By Sandra Hindman, Ariane Bergeron-Foote, Christopher de Hamel

Books of Hours are the most recognized of all medieval illuminated manuscripts. offered listed here are 12 Books of Hours that date from the origins of the style within the thirteenth century to its eclipse within the sixteenth century. Examples come from France, Italy and the Southern and northern Netherlands and are through many outstanding artists, together with Pietro da Pavia, Belbello da Pavia, the Masters of Zweder van Culenburg, the Masters of the Gold Scrolls, Willem Vrelant, Guillaume tile Roy and Jean Poyer. a few are richly illustrated; others are extra modest. each one manuscript is fully distinctive, providing an enthralling glimpse into the lives and preoccupations in their vendors, the worries and contributions in their illuminators. The advent by means of Christopher de Hamel, Donnelley Fellow Librarian at Corpus Christi collage, Cambridge, underscores the intimacy’ of Books of Hours as a style. A workforce of wonderful students have contributed to the essays, bringing up to date learn to the venture that is helping situate each one manuscript within the most up-to-date scholarship. Comparative pictures of manuscripts in associations position those twelve Horae of their broader inventive and cultural contexts. Accompanying an exhibition held at Les Enluminures, manhattan, 2―25 could 2012

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Extra info for An Intimate Art: 12 Books of Hours for 2012 (Les Enluminures)

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The iconography of the first miniature included here is also very rare. The Gathering of Manna occurs in the Hours of Catherine of Cleves (Plummer, 1966, pl. 74), but we know of nothing comparable in Bruges books. The figure of Moses may be taken from a pattern of Christ in Gethsemane. Facing page, f. 228v, Death of the Virgin 115 The principal decoration of this manuscript consists of five miniatures that stand stylistically midway between Willem Vrelant and the Master of Raphael de Mercatellis.

Abb. 4), Jesus is positioned differently and the settings have been subtly altered. Save the wattle fences that enclose the figures, our and the Berlin Arrest of Christ (ff. 195v and 44v, respectively) share few points of resemblance, and the Funeral Services (ff. 269v and 92v, respectively) are entirely different. Both the present manuscript and the Berlin codex share similar border styles. While the frames of the Berlin miniatures are simply arched, however, the apices of ours are peaked, gabled, crocketed, and otherwise more inventively shaped; frequently those apices also house the figure of God the Father.

Typically, they are either just simply praying or playing musical instruments. Half-length angels holding Instruments of the Passion do occur in the borders of a manuscript in The Hague (KB, MS 79 K 2, f. 86r). But, the use of angels holding the Instruments of the Passion and placed in historiated initials, where they have a direct relationship to the text, appears to be entirely unique to the present manuscript. Through this device, surely prompted by the emphasis on meditation on the Passion in the milieu of the Devotio Moderna, these initials help promote a contemplative response on the part of the reader-viewer, leading him or her to read the accompanying prayers with quietude and sadness.

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