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Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds—principally peacocks, symbols of the immortality of the soul—and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
Khnum holds a whip in his right hand. The inscription says that this votive figure was dedicated by King Psametik.
As in large scale Egyptian granite standing or striding figures, there is no space between the legs, and the arms are kept close to the body. The headdress has broken off.
Egyptian
6 3/4 in. (17.2 cm)
medium: black granite
culture: Egyptian
dynasty: 26th Dynasty
Walters Art Museum, 1931, by bequest.
This triptych (an altarpiece with three panels) of three Franciscan holy men was probably placed on the high altar of a Franciscan church. Depicted as if bathed in natural light, the architectural setting with the three saints opens up to a serene landscape. Inside the church, this illusionistic opening would have given the painting the character of a divine vision. Saint Francis of Assisi, the founder of the Franciscan order, is depicted with the stigmata (wounds similar to those of Christ in the hands, feet, and side), which he received during a vision towards the end of his life. Rose petals are scattered across the floor.
For more information on these panels, please see Federico Zeri's 1976 catalogue no. 186, pp. 275-277.
St. Francis painted surface H including insert at top: 52 3/8 x W: 21 1/4 x D: 15/16 in. (133 x 54 x 2.4 cm)
St. Louis of Toulouse painted surface H: 51 15/16 x W: 16 9/16 x D: 13/16 in. (132 x 42 x 2 cm)
Blessed John Capistrano painted surface H including inserts at top and bottom: 52 3/8 x W: 16 9/16 x D: 13/16 in. (133 x 42 x 2 cm)
medium: oil on panel
Walters Art Museum, 1931, by bequest.
The style and quality of this manuscript's decoration is typical of deluxe Parisian books made for aristocratic or royal patrons. Most of the book's decoration appears to be the work of the Master of the Boqueteaux, an artist active at the court of King Charles V (died 1380). His style was apparently shared by a number of book illuminators working in and around Paris. It is very possible that the <em>Gotha Missal</em> belonged to Charles V, but is not provable because the manuscript has no royal portraits and lacks a colophon. Given the book's magnificent decoration, however, it would seem that it was produced for a Valois prince, if not for the king himself. The manuscript receives its name from the German dukes of Gotha, its later owners.
France, Paris
ink, tempera, and gold on vellum; blind-tooled leather binding
Codex: 27.1 x 19.5 cm (10 11/16 x 7 11/16 in.)
Mr. and Mrs. William H. Marlatt Fund
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
46 x 6 in. (116.8 x 15.2 cm)
medium: Linen embroidered with crewel wool
Metropolitan Museum of Art, New York, NY 26.200a–c 1926
Rogers Fund, 1926
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