Category Archives: Medieval Manuscripts

Manuscript Road Trip: (Re)introducing the Gottschalk Antiphonal!

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

A few months ago, I wrote about the potential of Fragmentarium for cataloguing fragments and digitally reconstructing dismembered manuscripts. I concluded that post with the  aspirational note, “I really do think it’s time for Gottschalk to go digital,” in reference to the manuscript I reconstructed as part of my PhD dissertation at Yale in the early 1990s. That work was done using black-and-white photocopies, and, when published by Cambridge University Press in the year 2000, black-and-white photographs. Now, 750 years after the manuscript was written, the Gottschalk Antiphonal has finally gone digital! I am very pleased to introduce my Fragmentarium reconstruction of the Gottschalk Antiphonal, in glorious IIIF-compliant interoperable color:

http://fragmentarium.ms/view/page/F-75ud/

Fragmentarium

Hello, Gottschalk!

I was inspired to add Gottschalk to Fragmentarium by my students’ work reconstructing other manuscripts and motivated to actually do it by my participation in a Fragmentology session at the recent International Congress on Medieval Studies at Western Michigan University in Kalamazoo. Thousands of medievalists from all over the world flock to Kalamazoo every May for this annual conference, listening to and learning from one another, greeting old friends, conferring with colleagues. My session was chaired by Elizabeth Hebbard (Indiana Univ.) and included fragmentology presentations by Julia King (Univ. of Toronto), Kayla Lunt (Indiana Univ.), Dana Kovarik (Univ. College London), and Elena Iourtaeva (Harvard Univ.). All six of us are working on fragmentology projects. I noted in my presentation that the Swiss-German word for “fragmentology” is “Schnipseljagd” (fragment hunting), which makes all six of us Schnipseljägerinnen (“Fragment huntresses”). That might just be my new favorite word.

Schnipseljaegerinnen

The Schnipseljägerinnen of Kalamazoo

In my presentation I discussed the fragmentology projects completed by my students at the Simmons School of Library and Information Science, and I debuted my digital reconstruction of the Gottschalk Antiphonal.

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The Gottschalk Antiphonal, with Gottschalk’s distinctive script, neumatic notation, marginal tonary-letters, and purple-and-red penwork initials (BRBL MS 481.51.6v)

The Gottschalk Antiphonal was written and illustrated in the late twelfth century by the scribe/artist/monk Gottschalk of Lambach and was used at the Lambach abbey for several centuries. The manuscript is a choirbook for the Divine Offices recited throughout the day, preserving liturgy for specific days throughout the year. Because it is a choirbook, it includes interlinear musical notation: predating the development of the four-line-staff and Gregorian notation, the Antiphonal uses unheightened neumes in the St. Gall style, with tonary-letters (indicating something akin to the “key” of each chant) in the margins. Gottschalk’s distinctive artistic style permeates the manuscript, with penwork initials in purple and red.

By the fifteenth century, the musical notation and liturgy were centuries out-of-date, and, along with many other manuscripts, the obsolete antiphonal was dismembered to be used as binding scrap at the Lambach Abbey bindery. During World War II, the monks found themselves in need of a new wood lathe. To raise money for the purchase, they removed the antiphonal leaves and dozens of other fragments from the later bindings in which they had been repurposed, and sold them.

The fragments made their way en masse via a Swiss bookdealer to the New York firm of Hans P. Kraus, and from there to Yale University’s Beinecke Rare Book and Manuscript Library (BRBL) in 1965. By the time the leaves had been acquired by Kraus, however, the original provenance of the group had been forgotten. Fortunately, a scholar by the name of Kurt Holter had studied and described the fragments in situ at Lambach before the war. It was thanks to his published descriptions of the leaves that then-curator Robert G. Babcock and a team of graduate students (including myself) were, in the early 1990s, able to identify the Beinecke collection as having originated at Lambach. I was particularly intrigued by the seventeen antiphonal leaves and decided to make the manuscript the subject of my dissertation. In addition to the seventeen Gottschalk Antiphonal leaves at Yale (BRBL MS 481.51), there are two at Harvard’s Houghton Library (MS Typ 704 (5) and 704 (6)). We have already seen the leaf that toured the midwestern United States in an aluminum trailer before settling down at the St. Louis Public Library, and there are a few still in Austria (at a hotel in Badgastein, in the abbey of St. Paul im Lavanttal, and in Lambach itself, although the incunable flyleaves observed there as recently as 1998 have since vanished and are represented in the online reconstruction by my old black-and-white photographs).

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Offset of a Gottschalk Antiphonal leaf (BRBL Zi +1525, inner rear cover) (image rotated and inverted)

In 2016, an offset of a leaf of the Gottschalk Antiphonal was found in an incunable belonging to the Beinecke Library. The mirror-image remnant was left behind when the actual leaf was peeled off of the wooden board, where it had been used to secure the leather turn-ins on the back cover. Ironically, the volume had been at the Beinecke for decades by the time I wrote my thesis there, but it was only during a recent survey of the bindings by Elizabeth Hebbard (Indiana Univ.) that the offset was photographed and identified. The leaf was originally consecutive with one of the leaves at Harvard, and I have added an inverted and rotated image of the offset to my Fragmentarium reconstruction. I hope that more leaves will come to light someday. If they do, they can easily be added to the twenty-nine leaves currently appearing in the Fragmentarium shared canvas.

And here’s a sidenote for the liturgists among you (if you’re not interested in a deep dive into the structure of medieval liturgical manuscripts, you should skip the next few paragraphs). Every time I’ve returned to the Gottschalk Antiphonal over the years, I’ve found myself wondering if I really did put the leaves in the right order. There are no folio numbers, after all, so only the content can determine the correct sequence. In the case of the Gottschalk Antiphonal, the correct order of leaves isn’t always obvious.

The order of the leaves is debatable because in the early Middle Ages, there was no consistent organizational system for liturgical manuscripts. They tended to be organized calendrically, but some manuscripts intermingled the movable feasts like Easter with the dated feasts like Saints’ days (see Hughes, p. 243, ms B60 for one such example). This system was a bit messy, since it necessitated interspersing set feasts with those that could move. In the later Middle Ages (starting in the thirteenth century or so), a more orderly system developed that untangled the two types of feastdays. As a result, later liturgical manuscripts are almost always divided into two sections known as the Temporale (the movable feasts whose dates are set relative to Easter, plus a few set feasts like Christmas and Epiphany) and the Sanctorale (saints’ feasts in calendrical order, e.g. St. Valentine on February 14). Both sections usually begin in late November, with the beginning of Advent for the Temporale and Saint Andrew (30 November) for the Sanctorale. The Sanctorale is usually followed by the Commons, generic liturgy for particular classes of saints like Virgin Martyrs or Popes.

BRBL 481.51.8r

Initial Q in Gottschalk’s distinctive style (BRBL MS 481.51.8r)

The Gottschalk Antiphonal is of the earlier variety that mingles Temporale and Sanctorale. For example, a now-lost leaf that was formerly bound into an incunable in the Lambach Abbey library includes liturgy for the Sunday during the Octave of Epiphany (part of the Temporale, even though Epiphany has a fixed date) as well as the liturgy for St. Paul the First Hermit (a Sanctorale feast on January 10) and St. Hilary of Poitiers (January 13). Depending on the day of week on which Epiphany fell in a given year, St. Paul or St. Hilary’s feastdays might have landed before, on, or after the Sunday that occurs during the eight days following Epiphany. This intermigling of Temporale and Sanctorale means that it’s not entirely obvious where in the year the manuscript begins or how leaves with Sanctorale feasts relate to calendrically-nearby Temporale feasts. But you have to start somewhere, and because most manuscripts begin with the first Sunday of Advent, it seemed logical to begin the Gottschalk Antiphonal there. And so BRBL MS 481.51.1, the Fourth Sunday of Advent, begins my reconstruction (Sundays 1-3 are not extant). From that point, the leaves are in roughly calendrical order, from Advent to Christmas (December), Epiphany season through Lent (January – March), Easter season (March – April), the Summer Sundays and autumn feasts (May – November), ending with St. Lucy (13 December) and St. Thomas the Apostle (21 December). I feel confident about this sequence in part because the office of St. Thomas is immediately followed by the first Common office, for Evangelists (BRBL MS 481.51.17).

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Virgin Saint (Harvard Univ., Houghton Library, MS Typ 704 (6) recto)

This placement suggests that the calendrical sequence ends in December and supports the idea that it began with Advent season. However, this theory is complicated by the fact that Advent season itself would have encompassed the Saints of December such as Lucy and Thomas. Gottschalk’s solution to this complexity appears to have been to simply avoid mingling the Sanctorale with Advent. For example, BRBL MS 481.51.2, liturgy for the week after the Fourth Sunday of Advent, provides ONLY Temporale liturgy and does not give any hint of Sanctorale feasts, even though that week could have included Saints from late December such as Lucy or Thomas. Instead, Gottschalk inserted the Saints of Advent season at the end of the manuscript, when the calendar circled back around to December. With only 29 leaves recovered out of perhaps as many as one hundred, however, it is certainly possible that additional evidence may result in adjustments to this sequence. Because Fragmentarium uses a drag-and-drop feature to sequence images, it will be quite simple to add or re-order leaves if necessary. The clip below demonstrates this backend functionality.

 

It is worth noting that images of the two leaves at Harvard were imported directly into the Fragmentarium reconstruction using a persistent IIIF url. The other images were uploaded to the Fragmentarium server as individual JPGs. That’s part of the magic of both Fragmentarium and of IIIF, the International Image Interoperability Framework.

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Angel of the Annunciation (Harvard Univ., Houghton Library MS Typ 704 (5) verso)

IIIF is the key to fragmentology. If an institutional repository serves its images using IIIF, each individual imagefile will have a persistent IIIF url that can be used to mirror the image directly into a shared-canvas viewer such as Mirador or, in the case of Fragmentarium, Open Sea Dragon. This means that the images are truly open access and can be shared, imported, and manipulated without duplicating, downloading, or uploading the imagefile itself. When the Fragmentarium shared canvas is opened or refreshed, the IIIF images are “mirrored” into the canvas directly from the host server, freed from the host’s viewer or database. The image also has its own metadata established by the home institution that “travels” with it into the shared canvas. If you want to learn more about IIIF and the Mirador viewer, by the way, check out the three-day workshop at the Beinecke Library on 10-12 July 2018 that I will be co-teaching with Stanford University’s Ben Albritton. The deadline to apply is June 1, and more information is available here.

Gottschalk AntiphonaryWhen I first studied the Gottschalk Antiphonal in the early 1990s, I did it with scissors and paste and black-and-white photocopies on the floor of my living room. It is truly thrilling to see it in glorious IIIF-compliant interoperable color in Fragmentarium. I hope that the reconstruction will complement the liturgical, art historical, and musicological study in my book, bringing this beautiful example of twelfth-century music, liturgy, and decoration to a new generation of students and scholars.

 

Bibliography:

Davis, Lisa Fagin. The Gottschalk Antiphonary: Music and Liturgy in Twelfth-Century Lambach (Cambridge: Cambridge University Press, 2000)

Davis, Lisa Fagin. Fragmentarium. Multiple, Dispersed Virtual Reconstructions, Gottschalk Antiphonal <http://fragmentarium.ms/overview/F-75ud> (accessed 21 May 2018)

Hughes, Andrew. Medieval Manuscripts for Mass and Office: A Guide to their Organization and Terminology (Toronto: University of Toronto Press, 1995)

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Filed under Fragmentology, Medieval Manuscripts

Manuscript Road Trip: Miami University (the one in Ohio, not the one in Florida!)

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

When my son decided to matriculate at Miami University of Ohio back in 2015, he had no idea that he would spend the rest of his life explaining that he attended “Miami University (the one in Ohio, not the one in Florida!).” The distinction is important – the University of Miami (the one in Florida) vs. Miami University (the one in Oxford, Ohio).  He’s been there for several years already and I’m a little embarrassed to admit that I had not visited Miami’s Special Collections until I went to see my son last week. Given what we all know about medieval manuscripts in Ohio (this is my third post devoted to the state), I should not have been surprised to find an excellent assortment of leaves and several very fine codices on the third floor of King Library. My thanks to curator Bill Modrow for facilitating the visit and to Miami Professor Anna Klosowska for exploring the collection with me.

Oxford map

MUO Terence

Terence, Comedies (PA6755.H4/H43/1480 verso) (250 x 175 mm)

Miami University of Ohio (MUO) has acquired several loose leaves over the years, including a previously unknown leaf from a beautiful humanistic manuscript of Terence’s Comedies that was a victim of Otto Ege’s biblioclastic practices; it is also known as Ege Handlist (HL) no. 78 (see Gwara, Otto Ege’s Manuscripts, pp. 145-146; all references to Handlist numbers below come from Gwara as well). I’ve mentioned this manuscript before (here, citing the leaf at the Albright-Knox Art Gallery in Buffalo, and here, at the University of Vermont), and Barbara Shailor reproduced the Rutgers University Library leaf as Fig. I.2 in her 2003 article, “Otto Ege: His Manuscript Fragment Collection and the Opportunities Presented by Electronic Technology.” According to the great paleographer Albinia de la Mare, this manuscript was written by the humanistic scribe Giuliano di Antonio of Prato, Florence in the mid-fifteenth century (Shailor, p. 12 and note 6). By 1937, it was no. 65 in Ege’s personal collection as recorded in the de Ricci Census of Medieval and Renaissance Manuscripts in the United States and Canada (II:1947). According to the de Ricci description, the manuscript originally comprised 103 leaves and – in 1937 – was still bound in its original wooden boards covered with brown leather. Ege acquired it from Dawson’s Bookshop in Los Angeles in 1935, and was selling single leaves by the early 1940s (Gwara, pp. 57-58). Gwara records nine known leaves (see pp. 145-146), a list to which the MUO leaf can now be added.

Gradual recto

MUO, s.n., Gradual (Spain?, s. XV) (505 x 366 mm)

 This fifteenth-century gradual leaf, perhaps from Spain, is also noteworthy – not because of its music or script, which are not at all uncommon, but because of the small scrap of cloth adhered to the outer margin of the recto (about 25 x 50 mm):

Gradual recto detail

MUO, s.n., Gradual, detail

This bit of embroidery was cut from a larger piece of cloth and adhered to the leaf to be used as a bookmark tab. This leaf preserves Masses for Sts. Fabian and Sebastian (January 25) and for the fifth day during the Octave of St. Vincent (January 27); one of these days was important enough to a user of this choirbook that they felt it worthwhile to mark the page.

Foliophiles

Foliophiles, Inc., Pages from the Past

Otto Ege was not the only dealer assembling and marketing leaf collections in the twentieth century. MUO owns a portfolio titled “Pages from the Past” that was assembled by Foliophiles Inc. in 1964. This set includes specimens covering a wide spectrum of humanity’s written record, from papyrus documents and cuneiform tablets through medieval manuscript leaves all the way to examples of fine printing from the twentieth century. A similar set belongs to the St. Louis Public Library, and another can be found at the University of Missouri – Columbia.

The MUO library also owns several codices, one of which is particularly noteworthy: a lovely and heavily illustrated Book of Hours from Flanders (possibly Ghent), produced around 1460-70. Although the Hours of the Virgin is for the Use of Rome and the Office of the Dead is of indeterminate Use, the calendar and litany point to Flanders (spelling Ursula “Hursula” and Gertrude “Ghertrudis”, for example), as does the artistic style. The manuscript comprises 124 leaves, measures 145 x 100 mm, has fourteen full-page miniatures and nine historiated initials, and is bound in 17th-century gilt armorial brown calf over pasteboard (the arms – a Katherine wheel surmounted by the barred helm of a Count below a lion rampant holding an ax or perhaps a cross – are as yet unidentified). It was purchased from Bromer Booksellers (Boston) in 1997 as Miami University of Ohio’s two millionth volume. The manuscript’s provenance prior to 1997 is unknown, and I can find no clear trace of it in the Schoenberg Database.

The Book of Hours is so lovely that I can’t bear to show just a few miniatures…here are all of them:

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The deep blue backgrounds and the brick-and-mortar structures, among other features, point to Flanders as the place of origin. Quite fortuitously, I have found another manuscript by the same workshop if not the same artist (Glasgow University Library Sp Coll MS Euing 3). The parallels are clear in this side-by-side of the Annunciation to the Shepherds (MUO at left, Glasgow at right): note the similarities in the treatment of the tiny lambs, the style of the rock cliff, trees, background, grass, and shrubs, as well as costumes and facial features.

If anyone has a more specific attribution, please let me know. Medieval artists are rarely known by name – instead, art historians give them descriptive epithets. Until we know otherwise, I’ll call this artist the Master of…well…how about The Master of the Tiny Lambs?

Before I flew back to Boston from Cincinnati, I had the opportunity to visit a private collector there. He had contacted me several weeks ago, saying that he had inherited several dozen leaves purchased from Otto Ege by his step-father’s first wife…would I be interested in seeing some images? By a wonderful co-incidence, I was already planning to be in Cincinnati just a few weeks later, and he invited me to see the leaves in person. And what a trove! In addition to several single leaves acquired from Ege (such as HL 13 and HL 150), he had an entire Ege portfolio, the set titled “Original Leaves from Famous Bibles/ Nine Centuries 1121 – 1935 AD” (if you want to get technical about it, this particular example is a combination of Series A (200 sets of 37 leaves, issued in 1936) and Series B (100 sets of 60 leaves, issued in 1938) (see Gwara, p. 36)). Series B typically begins with four manuscript leaves, as described in the accompanying Broadside:

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Original Leaves from Famous Bibles: Nine Centuries 1121-1935 AD, typical Broadside

The Broadside in this private collection, however, has been altered. Not only that, but it was edited by the hand of Louise Ege herself. This particular portfolio was probably purchasedFBNC Broadside before Otto’s death in 1951, since he had once claimed that Series A had sold out by around 1940 (Gwara, p. 42). This set was likely acquired shortly before 1940, then, because by the time this set was purchased, certain leaves were already no longer available and Otto and Louise were offering substitutions. On the Broadside for this set, Louise notes, for example, that of leaf no. 4 (usually HL 54) there are only “a few left.”  No. 2 (HL 59) was completely out of stock.

These substitutions are evident in the collection itself. No. 1 (HL 56, a leaf from an Armenian Bible) is present, but the second (and out-of-stock) leaf (HL 59) has been replaced by HL 76, an equally lovely but totally different specimen of a twelfth-century Bible, this one with marginal glossing. Even though the two manuscripts are completely different (a typical example of HL 59 shown below left, the replacement HL 76 below right), Otto and Louise didn’t change the label when they made the substitution, since the description was vague enough to suffice for either manuscript:

The delicate thirteenth-century Italian Bible HL 58 serves as the third leaf, as expected.

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HL 58 (Italy, thirteenth century)

The fourth leaf should be a small two-column Bible leaf from HL 54. According to the label on the matte, that manuscript is a “Dominican Manuscript written in Paris” in the unrealistically-precise year 1240 AD. In the present set, this was replaced with a leaf from HL 9, another small-format thirteenth-century Bible which Ege dated to the equally absurdly-precise year 1250 AD.* The date on the label has been edited accordingly:

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After Otto’s death in 1951, Louise took over the leaf-marketing business. She had a gift for marketing and sales, reaching out to institutions and collectors throughout the country promoting the business. As correspondence preserved with this private collection demonstrates, after Otto’s death she kept up the relationships cultivated during Otto’s lifetime and gave the same time and attention to small private collections as to large cultural institutions:

Ege letter4 – 17 – 56

Dear Mrs. ***,

Would you at present be interested in having a selection of leaves for choice or perhaps for sale. I could send you a selection of hand written Bible leaves. If you wish them unmounted I can give you a very special price, perhaps I can also find some mounted ones which are reasonable.

Would you also be interested in some leaves from Books of Hours. I am not sure just what all your special interests are.

Would you care for some inexpensive assortment of unmounted leaves? I’ll be glad to try. Are you connected with the University [of Cincinnati]?

Sincerely,

Mrs. Otto F. Ege

 

 

* On pp. 119 and 137 of Otto Ege’s Manuscripts, Gwara notes that in a different portfolio, “Original Leaves from Famous Books: Eight Centuries,” leaves of HL 54 are sometimes replaced by leaves of HL 9. The present set appears to be the only recorded example of the same substitution taking place in “Original Leaves from Famous Bibles, Nine Centuries,” but many examples of this portfolio have yet to be carefully catalogued and identified using Gwara’s handlist numbers. Peter Kidd has written about the marketing of the Bible sets and others here.

 

 

 

 

 

 

 

 

 

 

 

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Fragmentarium: a Model for Digital Fragmentology

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

In the early 1990s, I was a graduate student at Yale working on a PhD in Medieval Studies. My dissertation focused on a fragmentology project, although that word would not be coined for decades. Seventeen leaves from a twelfth-century antiphonal from the Austrian Benedictine abbey of Lambach (on the Danube about halfway between Salzburg and Vienna) had made their way to Yale’s Beinecke Rare Book and Manuscript Library, and for my thesis I reconstructed the manuscript as much as possible – adding to the seventeen Yale leaves four leaves still in Lambach, two in the abbey of St-Paul-im-Lavanttal, another that was hanging on the wall of an alpine resort in Badgastein, two at Harvard, and one at the St. Louis Public Library (I’ve blogged about that one here) – and studied the cumulative liturgy, music, and decoration of the manuscript in the context of the twelfth-century Lambach scriptorium. The manuscript is known as the Gottschalk Antiphonary (or Antiphonal), after the scribe/artist Gottschalk of Lambach who was primarily responsible for its creation. 

Gottschalk Houghton

The Gottschalk Antiphonal

The Gottschalk Antiphonal has a very different post-medieval story than the leaves of manuscripts dismembered by Otto Ege about which I have frequently blogged. The Gottschalk Antiphonal was a victim of pre-modern recycling rather than twentieth-century biblioclasm. The manuscript – its music and liturgy hopelessly outdated by the late Middle Ages – was taken apart in the fifteenth century and its leaves were used as flyleaves and pastedowns for incunables bound at the Lambach bindery. These and dozens of other binding fragments were removed from the early bindings and sold to raise money for the Abbey’s woodshop during World War II. Eventually, the collection made its way to New York dealer Hans P. Kraus, and from there to the Beinecke Library at Yale in the 1960s along with hundreds of fragments collectively known as MS 481 and MS 482. By that time, the origin of the Lambach group had been forgotten.

As a graduate student in the 1990s, I had a job working for the Curator of Pre-1600 Books and Manuscripts at the Beinecke and was assigned the task of cataloguing part of Yale’s enormous fragment collection, of which the then-unidentified leaves of the Gottschalk Antiphonal were part. The story of how the curator (Robert G. Babcock), fellow students Philip Rusche and Nancy Seybold, and I discovered the Lambach origin of the Antiphonal and dozens of other leaves has been told elsewhere. The Lambach project was the inspiration for my dissertation and first book and was the beginning of my thirty-year interest in medieval manuscript leaves and fragments.

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Fragmentology, ca. 1992

Reconstructing the Gottschalk Antiphonal in 1992, sitting on the floor of my living room with scissors and paste and photocopies of the leaves, I was, without realizing it, “doing” fragmentology. Analog was the only option back then, of course. In the early years of the twenty-first century, scholars began to realize the potential of burgeoning digital technologies for the virtual reconstruction of dismembered manuscripts. The call to arms was issued by Barbara Shailor (who was at the time the Director of the Beinecke Library) in a 2003 article, “Otto Ege: His Manuscript Fragment Collection and the Opportunities Presented by Electronic Technology” (The Journal of the Rutgers University Libraries 60 (2003), 1-22). “For Otto Ege fragments now dispersed around the world,” she wrote, “the possibilities presented by modern technology are fascinating. It is only a matter of time, financial resources, and scholarly communication and perseverance before significant portions of Ege’s intriguing collection will be reassembled and made available electronically.” (p. 22)

After several fits and starts, “time, financial resources, and scholarly communication and perseverance” have finally, fifteen years later, made the vision of virtual reconstruction a reality. Technology has caught up with our dreams in the form of IIIF-compliant shared-canvas interoperability.

IIIF

IIIF: the key to digital fragmentology!

All that tech-speak may be a little jarring, but it really is the key to the what fragmentology can accomplish. Let’s unpack it.

IIIF (the International Image Interoperability Framework) is a way of presenting digital images in an online environment that allows them to be shared via a permanent URL instead of by downloading and uploading into a silo (there’s more to it than that, of course, but that’s the basic idea). In other words, if an online image is IIIF-compliant, it can be manifested in a workspace known as a “shared canvas” simply by pointing to the permanent IIIF URL. The image is drawn into the shared canvas when called for rather than being physically stored there. This interoperability has the advantage of enabling a user to apply their own metadata and annotations and sequence the images without transforming the actual imagefile. An image can be stored in one place while being used in multiple workspaces. The model is completely open-access and avoids siloing, and is thus in keeping with digital best practices. Even the code needed to set up a IIIF server is open-source. For more on IIIF and shared canvas, including technical specifications (which are WAY beyond my ken), see the IIIF site.

So what does all this have to do with digital fragmentology? To find out, we have to go to Switzerland.

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The recently-launched Fragmentarium project (based in Fribourg) combines IIIF with a powerful mySQL database to allow for the cataloguing of individual fragments and leaves and the virtual reconstruction of parent manuscripts in a shared canvas workspace. Brought to you by the incredible team behind e-codices, Fragmentarium uses a flexible and well-designed data model that is fragment-centric and follows international standards of authority and data modeling. It is the culmination of decades of development on the technical side and of metadata design on the scholarly side. Several institutions are already working on Fragmentarium case studies, uploading images (if they don’t already have IIIF purls), cataloguing them, and creating virtual reconstructions. 

Let’s head back to Boston now, to the Simmons School of Library and Information Science, where I teach an annual course titled “The Medieval Manuscript from Charlemagne to Gutenberg.” For the last three years, I have assigned my students an Ege manuscript to study and reconstruct as their final project. You can read about the 2015 and 2016 projects here. This year, my students participated in a Fragmentarium case study. Each student was assigned a leaf from the lovely early fifteenth-century Book of Hours known as “Fifty Original Leaves no. 30” (or FOL 30), because leaves from this manuscript are always no. 30 in Ege’s Fifty Original Leaves from Medieval Manuscripts portfolios. We found twenty-eight leaves in twenty-eight collections, and the first part of the assignment was for each student to catalogue their leaf in the Fragmentarium database. I am extremely grateful, by the way, to Fragmentarium’s William Duba and Christoph Flüeler for facilitating the project.

 

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Simmons students creating the shared canvas sequence

Once the leaves had been catalogued, we worked as a class to assemble the known leaves in order in a IIIF shared canvas. Fragmentarium makes sequencing images simple with a drag-and-drop feature. Once the images are in order, one click creates the shared canvas reconstruction (click the “thumbnails” link at the bottom and the “metadata” link at the left for the full experience). The students were familiar with the basic structure of a Book of Hours, so once they had identified the contents of each leaf, it was fairly straightforward to put the leaves in order and create a record for the reconstructed manuscript (this work was made even easier by the survival of folio numbers on some of the leaves!).

The next step demonstrated why such reconstructions are worthwhile. Using the cumulative liturgical evidence of the reconstructed manuscript – much more evidence than survives on a single leaf – the students conducted original research to determine its origin and provenance. By analyzing the saints in the reconstructed Litany and the liturgy of the Office of the Dead, the students concluded that the manuscript was originally written for the Use of Paris (no other portions of the manuscript that might have provided supporting evidence – such as the Calendar or the Hours of the Virgin – survive). By searching the dimensions and known contents of the reconstructed manuscript in the Schoenberg Database, they were able to identify several early-twentieth-century sales of the whole manuscript and identify it as the manuscript purchased by collector C. L. Ricketts from dealer Bernard Quaritch in 1922 (see de Ricci, Census I:634, no. 116) and sold by Parke-Bernet Galleries in 1939. It was dismembered by Ege or his business partner Philip Duschnes soon thereafter. As a final step, I updated the Schoenberg Database to reflect these discoveries, creating a new manuscript record that links the provenance records. These discoveries by my students were completely original. Instead of considering these a scattered group of pretty leaves, we now know that this manuscript was made for the Use of Paris and, from details in the Parke-Bernet catalogue, we know it had 189 leaves and seven miniatures and that it had been bound by Rivière. We know it was offered by Quaritch several times before being bought by Ricketts in 1922. We know it was bought and broken sometime after 1939. And now we can see, at least in part, how it once looked.

IMG_20171205_103001996

When I remember sitting on my living room floor with scissors and paste, I am truly awed and inspired by the beauty, simplicity, and effectiveness of the Fragmentarium model. Next year, my students will use Fragmentarium to reconstruct and study FOL 29. Who knows what we’ll find? Stay tuned.

And I really do think it’s time for Gottschalk to go digital. 

 

 

 

 

 

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Filed under Fragmentology, Medieval Manuscripts, Otto F. Ege, Uncategorized

Manuscript Road Trip: The New Bedford Hours

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

An appropriate subtitle for this blog would be “Medieval Manuscripts in Unexpected Places.” Today’s installment is no exception.

The whaling town of New Bedford is nestled on the New England shore of the North Atlantic, in southeastern Massachusetts. It is an important center for the history of the whaling industry in New England, and its beautiful Public Library includes more than a century’s worth of whaling logs and records. But it also includes something much older, a sumptuous Book of Hours from France written around the year 1465.

New Bedford map

This 98-leaf manuscript is a real beauty, with nine miniatures and five full borders:

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This manuscript has never been studied or widely noted before now. It was recently brought to my attention by Phil Weimerskirch, the retired librarian of the Providence Public Library. Phil is 87 years old, and for nearly twenty years has been an important source of local knowledge for myself and my colleague and co-author Melissa Conway as we compiled our Directory of Collections in the United States and Canada with Pre-1600 Manuscript Holdings. During his career in Providence, Rhode Island, Phil – who is an expert bibliographer and book historian – regularly explored small collections throughout southern New England looking for unrecorded medieval manuscripts. At last count, he had brought more than a dozen such repositories to our attention. He remains, by far, our greatest sleuth and for his knowledge and experience we are extremely grateful!

When Phil emailed me a few weeks ago to confirm the presence of this manuscript in New Bedford, he included a few images. I could tell immediately that this manuscript was something special (not that they aren’t ALL special in their own way), not your every-day run-of-the-mill manuscript. Janice Hodson, the Library’s Art Curator, welcomed me to the collection last week to study and photograph the manuscript and has graciously given me permission to share my photographs and findings here.

I’m going to use this post as an opportunity to walk you through the steps of researching Books of Hours, and I will include links to several important online resources of particular use when working with such manuscripts. Roger Wieck’s Time Sanctified remains the best printed introduction to the genre, and I highly recommend you purchase it if you are going to work with Books of Hours in any capacity. If you’d rather explore an online primer, Les Enluminures presents a profusely illustrated introduction to Books of Hours here.

The first thing to know is that Books of Hours were personal prayerbooks, as opposed to books for use in a church or cathedral (the Beauvais Missal is one such churchbook). As such, they were not in general produced by monks or nuns in abbey scriptoria but were written and illuminated by professionals often working on commission. The genre developed in the mid-thirteenth century but really took off with the establishment of professional centers of book production in the fifteenth century. Wealthy patrons commissioned these prayerbooks for their own home use and could request personal touches such as added devotions to their name-saint or to saints of local importance, even self-portraits or coats-of-arms. In addition, particular sections of the liturgy can vary by locale. Books of Hours, therefore, are full of clues as to their origin and patronage. You can even tell if a book was made for the use of a woman, as many Books of Hours were.

As far as contents are concerned, Books of Hours are modular, consisting of discreet sections usually presented in the same sequence, although not all Books of Hours include all of these sections or present them in this order:

Liturgical calendar (listing which saints are to be commemorated on which day)

Passion narratives from the Gospels (often illustrated with portraits of the evangelists at work)

The Hours of the Virgin (divided into the eight canonical offices of the day, each of which is often illustrated with a scene from the life of the Virgin Mary): Matins (the Annunciation), Lauds (the Visitation), Prime (the Nativity), Terce (the Annunciation to the Shepherds), Sext (the Adoration of the Magi), None (the Presentation in the Temple), Vespers (the Slaughter of the Innocents or the Flight into Egypt), and Compline (the Slaughter of the Innocents, the Flight into Egypt, or the Coronation of the Virgin).

The Hours of the Cross and the Hours of the Holy Spirit (illustrated by the Crucifixion and Pentecost respectively and often abbreviated, in which case called “Little” Hours)

Prayers to the Virgin Mary (“Obsecro te” and “O intemerata”)

The Penitential Psalms (a group of seven Psalms – 6, 31, 37, 50, 101, 129, and 142 – that focus of the theme of repentance, usually accompanied by a portrait of King David or a scene from his life) and Litany (a series of Saints grouped by type and gender – Apostles, Popes, Martyrs, Virgins, etc. – from whom the penitent requests intercession)

The Office of the Dead (illustrated by a funeral, burial, or a scene from the Book of Job)

Suffrages and additional prayers (optional prayers for particular saints or events, sometimes illustrated by portraits of the particular saints)

When faced with a Book of Hours, the first step is to identify the contents and determine if anything obvious is missing or is out of order. Then you can go through more carefully looking for clues.

While conducting my initial survey, I could see that something was wrong. There were only five miniatures in the Hours of the Virgin instead of the expected eight. A comparison of the text with the online Hypertext Book of Hours confirmed that several sections of the Hours of the Virgin were missing: the end of Terce, the beginning and end of Sext, all of None, and most of Vespers. In addition, the Office of the Dead was interrupted twice, by the Hours of the Cross and by the Hours of the Holy Spirit. Sometimes the Hours of the Cross and the Hours of the Holy Spirit are inserted into the middle of the Hours of the Virgin (the term is “intercalated”), but never into the Office of the Dead. Clearly something was out of sequence here as well.

I set the codicological issues aside and began working on identifying the liturgical use of the manuscript, that is, identifying the place for which it was made. This is often different than the place in which it was made.

Stylistically, the manuscript can be localized to northern France, possibly Rouen, and dates to around 1460-70. In private correspondence, art historian James Marrow observed that the illumination style is similar to the workshop of the Masters of the Échevinage de Rouen, a workshop active in Rouen and the Loire Valley in the third quarter of the fifteenth century. If you compare the New Bedford Hours Annunciation miniature (below left) with the Annunciation in British Library Sloane 2732 B (below right, also attributed to the Masters), you can see the resemblance in the composition, the setting, and the treatment of hands and faces, even the structure of the Angel Gabriel’s wings and the gold cross-hatching that gives texture to the drapery.

Even if you’re not an art historian, you can at least get a sense of the date of the manuscript simply by looking at the border illumination. In the early fifteenth century, borders are comprised of delicate spindly vines (“rinceaux”) and small gold trefoil leaves. As the century progresses, colorful thick foliage begins to appear in the corners (“acanthus leaves”).

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f. 13

By the third quarter of the century, the acanthus leaves have overtaken the rinceaux, as in this manuscript. By the end of the century, they’ve forced the rinceaux completely into the background and have come to dominate the border decoration.

So the manuscript was made in northern France, possibly Rouen, around the year 1465. But for WHOM was it made? To answer that question, we have to conduct a detailed textual investigation of several sections of the manuscript: the calendar, the Hours of the Virgin, the Litany, the Office of the Dead, and the suffrages.

Liturgical calendars such as the one in this Book of Hours are universal, as opposed to year-specific, and indicate which saint is to be commemorated on which day (they also help you determine the date of Easter and which days are Sundays in any particular year, but that’s another story). Saints are presented in a hierarchy indicated by color: saints in black ink are of “normal” importance, while those in red are more so (hence the expression “red-letter day”).

 

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The first half of September in the New Bedford Hours, with the Nativity of the Virgin Mary in blue and the Exaltation of the Cross in red (f. 9)

 

Some calendars give a third level of importance, indicated by blue or gold ink. In the present manuscript, saints are written in black, red, and blue, with the latter reserved for the most important saints. It is those more colorful saints that are likely to provide significant evidence of the liturgical use of the manuscript. You want to look for atypical saints, that is, saints who aren’t apostles, or early Roman martyrs, or Biblical characters such as Jesus, Mary Magdalene, John the Baptist, or the Virgin Mary. Saints in red or blue who are unusual are the clues you’re looking for. If those saints also appear in the litany or the suffrages, you know you’ve hit upon critical evidence for determining the Use of the manuscript.

Most of the red and blue saints in the New Bedford Hours are either of the Biblical variety or are typically French (such as St. Katherine or St. Egidius) and so are not of much use in localization; we already knew from stylistic evidence that the manuscript was from France. But one blue saint stands out: St. Ursinus, Bishop of Bourges, on June 11. In fact, St. Ursinus appears in this calendar four times: January 5 (the Octave, written in black), June 11 (his Translation, i.e. the commemoration of the movement of his relics from one place to another, in blue), November 9 (in black, the “Revelatio,” or revealing of his relics), and December 29 (in red). In addition, Ursinus appears in the litany, in the list of Confessors. Clearly, St. Ursinus was of particular importance to the patron of this manuscript. The next stop is the online “Zeitrechnung des Deutschen Mittelalters und der Neuzeit,” an online version of Hermann Grotefend’s dictionary of Saints. Each alphabetical entry gives the date(s) on which a particular saint was commemorated and where they were of particular importance. For Ursinus, however, Grotefend does not mention June 11. Time to break out the big guns.

acta-sanctorumThe most detailed and lengthy dictionary of Saints is the Acta Sanctorum, begun by the Jesuit scholar Jean Bolland (1596 – 1665) in 1643 and carried on by the Société des Bollandists, who continue the work to this day. The Acta Sanctorum is organized calendrically and, like a great cathedral, is continually under construction; the 60+ published volumes cover only January through November. If you’re looking for a December date, you’re out of luck, since only an introduction to that month has been written so far. The volumes are enormous in size and copious in content, with each month filling three or four books. Many university libraries own the whole set, but if you can’t find it, you may be able to access it online through a library that subscribes to the Brepols Acta Sanctorum database. The digitized volumes are browseable through the Internet Archive and the URLs have been conveniently compiled here.

The Acta Sanctorum is written entirely in Latin and provides transcriptions of Saints’ lives, tales of their relics and miracles, and important information about where they are venerated and on which days. According to the Acta Sanctorum, St. Ursinus – the patron of Évreux in the diocese of Lisieux in Normandy – was venerated in Évreux specifically on January 5, June 11, November 9, and December 29. Other saints of regional importance in the calendar include: Launomarus, Abbot of Chartres (January 19);  Gatianus, Bishop of Tours (May 2); Translation of St. Audoenus, Archbishop of Rouen (May 5); Leufredus, Abbot of Merey (June 21, a date of particular import in Évreux); Ravennus and Rasiphus (July 23); Taurinus, Bishop of Évreux (July 23), Maurilius, Bishop of Angers (September 13); Mellonis, Bishop of Rouen (October 22, in red); Romanus, Archbishop of Rouen (October 23, in red); Briccius, Bishop of Tours (November 13); Anianus, Bishop of Orléans (November 17); and Gatianus, Archbishop of Tours (December 18).

This is all pretty clear evidence that the manuscript was made for a patron in or near Évreux. But there is more to do before drawing this conclusion with confidence. Does the rest of the liturgical evidence support this initial hypothesis?

This next piece is some hardcore liturgiology, so bear with me. It so happens that two deeply-buried portions of the liturgy in the Hours of the Virgin also point towards the Use of the manuscript: the antiphon and chapter reading for Prime and None. These can be difficult to find if you don’t have a lot of experience working with Books of Hours, but the miniatures can serve to orient you, just as they did for medieval readers. Prime is always illustrated by the Nativity, an easily recognizable scene (the Virgin Mary and Joseph gazing at Baby Jesus, surrounded by animals in a humble setting), and None by the Presentation in the Temple. Towards the end of each of these offices, you will find the antiphon (indicated by the rubric “Ant.”) and the chapter reading (indicated by the rubric “Cap.” for “capitula”). In the New Bedford Hours, the Prime Antiphon begins “Quando natus” and the Chapter reading begins “Ab initio et ante secula.” The next step is to make note of the antiphon and chapter reading in None, which is why it’s such a bummer that None is missing from this manuscript. It means that we only have half of the evidence.

Once you’ve made note of your antiphons and chapter readings, your next stop is another online resource, the extraordinary Book of Hours reference site authored by Erik Drigsdahl, who founded the Institute for the Study of Illuminated Manuscripts in Denmark and was its Director until his untimely death in 2015. Since that time, the website has remained viable thanks to the generosity and efforts of Peter Kidd. On this page in particular, you will find a very detailed list of these sets of antiphons and chapter readings, indicating where they’re used. There are many different Uses recorded for “Quando Natus” and “Ab initio” at Prime, and without the data for None we just can’t be sure. But even though None is missing, we can delve a bit further thanks to Drigsdahl’s recording complete outlines for several different local uses, including the Use of Lisieux. Even though so much of the Hours of the Virgin is missing from the New Bedford Hours, the extant texts are a near-perfect match to Drigsdahl’s outline. So Use of Lisieux seems likely, especially given the Lisieux emphasis in the Calendar.

The final piece of the liturgical puzzle is found in the Office of the Dead. Here, you want to make note of the (usually) nine responsories of Matins. Matins is divided into three sections called nocturnes, each of which consists of a series of psalms and antiphons followed by a series of three readings, each of which is followed by a responsory. Those are the texts you’re looking for.

In the New Bedford Hours, the Responsories of the Office of the Dead are as follows:

1)      Credo quod redemptor…

2)      Qui lazarum…

3)      Domine quando veneris…

4)      Heu michi…

5)      Ne recorderis…

6)      Domine secundum actum meum noli…

7)      Peccantem me cotidie…

8)      Requiem eternam dona eis domine…

9)      Libera me domine de morte…

Once you’ve found your nine responsories, the next stop is Knud Ottosen’s Responsories and Versicles of the Latin Office of the Dead. Fortunately, this, too, is available as an online resource. Ottosen’s methodology was to assign a number to each of the dozens of possible responsories used in Matins of the Office of the Dead. In this case, the numeric series is: 14 72 24 32 57 28 68 82 38. By looking up the numeric series here, you can determine where this particular series was used. The series in the New Bedford Hours turns out to be rather common, having been incorporated in the Sarum (a.k.a. Salisbury) liturgy among others. But it WAS used in Lisieux. When this evidence is combined with the evidence in the calendar, litany, and Hours of the Virgin, I think we’ve got enough to conclude that this manuscript was made for the use of someone in Évreux or elsewhere in the Lisieux diocese.

Evreux

“The City of Evreux, Normandy, France,” published in Harper’s Weekly, January 1871

After all this, the hymns and suffrages are a bit anticlimactic: Sebastian, Katherine, Barbara, Blasian, the male and female “Privileged Saints” (Denis, Gregory, Christopher, Blasian, and Egidius and, for the women, Katherine, Margaret, Martha, and Barbara), Ivo, and Eustache. None of these are particularly localizable. I would’ve been very happy to see a hymn to St. Ursinus here, but so it goes.

Here’s the last bit. To determine if a Book of Hours was made for a female patron, turn to the Marian prayer “Obsecro te.” About two-thirds of the way through, you’ll find this phrase: “…atque momentis vitae meae et mihi famulo tuo impetres…” Or, if you’re lucky, you might find this: “…atque momentis vitae meae et mihi famulae tuae impetres…” Latinists will have spotted the difference between the two: the former is masculine, the latter feminine. If you’ve got the latter, you can confidently conclude that your book was written for a woman. If you’ve got the former, you can’t be sure either way, since the text could have been copied without “translating” the gender. On folio 68v of the New Bedford Hours, we find the masculine version, and so the gender of our Lisieux patron is not determinable.

Finally we have to ask the question I direct at all medieval manuscripts in North America: how did you get here? Unfortunately, we don’t know much.

The manuscript was acquired by the New Bedford Public Library in 1912, from New York bookdealer Lathrop C. Harper. I haven’t been able to find it in any of his catalogues (yet), and I have found no trace of it in the Schoenberg Database of Manuscripts. But we don’t need to find the Harper catalogue because the New Bedford Librarian very kindly transcribed it in his report to the Board of Directors in 1913:

“MS. Horae on Vellum—Horae Beatae Mariae Virginis cum Calendario, a Fifteenth Century French manuscript written in a large Gothic hand on 97 leaves of vellum, with nine large miniatures, nearly every leaf of the text decorated with a delicate floriated side border, the miniatures and some other pages being surrounded by similar, but rather more elaborate borders, 27 large illuminated initial letters, the smaller initials and the text also decorated (size 9 1-12 in. x 7 1-6 in.) in modern red velvet binding. g[ilt] e[dges]. Saec xv.”

In a report published several years later, the Librarian explained that he purchased the manuscript “a number of years ago, since it was deemed advisable that we should have in the library one sample of the beautiful work executed by the monks of the Middle Ages. The leaves of the book are vellum, and every letter and illustration is the handiwork of these mediaeval monks. Although a stiff price was paid for the book it would have been worth fully twice as much if the margins had not been cut in binding many years ago.”

Putting aside the librarian’s misconception about the origins of the volume (not written by monks but by professional guildsmen), these two descriptions provide important information: the book only had nine miniatures when the Library acquired it (in other words, it was already missing the lost leaves) and was bound in red velvet. It was bound in its current brown morocco leather after 1912.

Finally, by using the Hypertext Book of Hours, I was able to reconstruct the correct sequence of leaves and determine the missing sections. For those of you who care about such things, that information is detailed in my formal description of the manuscript: New Bedford Hours description

IMG_20170426_104030865_HDRFor 95 years, this beautiful Book of Hours has rested comfortably at the New Bedford Public Library, unknown, unrecorded, and unstudied. It is an instructive case study in how to interpret the evidence preserved in these medieval “best sellers,” but the manuscript also demonstrates that there is still material out there waiting to be brought to light.

RESOURCES CITED (in order of use):

Melissa Conway and Lisa Fagin Davis, Directory of Collections in the United States and Canada with Pre-1600 Manuscript Holdings: http://www.journals.uchicago.edu/doi/abs/10.1086/682342

Roger Wieck, Time Sanctified: http://www.worldcat.org/oclc/48460432

Les Enluminures, Book of Hours tutorial: http://www.medievalbooksofhours.com/learn

Hypertext Book of Hours: http://medievalist.net/hourstxt/home.htm

Hermann Grotefend, “Zeitrechnung des Deutschen Mittelalters und der Neuzeit”: http://bilder.manuscripta-mediaevalia.de/gaeste//grotefend/grotefend.htm

Acta Sanctorum database (subscription only): http://acta.chadwyck.co.uk/

Acta Sanctorum scans: http://www.roger-pearse.com/weblog/2012/06/19/volumes-of-the-acta-sanctorum-online/

Erik Drigsdahl, Book of Hours tutorial: http://manuscripts.org.uk/chd.dk/tutor/index.html

Knud Ottosen, Responsories and Versicles of the Latin Office of the Dead: http://www-app.uni-regensburg.de/Fakultaeten/PKGG/Musikwissenschaft/Cantus/Ottosen/search.html

Schoenberg Database of Manuscripts: https://sdbm.library.upenn.edu/

 

 

 

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Manuscript Road Trip: Flagellants, Thieves, a War Refugee, and a Very Unscrupulous Bookdealer

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

This is the story of the manuscript that was, until 12:30 PM this afternoon, known as Boston Public Library MS f Med. 203. It is a late fourteenth-century collection of statutes governing a Venetian confraternity, a type of manuscript known as a “mariegola.” Today, it was formally returned to the Republic of Italy by the United States Government.

At the outset, I want to thank Lyle Humphrey (North Carolina Museum of Art) for sharing her own work on the mariegola with me and for a very congenial and productive collaboration on this project over the last several years. (n.b. portions of this post appeared in print in the December 2012 Newsletter of the Massachusetts Center for Interdisciplinary Renaissance Studies)

First, some background. In Renaissance Venice, confraternities and workmen’s guilds played a fundamental role in religious, social and civic life. These groups promoted religious life but were independent of the church and offered an alternative form of service for church members who did not want to commit themselves to the strict behaviors of monastic or convent life. Perhaps the most celebrated incarnation of the Venetian confraternity was the scuola dei battuti (literally the gathering “of the beaten”), whose organizing principle was to atone for the sins of humanity by engaging in periodic, public self-flagellation. These lay societies celebrated religious feasts, funerals, and other special days by putting on white hooded processional robes and marching through the streets of Venice scourging themselves.

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The Scuola della Valverde, also known as the Scuola di Santa Maria della Misericordia, was one such organization. Founded in 1308 on Valverde, an island on the north shore of Venice, the original fourteenth-century church and meetinghouse were replaced in the fifteenth century and updated again in the seventeenth, such that only remnants of the original buildings survive today. Some of the medieval artwork from the compound survives as well, such as the fifteenth-century tympanum that stood above the door to the confraternity house and is now at the Victoria and Albert Museum in London (above).

In this sculptured relief, the Blessed Virgin Mary stands, the infant Jesus on her chest, metaphorically sheltering a group of confraternity brethren beneath her outstretched cloak. The Virgin is their protectress and intercessor. Behind her is the Tree of Jesse, a symbolic representation of the family tree tracing Jesus’ descent from King David (Jesse’s son) in fulfillment of the prophecy of Isaiah that the messiah would come from the line of Jesse.

Although artwork such as the tympanum reminded the brothers of the spiritual foundations of the confraternity, like any organization, the Scuola needed earthly rules and regulations in order to run smoothly. The book laying out the rules of a confraternity such as this was called a mariegola, a word whose origin is not entirely understood but that may be a conflation of “Mary” and “regola” (rules). Mariegole texts and decoration have much to tell us about the spiritual, moral, aesthetic, and professional concerns of confraternity members, who represented a large, diverse segment of the Venetian populace. Handwritten in the local vernacular – that is, the 14th-century Venetian dialect of Italian – and lavishly illuminated, mariegola manuscripts were treasured by their patrons.

203 1As part of my work cataloguing the more than 250 medieval and Renaissance manuscripts belonging to the Boston Public Library back in 2010-2012, I encountered a beautifully illuminated fourteenth-century manuscript that had been tentatively identified as a mariegola used by the Scuola della misericordia on Valverde, although there was no physical evidence to confirm this identification. At the time, it was known as manuscript f Med. 203. The manuscript comprises three sections that may or may not have been originally bound together: the original late fourteenth-century mariegola; additions up to the year 1505; and a blank register intended as a place for the brethren to sign their names.

The first section is of greatest interest. Most of the twenty-six illuminated initials in this section contain busts of saints, priests, or confraternity members, who are sometimes shown gazing toward and pointing to the statute they illustrate. 203 8vSome contain images that refer directly to the rules that they introduce, such as the one on folio 8v (at right) of a Saint holding a votive candle that illustrates the chapter governing the use of candles in confraternity ritual.

Self-flagellants

The initial on folio 6, a hooded man holding a small sack, illustrates the chapter governing the storage of the confraternity’s gold and other treasure. On folio 20v, a brother delivers a small sack to an invalid, demonstrating the requirement that brothers should bring aid to the sick. The most fascinating initials, however, are those on folios 7v and 32v (at left) that illustrate not the chapter they accompany but the general commandment of self-mortification. Each brother wears the traditional white robe of the battuti with an opening in the back exposing flesh that is already bloodied from the scourge.

Most mariegole are not illustrated so thoroughly. But they do all have one thing in common: every known mariegola began with an elaborate, full-page painting related to the philosophy and work of the confraternity. There is no elaborately gilt full-page frontispiece in the BPL mariegola. The dark shadows on the verso of the blank flyleaf (below left) are mirror-image offsets of gold leaf, proving that there once was a frontispiece that has since gone missing. Frontispieces such as this are often removed from mariegole manuscripts to be sold as works of art in their own right, and there are many such frontispieces to be found in galleries, museums, and private collections around the world. In 1905, a mariegola frontispiece said to be from the Valverde scuola was reproduced by Pompeo Molmenti in his book, La storia di Venezia nella vita privata; there can be no doubt that it is the missing frontispiece:

BPL f. med. 203 opening

Frontispiece of the marigola digitally restored to its proper place; note the matching offsets on the facing verso

Not only are the offsets on the Boston Public Library flyleaf a perfect match for the gold in the miniature, but the icongraphy of the Virgin Mary in the initial is identical to the imagery in the Scuola’s later tympanum (above). In addition, the missing frontispiece names the Scuola and gives the date of the manuscript in Roman numerals in a cartouche at the top: MCCCLXXXXII. This discovery confirmed that the BPL manuscript was without doubt a mariegola from the Valverde scuola written in 1392.

When dealing with medieval and Renaissance manuscripts, one rule to keep in mind is that scribes almost always arranged their sheets of parchment such that the often dark, yellowish “hair side” of the parchment faced the corresponding side of the next sheet, as opposed to facing the lighter, smoother “flesh side.” This aesthetic consideration, designed to create a consistently-colored and –textured opening across facing pages, is a very useful feature for studying manuscripts, because when one opens a book and sees hair side facing flesh side, it can be assumed that something is amiss, and that a leaf has been added or is missing.

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Bright “flesh” side on the left facing the yellowish “hair” side on the right…a sure sign that something is wrong!

As it was configured when I first encountered it, the BPL mariegola was full of hair-side-facing-flesh-side openings. In addition, many leaves had gilt offsets that did not match their facing pages. Looking closely, however, it was possible to identify pairs of illuminated leaves and their matching offsets that were separated by as many as twenty-five leaves. Even so, there remained several leaves without a matching facing leaf. Not only was the manuscript misbound, but it was also incomplete.

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Two leaves, formerly misbound, digitally restored to their correct order. Note the matching mirror-image offsets and catchword.

Combining the process of matching offsets with other codicological evidence, I was able to reconstruct much of the original order of the leaves. But with limited Italian language skills, and certainly no training in fourteenth-century Venetian, I was unable to re-sequence leaves that had no gilt initials and had reached a dead end. As it turns out, as I was working on the codicological puzzle that is the BPL mariegola, a scholar named Lyle Humphrey was solving its textual mysteries as part of her doctoral dissertation. In a marathon brainstorming phone conversation one night, we managed, by combining my codicological data with her textual clues, to completely reconstruct the mariegola’s original codicological structure. By the time we were done, we calculated that, in addition to the missing frontispiece, there were eleven leaves still unaccounted for. That explains the BPL leaves that had no offset – they were originally facing leaves that were now missing. Four of those missing leaves formerly belonged to the Toledo Museum of Art (with thanks to Scott Gwara for their identification) and have since been repatriated; another was sold at Christie’s Auction House and then by London dealer Sam Fogg in 1994 and remains untraced.

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Be on the lookout for this leaf, formerly f. 2 of the mariegola, sold at Christie’s in 1994, and now untraced.

As thrilling as those discoveries were, the four Toledo leaves revealed yet another issue to be resolved. The rubrics in the BPL manuscript include chapter titles only, but no chapter numbers. The Toledo leaves, on the other hand, do include chapter numbers, numbers that have been scraped away from the BPL leaves. Examination of the scraped sections under ultraviolet light revealed that the perpetrator of this abuse not only took a blade to the ink, he actually used some kind of cleanser to completely remove every trace of the original chapter numbers, making the erasures impossible to read.

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The chapter numbers were not only scraped, they were obliterated!

All was not lost, however. Additional ultraviolet exposure led to the discovery of seventeenth-century foliation in the extreme upper right corner of each leaf, now written over by modern pencil but partially legible. The numbers were legible enough, in fact, to allow us to confirm that our proposed reconstruction was correct:

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Original quire structure, giving current (i.e. misbound) folio numbers and incorporating the missing leaves, those formerly belonging to the Toledo Museum of Art (TMA), and one sold by Sam Fogg (now untraced)

After all this, we knew quite a lot about this manuscript. We knew it was written in 1392 at the Venetian Scuola de Santa Maria della Misericordia di Valverde; we knew it originally had an elaborate illuminated frontispiece; we knew the original order of the pages and had identified some of the missing leaves. Others of the missing leaves were reproduced in part in a publication of 1886, so at least we had some record of them. But we still hadn’t answered one of the most important and interesting questions one can ask about a pre-modern European manuscript in an American collection: how did it get there? How did this manuscript get from 14th-century Venice to 21st-Century Boston?

Let’s start at the beginning. We know that the manuscript was written in Venice for the use of the confraternity, in 1392. We also know that it was used continuously by the brothers until at least 1505, because section 2 includes entries up to that date. Soon after the final entry was made in 1505, the manuscript probably fell out of use to be replaced by one of the later surviving mariegolas. The brothers kept it as a treasured relic until Napoleon ordered the dissolution of all such religious organizations in 1803, at which point the confraternity’s books and manuscripts were transferred to the Archivio di Stato in Venice.

Two English-speaking scholars published descriptions of the manuscript in the nineteenth century, having studied it at the Archive: Edward Cheney wrote about the manuscript in 1867, and described the binding as “the original dark calf, ornamented with brass clasps and knobs.” Travel-writer John Ruskin, in a letter of 1877, described the initials as “of no great artistic merit; but fairly good, and of unusual interest in giving for the initial letter of every rule, a picture of the due performance of it.”

Sala diplomatica Regina MargheritaIn 1879, the manuscript went on permanent display in the Archive’s Queen Margerita Hall. It was described in the catalogue of 1880 as a “Mariegola of the Scuola di S. Maria di Valverde della Misericordia; parchment codex from the fourteenth century.” The catalogue goes on to describe the missing frontispiece: “The first page is illustrated with prophets and other saints surrounding the image of Christ bound to a column with brothers bowing before him. A large initial shows the Virgin with the infant upon her chest, sheltering a group of brothers beneath her mantel. The 42 chapters are illustrated with figures of saints, people and animals; original binding of brown calf with brass.”

We’ve just learned several rather important facts. In 1880, the manuscript still had its frontispiece. In 1867 and again in 1880, the binding of the manuscript was described as the original binding of brown calfskin over wooden boards with brass cornerpieces, probably dating from the early sixteenth century, shortly after the final additions were made to the manuscript. Unfortunately, that isn’t what the binding looked like when I studied the manuscript back in 2012. Instead, it was bound in heavily-worn modern blue silk over pasteboard. These nineteenth-century descriptions tell us that the manuscript was in its original binding, with its frontispiece intact, until at least 1880.

The mariegola, in its original binding and sequence, continued to live in its exhibit case until World War II. In the late 1940s, the Archive’s exhibit was taken down for safekeeping, at which point several manuscripts – including the mariegola – disappeared. In the 1950s, a list of missing items was compiled and sent to the local police. The thieves were captured and incarcerated. But by then, the trail had grown cold and the manuscripts were presumed lost.

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Detail of the list of missing manuscripts, filed by the Archivio di Stato with the Venetian police in the 1950s; the Mariegola is the first item on the list

We simply don’t know for sure what happened next. What is clear is that when the manuscript resurfaced in the 1950s in the United States, the frontispiece was gone (having disappeared before 1905, when it was published as a detached single leaf); at least eleven leaves were missing; and the manuscript had been removed from its original binding, the leaves mis-ordered with the chapter numbers erased to hide the fact, and the remnant rebound in blue silk-covered boards. I can only speculate that this work was done by an unscrupulous bookdealer trying to hide the manuscript’s origins or at the very least to disguise the fact that the frontispiece and many other leaves were missing. In this woe-begotten state, the manuscript may have next come into the hands of a collector named Mieczyslaw Zagajski, whose bookplate is affixed inside the front cover.

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Mieczyslaw Zagajski was a Warsaw industrialist and well-known collector of art and Judaica in Poland. Born in 1895, he began amassing his collection in the 1920s while still a student. Eventually he housed his massive collection of silver, textiles, books, manuscripts and paintings, in six rooms of his Warsaw house. After relocating to England in 1939 to join the Polish government in exile, he emigrated to New York in 1940 as a consul for the exiled Polish government. Zagajski’s collection in Warsaw was looted by the Nazis in his absence, so, like so many refugees, he started over in America. He Americanized his name to “Michael Zagayski” and began to rebuild his collection. It is during this period, in post-war New York, that Zagayski may have acquired the remnants of the Mariegola. Why would Zagayski, a reknowned collector of the finest Judaica, have been interested in a manuscript that had nothing Judaic about it? It could be that the colorful, gilt initials appealed to Zagayski’s aesthetic sensibilities, but without knowing the marketing tactics employed by our anonymous and unscrupulous bookdealer in offering the book to Zagayski, we can’t know for sure. We also don’t know exactly when and how the book left his ownership. Zagayski auctioned a large part of his rebuilt collection at Sotheby’s in 1964, but this manuscript was not among the offerings. It’s even possible that he never owned the manuscript at all, and that the bookplate was added by a bookdealer to provide a legitimate provenance. The only thing we DO know for certain is that the book passed through the hands of New York bookdealer Philip Duschnes (whom we have met before because of his business associations with Otto Ege) in 1955, when it was purchased in good faith by the Boston Public Library.

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Boston Public Library, Copley Square, Boston

By the time it was acquired by the Boston Public Library, no one knew it had been stolen from the Archivio di Stato, only that it might have originated at the Scuola on Valverde. And so it remained safely ensconced at the Library for more than fifty years, under the shelf mark MS f Med. 203.

Fast forward to 2012. After conducting my research and consulting with Lyle Humphrey, I knew we could prove that this was indeed one of the manuscripts that had gone missing from the Venetian Archivio di Stato in the late 1940s. I reported my findings to the Keeper of Manuscripts at the Boston Public Library, who immediately reached out to the Italian government with an offer to repatriate the manuscript. But repatriation, even when voluntary, is a complicated business, involving lawyers and treaties and multiple government agencies on both sides. After a lengthy and mandatory investigation by the United States Department of Homeland Security, an investigation to which I contributed as a consultant, the manuscript – along with several other items (including BPL MS pb Med. 147, a detached frontispiece from a different mariegola) – was returned to the Italian government in a repatriation ceremony  that took place at the Boston Public Library on April 19, 2017.

The repatriation was a formal, choreographed affair (photos below), with speeches by a representative of the Italian government, the acting District Attorney, the regional head of Homeland Security (which oversees such investigations), Boston Mayor Marty Walsh, and the Boston Public Library’s Head of Special Collections, Beth Prindle. Official Certificates of Transfer were signed by officials of both countries, hands were shaken, and photos were taken. It is a bittersweet moment for those who have cared for this manuscript during the decades it spent in Boston, and also bittersweet for me, since I spent several years studying and handling and cataloguing this beautiful and fascinating book. It’s always hard to say goodbye to an old friend, but I’m proud to have a played a small part in sending this manuscript home.

The Repatriation ceremony (hover over or click each image for captions)

BIBLIOGRAPHY

Cecchetti, B. La vita dei veneziani nel 1300 (Venice, 1885–1886. Reprint, Bologna: Arnaldo Forni, 1980), pp. 132–133, and tav. III figs. 5, 7; tav. IV figs. 10–13, 16–19, 21–24.

Cheney, E. “Remarks on the Illuminated Official Manuscripts of the Venetian Republic” in Philobiblon Society Miscellanies XI (1867–68), pp. 14-17.

Humphrey, Lyle. “The Illumination of Confraternity and Guild Statutes in Venice, ca. 1260-1500: Mariegola Production, Iconography, and Use,” Ph.D. dissertation, Institute of Fine Arts, 2007, pp. 268-274 (“The 1392 Mariegola of the Scuola della Valverde”); Appendix A, pp. 290-298 (“Reconstruction of the 1392 Mariegola of the Scuola della Valverde); Appendix B, pp. 443-454, cat. 24.1-3; and plates 24.1, 24.2, 24.3a-q, 201, and 202.

Humphrey, Lyle. “The Lost 1392 Mariegola della Scuola di Santa Maria della Misericordia o della Valverde, Rediscovered,” in F. Toniolo and G. Toscano, eds., Miniatura. Lo sguardo e la parola (Studi in onore di Giordana Mariani Canova) (Cinisello Balsamo: Silvana, 2012), 163-169.

Humphrey, Lyle. La miniatura per le scuole e le arti veneziane: Mariegole dal 1260 al 1500, Collana di studi e ricerche sulla Cultura Popolare Veneta realizzata su iniziativa della Regione del Veneto (Costabissara, 2015), cat. 23.1-3.

Molmenti, Pompeo G., La storia di Venezia nella vita privata: Dalle origini alla caduta della Repubblica. 4th ed. 3 vols. Bergamo: Ed. Istituto Italiano di Arti Grafiche, 1905–1908.

Van Akin, B., Christmas Story: John Ruskin’s Venetian letters of 1876-1877 (Wilmington, 1990), p. 237 ff.

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Manuscript Road Trip: Back to Lima

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

I’ve written about Ohio dealer/biblioclast Otto F. Ege in several blogposts (here and here in particular), but there is one chapter of his story that I haven’t written about in detail: his decades-long relationship with the Lima Public Library.Lima Public Library

The Lima Public Library is a small but bustling center for reading and communing in the center of Lima, Ohio, about halfway between Toledo and Cincinnati in the western part of the state. It’s a small town in the middle of farm country. It’s a place where you would never expect to find an important collection of medieval manuscript fragments…but you’d be wrong. What follows is a unusual and fascinating chapter in the story of medieval manuscript connoisseurship in the United States.

Screenshot (142)_LI.jpgIn 1930, Lima librarian Georgie McAfee wrote to Ege after hearing him lecture, to propose an unusual scheme: the Lima Public Library would sell manuscript leaves as an agent for Ege, retaining a portion of the proceeds to benefit their Staff Loan Fund.  The arrangement lasted for decades, continuing under the direction of Ege’s widow Louise after his death in 1951. Thousands of leaves were sold, and thousands of dollars were raised.

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Lima Librarian Mary Lathrop holds a page (now lost) of this gorgeous Flemish antiphonal  (Gwara Handlist 82) (Lima News, 12 March 1939, p. 7).

An extensive archive at the Library preserves decades of correspondence between McAfee and Ege in which she would write to request leaves of particular manuscripts to sell, and he would reply with notes about what was available. When she once wrote to insist that, because of slowing sales, the Library would voluntarily reduce their commission, Ege responded by insisting that they continue to retain one-third of the proceeds. He also wrote to promote new acquisitions: in early October, 1942, he told McAfee about “nine new leaves, the FINEST, Beauvais France, 1285 (will be sent shortly).” This was a reference to the Beauvais Missal, which his business partner, NY dealer Philip Duschnes, would purchase and dismember several weeks later.

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Over the course of this partnership between business associates who became friends, McAfee and her staff occasionally purchased leaves themselves, some to keep at home and others for the Library’s collection. As a result, the Lima Public Library currently owns more than 75 manuscript leaves, including one of Ege’s “Fifty Original Leaves” portfolios, making it one of the largest leaf collections in a U.S. public library.

Lima Beauvais Missal

The Lima Public Library’s “Fifty Original Leaves of Medieval Manuscripts” portfolio, open to no. 15, a leaf of the Beauvais Missal.

Scholars have known about the Lima Public Library’s collection for years (see, e.g.,  S. Gwara, Otto Ege’s Manuscripts (2013), p. 22 and note 54). But I’m here to tell you a previously unknown part of the story.

In November of 2016, I heard a lecture at the Beinecke Library delivered by retired Yale University chemistry professor and Lima native Michael McBride in which he reminisced about his personal connection with the Lima Public Library and its leaf-selling business. The fact that Prof. McBride and his siblings own more than a dozen Ege-sourced leaves suggested that other Limans might have some of this material hanging on walls, stored in attics, or resting in trunks. With Prof. McBride’s help, I reached out to Gary Fraser, director of the Lima Public Library, and to their public relations director, Karen Sommer, who helped me arrange a two-day “antiques road show” event at the Library. In exchange for allowing me to photograph their leaves for my own records, I would happily provide information to owners about their material.

My visit to the Lima Public Library on May 30-31 was publicized on the Library’s website and Facebook page, through flyers distributed at a local church, and via this brief spot on the local TV news (“The hunt is on for illuminated manuscripts!”). Overall, the response was fantastic. Ten attendees brought in a total of thirty previously-unknown Ege leaves, including some from well-known manuscripts (at least to those of us who study Ege and his legacy). Here are a few of them (hover over or click on each image to see its caption):

Many of the owners had connections to the Lima Public Library, such as a
great-aunt or family friend who had worked there in the 1940s. Some spoke fondly of Miss McAfee’s “Closet Shop,” an antique store she ran for many years where, among other things, she continued to sell manuscript leaves. Even if they didn’t

Miss Evelyn

97-year-old Miss Evelyn with her Book of Hours leaf (probably Gwara Handlist 151)

know very much about their leaves, they knew they were precious, and they all appreciated learning more about them. 97-year-old Miss Evelyn (shown at left) brought in three leaves, including a lovely leaf from a mid-fifteenth-century Book of Hours (probably Gwara Handlist 151) that happened to include the feminine Latin phrase “famulae tuae” in the text of the Marian prayer “Obsecro Te.” She was very moved when I told her that that meant the book had been made for a woman.

Some of the owners mentioned that they had family members with leaves who had left Lima, and I hope to be in touch with some of those ex-pats in the coming weeks.

Famulae Tuae

On the first line of Miss Evelyn’s Book of Hours leaf: “famulae tuae”

Ege’s relationship with the Lima Public Library created a pocket of manuscript aficionados in the middle of farm-country Ohio. It was a joy getting to know them.

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Manuscript Road Trip: Manuscrits de Québec

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

There are several hundred medieval and Renaissance manuscripts to be found in the Canadian province of Quebec, although very few have a digital presence. The small list published in the de Ricci Census was only slightly increased by the Supplement. Both were fleshed out more fully by Bruno Roy in 1999 (“Spicilegium Montis Regii, Description de quelques manuscrits conservés à Montréal,” Memini. Travaux et documents, 3, 1999, p. 171-194) and by a special issue of Memini published in 2011 and available online here. The latter is a very useful work – with brief notices, studies of individual manuscripts, and extensive bibliography – that adds significantly to the information compiled by myself and Melissa Conway in our Directory of Collections in the United States and Canada with Pre-1600 Manuscript Holdings (pp. 419-420); unfortunately, we didn’t know about Memini until our work had already been published. The next online update to our Directory will include all of these collections as well as the relocation information (such as the disposition of the manuscript leaves recorded by de Ricci as belonging to F. Cleveland Morgan) traced by Brenda Dunn-Lardeau and Janick Auberger in their introduction to the Memini volume. In sum, several hundred pre-1600 European manuscripts can be found today in at least ten collections in Quebec, most of which are in Montreal:

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Québec City: Lots to see, but no manuscripts

 

Bibliothèque et Archives nationale du Québec (Montreal)

Bibliothèque centrale de la Ville de Montréal (Montreal)

Concordia University (Montreal)

Bibliothèque de la Compagnie de Jésus, Collège Jean-de-Brébeuf (Montreal)

McGill University (Montreal)

Montreal Museum of Fine Arts (Montreal)

Musée McCord (Montreal)

Université de Montréal (Montreal)

Université du Québec à Montréal, Bibliothèque des Arts (Montreal)

Musée de la civilisation, Musée de l’Amérique Francophone (Québec)

Because this blog is primarily focused on digital access to medieval and Renaissance manuscripts, we’ll spend today in Montreal, where there are several collections with online handlists, images, or records.

Canada Map

Screen Shot 2016-07-11 at 12.45.14 PM.pngThe University of Montreal provides a detailed online handlist of medieval material, but without images (except for this image, which is on the cover of the PDF). Most of the objects listed are binding fragments, including this late-eleventh-century Italian legendary, of which the collection holds eight leaves. Of particular interest is that the handlist records details about the particular early printed books from which the fragments were removed. While European fragment collections sometimes retain this information, since the fragments were often removed from the early printed books by the owning institution, most North American collections acquired their fragments long after they had been pulled out of bindings and have little to no knowledge of the source bindings. For more on the collection, see Joyce Boro, “Notes on Libraries and Collections: Rare Books and Special Collections,University of Montreal/Livres rares et collections spéciales de Université de Montréal,” Journal of the Early Book Society for the Study of manuscripts and printing history (Vol. 10, 2007), pp. 287 ff.
On the other side of Mont-Royal, the Montreal Museum of Fine Arts owns one codex and around forty leaves, but the online search engine is difficult to use when searching for manuscripts. After some experimentation, a search for “vélin” had the most success, bringing up records for three leaves and a Book of Hours (along with a few later objects on vellum). For more information on these and other early manuscripts, see E. Leesti, Les manuscrits liturgiques du Moyen âge. Liturgical Manuscripts of the Middle Ages (Montréal, Musée des Beaux-Arts de Montréal, 1987).
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Montreal MFA acq. 1955.3770 (St. Sebaldus, by Simon Bening)

MMFA acq. 1955.3770 (at left) is a miniature of St. Sebaldus enthroned holding the Nuremberg cathedral on his lap, with a lively bas-de page jousting scene. The miniature – from an as-yet-unidentified Book of Hours – has been convincingly attributed by Elizabeth Leesti, Sandra Hindman, and others to Simon Bening.

 

 

 

 

 

 

The lovely late-thirteenth-century French miniature of the Adoration of the Magi (acq. 1962.1355) shown below may have been part of a full cycle of miniatures at the beginning of a Psalter. It was given to the Museum by F. Cleveland Morgan, although it isn’t included in his Census listing (II:2233).

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The Annunciation miniature below (acq. 1962.1357) comes from a ca. 1430 Book of Hours. It was also given to the Museum by F. Cleveland Morgan but, like the Adoration miniature, was not recorded in the Morgan Census.1962_1357_IN2

 

The final online record is for a late-fifteenth-century Book of Hours (acq. 1943.1372). The manuscript was donated to the Museum by Vera Pratt (called “Mrs. George D. Pratt” in the record), whose New York collection is recorded in the Census (II:1809-10). This codex may be her No. 2, although the Museum record doesn’t include enough codicological descriptors to allow for a firm identification (it is worth noting that the Pratt manuscript is identified in the Schoenberg Database as having been offered – but not sold –  at Sotheby’s London, 22 June 1982, lot 79, but the identification of the lot as Pratt no. 2 may be incorrect…if anyone has the catalogue and could take a look at the lot for me, I would be very grateful!).

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This ca. 1470 Book of Hours belonging to Concordia University in Montreal is described in detail in the Memini volume, which includes several images in addition to that at right, an image of Death attacking a woman in a cemetery illustrating the Office of the Dead.

Several manuscripts from the Université du Québec à Montréal’s Bibliothèque des Arts are discussed in the Memini volume as well, with multiple images. See also the exhibition catalogue, Le Livre médiéval et humaniste dans les collections de lUQAM. Actes de la Journée détudes sur les livres anciens suivis du Catalogue de lexposition « Lhumanisme et les imprimeurs français au XVIes. », dir. B. Dunn-Lardeau et J. Biron (Université du Québec à Montréal, Figura. Le Centre de recherche sur le texte et l’imaginaire, 2006). Here are the manuscripts discussed in Memini:

MS 1: 13th-c. Paris pocket Bible:

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UQAM MS 1, f. 1

 

MS 2:  a truly international late fourteenth-century Book of Hours…made in the Netherlands for an English owner with later Italian additions but currently a resident of Canada:

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UQAM MS 2, f. 22v

MS 3: Book of Hours of Pellegrin de Remicourt (ca. 1470-1475), in which he and his wife Madeleine later recorded the birthdates, names, and godparents of their children. Shown here, the births of their first three children in 1478, 1480, and 1482:

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UQAM MS 3, f. 1

Livres rares Général YPA 224: Cicero, De finibus bonorum et malorum (Italy, ca. 1460):

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UQAM YPA 224, f. 1

For next time, take a boat up the St. Lawrence and across Lake Ontario to meet me in Toronto…

St.-Lawrence-River

 

 

 

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