Details
BOOK OF HOURS, use of Utrecht, in Dutch, ILLUMINATED MANUSCRIPT ON VELLUM
[Haarlem and Zwolle, ca. 1470-1480]
195 x 143mm., 165 leaves plus one medieval flyleaf at beginning, COMPLETE, collation: 16, 2-208 [miniatures on single leaves inserted before 3/1, 6/5, 8/7, 10/8, 13/4, 15/5, 19/1], 20 lines ruled in brown, justification 100 x 66mm., written in black ink in a gothic textura, rubrics in red, one-line initials in alternating red and blue, two-line initials in red or blue with green, red or blue penwork decoration with marginal coloured pen-flourish extensions, 41 THREE- AND FOUR-LINE INITIALS in blue or green with white or yellow tracery on gold ground infilled with foliate decoration, each with an outer baguette border and upper and lower borders of sprays of gold petals, flowers and acorn leaves, 8 LARGER INITIALS (6 to 10- line) in blue with white tracery on gold ground containing painted flowers and foliage, within ¾ baguette frames and full border of sprays of gold petals, painted foliage and flowers, containing angels, birds and grotesque figures, 7 VERY FINE FULL-PAGE MINIATURES IN ARCHED COMPARTMENTS, WITH FULL BORDERS of gold petals, flowers and acorn leaves
BINDING:
Contemporary brown calf over wooden boards, stamped in blind, inner and outer intersecting double fillets containing small star tools, surrounding a centre panel of the Paschal Lamb and corner medallions of the four Evangelists' symbols, with the legend: Siet:dat:Lam:Goe/des: dat:boert die:sonden/d'verl, (rebacked, joint of upper cover cracked, lacking one of two clasps). Probably a Haarlem binding [Weale 295; P. Verheyden, article in Het Boek xxxi, pp. 197-239 [1952-54] cites other examples of the Lamb and Flag panel
PROVENANCE:
1. The convent of St. Gertrude in Amsterdam (Franciscan Tertiaries 1450-56, then Canonesses Regular of St. Augustine, suppressed in 1585). Inscription, dated 1652 on f. 1 'Dit boeck compt uijt Sint Geertrudijden clooster, binnen Amsterdam. Ita attestor' [name deleted].
2. Augustus Frederick, Duke of Sussex (1773-1843) with his bookplate and shelf mark. Sale in London, Evans, 31 July 1844, lot 189 (purchased by Bohn)
3. Edward Francis Searles of Methuen, Massachusetts, bequeathed to
4. B. Allen Rowland of Lawrence, Mass., who placed the manuscript on deposit in the Beinecke Library, Yale University, in 1957
TEXT:
f.1 ruled but unwritten; ff.2-13v Calendar of Utrecht with entries for every day, including in red 'Iheroen martelair; (Aug. 17); f. 14 ruled but unwritten; ff. 16-43v Hours of the Virgin; ff. 45-62v Hours of the Cross; ff. 64-80v Hours of Eternal Wisdom; ff. 82-101v Hours of the Holy Spirit; ff. 103-119 Seven Penitential Psalms and Litany; ff. 121-148 Office of the Dead; ff. 150-154v Prayers for Communion "Dit ghebet salmen lesen mit ynnicheden alsmen ten heiligen sacrament gaen wil"; ff. 155-162 Mass of the Virgin; ff. 163-164 Verses of Saint Gregory; ff. 164v-165v Suffrages of the Holy Cross, Saints Peter, Clare and Barbara
DECORATION:
Illuminated by the 'Masters of the Zwolle Bible'. The present manuscript is particularly interesting as it demonstrates a division of manuscript production between different parts of the Northern Netherlands. As there were more centres of book production than specialized workshops of accomplished artists, it allowed a manuscript copied in Haarlem or its vicinity to be supplied with miniatures painted in another centre, such as Zwolle. St. Jeroen in red in the calendar points to the area between Leiden and Haarlem [see note above]. The pen-flourish decoration on the text pages finds its closest analogies in manuscripts and printed books made for and belonging to the Monastery at Beverwijk to the North of Haarlem and possibly made there. [cf. W.C.M. Wüstefeld, De boeken van de Grote of Sint Bavokerk, Hilversum 1989, fig. 105b].
Although the manuscript was copied in Haarlem, the miniatures were painted at Zwolle in the Eastern Netherlands. The artists have been named the "Masters of the Zwolle Bible" after the miniatures in a six-volume Bible illuminated by the Brethren of the Common Life at Zwolle between 1462 and 1476. They are extensively discussed in The Golden Age of Dutch Manuscript Painting, pp. 244ff. One of their characteristic features is a reliance on woodcuts and engravings for their compositions. These were also often inspired by blockbooks, such as the Biblia Pauperum and the Speculum Humanae Salvationis. This is not surprising, as printmaking was an indigenous and popular art form in the Eastern Netherlands. There was little or no tradition of panel painting, but prints circulated widely and were collected by the local religious houses.
The present manuscript is closely related to a Book of Hours in Cambridge University Library [Golden Age, op. cit., no. 85 and plate 85], there described as 'the finest work by the Masters of the Zwolle Bible'. The miniatures are very simple and uncluttered and painted in bright expressive colours, mainly pink, red, blue and green, very carefully executed; "in his compositions the artist reveals himself as skilful and eclectic." The interiors usually show finely painted gothic vaulted architecture, with yellow and black checkerboard floors.
THE SUBJECTS OF THE MINIATURES ARE:
folio 15v. The Annunication, within a fine gothic architectural interior and yellow and black checkerboard floor
folio 44v. Calvary, the three Marys, a disciple and a group of soldiers at the foot of the cross. The composition is evidently inspired by an engraving by the Master W with the Key [Lehrs 1, plate 178; Hollstein XII 203]
folio 63v. Christ standing holding the Orb and blessing. The figure in a pink cloak, standing on yellow and black checkerboard floor, within a gothic chamber
folio 81v. Pentecost, the Virgin and Apostles in a chamber with a yellow and black checkerboard floor
folio 102v. David in Penitence, before an altar in a gothic church with fine vaulted interior, on a yellow and black checkerboard floor. The architecture is probably influenced by the Master W with the Key
folio 120v. The Harrowing of Hell, Christ the Saviour, his foot on the broken door of the Mouth of Hell. The devil caught between door and floor is visibly screaming. Christ is receiving the souls emerging from the Mouth of Hell. The composition seems to be inspired by an engraving by the Master of the Berlin Passion [Lehrs 33, plate 94; Hollstein XII, 86 86]. An almost identical illustration, no doubt by the same artist, is to be found in the Book of Hours at Cambridge University Library [Golden Age, op. cit., no. 85, plate 85]
folio 149v. The Ascension, Christ ascending from a hill, surrounded by the Virgin and Apostles. Probably inspired by an engraving by Israhel van Meckenem [Lehrs 116; Hollstein, German, vol. xxiv, p. 116
LITERATURE
Defoer, Korteweg and Wüstefeld, The Golden Age of Dutch Manuscript Painting, 1989; K. van der Horst, Illuminated and Decorated Medieval Manuscripts in the University Library Utrecht, 1989, p. 223, no. 39
We are most grateful to Professor James Marrow who has not only made available the entry for this manuscript in his forthcoming Corpus of Dutch Manuscripts, but has also most generously given advice on all aspects of the artistic background
[Haarlem and Zwolle, ca. 1470-1480]
195 x 143mm., 165 leaves plus one medieval flyleaf at beginning, COMPLETE, collation: 16, 2-208 [miniatures on single leaves inserted before 3/1, 6/5, 8/7, 10/8, 13/4, 15/5, 19/1], 20 lines ruled in brown, justification 100 x 66mm., written in black ink in a gothic textura, rubrics in red, one-line initials in alternating red and blue, two-line initials in red or blue with green, red or blue penwork decoration with marginal coloured pen-flourish extensions, 41 THREE- AND FOUR-LINE INITIALS in blue or green with white or yellow tracery on gold ground infilled with foliate decoration, each with an outer baguette border and upper and lower borders of sprays of gold petals, flowers and acorn leaves, 8 LARGER INITIALS (6 to 10- line) in blue with white tracery on gold ground containing painted flowers and foliage, within ¾ baguette frames and full border of sprays of gold petals, painted foliage and flowers, containing angels, birds and grotesque figures, 7 VERY FINE FULL-PAGE MINIATURES IN ARCHED COMPARTMENTS, WITH FULL BORDERS of gold petals, flowers and acorn leaves
BINDING:
Contemporary brown calf over wooden boards, stamped in blind, inner and outer intersecting double fillets containing small star tools, surrounding a centre panel of the Paschal Lamb and corner medallions of the four Evangelists' symbols, with the legend: Siet:dat:Lam:Goe/des: dat:boert die:sonden/d'verl, (rebacked, joint of upper cover cracked, lacking one of two clasps). Probably a Haarlem binding [Weale 295; P. Verheyden, article in Het Boek xxxi, pp. 197-239 [1952-54] cites other examples of the Lamb and Flag panel
PROVENANCE:
1. The convent of St. Gertrude in Amsterdam (Franciscan Tertiaries 1450-56, then Canonesses Regular of St. Augustine, suppressed in 1585). Inscription, dated 1652 on f. 1 'Dit boeck compt uijt Sint Geertrudijden clooster, binnen Amsterdam. Ita attestor' [name deleted].
2. Augustus Frederick, Duke of Sussex (1773-1843) with his bookplate and shelf mark. Sale in London, Evans, 31 July 1844, lot 189 (purchased by Bohn)
3. Edward Francis Searles of Methuen, Massachusetts, bequeathed to
4. B. Allen Rowland of Lawrence, Mass., who placed the manuscript on deposit in the Beinecke Library, Yale University, in 1957
TEXT:
f.1 ruled but unwritten; ff.2-13v Calendar of Utrecht with entries for every day, including in red 'Iheroen martelair; (Aug. 17); f. 14 ruled but unwritten; ff. 16-43v Hours of the Virgin; ff. 45-62v Hours of the Cross; ff. 64-80v Hours of Eternal Wisdom; ff. 82-101v Hours of the Holy Spirit; ff. 103-119 Seven Penitential Psalms and Litany; ff. 121-148 Office of the Dead; ff. 150-154v Prayers for Communion "Dit ghebet salmen lesen mit ynnicheden alsmen ten heiligen sacrament gaen wil"; ff. 155-162 Mass of the Virgin; ff. 163-164 Verses of Saint Gregory; ff. 164v-165v Suffrages of the Holy Cross, Saints Peter, Clare and Barbara
DECORATION:
Illuminated by the 'Masters of the Zwolle Bible'. The present manuscript is particularly interesting as it demonstrates a division of manuscript production between different parts of the Northern Netherlands. As there were more centres of book production than specialized workshops of accomplished artists, it allowed a manuscript copied in Haarlem or its vicinity to be supplied with miniatures painted in another centre, such as Zwolle. St. Jeroen in red in the calendar points to the area between Leiden and Haarlem [see note above]. The pen-flourish decoration on the text pages finds its closest analogies in manuscripts and printed books made for and belonging to the Monastery at Beverwijk to the North of Haarlem and possibly made there. [cf. W.C.M. Wüstefeld, De boeken van de Grote of Sint Bavokerk, Hilversum 1989, fig. 105b].
Although the manuscript was copied in Haarlem, the miniatures were painted at Zwolle in the Eastern Netherlands. The artists have been named the "Masters of the Zwolle Bible" after the miniatures in a six-volume Bible illuminated by the Brethren of the Common Life at Zwolle between 1462 and 1476. They are extensively discussed in The Golden Age of Dutch Manuscript Painting, pp. 244ff. One of their characteristic features is a reliance on woodcuts and engravings for their compositions. These were also often inspired by blockbooks, such as the Biblia Pauperum and the Speculum Humanae Salvationis. This is not surprising, as printmaking was an indigenous and popular art form in the Eastern Netherlands. There was little or no tradition of panel painting, but prints circulated widely and were collected by the local religious houses.
The present manuscript is closely related to a Book of Hours in Cambridge University Library [Golden Age, op. cit., no. 85 and plate 85], there described as 'the finest work by the Masters of the Zwolle Bible'. The miniatures are very simple and uncluttered and painted in bright expressive colours, mainly pink, red, blue and green, very carefully executed; "in his compositions the artist reveals himself as skilful and eclectic." The interiors usually show finely painted gothic vaulted architecture, with yellow and black checkerboard floors.
THE SUBJECTS OF THE MINIATURES ARE:
folio 15v. The Annunication, within a fine gothic architectural interior and yellow and black checkerboard floor
folio 44v. Calvary, the three Marys, a disciple and a group of soldiers at the foot of the cross. The composition is evidently inspired by an engraving by the Master W with the Key [Lehrs 1, plate 178; Hollstein XII 203]
folio 63v. Christ standing holding the Orb and blessing. The figure in a pink cloak, standing on yellow and black checkerboard floor, within a gothic chamber
folio 81v. Pentecost, the Virgin and Apostles in a chamber with a yellow and black checkerboard floor
folio 102v. David in Penitence, before an altar in a gothic church with fine vaulted interior, on a yellow and black checkerboard floor. The architecture is probably influenced by the Master W with the Key
folio 120v. The Harrowing of Hell, Christ the Saviour, his foot on the broken door of the Mouth of Hell. The devil caught between door and floor is visibly screaming. Christ is receiving the souls emerging from the Mouth of Hell. The composition seems to be inspired by an engraving by the Master of the Berlin Passion [Lehrs 33, plate 94; Hollstein XII, 86 86]. An almost identical illustration, no doubt by the same artist, is to be found in the Book of Hours at Cambridge University Library [Golden Age, op. cit., no. 85, plate 85]
folio 149v. The Ascension, Christ ascending from a hill, surrounded by the Virgin and Apostles. Probably inspired by an engraving by Israhel van Meckenem [Lehrs 116; Hollstein, German, vol. xxiv, p. 116
LITERATURE
Defoer, Korteweg and Wüstefeld, The Golden Age of Dutch Manuscript Painting, 1989; K. van der Horst, Illuminated and Decorated Medieval Manuscripts in the University Library Utrecht, 1989, p. 223, no. 39
We are most grateful to Professor James Marrow who has not only made available the entry for this manuscript in his forthcoming Corpus of Dutch Manuscripts, but has also most generously given advice on all aspects of the artistic background