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細節
BOOK OF HOURS, use of Rome, in Latin and French, ILLUMINATED MANUSCRIPT ON VELLUM
[?Paris, c.1490]176 x 120mm. i + 111 + i leaves: 16, 26(of 8, lacking i-ii), 37(of 8, ii cancelled blank), 4-78, 87(of 8, viii cancelled blank), 9-148, 155(of 6, lacking iii; possiby of 8, lacking i and iii, viii cancelled blank), modern foliation, 25 lines written in lettre bâtarde in black ink between two verticals and 24 horizontals ruled in pink, justification: 109 x 61mm, rubics in red, one- and two-line initials and line-endings in liquid gold on alternate grounds of dark purple and red, fifteen large initials with staves in blue and white on grounds of dark purple or red patterned with liquid gold, A PANEL BORDER ON EVERY TEXT PAGE wirh acanthus fronds and flower sprays on divided grounds of liquid gold, some inhabited by birds, TWELVE HISTORIATED CALENDAR BORDERS of liquid gold framing selected saints, the occupations of the months and the signs of the zodiac, FOUR SMALL MINIATURES in rectangular frames of liquid gold, TWENTY LARGE MINIATURES IN FULL-PAGE ARCHITECTURAL BORDERS with niches framing statues of related figures and with the text on fictive scrolls (lacking three or four leaves with miniatures, many leaves reinforced at stitching, slight rubbing to calendar borders and to some of architectural frames). Late 19th-century French red and green morocco gilt, with ornately-tooled doublures, watered green silk endpapers (scuffed).
PROVENANCE:
1. From its texts and style, the book was probably written and decorated in Paris. Although the Calendar is not typically Parisian, St Genevieve is invoked in the Litany and the illuminator has correctly included her in the border for January, where her feast on 3 January has been filled by the Octave of St John. The absence of any strong local bias in the selection of saints, together with the Roman use and Latin rubrics, suggests that this handsomely illuminated book was intended for export; prayers are in the masculine.
2. It was apparently soon afterwards in the Netherlands, since a prayer in Dutch was added to the blank leaves at the end.
CONTENT:
Calendar ff.1-6v; Gospel extracts, lacking John and Luke, ff.7-9; Obsecro te ff.9v-12; O intemerata ff.12-13v; office of the Virgin, use of Rome, ff.14-58v: matins, with replacement rubric on what is now the facing verso f.13v, lauds f.26, prime f.34, terce f.37, sext f.40, none f.43, vespers f.46, compline followed by seasonal variants f.51; Penitential Psalms ff.59-66v; Litany ff.67-70v; Hours of the Cross ff.71-73; Hours of the Holy Spirit ff.73v-75v; Office of the Dead, use of Rome, ff.76-103; memorials ff.103v-109v: Trinity f.103v, Sts Michael f.104, John the Baptist f.104v, John the Evangelist f.105, Peter and Paul f.105v, James f.106, Christopher f.107, Mary Magdalen (lacking opening) f.108, Barbara f108v, Genevieve f.109; added prayer in Dutch to the Five Wounds of Christ ff.109v-111v.
ILLUMINATION:
This lavishly decorated book shows how illuminators were inspired by the dense embellishments of printed Hours to extend the format and content of their manuscript pages. The extension of the usual miniature subjects through the fictive sculptures in the golden frames enriches the main theme by additional narrative (e.g. the Miracle of the Corn f.46) or by a prefiguration from the Old Testament (e.g. Nebuchadnezzar f.43). The cross-fertilisation between manuscript and printed hours was facilitated by the artists who both illuminated manuscripts and designed cuts for printed books. Among them was the Master of Robert Gaguin, whose style is seen in these miniatures and who also worked for the great Parisian printer Antoine Vérard. Named from the presentation copy of Robert Gaguin's French translation of Caesar's Commentaries, given to Charles VIII of France in 1488, he was a younger collaborator of the Master of Jacques de Besançon, heir to over a century of unbroken workshop transmission through pre-eminent Parisian illuminators running from the Bedford Master to Maître François (see F. Avril and N. Reynaud, Les manuscrits à peintures en France 1440-1520, 1993, pp.262-4).
The Master of Robert Gaguin seems to have concentrated on secular manuscripts but a few books of hours have been attributed to him. The best miniatures in the present lot have the carefully modelled male faces with prominent cheekbones not present in all the manuscripts associated with him, although similar faces appear in the large miniatures in an Hours in the Beinecke Library, Yale University, ms 411 (see B. Shailor, Catalogue of Medieval and Renaissance Manuscripts, Beinecke Library, Yale University, II, 1987, Ms 411, p.312). The elaborate framing, not found in the Beinecke manuscript, recurs in an Hours in the Pierpont Morgan Library, H 5, which is less close stylistically with its more crudely delineated faces (see R. Wieck, Painted Prayers, 1998, no 70).
In the present lot, the cuttting of the figures to focus on faces, a device popularised in manuscripts by the royal painter Jean Bourdichon in Tours, encouraged the devout user of the book to engage with the emotions of the protagonists in empathetic contemplation. The miniatures and the borders decorating every page demonstrate how the carefully crafted manuscript book could retain its appeal into the age of printing.
The subjects of the large miniatures, all with figures at half- or three-quarter-length, are as follows:
f.7 St Matthew, writing in a book held by his symbol of the angel, with two angels in the framing; f.8v St Mark, writing on a sheet on a lectern, watched by his lion, a bishop (Mark himself?) and an angel in the framing; f.9v The Pietà, flanked by Sts John the Evangelist and Mary Magdalen in the framing; f.14 The Annunciation, between framing figures of Adam and Eve; f.26 The Visitation, with Joachim and a handmaid in the framing; f.34 The Nativity, between adoring angels in the framing; f.37 The Annunciation to the Shepherds, a sheepdog sitting patiently in the framing, opposite a shepherdess; f.40 The Adoration of the Magi, with Joseph relegated to the framing as is one of the Magi's camels with drover; f.43 The Presentation in the Temple between framing figures of Nebuchadnezzar and a horrified onlooker; Nebuchadnezzar lived naked as a beast until he recognised the power of God, thus making him a type for the High Priest Simeon's recognition of Christ; f.46 The Flight into Egypt with the Miracle of the Corn in the framing f.51 The Coronation of the Virgin, watched by two kneeling angels from the framing; f.59 David leaning from a window to watch Bathsheba bathing, between figures of David as king playing his harp and as a youth cutting off Goliath's head; f.71 Christ in the tomb supported by two wingless angels, a third winged angel in the framing; f.73v Pentecost, with twelve apostles in the miniature and a representative disciple in the framing; f.76 Job on the dungheap with his comforters, his wife scolding from the framing; f.103v The Trinity as a Throne of Mercy, with the Father supporting the Cross of the crucified Christ, the Dove by Christ's head, flanked by framing angels; f.104v St John the Baptist with his symbolic lamb in a landscape, in the framing an expectant executioner raises his sword and Salome waits with her dish; f.105v Sts Peter and Paul, their iconic figures supplemented in the framing by Paul falling from his horse at the moment of his conversion; f.107 St Christopher bending under the weight of the Christ Child as he fords the river, between representations in the framing of his martyrdom and of his persecutor; f.108v St Barbara standing to read a book before her tower, watched from the framing by the pagan Emperor with drawn sword.
The subjects of the small miniatures, also at half- or three-quarter-length, are as follows:
f.104 St Michael, f.105 St John the Evangelist, f.106 St James as a pilgrim, f.109 St Genevieve, a devil blowing out her candle with bellows and an angel relighting it with a taper.
Each calendar page is decorated with 4-6 scenes of the feasts celebrated that month, with the occupation of the month and the zodiac sign at the foot of the page. January f.1, for example, is surrounded by Sts Genevieve, Sebastian, Vincent and Paul, the Circumcision, a man drinking before a fire and a winged Aquarius; an additional representation of the three Magi following the star is outlined in black against the upper gold framing.
[?Paris, c.1490]176 x 120mm. i + 111 + i leaves: 1
PROVENANCE:
1. From its texts and style, the book was probably written and decorated in Paris. Although the Calendar is not typically Parisian, St Genevieve is invoked in the Litany and the illuminator has correctly included her in the border for January, where her feast on 3 January has been filled by the Octave of St John. The absence of any strong local bias in the selection of saints, together with the Roman use and Latin rubrics, suggests that this handsomely illuminated book was intended for export; prayers are in the masculine.
2. It was apparently soon afterwards in the Netherlands, since a prayer in Dutch was added to the blank leaves at the end.
CONTENT:
Calendar ff.1-6v; Gospel extracts, lacking John and Luke, ff.7-9; Obsecro te ff.9v-12; O intemerata ff.12-13v; office of the Virgin, use of Rome, ff.14-58v: matins, with replacement rubric on what is now the facing verso f.13v, lauds f.26, prime f.34, terce f.37, sext f.40, none f.43, vespers f.46, compline followed by seasonal variants f.51; Penitential Psalms ff.59-66v; Litany ff.67-70v; Hours of the Cross ff.71-73; Hours of the Holy Spirit ff.73v-75v; Office of the Dead, use of Rome, ff.76-103; memorials ff.103v-109v: Trinity f.103v, Sts Michael f.104, John the Baptist f.104v, John the Evangelist f.105, Peter and Paul f.105v, James f.106, Christopher f.107, Mary Magdalen (lacking opening) f.108, Barbara f108v, Genevieve f.109; added prayer in Dutch to the Five Wounds of Christ ff.109v-111v.
ILLUMINATION:
This lavishly decorated book shows how illuminators were inspired by the dense embellishments of printed Hours to extend the format and content of their manuscript pages. The extension of the usual miniature subjects through the fictive sculptures in the golden frames enriches the main theme by additional narrative (e.g. the Miracle of the Corn f.46) or by a prefiguration from the Old Testament (e.g. Nebuchadnezzar f.43). The cross-fertilisation between manuscript and printed hours was facilitated by the artists who both illuminated manuscripts and designed cuts for printed books. Among them was the Master of Robert Gaguin, whose style is seen in these miniatures and who also worked for the great Parisian printer Antoine Vérard. Named from the presentation copy of Robert Gaguin's French translation of Caesar's Commentaries, given to Charles VIII of France in 1488, he was a younger collaborator of the Master of Jacques de Besançon, heir to over a century of unbroken workshop transmission through pre-eminent Parisian illuminators running from the Bedford Master to Maître François (see F. Avril and N. Reynaud, Les manuscrits à peintures en France 1440-1520, 1993, pp.262-4).
The Master of Robert Gaguin seems to have concentrated on secular manuscripts but a few books of hours have been attributed to him. The best miniatures in the present lot have the carefully modelled male faces with prominent cheekbones not present in all the manuscripts associated with him, although similar faces appear in the large miniatures in an Hours in the Beinecke Library, Yale University, ms 411 (see B. Shailor, Catalogue of Medieval and Renaissance Manuscripts, Beinecke Library, Yale University, II, 1987, Ms 411, p.312). The elaborate framing, not found in the Beinecke manuscript, recurs in an Hours in the Pierpont Morgan Library, H 5, which is less close stylistically with its more crudely delineated faces (see R. Wieck, Painted Prayers, 1998, no 70).
In the present lot, the cuttting of the figures to focus on faces, a device popularised in manuscripts by the royal painter Jean Bourdichon in Tours, encouraged the devout user of the book to engage with the emotions of the protagonists in empathetic contemplation. The miniatures and the borders decorating every page demonstrate how the carefully crafted manuscript book could retain its appeal into the age of printing.
The subjects of the large miniatures, all with figures at half- or three-quarter-length, are as follows:
f.7 St Matthew, writing in a book held by his symbol of the angel, with two angels in the framing; f.8v St Mark, writing on a sheet on a lectern, watched by his lion, a bishop (Mark himself?) and an angel in the framing; f.9v The Pietà, flanked by Sts John the Evangelist and Mary Magdalen in the framing; f.14 The Annunciation, between framing figures of Adam and Eve; f.26 The Visitation, with Joachim and a handmaid in the framing; f.34 The Nativity, between adoring angels in the framing; f.37 The Annunciation to the Shepherds, a sheepdog sitting patiently in the framing, opposite a shepherdess; f.40 The Adoration of the Magi, with Joseph relegated to the framing as is one of the Magi's camels with drover; f.43 The Presentation in the Temple between framing figures of Nebuchadnezzar and a horrified onlooker; Nebuchadnezzar lived naked as a beast until he recognised the power of God, thus making him a type for the High Priest Simeon's recognition of Christ; f.46 The Flight into Egypt with the Miracle of the Corn in the framing f.51 The Coronation of the Virgin, watched by two kneeling angels from the framing; f.59 David leaning from a window to watch Bathsheba bathing, between figures of David as king playing his harp and as a youth cutting off Goliath's head; f.71 Christ in the tomb supported by two wingless angels, a third winged angel in the framing; f.73v Pentecost, with twelve apostles in the miniature and a representative disciple in the framing; f.76 Job on the dungheap with his comforters, his wife scolding from the framing; f.103v The Trinity as a Throne of Mercy, with the Father supporting the Cross of the crucified Christ, the Dove by Christ's head, flanked by framing angels; f.104v St John the Baptist with his symbolic lamb in a landscape, in the framing an expectant executioner raises his sword and Salome waits with her dish; f.105v Sts Peter and Paul, their iconic figures supplemented in the framing by Paul falling from his horse at the moment of his conversion; f.107 St Christopher bending under the weight of the Christ Child as he fords the river, between representations in the framing of his martyrdom and of his persecutor; f.108v St Barbara standing to read a book before her tower, watched from the framing by the pagan Emperor with drawn sword.
The subjects of the small miniatures, also at half- or three-quarter-length, are as follows:
f.104 St Michael, f.105 St John the Evangelist, f.106 St James as a pilgrim, f.109 St Genevieve, a devil blowing out her candle with bellows and an angel relighting it with a taper.
Each calendar page is decorated with 4-6 scenes of the feasts celebrated that month, with the occupation of the month and the zodiac sign at the foot of the page. January f.1, for example, is surrounded by Sts Genevieve, Sebastian, Vincent and Paul, the Circumcision, a man drinking before a fire and a winged Aquarius; an additional representation of the three Magi following the star is outlined in black against the upper gold framing.
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