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Detailed record for Egerton 2019
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| Title |
Book of Hours, Use of Paris |
| Origin |
France, Central (Paris) |
| Date |
c. 1440 - c. 1450 |
| Language |
Latin and some French |
| Script |
Gothic |
| Artists |
Attributed to the Dunois Master (ff. 104, 135-142, 222, 229), the Master of the Munich Golden Legend (ff. 1-56, 75-98, 126, 156v-177v, 196-224, 232), and the Master of the Salisbury Breviary St Stephen (ex info. Catherine Reynolds) (ff. 68, 223, 226v, 231, 234v). |
| Decoration |
24 calendar roundels, in colours and gold, in the calendar (ff. 1-12v). 4 full-page miniatures accompanied by historiated initials and full foliate borders including roundels with related scenes, in colours and gold, for major text divisions (ff. 30, 104, 135, 142). 36 full-page miniatures, accompanied by large decorated initials and full foliate borders, in colours and gold (ff. 13, 15v, 17, 19, 20v, 25, 56, 68, 75, 80, 85, 90, 98, 126, 196, 203, 207, 208, 209, 210, 211, 213, 215, 216, 217, 218v, 219v, 220v, 222, 223, 224, 226v, 229, 231, 232, 234v). All text pages with three-sided foliate borders, in colours and gold; at the beginning of the 9 lessons in the Hours of the Dead full foliate borders each including three little miniatures depicting scenes from the book of Job in the outer margins, in colours and gold (ff. 156v, 157v, 158v, 165v, 166v, 167v, 175, 176, 177v). Smaller decorated initials, in colours and gold. Small initials and line-fillers in gold on red and blue grounds. Rubrics in blue. |
| Dimensions in mm |
195 x 140 (100 x 65) |
| Official foliation |
ff. 235 (+ 1 paper, 18 parchment, and 2 original flyleaves at the beginning, and 2 original, 20 parchment, and 1 paper flyleaves at the end) |
| Form |
Parchment codex |
| Binding |
Post-1600. Red velvet with silver metal-work and clasps containing on the inside the date 1887 and the initials T. J. C.; gilt edges. |
| Provenance |
Probably made for a woman: the suffrage to Christopher uses feminine forms (f. 213v); the border on f. 135 includes a woman kneeling before a Franciscan confessor, although the 'Obsecro te' uses masculine forms (f. 23),
Unidentified owner, 1787: engraved 'T. J. C.', and 'Ao 1787' (inside of clasps).
Bought by the British Museum from Messrs. Glasier, 21 June 1866 (note on 1st original flyleaf), using the Bridgewater fund (£12,000 bequeathed in 1829 by Francis Henry Egerton, 8th Earl of Bridgewater (b. 1756, d. 1829). |
| Notes |
Full digital coverage available for this manuscript: see Digitised Manuscripts at http://www.bl.uk/manuscripts.
The miniature on f. 17 includes a shield with the arms of France. |
| Select bibliography |
Catalogue of Additions to the Manuscripts in the British Museum in the Years 1853-1875 (London: British Museum, 1877), no. Eg. 2019.
Walter de Gray Birch and Henry Jenner, Early Drawings and Illuminations: An Introduction to the Study of Illustrated Manuscripts (London: Bagster and Sons, 1879), p. 17.
A Guide to the Exhibition of Some Part of the Egerton Collection of Manuscripts in the British Museum (London: British Museum, 1929), no. 21.
Janet Backhouse, Books of Hours (London: British Library, 1985), fig. 43.
Patricia Basing, Trades and Crafts in Medieval Manuscripts (London: British Library, 1990), figs 8, 56-58.
Judith Pearce, 'Liturgy and Image: the Advent Miniature in the Salisbury Breviary', in Medieval Texts and Images: Studies of Manuscripts from the Middle Ages, ed. by Margaret M. Manion and Bernard J. Muir (Chur: Harwood Academic Publishers, 1991), 25-42 (p. 32 no. 25).
Peter Rolfe Monks, 'The Rolin Master's Hand in London BL MS Additional 25695', in Medieval Texts and Images: Studies of Manuscripts from the Middle Ages, ed. by Margaret M. Manion and Bernard J. Muir (Chur: Harwood Academic Publishers, 1991), 57-70 (p. 61).
François Avril and Nicole Reynaud, Les manuscrits à peintures en France 1440-1520 (Paris: Flammarion, 1993), p. 36.
Christopher de Hamel, The British Library Guide to Manuscript Illumination: History and Techniques (London: British Library, 2001), pls 62-63.
Justin Clegg, The Medieval Church in Manuscripts (London: British Library, 2003), p. 17, fig. 13.
Janet Backhouse, Illumination from Books of Hours (London: British Library, 2003), fig. 82.
Pamela Porter, Courtly Love in Medieval Manuscripts (London: British Library, 2003), front cover, p. 64.
The Splendor of the Word: Medieval and Renaissance Illuminated Manuscripts at the New York Public Library, ed. by Jonathan J. G. Alexander, James H. Marrow, and Lucy Freeman Sandler (London: Harvey Miller, 2005), p. 250 n. 7 [exhibition catalogue].
Greg Buzwell, Saints in Medieval Manuscripts (London: British Library, 2005), p. 10, p. 30.
Catherine Reynolds, ‘The Workshop of the Master of the Duke of Bedford: Definitions and Identities’, ed. by G. Croenen and P. Ainsworth, Patrons, Authors and Workshops: Books and Book Production in Paris around 1400 (Leuven: Peeters, 2006), pp. 437-72 (p. 458, fig. 72).
Catherine Reynolds, 'Netherlandish Patterns in Fifteenth-Century Paris: Campin, van der Weyden and the Bedford Workshop', in Von Kunst und Temperament, Festschrift zu Ehren Eberhard Königs 60. Geburtstag, ed. by Mara Hofmann and Caroline Zöhl (Turnhout: Brepols, 2007), pp. 217-26 (p. 220).
Joe Flatman, Ships and Shipping in Medieval Manuscripts (London: British Library, 2009), pl. 39.
Virginia Reinburg, French Books of Hours: Making an Archive of Prayer, c. 1400-1600 (Cambridge: Cambridge University Press, 2012), p. 246.
Gregory T. Clark, Art in a Time of War (Toronto: Pontifical Institute of Medieval Studies, 2016), p. 273.
Laurent Ungeheuer, ‘Le Maître de la Légende dorée de Munich, un émule du Maître de Bedford: Collaborations et indépendance d’un enlumineur parisien entre 1420 et 1450’, Revue de L’Art, 195 (2017), 23-32 (p. 25). |
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f. 13
John |
f. 13
John |
f. 17
Matthew |
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f. 30
Annunciation |
f. 30
Hours of the Virgin |
f. 104
David |
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f. 104
David |
f. 126
Crucifixion |
f. 126
Crucifixion |
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f. 135
Pentecost |
f. 135
Detail: miniature |
f. 135
Pentecost |
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ff. 141v-142
Office of the Dead |
f. 141v
Text page |
f. 156v
Detail |
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f. 156v
Detail |
f. 156v
Detail |
f. 156v
Three scenes |
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f. 157v
Detail |
f. 157v
Detail |
f. 157v
Detail |
| |
f. 157v
Three scenes |
f. 158
Text page |
f. 158v
Detail |
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f. 158v
Detail |
f. 158v
Detail |
f. 158v
Three scenes |
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f. 165v
Detail |
f. 165v
Detail |
f. 165v
Detail |
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f. 165v
Three scenes |
f. 166
Text page |
f. 166v
Detail |
| |
f. 166v
Detail |
f. 166v
Detail |
f. 167v
Detail |
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f. 167v
Detail |
f. 167v
Detail |
f. 175
Detail |
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f. 175
Detail |
f. 175
Detail |
f. 176
Detail |
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f. 176
Detail |
f. 176
Detail |
f. 177v
Detail |
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f. 177v
Detail |
f. 177v
Detail |
f. 203
Trinity |
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f. 216
Margaret of Antioch |
f. 217
Apollonia |
f. 218
Text page |
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f. 219
Text page |
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