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.
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. Fourteen extant large historiated initials, as well as 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. This manuscript is the second volume of the three-volume set destined for use on the abbess’ side of the choir at the Cistercian abbey of Sainte-Marie at Beaupré (diocese of Cambrai). The liturgical contents of this volume provide musical settings from the Assumption of the Virgin (Aug. 15) through Advent. 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 Indeed, the full-page French and Latin inscriptions found at the beginning of all three volumes, with little variance, convey a wealth of information. This exceptional occurrence details ownership and in the first volume reads, “Antiphonaire pour sevir dans le Choeur du coté de la Dame Prieure. Depuis le Fête de l'Assumption de Notre Dame jusqu'à Noël.” 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.
Roman capitals in red ink
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbold, Rebekah
Cataloger: Shartrand, Emily
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Schuele, Allyson
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Valle, Chiara
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
The Works of John Ruskin. Edited by E.T. Cook and Alexander Wedderburn. London: George Allen, 1904; Vol. 6: p. 335 (fig. 99); Vol. 12: p. 494 (fig. 28); Vol. 33: pp. 489ff (Pl. xl).
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.
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.
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.
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).
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.
Plotzek, Joachim M. Die Handschriften der Sammlung Ludwig. Vol. 2. Cologne: Schniitgen-Museum der Stadt Köln, 1982; pp. 70, 80.
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; fig. 3.
Calkins, Robert G. Illuminated Books of the Middle Ages. Ithaca: Cornell University Press, 1983; pp. 234-242, 248, Pls. 21, 131-132.
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, fig. 15.
Büttner, F.O. Imitatio Pietatis: Motive der christlichen Ikonographie als Modelle zur Verähnilichung. Berlin: Gebrüder Mann Verlag, 1983; pp. 135, 206.
Thomson, James. C. Music Through the Renaissance. Dubuque: W.C. Brown Publications, 1984; pp. 54, 55, 60, fig. 3.4.
Gaspar, Camille and Frédéric Lyna. Les principaux manuscrits à peintures de la Bibliothèque royale de Belgique. Brussels: Bibliothèque royale de Belgique, 1987; p. 199.
Wieck, Roger S. "'O Sing unto the Lord a New Song' Music Manuscripts from the Middle Ages." The Walters Art Gallery Bulletin 40, no. 2 (April 1987): 1-3, detail on cover of fol. 173
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.
Burin, Elizabeth. "Manuscript Illumination in Flanders". The Walters 45 no.4 (April1992):4-5.
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.
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.
Newman, Paul B. Daily Life in the Middle Ages. Jefferson, NC: McFarland & Co.. 2001, p. 29 (fol. 173).
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.
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; p. 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.
Greenia, George D. "The Bigger the Book: On Oversize Medieval Manuscripts." Belgisch tijdschrift voor philologie en geschiedenis 83/3 (2005): 723-745; p. 743.
Hunt, Elizabeth Moore. Illuminating the Border of French and Flemish Manuscripts, 1270–1310. London: Routledge, 2006; p. 180 (n. 26).
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"; 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 language of this manuscript is French, Old (842-ca.1400).
Made for abbess Beatrix of Grammont
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
Sotheby and Wilkinson sale, London, 19 February 1863, lot 742
London, June 1865, fire from house next to Sotheby and Wilkinson spread and destroyed three of the volumes of which nine cut-out initials survive
Arthur Severn
Henry Yates Thompson, 1902, his bookplate; his sale, London, Sotheby's, June 22, 1921, lot 67
Bernard Quaritch, London bookseller, after 1921
Sir A. Chester Beatty, his sale, London, Sotheby's, June 7, 1932, lot 15
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 language of this manuscript is French, Old (842-ca.1400).
Made for abbess Beatrix of Grammont
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
Sotheby and Wilkinson sale, London, 19 February 1863, lot 742
London, June 1865, fire from house next to Sotheby and Wilkinson spread and destroyed three of the volumes of which nine cut-out initials survive
Arthur Severn
Henry Yates Thompson, 1902, his bookplate; his sale, London, Sotheby's, June 22, 1921, lot 67
Bernard Quaritch, London bookseller, after 1921
Sir A. Chester Beatty, his sale, London, Sotheby's, June 7, 1932, lot 15
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. Fourteen extant large historiated initials, as well as 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. This manuscript is the second volume of the three-volume set destined for use on the abbess’ side of the choir at the Cistercian abbey of Sainte-Marie at Beaupré (diocese of Cambrai). The liturgical contents of this volume provide musical settings from the Assumption of the Virgin (Aug. 15) through Advent. 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 Indeed, the full-page French and Latin inscriptions found at the beginning of all three volumes, with little variance, convey a wealth of information. This exceptional occurrence details ownership and in the first volume reads, “Antiphonaire pour sevir dans le Choeur du coté de la Dame Prieure. Depuis le Fête de l'Assumption de Notre Dame jusqu'à Noël.” 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.
Roman capitals in red ink
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbold, Rebekah
Cataloger: Shartrand, Emily
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Schuele, Allyson
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Valle, Chiara
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
The Works of John Ruskin. Edited by E.T. Cook and Alexander Wedderburn. London: George Allen, 1904; Vol. 6: p. 335 (fig. 99); Vol. 12: p. 494 (fig. 28); Vol. 33: pp. 489ff (Pl. xl).
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.
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.
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.
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).
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.
Plotzek, Joachim M. Die Handschriften der Sammlung Ludwig. Vol. 2. Cologne: Schniitgen-Museum der Stadt Köln, 1982; pp. 70, 80.
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; fig. 3.
Calkins, Robert G. Illuminated Books of the Middle Ages. Ithaca: Cornell University Press, 1983; pp. 234-242, 248, Pls. 21, 131-132.
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, fig. 15.
Büttner, F.O. Imitatio Pietatis: Motive der christlichen Ikonographie als Modelle zur Verähnilichung. Berlin: Gebrüder Mann Verlag, 1983; pp. 135, 206.
Thomson, James. C. Music Through the Renaissance. Dubuque: W.C. Brown Publications, 1984; pp. 54, 55, 60, fig. 3.4.
Gaspar, Camille and Frédéric Lyna. Les principaux manuscrits à peintures de la Bibliothèque royale de Belgique. Brussels: Bibliothèque royale de Belgique, 1987; p. 199.
Wieck, Roger S. "'O Sing unto the Lord a New Song' Music Manuscripts from the Middle Ages." The Walters Art Gallery Bulletin 40, no. 2 (April 1987): 1-3, detail on cover of fol. 173
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.
Burin, Elizabeth. "Manuscript Illumination in Flanders". The Walters 45 no.4 (April1992):4-5.
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.
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.
Newman, Paul B. Daily Life in the Middle Ages. Jefferson, NC: McFarland & Co.. 2001, p. 29 (fol. 173).
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.
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; p. 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.
Greenia, George D. "The Bigger the Book: On Oversize Medieval Manuscripts." Belgisch tijdschrift voor philologie en geschiedenis 83/3 (2005): 723-745; p. 743.
Hunt, Elizabeth Moore. Illuminating the Border of French and Flemish Manuscripts, 1270–1310. London: Routledge, 2006; p. 180 (n. 26).
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.
Clear All