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.
Title page and ownership inscription 1r - 1v;
Temporale, from Easter through Assumption of Virgin (Aug. 15) 1v - 98v;
Illuminations (8)
Sanctorale, St. Benedict (Mar. 21) through St. Lawrence (Aug. 10) 98v - 223v;
Illuminations (8)
All Illuminations
Illuminations (16)
Illuminated in Hainaut ca. 1280 and completed in 1290, this collection of richly illuminated Cistercian manuscripts is a rare example of those being produced in Flanders at the end of the thirteenth century. Eighteen extant large historiated initials, flourished and decorated initials, and an abundance of amusing drolleries facilitate a liturgical narrative within the text. However, additions and removals within the text and imagery tells much about the use and history of the manuscript. The liturgical contents of this volume provide musical settings from Easter to the Assumption of the Virgin. This manuscript is the first of a set of three volumes destined for use on the abbess’ side of the choir at the Cistercian abbey of Sainte-Marie at Beaupré (diocese of Cambrai). Two sets of antiphonaries, each composed of three volumes, were originally created for the abbess and prioress of Beaupre. Of these two sets, the Walters Art Museum houses three volumes: two volumes from the set intended for the abbess and one volume from the set designated for the prioress. A fourth associated volume was created later to supplement W.759. It should be noted that apart from the volumes housed at the Walters, there survive four cutout initials from the other volumes. However, in 1865, these manuscripts were regrettably lost in a fire that spread from a house adjacent to Sotheby’s, where the books were being prepared for sale. In addition to the manuscripts' rich illumination, there is also a wealth of historical evidence throughout. Added at the beginning of each volume is a full-page inscription that details ownership: “Antiphonaire pour sevir dans le Coeur du coté de Ma-Dame L’abbesse, à Pâques jusque â L’Assumption de Notre Dame,” as well as an anathema for a thief, and a blessing for the faithful and honest user. Further information on provenance can be gleaned from the illumination itself; the third volume (W.761) contains an author portrait of the scribe/artist, a Cistercian monk named Johannes de Toussens (fol. 1r), while the manuscripts' patroness who married into the de Viane family is depicted with a younger woman named Clementia on fol. 3v of vol. 1 (W.759). Donations by members of the de Viane family to Sainte-Marie of Beaupré were recorded from 1244 to 1293. Since the volume’s assemblage, there have been updates in two major campaigns: ca. 1475-1500 at which time select thirteenth-century Offices were replaced in part by revisions and by additions placed at the end of the volume (see W.762 for supplement) and the second campaign in the eighteenth century at which time some thirteenth- and fifteenth-century leaves were removed, changes were made to both neumes and text passim, and additions were added at the end of the volume or in the Supplement. The first of these campaigns was presumably for abbess Jacqueline Hendricx (1473-1500), the second in the eighteenth century likely for the last abbess, Angéline de Lossy (1755-96), after which point the abbey was seized during the French Revolution. Drolleries are most often found on pages with historiated initials, and principally focused on centered bas-de-page scenes. While many drolleries were effaced, some traces of these images can be recognized by their shadowy outlines. Many of these erasures are thought to be at the hand of John Ruskin, who is also credited with authoring a separate table of contents, as well as several transcriptions of the Latin text found on numerous leaves. Truly a remarkable work, this multi-volume antiphonary was generously gifted to the Walters Art Museum in 1957 at the bequest of the Hearst Foundation.
Written in textura prescissa; fifteenth-century additions written in textura formata; square musical notation on four-line stave
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbold, Rebekah
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Herbert, Lynley
Contributor: Herbold, Rebekah
Contributor: Noel, William
Contributor: Schuele, Allyson
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
Cockerell, Sydney Carlisle. “LXXXIII. Antiphoner of the Cistercian Abbey of Beaupré, near Grammont.” In A Descriptive Catalogue of Twenty Illuminated Manuscripts Nos. LXXV to XCIV…in the Collection of Henry Yates Thompson. Cambridge: Cambridge University Press, 1907; pp. 55-74.
Van den Gheyn, J. "L'antipohnaire de l'abbaye de Beaupré près Grammont." Handelingen van de Oudheid- en Geschiedkundige Kring van Audenarde 2 (1908-1909): 195-200; pp. 195-200.
Thompson, Henry Yates. Illustrations of One Hundred Manuscripts in the Library of Henry Yates Thompson. Vol. 6. London, 1916; no. LXXXIII, Pls. XII-XXIII.
Cockerell, Sydney Carlisle, and Edward Fairbrother Strange. Catalogue of Miniatures, Leaves, and Cuttings from Illuminated Manuscripts. Exhibition Catalogue: Victoria and Albert Museum. London: H.M. Stationary Office, 1923; p. 11.
Millar, Eric G. The library of A. Chester Beatty: A Descriptive Catalogue of the Western Manuscripts. Vol. 2. Oxford: J. Johnson at the Oxford University Press, 1930; pp. 88-103, no. 63, Pls. CXXXIII-CXXXIX.
De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 2. New York: H. W. Wilson Company, 1935; p. 1688, cat. no. 4.
Boeckler, Albert. Abendländische Miniaturen bis zum Ausgang der romanischen Zeit. Berlin: Walter de Gruyter and Co., 1938; pp. 51-52.
Loomis, Roger S., and Laura H. Loomis. Arthurian Legends in the Middle Ages. New York: Oxford University Press, 1938; p. 92.
Miner, Dorothy. "The Antiphonary of Beaupré." Journal of the Walters Art Gallery 9/8 (1957): 3-5; pp. 3-5, illus.
Faye, Christopher U., and William Henry Bond. Supplement to the Census of Medieval and Renaissance Manuscripts in the United States and Canada. New York: Bibliographical Society of America, 1962; p. 199, nos. 574, 577.
Miner, Dorothy. 2,000 Years of Calligraphy: A Three-Part Exhibition Organized by the Baltimore Museum of Art, the Peabody Institute, and the Walters Art Gallery. Baltimore: Trustees of the Walters Art Gallery, 1965; pp. 45-46 (fig. 27).
Dearden, J.S. "John Ruskin, the Collector: With a Catalogue of the Illuminated and Other Manuscripts Formerly in His Collection." The Library 21/2 (1966): 124-154; pp. 135, 136, 153.
Miner, Dorothy. "Since De Ricci- Western Illuminated Manuscripts Acquired since 1934: A Report in Two Parts. Part II." Journal of the Walters Art Gallery 31-32 (1968-1969): 40-117; pp. 62-68, figs. 15-17, 19.
Stones, M. Alison. "Illumination of the French Prose Lancelot in Flanders, Belgium, and Paris, 1250-1340." Ph.D. diss., University of London, 1970-1971; pp. 85, 111, 236-237, 244, 265 (n. 6).
Dearden, J.S. "Portrait of a Bibliophile XVI: John Ruskin, 1819-1900." The Book Collector 21 (1972): 203-213; p. 203.
Dearden, J.S. "Bulletin codicologique." Scriptorium 27 (1973); pp. 123 (cat. no. 79), 395 (cat. no. 764).
Du Bouveret, Bénédictins. Colophons de manuscrits occidentaux des origines au XVIe siècle. Spicilegii Friburgensis Subsidia 4. Vol 3. Fribourg: Editions Universitaires Fribourg Suisse, 1973; p. 123, cat. no. 8406.
Phillips, Ira. "Illustrations." In Encyclopedia of Library and Information Science: Volume 11. Edited by Allen Kent, Harold Lancour, and Jay E. Daily, 219-263. New York: Marcel Decker, Inc, 1974; p. 234.
Alexander, Jonathan J. G. The Decorated Letter. New York: George Braziller, 1978; pp. 104-105 (Pl. 33).
Glorieux, Therese. "Provenances monastiques des manuscrits medievaux des anciens pays -bas meridionaux de la iv serie a la bibliotheque royale albert ier a bruxelles." Miscellanea codicologica F. Masai Dictata. Vol. 2. Edited by Peter Cockshaw (Les Publications de Scriptorium, 8, 1979) 559-575; cat. nos. 19, 39.
"Abbaye de Beaupré à Grimminge." Monasticon Belge 7, Province de flandre orientale. Vol. 3. Liège: Abbaye de Maredsous, 1980; pp. 309-310, 314.
Hauck, Alice H.R. "John Ruskin's Uses of Illuminated Manuscripts: The Case of the Beaupré Antiphonary." Arts Magazine 56 (1981): 79-83; pp. 79-83.
Plotzek, Joachim M. Die Handschriften der Sammlung Ludwig. Vol. 2. Cologne: Schniitgen-Museum der Stadt Köln, 1982; pp. 70, 80.
Büttner, F.O. Imitatio Pietatis: Motive der christlichen Ikonographie als Modelle zur Verähnilichung. Berlin: Gebrüder Mann Verlag, 1983; pp. 135, 206.
Calkins, Robert G. Illuminated Books of the Middle Ages. Ithaca: Cornell University Press, 1983; pp. 234-242, 248, Pls. 20, 129-130.
Hauck, Alice H.R. "John Ruskin's Use of Illuminated Manuscripts and Their Impact on His Theories of Art and Society." Ph.D. Diss., Johns Hopkins University, 1983; pp. 60-61, 72-73, 76-77.
Thomson, James. C. Music Through the Renaissance. Dubuque: W.C. Brown Publications, 1984; pp. 54, 55, 60, fig. 3.3.
Gaspar, Camille, and Frédéric Lyna. Les principaux manuscrits à peintures de la Bibliothèque royale de Belgique. Brussels: Bibliothèque royale de Belgique, 1987; p. 199.
Randall, Lilian M.C. "From Cîteaux Onwards: Cistercian-Related Manuscripts in the Walters Art Gallery. In Studies in Cistercian Art and Architecture. Vol. 3. Edited by Meredith P. Lilich, 111-136. Kalamazzo, Michigan: Cistercian Publications, 1989; p. 113.
Stones, M. Alison. "Madame Marie's Picture-Book: A Precursor of Flemish Painting around 1400." In Flanders in a European Perspective: Manuscript Illumination around 1400 in Flanders and Abroad. Proceedings of the International Colloquium, Louvain. Edited by Maurits Smeyers and Bert Cardon, 429-443. Leuven: Peeters, 1995; pp. 429-443.
Oliver, Judith. "Worship of the Word: Some Gothic Nonnebücher in Their Devotional Context." In Women and the Book: Assessing the Visual Evidence. Edited by Lesley Janette Smith, and Jane H. M. Taylor, 106-121. Toronto and Buffalo: University of Toronto Press, 1997; p. 119.
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp. 26-56, cat. no. 219.
France, James. The Cistercians in Medieval Art. Cistercian Studies 170. Collegeville, MN: Cistercian Publications, 1999; p. 260.
Smeyers, Mauritis. Flemish Miniatures from the 8th to the Mid-16th Century: The Medieval World on Parchment. Turnhout, Belgium: Brepols, 1999; pp. 148, 149, 177.
Higgitt, John. The Murthly Hours: Devotion, Literacy and Luxury in Paris, England and the Gaelic West. London: The British Library, 2000; pp. 55, 99.
Plummer, Robin. Illuminated Manuscripts. Leicester: Brockhampton Press, 2000; p. 54.
Bennett, Adelaide. "Continuity and Change in the Religious Book Culture of the Lowlands in the Thirteenth and Fourteenth Centuries." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 166-179. Turnhout, Belgium: Brepols, 2002; p. 178.
Noel, William. "45a Beaupré Antiphonary." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 216-217. Turnhout, Belgium: Brepols, 2002; pp. 216-217.
De Hamel, Christopher. "Books in the Church." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 46-55. Turnhout, Belgium: Brepols, 2002; pp. 50 (fig. 4), 51.
Gummlich, Johanna Christine. Bildproduktion und Kontemplation.: Ein Überblick über die Kölner Buchmalerei in der Gotik unter besonderer Berücksichtigung der Kreuzigungsdarstellung. Weimar: Verlag und Datenbank fur Geisteswissenschaften, 2003; p. 128, 132.
Gathercole, Patricia M. The Depiction of Angels & Devils in Medieval French Manuscript Illumination, Vol. 32. Lewiston, NY: Edwin Mellen Press, 2004; p. 11.
Greenia, George D. "The Bigger the Book: On Oversize Medieval Manuscripts." Belgisch tijdschrift voor philologie en geschiedenis 83/3 (2005): 723-745; p. 743.
Dekeyzer, Brigitte. "For Eternal Glory and Remembrance: On the Representation of Patrons in Late Medieval Panel Paintings in the Southern Low Countries." In The Use and Abuse of Sacred Places in Late Medieval Towns. Edited by Paul Trio and Marjan de Smet, 71-102. Leuven: Leuven University Press, 2006; p. 85.
Hunt, Elizabeth Moore. Illuminating the Border of French and Flemish Manuscripts, 1270–1310. London: Routledge, 2006; p. 180 (n. 26).
Hoffmann, Richard C. "Economic Development and Aquatic Ecosystems in Medieval Europe." In Internal Colonization in Medieval Europe, Part 2. Edited by Felipe Fernández-Armesto and James Muldoon, 633-672. Surrey: Ashgate/Variorum, 2008; p. 655.
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.
Hainaut
Dated 1290 CE
book
Non-original Binding
Late medieval binding possibly extant when acquired by John Ruskin, ca. 1850; rebound in England, after 1904; modern crimson velvet, worn; modern parchment pastedowns and endleaves; spine rounded and covered in red morocco; five compartments; gilt title "Antiphonarium Ecclesie S. Mariae de Bello Prato I MS. AD 1290"; edges are part gilt and partially painted blue; two rose silk ribbon fastenings, attached to upper and lower covers; red drop-front box, curved red morocco spine compartmentalized and titled the same as volume
The primary language in this manuscript is Latin. The secondary languages of this manuscript are Latin, French.
Created in Hainaut ca. 1290 by the Cistercian monk Johannes de Toussens
Abbess Jacquemine Hendricx, after 1476, Cistercian abbey of Sainte-Marie of Beaupré at Grimmage; extensive revisions, first of two major campaigns, begun under her
Abbess Angéline de Lossy
John Ruskin, London, ca. 1850; likely his erasures of marginalia and grotesques
Arthur Severn
Henry Yates Thompson, 1902, his bookplate; his sale, London, Sotheby's, June 22, 1921, lot 67, Pls. 4-6
Bernard Quaritch, London bookseller, after 1921
Sir A. Chester Beatty, his sale, London, Sotheby's, June 7, 1932
Spanish Art Gallery, London, after 1932
William Randolph Hearst, San Simeon, California, before 1951
Walters Art Museum, January 1957, gift of the Hearst Foundation
Hainaut
Dated 1290 CE
book
The primary language in this manuscript is Latin. The secondary languages of this manuscript are Latin, French.
Created in Hainaut ca. 1290 by the Cistercian monk Johannes de Toussens
Abbess Jacquemine Hendricx, after 1476, Cistercian abbey of Sainte-Marie of Beaupré at Grimmage; extensive revisions, first of two major campaigns, begun under her
Abbess Angéline de Lossy
John Ruskin, London, ca. 1850; likely his erasures of marginalia and grotesques
Arthur Severn
Henry Yates Thompson, 1902, his bookplate; his sale, London, Sotheby's, June 22, 1921, lot 67, Pls. 4-6
Bernard Quaritch, London bookseller, after 1921
Sir A. Chester Beatty, his sale, London, Sotheby's, June 7, 1932
Spanish Art Gallery, London, after 1932
William Randolph Hearst, San Simeon, California, before 1951
Walters Art Museum, January 1957, gift of the Hearst Foundation
Illuminated in Hainaut ca. 1280 and completed in 1290, this collection of richly illuminated Cistercian manuscripts is a rare example of those being produced in Flanders at the end of the thirteenth century. Eighteen extant large historiated initials, flourished and decorated initials, and an abundance of amusing drolleries facilitate a liturgical narrative within the text. However, additions and removals within the text and imagery tells much about the use and history of the manuscript. The liturgical contents of this volume provide musical settings from Easter to the Assumption of the Virgin. This manuscript is the first of a set of three volumes destined for use on the abbess’ side of the choir at the Cistercian abbey of Sainte-Marie at Beaupré (diocese of Cambrai). Two sets of antiphonaries, each composed of three volumes, were originally created for the abbess and prioress of Beaupre. Of these two sets, the Walters Art Museum houses three volumes: two volumes from the set intended for the abbess and one volume from the set designated for the prioress. A fourth associated volume was created later to supplement W.759. It should be noted that apart from the volumes housed at the Walters, there survive four cutout initials from the other volumes. However, in 1865, these manuscripts were regrettably lost in a fire that spread from a house adjacent to Sotheby’s, where the books were being prepared for sale. In addition to the manuscripts' rich illumination, there is also a wealth of historical evidence throughout. Added at the beginning of each volume is a full-page inscription that details ownership: “Antiphonaire pour sevir dans le Coeur du coté de Ma-Dame L’abbesse, à Pâques jusque â L’Assumption de Notre Dame,” as well as an anathema for a thief, and a blessing for the faithful and honest user. Further information on provenance can be gleaned from the illumination itself; the third volume (W.761) contains an author portrait of the scribe/artist, a Cistercian monk named Johannes de Toussens (fol. 1r), while the manuscripts' patroness who married into the de Viane family is depicted with a younger woman named Clementia on fol. 3v of vol. 1 (W.759). Donations by members of the de Viane family to Sainte-Marie of Beaupré were recorded from 1244 to 1293. Since the volume’s assemblage, there have been updates in two major campaigns: ca. 1475-1500 at which time select thirteenth-century Offices were replaced in part by revisions and by additions placed at the end of the volume (see W.762 for supplement) and the second campaign in the eighteenth century at which time some thirteenth- and fifteenth-century leaves were removed, changes were made to both neumes and text passim, and additions were added at the end of the volume or in the Supplement. The first of these campaigns was presumably for abbess Jacqueline Hendricx (1473-1500), the second in the eighteenth century likely for the last abbess, Angéline de Lossy (1755-96), after which point the abbey was seized during the French Revolution. Drolleries are most often found on pages with historiated initials, and principally focused on centered bas-de-page scenes. While many drolleries were effaced, some traces of these images can be recognized by their shadowy outlines. Many of these erasures are thought to be at the hand of John Ruskin, who is also credited with authoring a separate table of contents, as well as several transcriptions of the Latin text found on numerous leaves. Truly a remarkable work, this multi-volume antiphonary was generously gifted to the Walters Art Museum in 1957 at the bequest of the Hearst Foundation.
Written in textura prescissa; fifteenth-century additions written in textura formata; square musical notation on four-line stave
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbold, Rebekah
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Herbert, Lynley
Contributor: Herbold, Rebekah
Contributor: Noel, William
Contributor: Schuele, Allyson
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
Cockerell, Sydney Carlisle. “LXXXIII. Antiphoner of the Cistercian Abbey of Beaupré, near Grammont.” In A Descriptive Catalogue of Twenty Illuminated Manuscripts Nos. LXXV to XCIV…in the Collection of Henry Yates Thompson. Cambridge: Cambridge University Press, 1907; pp. 55-74.
Van den Gheyn, J. "L'antipohnaire de l'abbaye de Beaupré près Grammont." Handelingen van de Oudheid- en Geschiedkundige Kring van Audenarde 2 (1908-1909): 195-200; pp. 195-200.
Thompson, Henry Yates. Illustrations of One Hundred Manuscripts in the Library of Henry Yates Thompson. Vol. 6. London, 1916; no. LXXXIII, Pls. XII-XXIII.
Cockerell, Sydney Carlisle, and Edward Fairbrother Strange. Catalogue of Miniatures, Leaves, and Cuttings from Illuminated Manuscripts. Exhibition Catalogue: Victoria and Albert Museum. London: H.M. Stationary Office, 1923; p. 11.
Millar, Eric G. The library of A. Chester Beatty: A Descriptive Catalogue of the Western Manuscripts. Vol. 2. Oxford: J. Johnson at the Oxford University Press, 1930; pp. 88-103, no. 63, Pls. CXXXIII-CXXXIX.
De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 2. New York: H. W. Wilson Company, 1935; p. 1688, cat. no. 4.
Boeckler, Albert. Abendländische Miniaturen bis zum Ausgang der romanischen Zeit. Berlin: Walter de Gruyter and Co., 1938; pp. 51-52.
Loomis, Roger S., and Laura H. Loomis. Arthurian Legends in the Middle Ages. New York: Oxford University Press, 1938; p. 92.
Miner, Dorothy. "The Antiphonary of Beaupré." Journal of the Walters Art Gallery 9/8 (1957): 3-5; pp. 3-5, illus.
Faye, Christopher U., and William Henry Bond. Supplement to the Census of Medieval and Renaissance Manuscripts in the United States and Canada. New York: Bibliographical Society of America, 1962; p. 199, nos. 574, 577.
Miner, Dorothy. 2,000 Years of Calligraphy: A Three-Part Exhibition Organized by the Baltimore Museum of Art, the Peabody Institute, and the Walters Art Gallery. Baltimore: Trustees of the Walters Art Gallery, 1965; pp. 45-46 (fig. 27).
Dearden, J.S. "John Ruskin, the Collector: With a Catalogue of the Illuminated and Other Manuscripts Formerly in His Collection." The Library 21/2 (1966): 124-154; pp. 135, 136, 153.
Miner, Dorothy. "Since De Ricci- Western Illuminated Manuscripts Acquired since 1934: A Report in Two Parts. Part II." Journal of the Walters Art Gallery 31-32 (1968-1969): 40-117; pp. 62-68, figs. 15-17, 19.
Stones, M. Alison. "Illumination of the French Prose Lancelot in Flanders, Belgium, and Paris, 1250-1340." Ph.D. diss., University of London, 1970-1971; pp. 85, 111, 236-237, 244, 265 (n. 6).
Dearden, J.S. "Portrait of a Bibliophile XVI: John Ruskin, 1819-1900." The Book Collector 21 (1972): 203-213; p. 203.
Dearden, J.S. "Bulletin codicologique." Scriptorium 27 (1973); pp. 123 (cat. no. 79), 395 (cat. no. 764).
Du Bouveret, Bénédictins. Colophons de manuscrits occidentaux des origines au XVIe siècle. Spicilegii Friburgensis Subsidia 4. Vol 3. Fribourg: Editions Universitaires Fribourg Suisse, 1973; p. 123, cat. no. 8406.
Phillips, Ira. "Illustrations." In Encyclopedia of Library and Information Science: Volume 11. Edited by Allen Kent, Harold Lancour, and Jay E. Daily, 219-263. New York: Marcel Decker, Inc, 1974; p. 234.
Alexander, Jonathan J. G. The Decorated Letter. New York: George Braziller, 1978; pp. 104-105 (Pl. 33).
Glorieux, Therese. "Provenances monastiques des manuscrits medievaux des anciens pays -bas meridionaux de la iv serie a la bibliotheque royale albert ier a bruxelles." Miscellanea codicologica F. Masai Dictata. Vol. 2. Edited by Peter Cockshaw (Les Publications de Scriptorium, 8, 1979) 559-575; cat. nos. 19, 39.
"Abbaye de Beaupré à Grimminge." Monasticon Belge 7, Province de flandre orientale. Vol. 3. Liège: Abbaye de Maredsous, 1980; pp. 309-310, 314.
Hauck, Alice H.R. "John Ruskin's Uses of Illuminated Manuscripts: The Case of the Beaupré Antiphonary." Arts Magazine 56 (1981): 79-83; pp. 79-83.
Plotzek, Joachim M. Die Handschriften der Sammlung Ludwig. Vol. 2. Cologne: Schniitgen-Museum der Stadt Köln, 1982; pp. 70, 80.
Büttner, F.O. Imitatio Pietatis: Motive der christlichen Ikonographie als Modelle zur Verähnilichung. Berlin: Gebrüder Mann Verlag, 1983; pp. 135, 206.
Calkins, Robert G. Illuminated Books of the Middle Ages. Ithaca: Cornell University Press, 1983; pp. 234-242, 248, Pls. 20, 129-130.
Hauck, Alice H.R. "John Ruskin's Use of Illuminated Manuscripts and Their Impact on His Theories of Art and Society." Ph.D. Diss., Johns Hopkins University, 1983; pp. 60-61, 72-73, 76-77.
Thomson, James. C. Music Through the Renaissance. Dubuque: W.C. Brown Publications, 1984; pp. 54, 55, 60, fig. 3.3.
Gaspar, Camille, and Frédéric Lyna. Les principaux manuscrits à peintures de la Bibliothèque royale de Belgique. Brussels: Bibliothèque royale de Belgique, 1987; p. 199.
Randall, Lilian M.C. "From Cîteaux Onwards: Cistercian-Related Manuscripts in the Walters Art Gallery. In Studies in Cistercian Art and Architecture. Vol. 3. Edited by Meredith P. Lilich, 111-136. Kalamazzo, Michigan: Cistercian Publications, 1989; p. 113.
Stones, M. Alison. "Madame Marie's Picture-Book: A Precursor of Flemish Painting around 1400." In Flanders in a European Perspective: Manuscript Illumination around 1400 in Flanders and Abroad. Proceedings of the International Colloquium, Louvain. Edited by Maurits Smeyers and Bert Cardon, 429-443. Leuven: Peeters, 1995; pp. 429-443.
Oliver, Judith. "Worship of the Word: Some Gothic Nonnebücher in Their Devotional Context." In Women and the Book: Assessing the Visual Evidence. Edited by Lesley Janette Smith, and Jane H. M. Taylor, 106-121. Toronto and Buffalo: University of Toronto Press, 1997; p. 119.
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp. 26-56, cat. no. 219.
France, James. The Cistercians in Medieval Art. Cistercian Studies 170. Collegeville, MN: Cistercian Publications, 1999; p. 260.
Smeyers, Mauritis. Flemish Miniatures from the 8th to the Mid-16th Century: The Medieval World on Parchment. Turnhout, Belgium: Brepols, 1999; pp. 148, 149, 177.
Higgitt, John. The Murthly Hours: Devotion, Literacy and Luxury in Paris, England and the Gaelic West. London: The British Library, 2000; pp. 55, 99.
Plummer, Robin. Illuminated Manuscripts. Leicester: Brockhampton Press, 2000; p. 54.
Bennett, Adelaide. "Continuity and Change in the Religious Book Culture of the Lowlands in the Thirteenth and Fourteenth Centuries." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 166-179. Turnhout, Belgium: Brepols, 2002; p. 178.
Noel, William. "45a Beaupré Antiphonary." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 216-217. Turnhout, Belgium: Brepols, 2002; pp. 216-217.
De Hamel, Christopher. "Books in the Church." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 46-55. Turnhout, Belgium: Brepols, 2002; pp. 50 (fig. 4), 51.
Gummlich, Johanna Christine. Bildproduktion und Kontemplation.: Ein Überblick über die Kölner Buchmalerei in der Gotik unter besonderer Berücksichtigung der Kreuzigungsdarstellung. Weimar: Verlag und Datenbank fur Geisteswissenschaften, 2003; p. 128, 132.
Gathercole, Patricia M. The Depiction of Angels & Devils in Medieval French Manuscript Illumination, Vol. 32. Lewiston, NY: Edwin Mellen Press, 2004; p. 11.
Greenia, George D. "The Bigger the Book: On Oversize Medieval Manuscripts." Belgisch tijdschrift voor philologie en geschiedenis 83/3 (2005): 723-745; p. 743.
Dekeyzer, Brigitte. "For Eternal Glory and Remembrance: On the Representation of Patrons in Late Medieval Panel Paintings in the Southern Low Countries." In The Use and Abuse of Sacred Places in Late Medieval Towns. Edited by Paul Trio and Marjan de Smet, 71-102. Leuven: Leuven University Press, 2006; p. 85.
Hunt, Elizabeth Moore. Illuminating the Border of French and Flemish Manuscripts, 1270–1310. London: Routledge, 2006; p. 180 (n. 26).
Hoffmann, Richard C. "Economic Development and Aquatic Ecosystems in Medieval Europe." In Internal Colonization in Medieval Europe, Part 2. Edited by Felipe Fernández-Armesto and James Muldoon, 633-672. Surrey: Ashgate/Variorum, 2008; p. 655.
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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