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細節
BOOK OF HOURS, use of Rome, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM
[Ghent, c.1460]180 x 120mm. 187 + 10 leaves:112, 28(of 9, lacking i), 38, 48(of 9, lacking v), 56(of 7, lacking ii), 68, 75(of 4 + iv miniature leaf), 88, 98(of 10, lacking ii and vii miniature leaves), 108(of 10, lacking ii and vii), 118(of 9, lacking ii), 128(of 10, lacking i and vi), 134, 148(of 9, lacking i), 158(of 9, lacking viii), 168(possibly lacking miniature leaf as vii), 17-198, 206, 215(of 4 + i miniature leaf), 228, 236, 248, 254(of 5, lacking ii), 263(of 2 + i miniature leaf) + 2710, the lacking leaves inserts with miniatures, some catchwords written in centre of lower margin of final versos, TEXT COMPLETE, 17 lines written in a gothic bookhand in brown ink between two verticals and 18 horizontals ruled in violet, justification: 97 x 61mm, rubrics in red, text capitals touched yellow, one- and two-line initials and line-endings of burnished gold on divided grounds of pink and blue patterned with white, three similar four-line initials with single gold bars and partial borders of hair-line sprays linking gold disks and blue and pink flowers, TWENTY-FOUR SMALL CALENDAR ILLUSTRATIONS of the occupations of the months and the signs of the zodiac with similar partial borders, EIGHTEEN LARGE INITIALS ON GOLD GROUNDS WITH THREE-SIDED GOLD BARS AND FULL BORDERS of acanthus and flower and fruit sprays in shell-gold, blue, green, red, pink and ochre, inhabited by human figures, grotesques, birds and beasts, interspersed with burnished gold disks flourished in ink, TWELVE HISTORIATED INITIALS with similar bars and full borders, SEVENTEEN LARGE MINIATURES above large foliate initials on gold grounds with similar full borders, FIVE FULL-PAGE MINIATURES with similar full borders (margins worn and spotted, occasionally into text, slight smudging to some borders, paint losses to several miniatures, affecting faces ff.15, 24v, 180v and 185v, devils partially erased f.30, drapery added to nudes f.154v). Seventeenth-century red gilt, lettered on upper and lower covers DON PEDRO DE ARAGON with his coat of arms on a cartouche with putto masks, leaves and flowers, flanked by four cherubs, under a coronet supported by two angels, spine gilt in five compartments, green cloth box (spine repaired, scuffed).
PROVENANCE:
1. The style of decoration and Calendar suggest an origin in Ghent, with Sts Amalberga, 13 July (correctly 10 July) and Macarius, 10 May, for the elevation of his relics in Ghent, 9 May. The first male owner appears in the miniature opening the unusual series of the Gifts of the Holy Spirit f.24v; his coat of arms, azure, a bend argent between two bendlets or, are integrated into the initials or borders on ff.13, 38, 122; in the border on f.38 are the initials E N and V N, enclosed by rooting pine branches with pine cones. The arms were borne by several families, including the L'Enfant, later L'Enfant de Louzy, of Anjou and Brittany. Prayers are in the masculine. The text Litany includes a special section of monks and hermits and St Clara, the sister of St Francis, among the Virgins; St Francis and the Franciscan St Bernardino, canonised in 1450, appear in calendar and memorials. St Catherine of Siena was a Dominican. It is very rare to find a memorial and miniature of St Basilissa; if featured at all, she is usually with her husband, St Julian the Hospitaller, with whom she lived in chastity. Many southern Netherlandish towns had hospitals dedicated to St Julian.
2. Later in the fifteenth century, a gathering of prayers in Latin and Italian, in an Italian hand was added to the end of the book.
Don Pedro de Aragon, Duke of Segorbe and Cardona, viceroy of Naples 1665-1671, where he could have acquired the book; his armorial binding.
CONTENT:
Calendar ff.1-12, Hours of the Cross ff.13-24: matins f.13, prime f.15, terce f.17, sext f.18v, none f.20, vespers f.21v, compline f.23; Hours of the Holy Spirit ff.25-32: matins f.25, prime f.26, terce f,27, sext f.28, none f.29, vespers f.30, compline f.31; Mass of the Virgin ff.33-37v, Office of the Virgin, use of Rome ff.38-91v: matins with daily variants f.38, lauds f.55, prime f.65, terce f.69, sext f.73, none f.77, vespers f.81, compline f.88; seasonal variants for the Office of the Virgin from Advent ff.92-99; Obsecro te ff.100-103; O intemerata ff.103-105; Gaude flore virginale ff.105-107; Salve regina f.107r and v; Gospel extracts ff.108-115: St John f.108, St Luke f.109v, St Matthew f.111, St Mark f.113;. Office of the Dead, use of Rome, ff.115-153; Penitential Psalms ff.155-165; Litany and prayers ff.165-172; Memorials ff.173-186v: the Trinity f.173, Sts Michael f.173v, John the Baptist f.174, Peter and Paul f.174v, Mary Magdalen f.175, Christopher f.176, Gregory f.176v, Anthony Abbot f.177, Sebastian f.177v, Francis f.178v, Bernadino f.179, Ursula f.179v, Basilissa f.181, Domine sancte pater omnipotens eterne dues in illa custodia f.182, Catherine of Siena f.186; added prayer for protection, often attributed to St Augustine f.187; prayers on added leaves in an Italian hand ff.188-197v: same prayer for protection, Dulcissime domine jesu christe dues verus f.188, prayer on the Seven Last Words from the Cross f.193, devotional verse in Latin and Italian Amor jesu per che il sanguine f.195, Latin devotions including O domine yhesu christen adoro te in cruce pendentem f.196v.
ILLUMINATION:
The illumination is by the Master of Fernando de Lucena, named from the presentation copy of Le triomphe des dames, translated from the Portuguese by Fernando de Lucena and dedicated to Philip the Good, duke of Burgundy, with a colophon of 1460 (Brussels, KBR, ms 10778). The presentation miniature shares many features with the present Hours: the characteristic curving foreground plants, thin cloud forms and the interior with tiled floor, textile hanging and neatly detailed windows and ceiling. More importantly, it shows the Master's great talent for varying the expressions and poses of his figures, while combining them into coherent groups. Whether lamenting at the Passion or adding to Christ's torments, demonstrating the gifts of the Holy Spirit or reciting the Office of the Dead, the characters purposefully interact to convey the narrative with emotional impact. For the Master and his manuscripts, see M. Smeyers, Flemish Miniatures, 1999, pp.326-7, 398-9; A. Domínguez, libros de horas del siglo XV en la Biblioteca Nacional, 1979, no.15; E. Soltész, Flämischer Kalendar, 1983.
A wider range of comparable miniatures is found in a book of hours attributed to the Master, now in Madrid (Biblioteca Nacional, ms Vit. 24-10) and a related calendar from a book of hours, now in Budapest (Országos Széchényi Könyvtár, cod. lat. 396). The smaller scenes in the present Hours repeat many of the figures from the two more elaborate calendars in similar but simplified settings. The romantic, towered cityscapes that close many of the landscapes in the two larger calendars are found in the present manuscript at the Visitation, f.54v and behind St John on Patmos, f.108.
The series of miniatures on the Gifts of the Holy Spirit show great iconographic inventiveness. The Gifts of the Holy Spirit are enumerated by Isaiah, XI, 2-3, as attributes of the Messiah: Spiritus sapienciae on the opening banderole, f.24v, is a direct quotation, although the remaining Gifts do not follow the same order and Mercy is added to Piety in the final scene, f.31. The Fear of God, f.30, is one of the most striking where a man gestures in dismay in a boat steered by death, while two devils attack its sails - Fear of God is necessary for man to avoid sin and approach death in a state to merit eternal life.
The Master of Fernando de Lucena is known for his rich colours, predominantly blue, green, pink and red, which are repeated in the luxuriant borders, where large plant forms are mixed with humans, grotesques and animals, especially monkeys. These borders resemble those in the Madrid Hours in the large plants and the Budapest Calendar in the smaller figures. The human figures, some nude, are engaged in an appealing array of actions: playing musical instruments ff.13, 18v, 23, 26, pushing a wheelbarrow f.15, aiming at a bird ff.17, 27, drinking ff.20, 28, 111, taking a bath f.21v, peddler displaying his wares f.25, pushing a walking frame f.109v, carrying a pack f.112.
Although the Triomphe des dames was written in Brussels, the Master of Fernando de Lucena was probably active in Ghent, the home of the other artists involved in the Madrid Hours; the calendars of the three books of hours suggest Ghent models. The unidentified owner of the present Hours may have been local or have decided to commission his book in one of the great centres for illumination, from a Master whose work appeared in the library of the dukes of Burgundy.
The subjects of the miniatures are as follows: Christ before Pilate f.15, the Flagellation f.17, Christ carrying the Cross f.18v, the Crucifixion f.20, Deposition f.21v, Entombment f.23, the Seven Gifts of the Holy Spirit, each presided over by the Dove of the Holy Spirit and labelled in Latin: Wisdom, owner presented by an angel to the Trinity, with God the Father enthroned, the Dove of the Holy Spirit and Christ as intercessor (full-page) f.24v, Council, a young man consults two older sages f.26, Knowledge, two older men point out the way to a younger man f.27, Fortitude, David and Goliath f.28, Understanding, a man plays a large organ, with an assistant pumping the two bellows f.29, Fear of the Lord f.30, Piety and Mercy, a condemned man kneels before a young ruler flanked by two councillors as the executioner sheathes his sword f.31; the Visitation (full-page) f.54v; St John on Patmos f.108, St Luke f.109v, St Matthew f.111, St Mark f.113, clerics reciting the Office of the Dead, the coffin beside an altar with elaborate altarpiece and tabernacle f.115; the Last Judgement (full-page) f.154v; St Basilissa holding a lily as symbol of her chaste marriage (full-page) f.180v; the stigmatised St Catherine of Siena, wearing the crown of thorns and holding a crucifix, an angel hovering above her head with a crown (full-page) f.185v.
The subjects of the historiated initials are as follows: the Trinity with Christ on the Cross f.173, St Michael vanquishing the devil f.173v, St John the Baptist in the wilderness pointing across the Jordan to the Lamb of God f.174, Sts Peter and Paul f.174v, St Mary Magdalen f.175, St Christopher fording the river with Christ Child held in front of him f.176, St Gregory f.176v, St Anthony Abbot with two pigs f.177, two archers shooting at St Sebastian f.177v, St Francis receiving the stigmata with Brother Leo beside him f.178v, St Bernadino, with the mitres of the three bishoprics he rejected at his feet f.179, St Ursula f.179v.
The small calendar miniatures show the occupations of the months and the signs of the zodiac.
[Ghent, c.1460]180 x 120mm. 187 + 10 leaves:1
PROVENANCE:
1. The style of decoration and Calendar suggest an origin in Ghent, with Sts Amalberga, 13 July (correctly 10 July) and Macarius, 10 May, for the elevation of his relics in Ghent, 9 May. The first male owner appears in the miniature opening the unusual series of the Gifts of the Holy Spirit f.24v; his coat of arms, azure, a bend argent between two bendlets or, are integrated into the initials or borders on ff.13, 38, 122; in the border on f.38 are the initials E N and V N, enclosed by rooting pine branches with pine cones. The arms were borne by several families, including the L'Enfant, later L'Enfant de Louzy, of Anjou and Brittany. Prayers are in the masculine. The text Litany includes a special section of monks and hermits and St Clara, the sister of St Francis, among the Virgins; St Francis and the Franciscan St Bernardino, canonised in 1450, appear in calendar and memorials. St Catherine of Siena was a Dominican. It is very rare to find a memorial and miniature of St Basilissa; if featured at all, she is usually with her husband, St Julian the Hospitaller, with whom she lived in chastity. Many southern Netherlandish towns had hospitals dedicated to St Julian.
2. Later in the fifteenth century, a gathering of prayers in Latin and Italian, in an Italian hand was added to the end of the book.
Don Pedro de Aragon, Duke of Segorbe and Cardona, viceroy of Naples 1665-1671, where he could have acquired the book; his armorial binding.
CONTENT:
Calendar ff.1-12, Hours of the Cross ff.13-24: matins f.13, prime f.15, terce f.17, sext f.18v, none f.20, vespers f.21v, compline f.23; Hours of the Holy Spirit ff.25-32: matins f.25, prime f.26, terce f,27, sext f.28, none f.29, vespers f.30, compline f.31; Mass of the Virgin ff.33-37v, Office of the Virgin, use of Rome ff.38-91v: matins with daily variants f.38, lauds f.55, prime f.65, terce f.69, sext f.73, none f.77, vespers f.81, compline f.88; seasonal variants for the Office of the Virgin from Advent ff.92-99; Obsecro te ff.100-103; O intemerata ff.103-105; Gaude flore virginale ff.105-107; Salve regina f.107r and v; Gospel extracts ff.108-115: St John f.108, St Luke f.109v, St Matthew f.111, St Mark f.113;. Office of the Dead, use of Rome, ff.115-153; Penitential Psalms ff.155-165; Litany and prayers ff.165-172; Memorials ff.173-186v: the Trinity f.173, Sts Michael f.173v, John the Baptist f.174, Peter and Paul f.174v, Mary Magdalen f.175, Christopher f.176, Gregory f.176v, Anthony Abbot f.177, Sebastian f.177v, Francis f.178v, Bernadino f.179, Ursula f.179v, Basilissa f.181, Domine sancte pater omnipotens eterne dues in illa custodia f.182, Catherine of Siena f.186; added prayer for protection, often attributed to St Augustine f.187; prayers on added leaves in an Italian hand ff.188-197v: same prayer for protection, Dulcissime domine jesu christe dues verus f.188, prayer on the Seven Last Words from the Cross f.193, devotional verse in Latin and Italian Amor jesu per che il sanguine f.195, Latin devotions including O domine yhesu christen adoro te in cruce pendentem f.196v.
ILLUMINATION:
The illumination is by the Master of Fernando de Lucena, named from the presentation copy of Le triomphe des dames, translated from the Portuguese by Fernando de Lucena and dedicated to Philip the Good, duke of Burgundy, with a colophon of 1460 (Brussels, KBR, ms 10778). The presentation miniature shares many features with the present Hours: the characteristic curving foreground plants, thin cloud forms and the interior with tiled floor, textile hanging and neatly detailed windows and ceiling. More importantly, it shows the Master's great talent for varying the expressions and poses of his figures, while combining them into coherent groups. Whether lamenting at the Passion or adding to Christ's torments, demonstrating the gifts of the Holy Spirit or reciting the Office of the Dead, the characters purposefully interact to convey the narrative with emotional impact. For the Master and his manuscripts, see M. Smeyers, Flemish Miniatures, 1999, pp.326-7, 398-9; A. Domínguez, libros de horas del siglo XV en la Biblioteca Nacional, 1979, no.15; E. Soltész, Flämischer Kalendar, 1983.
A wider range of comparable miniatures is found in a book of hours attributed to the Master, now in Madrid (Biblioteca Nacional, ms Vit. 24-10) and a related calendar from a book of hours, now in Budapest (Országos Széchényi Könyvtár, cod. lat. 396). The smaller scenes in the present Hours repeat many of the figures from the two more elaborate calendars in similar but simplified settings. The romantic, towered cityscapes that close many of the landscapes in the two larger calendars are found in the present manuscript at the Visitation, f.54v and behind St John on Patmos, f.108.
The series of miniatures on the Gifts of the Holy Spirit show great iconographic inventiveness. The Gifts of the Holy Spirit are enumerated by Isaiah, XI, 2-3, as attributes of the Messiah: Spiritus sapienciae on the opening banderole, f.24v, is a direct quotation, although the remaining Gifts do not follow the same order and Mercy is added to Piety in the final scene, f.31. The Fear of God, f.30, is one of the most striking where a man gestures in dismay in a boat steered by death, while two devils attack its sails - Fear of God is necessary for man to avoid sin and approach death in a state to merit eternal life.
The Master of Fernando de Lucena is known for his rich colours, predominantly blue, green, pink and red, which are repeated in the luxuriant borders, where large plant forms are mixed with humans, grotesques and animals, especially monkeys. These borders resemble those in the Madrid Hours in the large plants and the Budapest Calendar in the smaller figures. The human figures, some nude, are engaged in an appealing array of actions: playing musical instruments ff.13, 18v, 23, 26, pushing a wheelbarrow f.15, aiming at a bird ff.17, 27, drinking ff.20, 28, 111, taking a bath f.21v, peddler displaying his wares f.25, pushing a walking frame f.109v, carrying a pack f.112.
Although the Triomphe des dames was written in Brussels, the Master of Fernando de Lucena was probably active in Ghent, the home of the other artists involved in the Madrid Hours; the calendars of the three books of hours suggest Ghent models. The unidentified owner of the present Hours may have been local or have decided to commission his book in one of the great centres for illumination, from a Master whose work appeared in the library of the dukes of Burgundy.
The subjects of the miniatures are as follows: Christ before Pilate f.15, the Flagellation f.17, Christ carrying the Cross f.18v, the Crucifixion f.20, Deposition f.21v, Entombment f.23, the Seven Gifts of the Holy Spirit, each presided over by the Dove of the Holy Spirit and labelled in Latin: Wisdom, owner presented by an angel to the Trinity, with God the Father enthroned, the Dove of the Holy Spirit and Christ as intercessor (full-page) f.24v, Council, a young man consults two older sages f.26, Knowledge, two older men point out the way to a younger man f.27, Fortitude, David and Goliath f.28, Understanding, a man plays a large organ, with an assistant pumping the two bellows f.29, Fear of the Lord f.30, Piety and Mercy, a condemned man kneels before a young ruler flanked by two councillors as the executioner sheathes his sword f.31; the Visitation (full-page) f.54v; St John on Patmos f.108, St Luke f.109v, St Matthew f.111, St Mark f.113, clerics reciting the Office of the Dead, the coffin beside an altar with elaborate altarpiece and tabernacle f.115; the Last Judgement (full-page) f.154v; St Basilissa holding a lily as symbol of her chaste marriage (full-page) f.180v; the stigmatised St Catherine of Siena, wearing the crown of thorns and holding a crucifix, an angel hovering above her head with a crown (full-page) f.185v.
The subjects of the historiated initials are as follows: the Trinity with Christ on the Cross f.173, St Michael vanquishing the devil f.173v, St John the Baptist in the wilderness pointing across the Jordan to the Lamb of God f.174, Sts Peter and Paul f.174v, St Mary Magdalen f.175, St Christopher fording the river with Christ Child held in front of him f.176, St Gregory f.176v, St Anthony Abbot with two pigs f.177, two archers shooting at St Sebastian f.177v, St Francis receiving the stigmata with Brother Leo beside him f.178v, St Bernadino, with the mitres of the three bishoprics he rejected at his feet f.179, St Ursula f.179v.
The small calendar miniatures show the occupations of the months and the signs of the zodiac.
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