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Full Description
The Hundred Years' War, the Plague, the van Artevelde uprising, conflict between a count and an aspiring count, Corpus Christi and the Eucharist--these are the context for the enigmatic manuscript studied in this book. Above all, this missal from Ghent is outstanding for its rich and inventive penwork flourishing, given life by the prayer-pulses of the text and enriched by cycles of development. The lowly two-line initial emerges as the primary locus of creative interaction between painting and flourishing. Illumination, produced by a priest and a layman, is notable for its theological richness and is enlivened by distinctive gorgons.
Contents
Contents
Acknowledgements
List of Figures and Tables
List of Abbreviations for Repositories
1 Introduction
1 Purpose and Contributions
2 Why Study Flourishing?
3 Flourisher-Illuminators and the Relationship of Flourishing and Painting
4 Identities of Flourisher-Illuminators
5 Models of Production
6 Method
7 The Colophons
8 Fourteenth-Century Flanders
9 The Historical Context of 10 A 14
10 Overpaints and Heraldry
11 Overpaints and Heraldry in KBR 9427 and KBR 9217
2 Contents, Codicology, and Script
1 The Calendar
2 Quires and Contents
3 Ruling
4 Script
5 Rubrics and Directives
6 Decoration
3 Penwork Initials and Borders
1 One-Line Initials
2 Two-Line Initials
3 The Initial I
4 Initials in Musical Notation and Three- and Four-Line Penwork Initials
5 Penwork Borders and Their Flourishing
6 Terminal Complexes
7 Conclusion
4 The Flourisher-Illuminators of the Two Campaigns
1 Two Campaigns and an Addendum
2 Scholarship on Illumination and Decoration
3 The First Campaign, c.1345-1355
4 The First Campaign: Artist 1
5 The First Campaign: Artist 2
6 Collaboration between Artists 1 and 2
7 The Second Campaign, c.1366
8 The Second Campaign: Artist 3
9 Were Artist 2 and Artist 3 the Same Person? Evidence from Penwork
10 The Second Campaign: Artist 4
11 Parallels between the First and Second Campaigns
12 Conclusion
5 The Miniatures: Style and Iconography
1 Fol. 7r: the First Sunday in Advent, Ad te levavi. First Campaign, Artist 2
2 Fol. 22r: the Nativity of Christ. Second Campaign, Artist 3
3 Fol. 26r: the Circumcision of Christ. Second Campaign, Artist 4; Some Preliminary Drawing by Artist 2, First Campaign
4 Fol. 27v: the Epiphany. Second Campaign, Artist 3
5 Fol. 106v: Palm Sunday: Christ Entering Jerusalem. First Campaign, Artist 2
6 Fol. 139r: the Preface of the Canon for Easter. First Campaign, Artist 1
7 Fol. 143v: the Crucifixion. First Campaign, Artist 2
8 Fol. 144r: the Opening of the Canon of the Mass. First Campaign, Artist 1
9 Fol. 151r: the Feast of St. Lucy. First Campaign, Artist 1
10 Fol. 167r: the Presentation in the Temple. First Campaign, Artist 1
11 Fol. 176v: the Annunciation. First Campaign, Artist 1
12 Fol. 192v: the Dedication of a Church. First Campaign, Artist 1
13 Were Artist 2 and Artist 3 the Same Person? Evidence from Illumination
14 Conclusion
6 The Calendar
1 Liège and the Mosan Region
2 Sint-Truiden
3 Ghent
4 Gallican Elements
5 England
6 Brussels
7 Cologne and Münster
8 The Illustration of the Calendar
9 Conclusion
7 The Origins and Formation of the Flourisher-Illuminators
1 Artist 1: the Loppem-Bruges Antiphonal, Tournai, Perhaps Cologne
2 Artist 2: Sint-Truiden
3 Artist 3
4 Artist 4: a Follower of Artist 3
5 Conclusion
8 The Place of Production
1 Brabant/Brussels
2 Cologne
3 Sint-Truiden
4 Ghent
5 Conclusion
9 Conclusions
Appendices
Appendix 1: Heraldry of Oreye, Loon, Chiny, Somerghem, Perweis, Flanders, and Brabant
Appendix 2: Transcription of Calendar of 10 A 14
Appendix 3: Artist 2's Penwork Flourishing in Cycle 1 of 10 A 14 and Its Relation to Other Rummen-Group Manuscripts
Appendix 4: Rummen-Group Manuscripts: Flourishing, Illumination, Artistic Hands, and Sources, Pts. 1-5
Appendix 5: Comparative Iconography of Labors of the Months
Appendix 6: Gorgons
Appendix 7: The Contents of 10 A 14 and Summary Description of Illumination, by Quire
Inventories
Inventory 1: Flourishing by Quire and Artist
