A supplement to Koert van der Horst, Illuminated and Decorated Medieval Manuscripts in the University Library, Utrecht (1989). Vol. 2: Loose manuscript fragments (second section); Bound maculature (first section) (original) (raw)
Medieval Illuminated Manuscripts in Leeds University Library, (2017), pp. 1-11
This is a brief introductory guide to the medieval illuminated manuscripts in Leeds University Library.* An earlier online version of the text can be found at: hIps://library.leeds.ac.uk/special-collecKons-illuminated-medieval-manuscripts where I have described all illuminated pages with iconographic content in the collecKon, as well as several decoraKve pages; the descripKons and the digiKsed images can be viewed at the above address (click on Contents > More (this opens a drop-down menu) > choose an individual manuscript).
2011
HS 194, a late medieval manuscript in the collection of Nijmegen University Library, is relatively unknown to scholars of Middle English. The manuscript, a small and rather soberly decorated prayer book, contains a range of devotional material in English and in Latin, in some cases uniquely attested and hitherto unknown. An added attraction to Nijmegen 194 is the detailed record of post-medieval ownership notes, entered into the manuscript by several generations of a single family of owners. These family records enable the present-day user to trace the whereabouts of the manuscript from the mid-sixteenth century until the end of the nineteenth century. The manuscript is a composite whose contents are divided across eleven booklets. Analysis of the manuscript's layout, script and decoration, as well as indications from the book's contents, point towards a fifteenth-century English origin. The majority of booklets that make up Nijmegen 194 do not seem to be designed to accompany each other; the manuscript as a whole probably came into existence in the hands of the first identifiable sixteenth-century owners. We analyse the construction, script, decoration, date, provenance, ownership and contents of Nijmegen 194, in order to come to a better understanding of the composition and history of the manuscript.
New Perspectives on Flemish Illumination, Conference Proceedings, Corpus of Illuminated Manuscripts 22, Eds. By Lieve Watteeuw, Jan Van der Stock, Bernard Bousmanne and Dominique Vanwijnsberghe, Peeters Publishers Leuven - Paris - Bristol CT, 2018. With contributions of Till-Holger Borchert, Dominique Vanwijnsberghe and Erik Verroken, Jeffrey F. Hamburger, Catherine Reynolds, Gregory T. Clarck, Alison Stones, Dominique R. Delarue, Lynn F. Jacobs, Griet Steyaert, Elisabeth Morrison, Ann Margreet As-Vijvers, Mara Hofmann, Anne Dubois, Lieve Watteeuw and Marina Van Bos, Nancy Turner with Catherine Schmitt-Patterson ISBN 978-90-429-3203-6 http://www.peeters-leuven.be/boekoverz.asp?nr=9945 Introduction The fifteenth century represents both the high point of Flemish miniature painting and a turning point in the history of the medieval manuscript. The art of illumination enjoyed unprecedented success in the Burgundian Netherlands. From the accession of John the Fearless (1404) until the death of Mary of Burgundy (1482), skilled craftsmen, copyists, bookbinders and illuminators played a vital role in producing books of exceptional quality in wealthy cities like Bruges, Ghent, Brussels, Valenciennes, Lille and Tournai. As an engaged patron and erudite bibliophile, Philip the Good (1396-1467) – the third Burgundian heir of the House of Valois – gave a significant boost to book production in all its forms. Not only the ducal family and members of the Order of the Golden Fleece, but also knights, clerics and the urban middle class placed orders with talented illuminators such as Lieven van Lathem, Simon Marmion, Willem Vrelant, Jean de Tavernier and the Master of Wavrin. In 1959, Léon Delaissé published The Flemish miniature: The patronage of Philip the Good, a groundbreaking publication that summarized his many years of scientific research in the manuscripts department of the Royal Library of Belgium. Now, more than fifty years later, our knowledge of the illuminated manuscript in the Southern Netherlands during the Burgundian period has grown enormously, thanks primarily to new research methods and questions. Through traditional approaches such as connoisseurship and codicology, the chronological and geographical spread of book production has been further refined. Additionally, much attention has been paid in recent years to historical context, the organisation of trades, specific working methods in the studio and the complex relationship between text and image. The role of the patron is crucial in the production, use and distribution of illuminated codices. This volume of essays aims to give an overview of the current state of the research and the new perspectives it offers. Under the joint leadership of the Manuscripts Department of the Royal Library of Belgium and of Illuminare, the Study Centre for Medieval Art at the University of Leuven, this publication collects a series of studies that reflect the richness and artistic interactions in this unique period. Lieve Watteeuw & Jan Van der Stock, Illuminare, Centre for the Study of Medieval Art, University of Leuven Bernard Bousmanne, Royal Library of Belgium Dominique Van Wijnsberghe, Royal Institute for Artistic Heritage