illumination. Webs of foliage cover every margin, most sprouting medallions containing flora and fauna. The divisions in the text are marked by twenty richly painted full-page miniatures, often accompanied by related marginalia. Further illumination in the form of historiated and foliate initials marks minor breaks in the text, and the overall effect is a visual feast for the reader.

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 made ca. 1310-20, likely in Ghent. It was badly rebound with a sixteenth-century Flemish binding by Léon Gruel in Paris at the end of the nineteenth or early twentieth century, and the initials of Gruel and Engelmann are printed on the bookplate on the front pastedown. The manuscript lacks its calendar, and the text is incomplete and misbound. In the fourteenth century a prayer for Communion, written in French, was added at the end of the book. Initials in gold, blue and pink mark the divisions of the text. The manuscript is richly illuminated with drolleries; painted on the borders of each folio, they would have amused the reader with their playful animals, hybrids, and human figures.

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

This Book of Hours was completed for Use of Reims ca. 1450-1475 in northeastern France. The book was first owned by Collette, who is portrayed on fol. 76r with the Virgin and Child. An inscription from 1559 on the back pastedown records later ownership by female owner G. Marlot, as well as by her aunt, née Labourgue, wife of the merchant Jean Bourguet, followed by G. Marlot's daughter, Martine Marlot. The amount of female content in the book suggests that the patron, Collette, was very wealthy, as the book derives from a normal workshop program. This Book of Hours contains a heightened amount of prayers to the Virgin, virgins listed in the calendar and litany, as well as the Hours of St. Catherine in a devotional sequence. The manuscript also contains charming marginalia, most famously a garden party scene in which couples play music, and even games such as backgammon, together (fol. 16r).

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.

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.

From the Hours of Catherine of Cleves, in Latin.

Illuminated by the Master of Catherine of Cleves, The Netherlands, Utrecht, ca. 1440.

The manuscript is housed at the Morgan Library and Museum in New York City.

Marginalia in Medieval Manuscripts at

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

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.

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.

One of 4 early ms. marginal sketches in a copy of Giovanni Boccaccio's Filocolo, printed in Venice on 24 December 1488 by Peregrinus de Pasqualibus (ISTC ib00744000):

Leaf h5v: dragon[?] with caption: [...]hina bochina

Leaf k1v: flowers with caption: Ia a mo

Leaf m7v: owl[?] with caption: angela .P. [pictured here]

Leaf n5v: bird in tree with caption: [...]ametta ..

The leaves of this copy are closely cropped at all margins with damage to each sketch. A ms. table headed "T.D.T. L. SS." appears on leaf s4v; it records the locations of the sketches (each denoted by an initial: S, R, C, and P, respectively) in order of appearance by the folio number of the facing leaf.

Established form: Pasqualibus, Peregrinus de, Bononiensis, active 15th century

Penn Libraries call number: Inc B-744 [catalog record]

All images from this book

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.

Title page marginalis illustrations of the alphabet by Staake for The Little Golden Books Picture Dictionary. The book was originally illustrated by Tibor Gergeley, then Richard Scarry, then this completely digital edition was illustrated by Staake in 2001

For more on Staake art, please visit www.BobStaake.com

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.

British Library, Gorleston Psalter

The Gorleston Psalter (British Library Manuscript Additional 49622) is a 14th-century manuscript notable for containing early music instruction and for its humorous marginalia. It is named for the town of Gorleston in Norfolk.

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 Gospel book was likely created in the capital of the Byzantine Empire, Constantinople, in the eleventh century. The manuscript is remarkable on account of its exceptionally small size, as well as the high quality of its script and miniatures. Its extensive image cycle includes six full-page miniatures, four half-page miniatures, four historiated initials, and marginalia.

The elderly John is dictating his Gospel to Prochorus, who is seated in a cave on the desert island of Patmos (this scene is more appropriate for the Book of Revelation, but is also used as an author potrait for the Gospel of John). Next to Prochorus is a basket with (probably blank) scrolls of parchment.

The inscription reads "[῾Ο ἅ(γιος) ᾿Ιω(άννης) ὁ] Θεολόγος," or "[Saint John the] Theologian."

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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.

Deathbed, a page from The Hours of Catherine of Cleves.

Illuminated by the Master of Catherine of Cleves, The Netherlands, Utrecht, ca. 1440.

Lively action here:

As a man dies, his wife offers him a candle, a doctor examines his urine, and his son conspires against him. This mercenary heir is shown again, raiding his father's coffers in the bottom border.

Marginalia in Medieval Manuscripts at

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

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.