This beautifully bound Book of Hours was completed in Bruges ca. 1490. The illuminator's style was influenced by the Master of Edward IV, active ca. 1470-90, and followers. The manuscript includes twelve full-page miniatures and twenty-five small miniatures, along with sacred and secular marginalia and some illusionistic borders. While the sheer volume of miniatures is remarkable, the decoration program as a whole only strengthens the manuscript’s impact. Select marginalia motifs reinforce the compositional motifs of the miniatures; see fols. 25v and 26r for Passion motifs. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
The Suchteten Hours is a fine example of artists working in the style of the Master of the Prayerbooks ca. 1500. The book is believed to have been produced in Bruges and owned by someone associated with the Franciscan order and the Utrecht diocese. The nine extant, full-page, highly detailed miniatures exhibit clarity of forms and a vivid color palette. Of particular interest are the border illuminations that appear either surrounding the miniatures or as strips running along the sides of the text. Illusionistic flowers, insects, and animals lend to the charm of the manuscript, and speak to the skill of the artist. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2015. Access a complete set of high-resolution archival images of this manuscript for free on The Digital Walters (www.thedigitalwalters.org/01_ACCESS_WALTERS_MANUSCRIPTS.html). For a digital “turning the pages” presentation of the manuscripts and downloadable PDFs, visit the Walters Art Museum’s Website (art.thewalters.org/browse/category/manuscript-and-rare-bo...).
This illustrated copy of The lamentations of Jeremiah with the gloss (or interpretation) of Gilbert of Auxerre was written in Austria in the second half of the twelfth century and comes from the monastery of Seitenstetten. Gilbert died in 1134, and the manuscript is an early and important witness to his text. The gloss is written in a small script and is both interlinear and marginal. This layout is typical of glossed books of the Bible from the twelfth century. The illustrations of the sack of Jerusalem and the return to Babylon give valuable information on twelfth-century armor. The manuscript is in its original binding. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Psalter, Last Judgment, Walters Manuscript W.78, fol. 97v by Walters Art Museum Illuminated Manuscripts http://flic.kr/p/9ZVJfJ
Hours of Catherine of Cleves, in Latin, Illuminated by the Master of Catherine of Cleves, The Netherlands, Utrecht, ca. 1440, MS M.945, ff. 82v-83r
This Book of Hours was completed for Use of Reims ca. 1450-1475 in northeastern France. The book was first owned by Collette, who is portrayed on fol. 76r with the Virgin and Child. An inscription from 1559 on the back pastedown records later ownership by female owner G. Marlot, as well as by her aunt, née Labourgue, wife of the merchant Jean Bourguet, followed by G. Marlot's daughter, Martine Marlot. The amount of female content in the book suggests that the patron, Collette, was very wealthy, as the book derives from a normal workshop program. This Book of Hours contains a heightened amount of prayers to the Virgin, virgins listed in the calendar and litany, as well as the Hours of St. Catherine in a devotional sequence. The manuscript also contains charming marginalia, most famously a garden party scene in which couples play music, and even games such as backgammon, together (fol. 16r). To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This fine illuminated Book of Hours was produced in two stages in the second and third quarters of the fifteenth century. The manuscript contains eleven full-page miniatures and twenty historiated initials. The first stage of production includes a section attributed to the Masters of Zweder van Culemborg and the calendar (fols. 3r-14v, 52v-211v), while additional prayers illustrated in the style of the workshop of Willem Vrelant were added later in the fifteenth century (fols. 16r-50v, 213r-223r), presumably when the book was bound in its present binding. The Hours of the Virgin is for the Use of Rome. The Use of the Office of the Dead is unidentified, but the calendar is for the Use of Utrecht. The two separate parts of the manuscript were bound together in Flanders. The sections of W.168 attributed to the Masters of Zweder van Culemborg have been compared to Utrecht, Utrecht University Ms. 1037; Cambridge, Fitzwilliam Museum James Ms. 141; the second hand in New York, Pierpont Morgan Library Ms. M.87; Stockholm, Royal Library A 226, and Philadelphia, Free Library Lewis Ms. 88. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Prayer Book (fragment), Two men reaping with sickles with marginalia Leo, Walters Manuscript W.425, fol. 7r by Walters Art Museum Illuminated Manuscripts http://flic.kr/p/A7t9Gp
This Book of Hours illuminated ca. 1470 contains stunning examples of full-page miniatures in the style of Willem Vrelant, most likely originating in Bruges. Given that several prayer cycles contain indications of a female suppliant, as well as a majority female saints in the litany, the book was either owned or co-owned by a woman. The artist or artists have chosen to alternate between color and near-grisaille miniatures throughout the text and the calendar, making for a strikingly varied program of images. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This illuminated and illustrated Arabic manuscript of the Gospels by Matthew (Mattá), Mark (Marquṣ), Luke (Lūqā), and John (Yūḥannā) was copied in Egypt by Ilyās Bāsim Khūrī Bazzī Rāhib, who was most likely a Coptic monk, in Anno Mundi 7192 / 1684 CE. The text is written in naskh in black ink with rubrics in red. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours illuminated ca. 1470 contains stunning examples of full-page miniatures in the style of Willem Vrelant, most likely originating in Bruges. Given that several prayer cycles contain indications of a female suppliant, as well as a majority female saints in the litany, the book was either owned or co-owned by a woman. The artist or artists have chosen to alternate between color and near-grisaille miniatures throughout the text and the calendar, making for a strikingly varied program of images. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This late medieval German prayerbook is an example of a highly personal devotional item. It was originally made for Leonhard von Laymingen, Bishop of Passau, (1423-1451) circa 1440. The text primarily features a series of prayers to various saints as well as prayer for travelings. Many illuminations and some text pafgges have been excised, but the book is nonetheless extensively decorated. The prayerbook's illuminations consist of thirty miniatures and four historiated initials that complement the text, usually with illustrations of saints. Bishop von Laymingen appears in his prayerbook several times kneeling before the saint to which that particular prayer is dedicated. Additionally, the Laymingen coat of arms appears twenty times throughout the book. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours, ca. 1460, was completed for use of Rome and illuminated under the influence, if not the direct participation, of Willem Vrelant. There remain twenty-two extant marginal calendar illustrations, thirteen extant full-page miniatures (many of which are paired with opening suffrages, perhaps suggesting a certain amount of significance to the owner), and one historiated initial. The contemporary binding, signed Livinus Stuaert, is dated 1477 and is most likely of Bruges or Ghent origin. It is thought that the first owner was French due to the French headings throughout and prominent fleur-de-lis figurations decorating the binding. Further, the first owner was likely female, suggested by the ways in which the book was structured to facilitate legibility. This is evinced by the large size of the script and the lack of abbreviations. While much of the text is standard, there remains evidence of personal significance and preference. This is seen in the chosen illuminations for those sections that are most significant to the owner. Most illuminations are paired with the opening page of staple Hours; however, many are accompanied by individual suffrages, constituting a large portion of the beginning of the manuscript. Personal preference is also shown in those sections of text that stray from the standard. The devotional sequence of this manuscript is notable for its sheer length and diversity of prayers as well as its inclusion of a French prayer not of official liturgy (fols. 215r-219v). The first collection of three prayers is headed and written in French. The prayer is attributed to St. Augustine and is described to guarantee a transformation of tribulation into joy through Christ's mercy, but only if the suppliant recites the prayer for thirty consecutive days. While it is not uncommon for evidence of an owner's predilections to surface in a Book of Hours, the particularly divergent features of this book allow readers to glean an intimate view of the patron. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This small Book of Hours was made at the turn of the sixteenth century. The illuminations are in the style of the Master of the Prayerbook of ca. 1500, active in Bruges. The name of the first owner is inscribed in the book in a prayer on fol. 241v, in which a man named Philip confesses himself a sinner and prays for his heart to be pure. The series of full-page miniatures opens with an interesting illumination of the Salvator Mundi that was a common theme in South Netherlandish illumination in this period. A comparable example, painted by the Master of the Prayerbook c. 1500, is found in the manuscript Vat. Ross. Lat. 94. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
The Suchteten Hours is a fine example of artists working in the style of the Master of the Prayerbooks ca. 1500. The book is believed to have been produced in Bruges and owned by someone associated with the Franciscan order and the Utrecht diocese. The nine extant, full-page, highly detailed miniatures exhibit clarity of forms and a vivid color palette. Of particular interest are the border illuminations that appear either surrounding the miniatures or as strips running along the sides of the text. Illusionistic flowers, insects, and animals lend to the charm of the manuscript, and speak to the skill of the artist. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2015. Access a complete set of high-resolution archival images of this manuscript for free on The Digital Walters (www.thedigitalwalters.org/01_ACCESS_WALTERS_MANUSCRIPTS.html). For a digital “turning the pages” presentation of the manuscripts and downloadable PDFs, visit the Walters Art Museum’s Website (art.thewalters.org/browse/category/manuscript-and-rare-bo...).
Libros antiguos y manuscritos: Un Tesoro de la Historia. Los libros antiguos y manuscritos son tesoros que nos permiten adentrarnos en la
This large-scale manuscript contains the first eight Old Testament books, Genesis through Ruth. The date of completion is given, February 2, 1507. The illumination of the Creation within a cosmographic scheme is based in part on the woodcut illustrations of Creation in the 1483 Koberger Bible, and the 1493 Nuremberg Chronicle by the same printer. Large historiated initials mark the beginning of each book. This large format form of the bible was revived in the low countries and Rhineland in the mid fifteenth century, and later in the century they were being made in south east Germany and Bohemia. The style of the miniatures in this manuscript is typical of upper Austrian miniature painting of the later fifteenth century. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Manuscript title: Roman Breviary for Sundays and feast days Manuscript summary: Book of hours, composed for an unknown convent in the diocese of Basel: excellent example of early Gothic book art. With a Calendar, 14 miniatures of the life of Christ and Mary, the Psalter, Canticles and an All Saints' Litany. Origin: Basel Period: 14th century Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 402: Roman Breviary for Sundays and feast days (www.e-codices.unifr.ch/en/list/one/csg/0402)
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This late medieval German prayerbook is an example of a highly personal devotional item. It was originally made for Leonhard von Laymingen, Bishop of Passau, (1423-1451) circa 1440. The text primarily features a series of prayers to various saints as well as prayer for travelings. Many illuminations and some text pafgges have been excised, but the book is nonetheless extensively decorated. The prayerbook's illuminations consist of thirty miniatures and four historiated initials that complement the text, usually with illustrations of saints. Bishop von Laymingen appears in his prayerbook several times kneeling before the saint to which that particular prayer is dedicated. Additionally, the Laymingen coat of arms appears twenty times throughout the book. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
An anonymous decorated and illustrated copy of the collection of poems (Dīvān) by Shams al-Dīn Muḥammad Ḥāfiz al-Shīrāzī who flourished in the 7th AH / 14th CE century. The present copy, containing four miniatures, was penned in an elegant nastaʿlīq hand in 946 AH / 1539 CE. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Libros antiguos y manuscritos: Un Tesoro de la Historia. Los libros antiguos y manuscritos son tesoros que nos permiten adentrarnos en la
This Virgo inter Virgines (The Virgin Among Virgins) was painted by the Flemish painter Gérard David about the same time he did the well-known panel of the same subject that he donated to the Carmelite Convent of Sion in 1509; both share details of style and costume. In the panel, most of the virgins have attributes, while those in the miniature do not, except for the one holding a basket of flowers, which may be Saint Dorothy.
Libros antiguos y manuscritos: Un Tesoro de la Historia. Los libros antiguos y manuscritos son tesoros que nos permiten adentrarnos en la
This large-scale manuscript contains the first eight Old Testament books, Genesis through Ruth. The date of completion is given, February 2, 1507. The illumination of the Creation within a cosmographic scheme is based in part on the woodcut illustrations of Creation in the 1483 Koberger Bible, and the 1493 Nuremberg Chronicle by the same printer. Large historiated initials mark the beginning of each book. This large format form of the bible was revived in the low countries and Rhineland in the mid fifteenth century, and later in the century they were being made in south east Germany and Bohemia. The style of the miniatures in this manuscript is typical of upper Austrian miniature painting of the later fifteenth century. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Manuscript title: Christine de Pisan, The Book of the City of Ladies Manuscript summary: Christine de Pisan, a writer and poet of great renoun, was the author of numerous works and was personally involved in the design and production of manuscripts of her works. This hold true for this codex, which contains an account of the building of a utopian city by and for women. (hoc) Origin: France (?) Period: 15th century Image source: Genève, Bibliothèque de Genève, Ms. fr. 180: Christine de Pisan, The Book of the City of Ladies (www.e-codices.unifr.ch/en/list/one/bge/fr0180)
