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 Book of Hours was likely produced for a member of the Augustinian Collegiate Church of Saint-Pierre at Lille along the Flemish-French border. The patron may have had himself depicted in the opening initial for the Penitential Psalms on fol. 125r, shown kneeling before an altar in prayer with hands extended to heaven, from which God emerges in a cloud, blessing the man and carrying a black book. A significant number of feast days in the calendar are devoted to saints venerated in Lille, and the proximity of St. Peter to the Virgin in the Pentecost historiated initial on fol. 13r may further suggest a connection to Saint-Pierre at Lille. Historiated and inhabited initials, drolleries, and vignettes are painted simply with dark outlines to delineate forms. Decorated initials and marginal ornament combine a calligraphic elegance with bold outlines that ultimately circumscribe the ornament. The ivory plaque depicting the Coronation of the Virgin below a trefoil Gothic arch was inserted into the front cover in the nineteenth century, although the ivory itself dates to the fourteenth century and was carved in either Flanders or Germany.
Textura
Principal cataloger: Randall, Lilian M.C.
Cataloger: Dennis, Nathan S
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Brown, Emily
Contributor: Emery, Doug
Contributor: Izer, Emily
Contributor: Noel, William
Contributor: Schuele, Allyson
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
Owens, M. B. "Musical Subjects in the Illumination of Books of Hours from Fifteenth-Century France and Flanders." PhD diss., University of Chicago, 1987: p. 362.
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. 781, cat. no. 156.
Diringer, David. The Illuminated Book: Its History and Production. London: Faber and Faber, 1958, p. 381.
Miner, Dorothy, ed. Illuminated Books of the Middle Ages and Renaissance: An Exhibition Held at the Baltimore Museum of Art. Baltimore: Walters Art Gallery, 1949, cat. no. 56, pl. 31 (fols. 10v–11r).
Randall, Lilian M. C. Images in the Margins of Gothic Manuscripts. Berkeley: University of California Press, 1966.
Miner, Dorothy. "January in the Middle Ages." Bulletin of the Walters Art Gallery 25, no. 4 (1973): figs. 2–3 (fol. 1v).
Wieck, Roger S. Time Sanctified: The Book of Hours in Medieval Art and Life. New York: George Braziller, 1988, pp. 171–172, cat. no. 3, fig. 37 (f.91r).
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 1. France: 875-1420. Baltimore: Johns Hopkins University Press, 1989, pp. 90–93, cat. no. 39.
Sterling, Charles. La Peinture Medievale Pari. Lausanne, Switzerland: La bibliotheque des arts, 1990; p. 50.
Randall, Richard H., Jr. The Golden Age of Ivory: Gothic Carvings in North American Collections. New York: Hudson Hills Press, 1993, pp. 138–139, cat. no. 212.
Higgitt, John. The Murthly Hours: Devotion, Literacy and Luxury in Paris, England, and the Gaelic West. London: British Library, 2000, pp. 178, 182.
Bradford Smith, Elizabeth. "Book of Hours with Inset Plaque of Coronation of the Virgin." In Medieval Art in America: Patterns of Collecting: 1800-1940. Exhibition Catalogue. Palmer Museum of Art. Edited by Elizabeth Bradford Smith et al, 154-155. University Park, PA: The Pennsylvania State University Press, 1996; pp. 154-155, cat. no. 37.
Stones, Alison. "Stylistic Associations, Evolution, and Collaboration." The J. Paul Getty Museum Journal: 23 (1995): 11-29; p. 27 (n. 32 for p. 21).
Bennett, Adelaide. "Making Literate Lay Women Visible: Text and Image in French and Flemish Books of Hours, 1220-1320." In Thresholds of Medieval Visual Culture: Liminal Spaces, edited by Elina Gertsman and Jill Stephenson, 125-158. Woodbridge, Suffolk: Boydell Press, 2012; p. 131.
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.
Northeastern France or Western Flanders
Ca. 1275-1300 CE
book
Non-original Binding
Rebound in Paris with brown morocco by Léon Gruel in the late nineteenth or earl twentieth century; fourteenth-century ivory plaque depicting the Coronation of the Virgin inserted onto upper board; silver spiral-column clasps and fasteners added to fore-edges; gilded line along board edges, with triple lines on inner boards and five pairs of double lines on top and bottom edges of spine; three ribs on spine; pastedowns of red floral-patterned silk
The primary language in this manuscript is Latin. The secondary language of this manuscript is French, Old (842-ca.1400).
Produced in Northeastern France or Western Flanders for use at the Augustinian Collegiate Church of Saint-Pierre at Lille in the last quarter of the thirteenth century
Acquired by Léon Gruel in the nineteenth century; his bookplate with no. 68 appears on the front pastedown
Henry Walters, Baltimore, purchased from Léon Gruel between 1895 and 1931
Walters Art Museum, 1931, by Henry Walters' bequest
Northeastern France or Western Flanders
Ca. 1275-1300 CE
book
The primary language in this manuscript is Latin. The secondary language of this manuscript is French, Old (842-ca.1400).
Produced in Northeastern France or Western Flanders for use at the Augustinian Collegiate Church of Saint-Pierre at Lille in the last quarter of the thirteenth century
Acquired by Léon Gruel in the nineteenth century; his bookplate with no. 68 appears on the front pastedown
Henry Walters, Baltimore, purchased from Léon Gruel between 1895 and 1931
Walters Art Museum, 1931, by Henry Walters' bequest
This Book of Hours was likely produced for a member of the Augustinian Collegiate Church of Saint-Pierre at Lille along the Flemish-French border. The patron may have had himself depicted in the opening initial for the Penitential Psalms on fol. 125r, shown kneeling before an altar in prayer with hands extended to heaven, from which God emerges in a cloud, blessing the man and carrying a black book. A significant number of feast days in the calendar are devoted to saints venerated in Lille, and the proximity of St. Peter to the Virgin in the Pentecost historiated initial on fol. 13r may further suggest a connection to Saint-Pierre at Lille. Historiated and inhabited initials, drolleries, and vignettes are painted simply with dark outlines to delineate forms. Decorated initials and marginal ornament combine a calligraphic elegance with bold outlines that ultimately circumscribe the ornament. The ivory plaque depicting the Coronation of the Virgin below a trefoil Gothic arch was inserted into the front cover in the nineteenth century, although the ivory itself dates to the fourteenth century and was carved in either Flanders or Germany.
Textura
Principal cataloger: Randall, Lilian M.C.
Cataloger: Dennis, Nathan S
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Brown, Emily
Contributor: Emery, Doug
Contributor: Izer, Emily
Contributor: Noel, William
Contributor: Schuele, Allyson
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
Owens, M. B. "Musical Subjects in the Illumination of Books of Hours from Fifteenth-Century France and Flanders." PhD diss., University of Chicago, 1987: p. 362.
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. 781, cat. no. 156.
Diringer, David. The Illuminated Book: Its History and Production. London: Faber and Faber, 1958, p. 381.
Miner, Dorothy, ed. Illuminated Books of the Middle Ages and Renaissance: An Exhibition Held at the Baltimore Museum of Art. Baltimore: Walters Art Gallery, 1949, cat. no. 56, pl. 31 (fols. 10v–11r).
Randall, Lilian M. C. Images in the Margins of Gothic Manuscripts. Berkeley: University of California Press, 1966.
Miner, Dorothy. "January in the Middle Ages." Bulletin of the Walters Art Gallery 25, no. 4 (1973): figs. 2–3 (fol. 1v).
Wieck, Roger S. Time Sanctified: The Book of Hours in Medieval Art and Life. New York: George Braziller, 1988, pp. 171–172, cat. no. 3, fig. 37 (f.91r).
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 1. France: 875-1420. Baltimore: Johns Hopkins University Press, 1989, pp. 90–93, cat. no. 39.
Sterling, Charles. La Peinture Medievale Pari. Lausanne, Switzerland: La bibliotheque des arts, 1990; p. 50.
Randall, Richard H., Jr. The Golden Age of Ivory: Gothic Carvings in North American Collections. New York: Hudson Hills Press, 1993, pp. 138–139, cat. no. 212.
Higgitt, John. The Murthly Hours: Devotion, Literacy and Luxury in Paris, England, and the Gaelic West. London: British Library, 2000, pp. 178, 182.
Bradford Smith, Elizabeth. "Book of Hours with Inset Plaque of Coronation of the Virgin." In Medieval Art in America: Patterns of Collecting: 1800-1940. Exhibition Catalogue. Palmer Museum of Art. Edited by Elizabeth Bradford Smith et al, 154-155. University Park, PA: The Pennsylvania State University Press, 1996; pp. 154-155, cat. no. 37.
Stones, Alison. "Stylistic Associations, Evolution, and Collaboration." The J. Paul Getty Museum Journal: 23 (1995): 11-29; p. 27 (n. 32 for p. 21).
Bennett, Adelaide. "Making Literate Lay Women Visible: Text and Image in French and Flemish Books of Hours, 1220-1320." In Thresholds of Medieval Visual Culture: Liminal Spaces, edited by Elina Gertsman and Jill Stephenson, 125-158. Woodbridge, Suffolk: Boydell Press, 2012; p. 131.
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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