The Digital Walters is a branch of The Walters Art Museum Manuscripts Department.
The Digital Walters is a branch of The Walters Art Museum Manuscripts Department.
This richly illustrated Book of Hours was created in the second quarter of the fifteenth century, possibly in Poitiers, France, as shown by the strong representation of the local saints in the calendar and litany. The Hours of the Virgin and succeeding offices are for the Use of Rome, while the Office of the Dead is for the Use of Paris with minor variants. The initial female owner is portrayed on fol. 15r. Her identity remains unrevealed as her armorial shields in the initials from fols. 15r and 111v are effaced. While taking a Breviary as a source for its design, the book presents a few unusual features, such as its relatively large format and two-column layout. The most distinctive element is, however, the inclusion of several atypical Offices, which resulted in the introduction of exceptional pictorial themes as well: for example, the Office of the Assumption begins with the image of the Virgin handing over her girdle to the Doubting Thomas. At Matins in the Hours of the Virgin, the traditional image of the Annunciation was also replaced by the representation of the Resurrected Christ appearing to His mother under Franciscan influence-this event was counted as the sixth Joy of the Virgin in the text of the “Franciscan Crown of Rosary Prayers.” The artistic style of the Bedford Master’s influence permeates most of the pictorial program in this manuscript.
Textura formata
Principal cataloger: Randall, Lilian M.C.
Cataloger: Han, Yuna
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Herbold, Rebekah
Contributor: Tabritha, Ariel
Contributor: Wiegand, Kimber
Conservator: Quandt, Abigail
De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935, p. 792, cat. no. 223.
Dayton Art Institute. Flight, Fantasy, Faith, Fact. Exhibition Catalogue. Dayton, Ohio: 1953; cat. no. 92, Pl. XII/b (fol. 156).
Breckenridge, James D. "Et Prima Vidit: The Iconography of the Appearance of Christ to His Mother." The Art Bulletin 39, no. 1 (1957): 9–32, pp. 20 and 23, fig. 7 (fol. 34).
Meiss, Millard. French Painting in the Time of Jean de Berry: The Boucicaut Master. London: Phaidon, 1968; p. 147.
Meiss, Millard. ”La mort et l'Office des Morts a l'époque du Maitre de Boucicaut et des Limbourg.” Revue de l'Art, nos. 1-2 (1968): 17-25; p. 20.
Spencer, Eleanor P. "Dom Louis de Busco's Psalter." In Gatherings in Honor of Dorothy E. Miner. ed. Ursula E. McCracken, Lilian M. C. Randall, and Richard H. Randall, Jr., 227-240. Baltimore: The Walters Art Gallery, 1974; p. 233, fig. 2.
Spencer, Eleanor P. "The Hours of Anne de Neufville." Burlington Magazine 119 (1977): 704-9; p. 706.
König, Eberhard. Französische Buchmalerei um 1450: Der Jouvenel-Maler, der Maler des Genfer Boccaccio und die Anfänge Jean Fouquets. Berlin : Mann, 1982; pp. 88-89 and passim.
Owens, M. B. "Musical Subjects in the Illumination of Books of Hours from Fifteenth-Century France and Flanders." Ph.D. diss, University of Chicago, 1987; pp. 211 and 460.
Wieck, Roger Seymour. Time Sanctified: The Book of Hours in Medieval Art and Life. Exhibition Catalogue. Baltimore, Walters Art Gallery. New York: George Braziller, 1988; pp. 99, 185, cat. no. 33, Pl. 31 (fol. 94v).
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 2. France, 1420-1540. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1989; pp. 54-61, cat. no. 111.
De Gex, Jenny. Bible Flowers. New York: Harmony Books, 1996; p. 28 (fol. 94v).
Cerquiglini-Toulet, Jacqueline. The Color of Melancholy: The Uses of Books in the Fourteenth Century. Baltimore: Johns Hopkins University Press, 1997.
Newman, Paul B. Daily Life in the Middle Ages. Jefferson, NC: McFarland & Co.. 2001; p. 66.
These are pages that we pulled aside that disrupted the flow of the manuscript reader. These may be bindings, inserts, bookmarks, and various other oddities.
France (Poitiers ?)
Ca. 1450-1475 CE
book
Non-original Binding
Rebound in Italy in late nineteenth- or early twentieth-century; faded olive green velvet; sewn on five straps; gilt edges
The primary language in this manuscript is Latin.
Created ca. 1480-90, perhaps in Poitiers; illuminated under strong influence of the Bedford Master; first female owner depicted on fol. 15r; traces of heraldic shields in initials on fols. 15r and 111v
Leo S. Olschki, Florence bookseller, in the first quarter of the twentieth century; his inventory number '33002' penciled on flyleaf i, v
Henry Walters, Baltimore, purchased from Olschki before 1931
Walters Art Museum, 1931, by Henry Walters' bequest
France (Poitiers ?)
Ca. 1450-1475 CE
book
The primary language in this manuscript is Latin.
Created ca. 1480-90, perhaps in Poitiers; illuminated under strong influence of the Bedford Master; first female owner depicted on fol. 15r; traces of heraldic shields in initials on fols. 15r and 111v
Leo S. Olschki, Florence bookseller, in the first quarter of the twentieth century; his inventory number '33002' penciled on flyleaf i, v
Henry Walters, Baltimore, purchased from Olschki before 1931
Walters Art Museum, 1931, by Henry Walters' bequest
This richly illustrated Book of Hours was created in the second quarter of the fifteenth century, possibly in Poitiers, France, as shown by the strong representation of the local saints in the calendar and litany. The Hours of the Virgin and succeeding offices are for the Use of Rome, while the Office of the Dead is for the Use of Paris with minor variants. The initial female owner is portrayed on fol. 15r. Her identity remains unrevealed as her armorial shields in the initials from fols. 15r and 111v are effaced. While taking a Breviary as a source for its design, the book presents a few unusual features, such as its relatively large format and two-column layout. The most distinctive element is, however, the inclusion of several atypical Offices, which resulted in the introduction of exceptional pictorial themes as well: for example, the Office of the Assumption begins with the image of the Virgin handing over her girdle to the Doubting Thomas. At Matins in the Hours of the Virgin, the traditional image of the Annunciation was also replaced by the representation of the Resurrected Christ appearing to His mother under Franciscan influence-this event was counted as the sixth Joy of the Virgin in the text of the “Franciscan Crown of Rosary Prayers.” The artistic style of the Bedford Master’s influence permeates most of the pictorial program in this manuscript.
Textura formata
Principal cataloger: Randall, Lilian M.C.
Cataloger: Han, Yuna
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Herbold, Rebekah
Contributor: Tabritha, Ariel
Contributor: Wiegand, Kimber
Conservator: Quandt, Abigail
De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935, p. 792, cat. no. 223.
Dayton Art Institute. Flight, Fantasy, Faith, Fact. Exhibition Catalogue. Dayton, Ohio: 1953; cat. no. 92, Pl. XII/b (fol. 156).
Breckenridge, James D. "Et Prima Vidit: The Iconography of the Appearance of Christ to His Mother." The Art Bulletin 39, no. 1 (1957): 9–32, pp. 20 and 23, fig. 7 (fol. 34).
Meiss, Millard. French Painting in the Time of Jean de Berry: The Boucicaut Master. London: Phaidon, 1968; p. 147.
Meiss, Millard. ”La mort et l'Office des Morts a l'époque du Maitre de Boucicaut et des Limbourg.” Revue de l'Art, nos. 1-2 (1968): 17-25; p. 20.
Spencer, Eleanor P. "Dom Louis de Busco's Psalter." In Gatherings in Honor of Dorothy E. Miner. ed. Ursula E. McCracken, Lilian M. C. Randall, and Richard H. Randall, Jr., 227-240. Baltimore: The Walters Art Gallery, 1974; p. 233, fig. 2.
Spencer, Eleanor P. "The Hours of Anne de Neufville." Burlington Magazine 119 (1977): 704-9; p. 706.
König, Eberhard. Französische Buchmalerei um 1450: Der Jouvenel-Maler, der Maler des Genfer Boccaccio und die Anfänge Jean Fouquets. Berlin : Mann, 1982; pp. 88-89 and passim.
Owens, M. B. "Musical Subjects in the Illumination of Books of Hours from Fifteenth-Century France and Flanders." Ph.D. diss, University of Chicago, 1987; pp. 211 and 460.
Wieck, Roger Seymour. Time Sanctified: The Book of Hours in Medieval Art and Life. Exhibition Catalogue. Baltimore, Walters Art Gallery. New York: George Braziller, 1988; pp. 99, 185, cat. no. 33, Pl. 31 (fol. 94v).
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 2. France, 1420-1540. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1989; pp. 54-61, cat. no. 111.
De Gex, Jenny. Bible Flowers. New York: Harmony Books, 1996; p. 28 (fol. 94v).
Cerquiglini-Toulet, Jacqueline. The Color of Melancholy: The Uses of Books in the Fourteenth Century. Baltimore: Johns Hopkins University Press, 1997.
Newman, Paul B. Daily Life in the Middle Ages. Jefferson, NC: McFarland & Co.. 2001; p. 66.
These are pages that we pulled aside that disrupted the flow of the manuscript reader. These may be bindings, inserts, bookmarks, and various other oddities.
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