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Miniatures (Illuminations)--France--15th century
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- Notes:
- Catchword partially cropped on the lower margin of f. 162v., 16th century gilt-tooled arabesque binding or pasteboard, with small marks on edges of boards where clasps were once attached. Binding damaged. Stub of missing leaf between ff. 10v - 11r., On f. 54r: 4-line historiated initial in pink enclosing the Virgin and St. Anne on gold grounds, with a three-quarter decorated board derived from a depiction of the acanthus plant containing occasional hairline foliage and vines, and flowers in gold, and fruit. Some names in the calendar are written in gold. Long ornamental cadelles extending into the top and lower margins, some with skilled caricatures of human faces. Rubricated in red, blue and gold. A 1-line initial in gold on pink and blue grounds with white penwork with line fillers of bars or flower heads on same line. 2-line initials in blue or pink on gold enclosing foliage or colored balls or flowers or foliage or fruit on grounds of gold. On f. 36r: 3-line inital in blue with white penwork, enclosing pink and blue foliage with white penwork, on a ground of gold. On f. 51v and 108v: foliate motif border in outer margin derived from a depiction of the acanthus plant containing occasional hairline foliage and vines, and flowers in gold. On f. 157r: 2-line initial in blue with white penwork, enclosing a strawberry, on ground of gold. On f. 74r-v and f. 77v., outline impression of an initial and foliage border. Many pages have black, red, and blue ink stains. Gold and paint in the initials flaking from some leaves. On f. 8, the top of leaf is cropped with loss of text., A Book of Hours containing a calendar (missing calendar leaves for January and February); Gospel Readings followed by prayers; the Hours of the Virgin; the Penitential Psalms, followed by prayers and a Litany; the Hours of the Cross; the Office of the Dead; the Sulfrages to the Saints, followed by a single prayer which a blue rubric announces. Initials through out are illuminated, and one initial is historiated with a miniature of the Virgin and St. Anne., 1 column of 13 lines ruled in red written in lettre batarde., and “1542” on last main text leaf possibly indicating the precise date of the binding.
- Data Provider:
- Western Michigan University. Libraries
- Notes:
- Chapter division unit beside the inner column on recto. Correction along outer column of recto. Cue mark for chapter 3 in red on verso. “Notas” annotation on verso., Housed in a mat frame (260 x 205 mm), visible on one side only with dealer’s prospectus on the back of the frame. Excised from a larger manuscript., 6-line historiated initial painting of Tobius, asleep. On recto: 5-line decorated initial in blue enclosing vines on a ground of orange; rubricated in red. Running head on recto reads "TOBIE" in alternating red and blue capitals, and on verso reads: "TO." On recto: 5-line initial P in blue with red pen florishes extending into the margins, 2-line initial T in red with blue pen florishes that extend the inner column and into the upper and lower margins. Pearl script on either side of the running title. Capitals touched in red. Guide letter for the Roman numberal III in the inner margin. Roman numbers alternate red and blue., A leaf from a small bible with painted initials before the prologue and first chapter of Tobit. The initials painted on this leaf are stylistically similar to the work of professional artists working in Paris, possibly Johannes Grusch atelier. Historiated initial illustrates Tobit, eyes closed and covered with a blanket, reclining in bed, enclosed by a hybrid animal. Intial decorated with marginal extenders., 2-column of 45 lines ruled in lead written in small gothic textualis (pearl script)., and Based on evidence in the text, this Bible was likely decorated by artists from Paris in the third quarter of the thirteenth century, c. 1250-1270. The motifs and colors used in the red and blue pen initials can be compared with Paris, BnF, MS lat. 16541 (Stirnemann, 1990, no. 39, and p. 70). The style of the painted initials can be compared most closely with the later products of the Johannes Grusch workshop, a rather diverse stylistic group active in the second and third quarters of the thirteenth century (Branner, 1977, appendix VK. pp. 222-223).
- Data Provider:
- Western Michigan University. Libraries