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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 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 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 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.
Illuminated in the style of Willem Vrelant, this Book of Hours was completed for Use in Rome ca. 1470. The manuscript contains a calendar in French intended for the diocese of Bayeux that was added in the late fifteenth century, with border miniatures painted in Rouen. Prayers to St. Gregory as well as the large number of female saints included in the litany indicate that the original owner was female. The Hours of the Virgin are illuminated with images of Christ's Passion.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
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 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 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 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 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 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 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.
Dedicatória de Plinio Ayrosa a sua aluna e depois assistente Maria de Lourdes de Paula Martins, em exemplar de Poemas brasílicos do pe. Cristóvao Valente, S.J". (Ayrosa 1941) pertencente à Coleção Nicolai.
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Wenceslas Bible [Wenzelsbibel], c. 1390 - 1400, Cod. 2759 Han, f.160, Österreichischen Nationalbibliothek.
en.wikipedia.org/wiki/Wenceslas_Bible
via Marginalia
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.
Detail of leaf k1r of an incunable edition of St. Thomas Aquinas's In duodecim libros Metaphysicorum Aristotelis expositio (Venice: Simon Bevilaqua for Alessandro Calcedonius, 20 Dec. 1493; ISTC it00246000) with ms. underlines, marginal marks and notes, and manicule.
Established heading: Bevilaqua, Simon, active 1485-1518
Established heading: Calcedonius, Alessandro, active 1492-1514
Penn Libraries call number: Inc T-246 Folio
Penn Libraries catalog record
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 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 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 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 scene known as "Mission of the Apostles" corresponds to John 21:12-19 and is seldom found in Byzantine Gospel illustration. It is not certain that this leaf now occupies its original position: it might have once faced the first page of Acts in a now lost companion volume to W.522.
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 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 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 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 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 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.
French Bible Historial, vellum, illumination and miniatures throughout. Formerly bound in stamped leather (modern) with two clasps and a suggested fourteenth century date printed on the spine. The most recent binding has divided the bible historial into three volumes. A number of names appear in brown ink in the marginalia. Glossed and rubricated throughout, although glosses become much less frequent in the later half of the book. The miniatures are typically small rectangles illustrating events in the text, and tend to be painted on a backing of blue, burnished gold, or a combination of both. Ms 19 was a gift from James Sutherland, a merchant in Edinburgh, in 1680.
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEwmm~1~1~14142~1...
© The University of Edinburgh Library
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 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.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This small but richly illuminated Book of Hours was made ca. 1300-10 for the Use of Liège. The manuscript was created for a woman, likely a Beguine living in Huy, and inscriptions indicate it continued to be used in that region by another family into the seventeenth century. The number and variety of illuminations in the manuscript are remarkably given its small size, for it contains fourteen extant full-page miniatures, twenty-four calendar images, eleven extant large historiated initials, 188 small historiated initials, and countless marginal drolleries. Although an early rebinding resulted in the loss or rearrangement of several folios, this manuscript remains a fine example of the richness and intimacy of a Book of Hours from this period.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Stamen:
Every now and again I stumble over Stamen, and my shiny-shiny gene
goes into gear. Stamen is a design and technology firm in San
Francisco that over the past few years has worked on a number of
inspiring projects blending disparate fields and blurring their
boundaries. As they put it, "Experimental and client work have a way
of feeding into one another: the crossover process enriches both.
Stamen doesn't believe in a clear separation between ideas and
technology, or between client work and research work."
One foundational element that seems common to much of their work is
data visualization. A lot of their dataviz work connects to maps (the
original dataviz!). A couple of their recent map projects include
PolyMaps and PrettyMaps. Older projects/clients with mapping
components include Walking Papers (navigation), Crimespotting, Hope
for Haiti, Cloudmade Maps, Hurricane Maps, Cabspotting, TravelTime,
and more. You can see the range immediately, just from titles!
PolyMaps:
"Polymaps is a free JavaScript library for making dynamic, interactive
maps in modern web browsers." PolyMaps is available for download in
both Zip and GIT file formats. It can incorporate data from
OpenStreetMap, CloudMade, Bing, and can be formatted with CSS.
PrettyMaps:
"It is an interactive map composed of multiple freely available,
community-generated data sources:
- All the Flickr shapefiles rendered as a semi-transparent white
ground on top of which all the other layers are displayed.
- Urban areas from Natural Earth both as a standalone layer and
combined with Flickr shapefiles for cities and neighbourhoods.
- Road, highway and path data collected by the OpenStreetMap (OSM) project. ...
prettymaps operates very much at the edge of what the current crop of
web browsers are comfortable doing."
Social media is another theme they've worked with. Eddy is a new
Twitter visualization product from them, with earlier models or
prototypes ranging from the NBA Playoffs on Twitter through various
Flickr and Digg mashups and designs.
Eddy:
Eddy is a high-priced big-ticket product Stamen has created to "build
custom Twitter experiences quickly with simple powerful tools." It can
be used for metrics and tracking or for creating realtime interactive
audience experiences for live events. One of the barriers to
integrating Twitter on screen in live events is the possibility of
your hashtag stream being hijacked by spammers. Eddy gives you ways to
filter, control, manage, and block certain keywords in real time. It
doesn't just scroll the stream, but also provides a variety of
visualizations for your onscreen stream in what I am guessing is in a
Digg-like fashion, and thus much more engaging than most of the
Twitter visualization tools available for free.
Stamen has worked in so many areas and applied such a powerful
combination of creativity and content, that I could go on for a very
long time about how and why they inspire me.
You can find more about their work in their Everything section and
their Projects page.
Stamen: Everything:
Stamen: Projects:
I am going to choose just one (and oh, my, that was a hard choice!) to
discuss a little more.
Stamen: Books:
AND
Stamen has been pondering the boundaries and design of conventional
books, personal notebooks, and e-books with an eye toward trying to
create a vision for the future that incorporates the best of all of
these. What they say is:
"There’s a fluidity to digital media that’s intensely satisfying: a
sense of almost infinite malleability, multiple versions, code
proliferating across multiple variations, pieces that are different
every time you look at them... but sometimes it can get a bit
overwhelming. While we strive for a kind of engagement with
physicality in the rest of our work, there are limits to digital
media’s ability to leave anything lasting behind. It’s for limits like
this that notebooks are useful—they get filled with the physical
traces of the world instead of manipulation of the world behind the
screen. This work is not so much an antidote for a missing physicality
as it is a complement to the screen, and often a source for more
digital investigations."
What they do is to provide images that show what they imagine might be
possible. Or perhaps the images are actually generated from some
mysterious system they have yet to share with the rest of us. I don't
know. I do know that on our campus there is an initiative to imagine
alternative online textbook formats, and that this collection inspires
me to think very differently about those possibilities.
Print books preserve content in a fixed form. Digital media provide
content in a fluid form. Personal notebooks and printed books provide
space for marginalia, ponderings, explorations, doodling, expansions,
personalization, customization, criticism, carving, snipping,
repurposing, reaction, blending, transforming, connecting and much
much more.
I often sit in meetings next to a woman who seems to need to doodle to
focus and process. Her doodles are delightful visual little graphics,
very artistic and visual. Meanwhile, I am usually taking notes in a
code editor on my computer. Have you ever tried to doodle in an ASCII
editor while taking notes? It's possible, but it sure isn't very easy
and you can't really pay attention to what's going on around you. Not
to mention that there is not much of anything like handwriting in the
digital space. As I look at their images of blended book experiments
and environments, I find myself really longing for a space that allows
me the visual flexibility and personalization of taking notes by hand
on paper with the ability to share, preserve, disseminate, blend,
repurpose from digital environments. Just something to think about.
There is a lot more potential hidden in plain view in their images.
Go, look, ponder, and share YOUR thoughts about what the ideal book
could be like. Next up, adding in 3D visualizations and augmented
reality ...
Stamen:
Every now and again I stumble over Stamen, and my shiny-shiny gene
goes into gear. Stamen is a design and technology firm in San
Francisco that over the past few years has worked on a number of
inspiring projects blending disparate fields and blurring their
boundaries. As they put it, "Experimental and client work have a way
of feeding into one another: the crossover process enriches both.
Stamen doesn't believe in a clear separation between ideas and
technology, or between client work and research work."
One foundational element that seems common to much of their work is
data visualization. A lot of their dataviz work connects to maps (the
original dataviz!). A couple of their recent map projects include
PolyMaps and PrettyMaps. Older projects/clients with mapping
components include Walking Papers (navigation), Crimespotting, Hope
for Haiti, Cloudmade Maps, Hurricane Maps, Cabspotting, TravelTime,
and more. You can see the range immediately, just from titles!
PolyMaps:
"Polymaps is a free JavaScript library for making dynamic, interactive
maps in modern web browsers." PolyMaps is available for download in
both Zip and GIT file formats. It can incorporate data from
OpenStreetMap, CloudMade, Bing, and can be formatted with CSS.
PrettyMaps:
"It is an interactive map composed of multiple freely available,
community-generated data sources:
- All the Flickr shapefiles rendered as a semi-transparent white
ground on top of which all the other layers are displayed.
- Urban areas from Natural Earth both as a standalone layer and
combined with Flickr shapefiles for cities and neighbourhoods.
- Road, highway and path data collected by the OpenStreetMap (OSM) project. ...
prettymaps operates very much at the edge of what the current crop of
web browsers are comfortable doing."
Social media is another theme they've worked with. Eddy is a new
Twitter visualization product from them, with earlier models or
prototypes ranging from the NBA Playoffs on Twitter through various
Flickr and Digg mashups and designs.
Eddy:
Eddy is a high-priced big-ticket product Stamen has created to "build
custom Twitter experiences quickly with simple powerful tools." It can
be used for metrics and tracking or for creating realtime interactive
audience experiences for live events. One of the barriers to
integrating Twitter on screen in live events is the possibility of
your hashtag stream being hijacked by spammers. Eddy gives you ways to
filter, control, manage, and block certain keywords in real time. It
doesn't just scroll the stream, but also provides a variety of
visualizations for your onscreen stream in what I am guessing is in a
Digg-like fashion, and thus much more engaging than most of the
Twitter visualization tools available for free.
Stamen has worked in so many areas and applied such a powerful
combination of creativity and content, that I could go on for a very
long time about how and why they inspire me.
You can find more about their work in their Everything section and
their Projects page.
Stamen: Everything:
Stamen: Projects:
I am going to choose just one (and oh, my, that was a hard choice!) to
discuss a little more.
Stamen: Books:
AND
Stamen has been pondering the boundaries and design of conventional
books, personal notebooks, and e-books with an eye toward trying to
create a vision for the future that incorporates the best of all of
these. What they say is:
"There’s a fluidity to digital media that’s intensely satisfying: a
sense of almost infinite malleability, multiple versions, code
proliferating across multiple variations, pieces that are different
every time you look at them... but sometimes it can get a bit
overwhelming. While we strive for a kind of engagement with
physicality in the rest of our work, there are limits to digital
media’s ability to leave anything lasting behind. It’s for limits like
this that notebooks are useful—they get filled with the physical
traces of the world instead of manipulation of the world behind the
screen. This work is not so much an antidote for a missing physicality
as it is a complement to the screen, and often a source for more
digital investigations."
What they do is to provide images that show what they imagine might be
possible. Or perhaps the images are actually generated from some
mysterious system they have yet to share with the rest of us. I don't
know. I do know that on our campus there is an initiative to imagine
alternative online textbook formats, and that this collection inspires
me to think very differently about those possibilities.
Print books preserve content in a fixed form. Digital media provide
content in a fluid form. Personal notebooks and printed books provide
space for marginalia, ponderings, explorations, doodling, expansions,
personalization, customization, criticism, carving, snipping,
repurposing, reaction, blending, transforming, connecting and much
much more.
I often sit in meetings next to a woman who seems to need to doodle to
focus and process. Her doodles are delightful visual little graphics,
very artistic and visual. Meanwhile, I am usually taking notes in a
code editor on my computer. Have you ever tried to doodle in an ASCII
editor while taking notes? It's possible, but it sure isn't very easy
and you can't really pay attention to what's going on around you. Not
to mention that there is not much of anything like handwriting in the
digital space. As I look at their images of blended book experiments
and environments, I find myself really longing for a space that allows
me the visual flexibility and personalization of taking notes by hand
on paper with the ability to share, preserve, disseminate, blend,
repurpose from digital environments. Just something to think about.
There is a lot more potential hidden in plain view in their images.
Go, look, ponder, and share YOUR thoughts about what the ideal book
could be like. Next up, adding in 3D visualizations and augmented
reality ...
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 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 Prayer Book, likely completed in Bruges ca. 1510-20, contains eight extant full-page miniatures, twelve calendar illustrations, and ten illuminated margins. The artistic style is similar to that of Simon Bening, but its relationship to him has not been firmly established. It is a small devotional text, sized to fit easily into the palm of the supplicant. The book is bound in violet velvet with ornate, chiseled silver-gilt furnishings and has a kid-lined violet velvet case for further protection and decoration. As for the devotional content of the Prayer Book, this manuscript is at first striking for its multilingual prayers; the text alternates between mostly German and Latin prayers, although the last section of the book, a part that remains unfinished, is written in French. Contents are indicative of an intended German owner, but there remain some Netherlandish feasts with irregular dates. Although diminutive in size, this manuscript is rich in content, heritage, and decoration.
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 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 small but richly illuminated Book of Hours was made ca. 1300-10 for the Use of Liège. The manuscript was created for a woman, likely a Beguine living in Huy, and inscriptions indicate it continued to be used in that region by another family into the seventeenth century. The number and variety of illuminations in the manuscript are remarkably given its small size, for it contains fourteen extant full-page miniatures, twenty-four calendar images, eleven extant large historiated initials, 188 small historiated initials, and countless marginal drolleries. Although an early rebinding resulted in the loss or rearrangement of several folios, this manuscript remains a fine example of the richness and intimacy of a Book of Hours from this period.
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 ca. 1440 in Hainaut for a female patron with Cistercian connections, which is suggested by long devotional sequences focused on the Passion of Christ and the Virgin, including indulgences, a litany with Cistercian affiliation, and various references to a female suppliant. Two devotional texts written by various scribes in Latin and French were added to the front and back of the book ca. 1450-1600. At the end of the front devotional text, on fol. 6v, there are sewing holes and strong impressions of a variety of pilgrim badges. The manuscript contains eight full-page miniatures, five of which were at some point protected by pieces of gauze that have been removed and are now in the WAM file.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.