This is the first history of the book in Britain from the Norman Conquest until the early fifteenth century. The twenty-six expert contributors to this volume discuss the manuscript book from a variety of angles: as physical object (manufacture, format, writing and decoration); its purpose and readership (books for monasteries, for the Church's liturgy, for elementary and advanced instruction, for courtly entertainment); and as the vehicle for particular types of text (history, sermons, medical treatises, law and administration, music). In all of this, the broader, changing social and cultural context is kept in mind, and so are the various connections with continental Europe

The Cambridge History of the Book in Britain

This comprehensive and richly illustrated catalogue focuses on the finest illustrated manuscripts produced in Europe during the great epoch in Flemish illumination. During this aesthetically fertile period - beginning in 1467 with the reign of the Burgundian duke Charles the Bold and ending in 1561 with the death of the artist Simon Bening - the art of book painting was raised to a new level of sophistication. Sharing inspiration with the celebrated panel painters of the time, illuminators achieved astonishing innovations in the handling of colour, light, texture, and space, creating a naturalistic style that would dominate tastes throughout Europe for nearly a century. Focusing on the notable artists of the period - Simon Marmion, the Vienna Master of Mary of Burgundy, Gerard David, Gerard Horenbout, Bening, and others - the catalogue examines both devotional and secular manuscript illumination within a broad context: the place of illuminators within the visual arts, including artistic exchange between book painters and panel painters; the role of court patronage and the emergence of personal libraries; and the international appeal of the new Flemish illumination style.

Illuminating the Renaissance: the triumph of Flemish manuscript painting in Europe

The Munich "Golden Legend" Master, an Disciple of the Bedford Master: Collaborations and Independence of a Parisian Illuminator between 1420 and 1450.
Illuminator active in Paris, and most probably in Rouen, in the 1420s until the decade of 1450-1460, the Munich "Golden Legend" Master is, with the Dunois Master, the best documented satellite of the Bedford Master. Among a corpus of 48 codices, of which 41 are books of hours, brought together around him, 25 are collaborative manuscripts.
After a reminder of the history of the corpus, this study tackles the different types of collaborations between the Munich "Golden Legend" Master and his contemporaries. The first criterion taken into account is the quantitative part he took in the decoration of the manuscripts, whatever the notoriety of the other painter or painters with whom he collaborated. The 227 miniatures of the artist's eponymous manuscript, Munich, Bayerische Staatsbibliothek, Cod. Gall. 3, pose the question of the repartition of hands within a given miniature, while the several recurring iconographical elements provide clues for attributing or not a miniature to the painter, or at least to the workshop he directed.
Thus the idea of workshop, understood as unity of production endowed with an headcount of several people, and situated in a shop, can establish the link between the terms -which usage is always delicate- of hand and of style.

Le Maître de la "Légende dorée" de Munich, unémule du Maître de Bedford: collaborations et indépendance d'un enlumineur parisien entre 1420 et 1450

Two manuscripts at Westminster Abbey exemplify the extremes of format possible for books at the end of the fourteenth century. This chapter provides cite examples of manuscripts produced in Scotland and Wales as well as in England. In the Ancient world the roll was the principal format for a literary text. The roll format encouraged the creation of poems to be read as a connected sequence rather than as autonomous verses that could be read in any order. The ease with which rolls could be carried helps to account for the monastic custom of using them as the standard format for notifying other religious houses of the death of one's own head of house. Despite examples of the continued use of rolls and tablets, the codex was the usual form of book throughout the Middle Ages. A Berkshire lawyer assembled booklets containing an Anglo-Norman romance and a Bestiary along with a collection of legal works.

The format of books – books, booklets and rolls

Layout and presentation of the text

Preface Bibliography Abbreviation Additions and Corrections to Incipits 2379-5372 Incipits 5376-6875 Index Manuscripts Index of Individual Owners Index of Authors and Translators Index of Saints, Blessed and Biblical Personages Index of Subjects and Titles

French devotional texts of the Middle Ages : a bibliographic manuscript guide

Prieres en ancien francais: Additions et corrections aux articles 1-2374 du Repertoire de Sonet: Supplement

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French devotional texts of the Middle Ages : a bibliographic manuscript guide

Prieres en ancien francais: Additions et corrections aux articles 1-2374 du Repertoire de Sonet: Supplement