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Detailed record for Additional 35311

Title Breviary of John the Fearless, Use of Rome ('Breviary of Jean Sans Peur')
Origin France, Central (Paris)
Date between 1413 and 1419
Language Latin and French
Script Gothic
Artists Master of the Breviary of John the Fearless (ff. 8, 333v
Decoration 2 large miniatures with full borders of rinceaux, blossoms, and acanthus scrolls with birds (ff. 8, 333v). 45 framed miniatures with decorated initials and full or partial rinceaux borders in colours with gold. 10 historiated initials in blue or rose on gold grounds. with partial borders in colours with gold. Framed initials in red, rose and blue on gold grounds, some with partial rinceaux borders. Small initials in alternating blue with pen-flourishing in red or in gold with pen-flourishing in black.
Dimensions in mm 245 x 170 (145 x 100)
Official foliation ff. 438 (+ 1 unfoliated paper flyleaf at the beginning and 1 at the end)
Form Parchment codex
Binding Post-1600. Gilt and painted edges.
Provenance John the Fearless, duke of Burgundy (1404-1419) and Margaret of Bavaria: their arms in the companion volume, Harley MS 2897, f. 188v.
Given by D. Verplanken, canon of St Jacques at Antwerp, to the monastery of Lieu St Bernard in 1718 (inscription, f. 7v); note that Harley 2897 was acquired by [Robert Harley] in 1715.
The two manuscripts appear to have come on the market at about the same time, Additional 35311 changing hands in 1718 and Harley 2897 in 1715, suggesting that they remained together, in the hands of an owner in the north of France or the Netherlands, until the early eighteenth century.
Ferdinand James Anselm de Rothschild (b.1839; d. 1898), baron de Rothschild, art collector and politician; one of fifteen manuscripts bequeathed by him in 1889.
Notes The Breviary of John the Fearless, now Add. 35311 and Harley 2897, was originally conceived as a single volume, but an early change of plan saw the manuscript divided into two. The second volume, Harley 2897, was supplied with a calendar and Psalter of its own.
The Breviary was not simply split down the middle: both volumes retain sections of each element of the Breviary. For example, the Temporale in Additional MS 35311 runs from Christmas to Lent (ff.158v-340), and in Harley 2897 from Easter to Advent (ff.156-258).
This was done so that the first volume (Add. 35311) could be used from Christmas to Lent (saints in the calendar and Sanctorale span from January-mid April), and the second (Harl. 2897) from Easter to Advent (saints in the calendar and Sanctorale span from mid-April-December). Large miniatures seem to be missing from the Office of the Dead, Hours of the Virgin, and from the mid-point of the Temporale.
Line fillers and manufacturing aids (catchwords; guide letters for rubricator; artists' instructions).
Select bibliography [J. A. Herbert], Illuminated Manuscripts and Bindings of Manuscripts Exhibited in The Grenville Library, Guide to the Exhibited Manuscripts, 3 (Oxford: British Museum, 1923).

Millard Meiss, French Painting in the Time of Jean de Berry: The Late XIV Century and the Patronage of the Duke, 2 vols, National Gallery of Art Kress Foundation Studies in the History of European Art, (London: Thames and Hudson, 1967), II, pp. 321, 355, 357.

Millard Meiss, French Painting in the Time of Jean de Berry: The Limbourgs and their Contemporaries (London, 1974), I, pp.325-26.

James Douglas Farquhar, Creation and Imitation: The work of a fifteenth-century manuscript illuminator, Nova University Studies in the Humanities, 1 (Fort Lauderdale: Nova University Press, 1976), pp. 45-46, pls 24-25.

Sandra Hindman and James Douglas Farquhar, Pen to Press: Illustrated Manuscripts and Printed Books in the First Century of Printing (College Park: University of Maryland, 1977), pl. 20.

Lilian M. C. Randall and others, Medieval and Renaissance Manuscripts in the Walters Art Gallery, 3 vols (Baltimore: The Johns Hopkins University Press, 1989-1997), I: France, 875-1420, no. 100.

Maximilian P. J. Marten, ‘The Master of Guillebert de Mets: An Illuminator between Paris and Ghent?’, in ’Als Ich Can’: Liber Amicorum in Memory of Professor Dr. Maurits Smeyers, ed. by Bert Cardon and others, 2 vols (Paris: Uitgeverij Peeters, 2002), II, pp. 921-39 (p. 931).

Paris 1400: Les arts sous Charles VI (Paris: Réunion des musées nationaux, 2004), no. 166 [exhibition catalogue].

Art from the Court of Burgundy (1364-1419) (Paris: Réunion des Musées Nationaux, 2004), p. 122 [exhibition catalogue].

The Limbourge Brothers: Nijmegen Masters at the French Court 1400-1416, ed. by Rob Duckers and Pieter Roelofs (no pl.: Ludion, 2005), nos 114-15 [exhibition catalogue].

Gregory T. Clark, 'The Master of Guillebert de Mets, Philip the Good, and the Breviary of John the Fearless', Quarendo, 38 (2008), 279-98.

Gregory T. Clark, Art in a Time of War (Toronto: Pontifical Institute of Medieval Studies, 2016), pp. 32, fig. 30.

A l'Escu de France: Guillebert de Mets et la peinture de livres a Gand a l'epoque de Jan van Eyck (1410-1450), ed. by Dominique Vanwijnsberghe and Erik Verroken, 2 vols (Brussels: IRPA, 2017), I, pp. 26, n. 39, 214, 340, nn. 103, 108, figs 8.71, 74,76,78,80,82, II, p. 711.


Images
* * *
 
Beatus page

f. 8
Beatus page
Psalm 26: David kneeling

f. 26v
Psalm 26: David kneeling
David in water

f. 53v
David in water
 
Jerome

f. 193
Jerome
The Adoration of the Magi

f. 199
The Adoration of the Magi
The Flagellation and the Crucifixion

f. 333v
The Flagellation and the Crucifixion
 
Ship of sailors

f. 348v
Ship of sailors

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