Judgemental lion spotted in a manuscript from ~1500. This one comes from a Book of Hours, possibly owned by a woman named Joan Vaux.

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@illuminationetc
Judgemental lion spotted in a manuscript from ~1500. This one comes from a Book of Hours, possibly owned by a woman named Joan Vaux.
Dont catch my Marginalia without armor
decorated text pages
from the stammheim missal, a richly illuminated liturgical manuscript produced at st michael's abbey in hildesheim, lower saxony, c. 1160-80
source: Los Angeles, J. Paul Getty Museum, Ms. 64, ff. 63v-74v
A couple of weird little guys are chilling out in the bottom margin of Ms. Codex 724 f. 326v, a 13th century illuminated Bible.
🔗:
With more than 900 illuminated manuscripts, 1,250 of the first printed books (ca. 1455 - 1500), and an important collection of post-1500 del
Pendant for Horse Trappings (Portugese, 15th century).
Copper alloy, enamel, gold.
Image and text courtesy The Met.
Leaf from Ghistelles book of hours : manuscript, circa 1299-1300.
MS Lat 446
Houghton Library, Harvard University
Bible : manuscript, [12--]
MS Typ 119
Houghton Library, Harvard University
Not too many of our books are held together with iron bars and nails, but this hefty hymnal needs the support for its massive wooden boards.
Privately printed in 1646, for the Monastery of Santa Maria della Pace by Giovanni Agostino Casoni della Spezia in Genoa, no expense was spared for this weighty wonder, including commissioning a giant unique typeface and initials that were used exclusively for this work. (Do you see how big that “I” is? It is as big as my hand!). In addition, each of the 103 pages is a full sheet printed as a broadside.
This is our most recent acquisition, and the bookseller Bruce McKittrick and his team did an incredible amount of research to figure out all the details about this unique hymnal. As we sort through the included research and catalog this item, we will post an update.
This is a nice printed equivalent to the giant handwritten books I posted a few days back: a large liturgical book with wooden boards. This is about as large as a printed book could be made on the 17th-century printing press. Handwritten versions could be as big as the full skin of a cow: a page height of 850-900 mm is not unheard of.
Bookmarks before browsers
These four medieval bookmarks are 500-700 years old, yet they are smarter than what we use for our modern books - or even in our web browsers. Some just help you find your way back to a certain page, but others do so much more: they mark text column and line, in addition to the page. The lower one, for example, is like a computer that you program. Sliding it up and down, and turning its disk, means you will find your way back to a very specific place: the very line where you left off the day before.
More information on these rare devices and how they work in this blog I wrote about them.
Pics: Leiden, University Library, BPL 2001 (top); Utrecht, UB, MS 146 (bookmark labeled “B”); Amsterdam, Universiteitsbibliotheek, MSS I G 56-57 (heart-shaped bookmarks); and Harvard, Houghton Library, MS 277 (bottom).
Grumpy faces
In medieval times it was common to add decoration to the first letter of the text and to those found in the top line. Both locations were positioned next to a lot of vacant space - the margins - which invited the decorator to add exuberant lines. This manuscript is special because the added decoration shares a common theme: faces - of kings, teachers, monks and women - that look around in a displeased, almost grumpy manner. One is even sticking out his tongue to us, in a particularly defiant way. It concerns a book of law, which fits the bill as these books are known for having faces embedded in their decoration. Although they are not usually this displeased with the world around them.
Pic: Aix-en-Provence, Bibliothèque municipale, MS 1807 (14th century). More images here.
Christine de Pizan: Literary Trailblazer
Climbing the social ladder or making a career was a bit more difficult in Medieval Europe than is the case nowadays – especially for women. The Church had a large influence on the position of women: due to the Bible, it was believed that women had to pay for mankind’s expulsion from paradise. Therefore, women had to obey their father and husband, were kept out of public office, and were, with few exceptions, disallowed from wielding authority.
However, there exist some medieval manuscripts which describe the importance of women and moreover, women who step out of their subordinate position. One of these manuscripts is a fifteenth-century The Book of the Queen (British Library, Harley MS 4431), which includes work by Christine de Pizan (1364-c.1430), an Italian-French author. It was unusual that literature was composed by a woman and moreover, that women were put in the spotlight: The Book of the Queen, which shows the author composing the work (above, 4r) marks the contribution of women to society as highly important. As a result, De Pizan is often indicated as the first woman to attack the medieval tradition of literary misogyny.
sweeping up the alphabet
border illustrations from the hours of marguerite d'orléans, france, 15th c.
source: Paris, BnF, Latin 1156 B, fol. 135r
musicians
from the margins of an antiphonary manuscript, bohemia, c. 1499
source: Vienna, ÖNB, Mus.Hs.15494, fol. 51r and 121v
turning the tables
marginalia from the pontifical-lectionary of abbot peter eichhorn, wettingen abbey, 1557
source: Luzern, Staatsarchiv, Pontifikallektionar, fol. 10v
dragon fights
in the margins of the prayer book of charles the bold, a diminuitive prayer book (measuring about 5 x 3.5 in, or 13 x 9 cm) comissioned by charles the bold, duke of burgundy, and written and illuminated in flanders, late 15th c.
source: Los Angeles, J. Paul Getty Museum, Ms. 37
marginalia birds
from the llangattock hours, illuminated by willem vrelant, the master of the llangattock hours, the master of the llangattock epiphany, and other flemish artists in bruges, 1450s
source: Los Angeles, J. Paul Getty Museum, Ms. Ludwig IX 7
Manuscript Monday
Today’s staff pick is a rare facsimile edition of the Kyiv Psalter, published in Moscow by the Russian art magazine Iskusstvo in 1978. The original manuscript, created in 1397, is one of the most important surviving works of medieval Ukrainian culture. Commissioned by Bishop Mykhail and written by the Kyiv archdeacon Spyrydonii, it consists of 228 parchment folios and nearly 300 richly detailed miniatures.
The illuminator of the manuscript remains unknown; however, the style and visual characteristics of the miniatures show strong similarities to the frescoes and mosaics of Saint Sophia of Kyiv (1037) and St. Michael’s Golden-Domed Monastery (1108). These connections point to a continuity of local artistic traditions associated with Kyivan Rus’.
The manuscript’s later history reflects the movement of cultural objects across political boundaries. It remained within the Polish-Lithuanian Commonwealth for centuries, passing through Lithuanian noble collections, before being acquired in the nineteenth century by the Russian count Sergey Sheremetev. Today, the original is preserved in the Saltykov-Shchedrin State Public Library in Saint Petersburg.
Scholarly interpretations have often attempted to place the Kyiv Psalter within a broad “Byzantine” framework or to connect it to Moscow-based traditions, sometimes downplaying its Kyiv origins. In contrast, its visual language and historical context point to a strong continuity with earlier artistic traditions of Kyiv.
This facsimile edition allows us to engage with a manuscript that is both a masterpiece of medieval art and a reminder of how cultural heritage is preserved, interpreted, and, at times, contested.
-- Kate, Special Collections Graduate Art History Fieldworker
View more posts with manuscripts.