Entries Tagged as 'illumination'

Darkness and Illumination

CALL FOR PAPERS: Darkness and Illumination: The Pursuit of Knowledge in the Medieval and Early Modern World, Ninth Annual Postgraduate Conference, Medieval and Early Modern Student Association, Durham University, 15 – 17 July 2015.

The pursuit of knowledge has had an essential and constant influence upon the shaping of society. The means of its acquisition, interpretation, and dissemi- nation informs the way in which people interact with the world around them, forming religious and cultural identities, scientific knowledge and gender roles among other things. This was as much true in the past as it is today.

This year’s Medieval and Early Modern Student Association conference will focus upon aspects of knowledge, learning, and control over information in the medieval and early modern periods and in doing so broaden perspectives not just about how people perceived their world, but also how they interpreted the past and the idea of progress.

We welcome abstract from postgraduates and early career researchers on all aspects of this topic in medieval and early modern archaeology, history, literature, theology, art, music, and culture. Presentation topics may include, but are not limited to:
* The ‘myths’ of the Dark Ages and the Renaissance
* The limits of archaeological, literary, and historical evidence
* The creation of the ‘primitive’ past
* Ideas of spiritual progression and improvement
* The growth of networks of learning
* Historical characterisations of race
* Scientific knowledge and discovery
* The expansion of the known and unknown world
* Gendered control of knowledge
* Urban and rural centres of learning
* Heretics, mystics, and conflicts over belief
* Publication, translation, and the availability of texts
* Artistic, musical, and cultural innovation.

Postgraduate and postdoctoral students are welcome to apply for presentations. In addition to the panels, the conference will offer two keynote addresses (TBA). Tours of Durham Cathedral and Castle as well as a visit to Durham Museum and Heritage Centre are scheduled for any interested delegates.

Please send abstracts of 200-300 words to memsaconference2015@gmail.com for papers no longer than 20 minutes.

Deadline: 17 April 2015.

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Owning Books in the Renaissance

CALL FOR PAPERS: Owning Books in the Renaissance: Illumination, Handwriting, and Layout, to be published in Kunsttexte.de, the E-Journal für Kunst- und Bildgeschichte.

Collecting books had many facets in the Renaissance: paintings, sculpture, gems and antiques were just a few ways of expressing one’s dedication. Books were collected by different social groups, by the humanists for their private studies, by personalities from society, politics or wealthy merchants, to gain some education or to show off their – sometimes pretended – erudition. But private collecting could also be part of a dedication to rare texts, foreign languages or precious manuscript illumination.

Collecting books, of course, could mean both, manuscripts as well as printed works, but often the motivation for each was different. Manuscripts are unique by nature. In their simpler version they were either copied from humanists for humanists or in their more precious version they were produced by a workshop which produced illuminated manuscripts for a knowledgeable clientele. Also early printed books could be richly illuminated or in less expensive volumes they had at least an illuminated initial. Comparing manuscripts and early printed books, they at first had a similar layout, but then they developed characteristic differences.

This call for papers is looking for contributions dedicated to the relationship of text, image and layout or with single aspects of this. Also contributions on the presentation of different categories of literature are welcome, like study texts, poetry or commentaries.

Contributions should be ten to twenty pages long and may obviously contain images and graphics.

Deadline for abstracts is: 30 November 2013 (and for final papers 1 May 2014).

Contacts: Dr. Angela Dreßen and Dr. Susanne Gramatzki.

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The Caporali Missal (exhibition)

Messale di Caporali

EXHIBITION: The Caporali Missal: A Masterpiece of Renaissance Illumination, Cleveland Museum of Art, Kelvin and Eleanor Smith Exhibition Gallery, 17 February 2013– 2 June 2013.

This exhibition revolves around a sumptuous and important Renaissance manuscript—an illuminated missal, the service book for the priest at the altar—made for the Franciscan community in the hillside town of Montone, near Perugia, in 1469. Acquired by the museum in 2006, the missal showcases the work of two artist brothers, Bartolommeo and Giapeco Caporali, who were active in Perugia during the second half of the 15th century and responsible for the missal’s decoration.

This small focus exhibition celebrates this important acquisition and presents it to the museum’s audience for the first time. By bringing together additional panel paintings and manuscripts by these artists, the exhibition documents their careers and explores their relationship with the Franciscans of Montone. Liturgical objects such as vestments, a chalice, and a processional cross will place the manuscript in liturgical, cultural, and art historical contexts. Many of these works, lent by museums and churches in Umbria, are displayed in the U.S. for the first time.

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Sull’uso del testo e del codice orientale

CONFERENCE: Codex and Text: The Use and Relevance of Codicology, Paleography and Illumination for Textual Studies, Napoli, Università degli Studi di Napoli “L’Orientale”, 6-7 dicmbre 2012.

6 December 2012
Palazzo DuMesnil
9 :00 Registration and Greetings of the Rector.
* Maria SZUPPE, Michele BERNARDINI and Roberto TOTTOLI, Introductory remarks and Presentation of the Oriental Manuscripts of the Dipartimento Asia, Africa, Mediterraneo of the Università di Napoli “L’Orientale”

PANEL 1. Chair: Angelo-Michele PIEMONTESE (Sapienza, Università di Roma)
* Francis RICHARD (BULAC, Paris / UMR “Mondes iranien et indien”), Le Catalogue des Suppléments Persans de la Bibliothèque nationale de France
* Günsel RENDA (Koç University, Istanbul), Cataloguing illustrated manuscripts at the Ethnographical Museum of Ankara
* Farid ALAKBARLI (Institute of Manuscripts, Baku), Islamic medical manuscripts in the Library of the Academy of Sciences of Baku

PANEL 2. Chair: Riccardo CONTINI (Università di Napoli “L’Orientale”)
* Thibaut D’HUBERT (University of Chicago/associate UMR “Mondes iranien et indien”), Notes on the colophons of Bengali texts copied in the Arabic script and of some Persian manuscripts from Bengal (17th-19th c.)
* Sara FANI (PhD Candidate, Università di Napoli “L’Orientale”), Bindings and watermarks in Arabic, Persian and Syriac manuscripts in the National Library of Florence and in the Medicea Laurenziana Library
* Mauro NOBILI (University of Cape Town), The De Gironcourt Collection in the Institut de France. Script styles in West African manuscripts

PANEL 3. Chair: Stoyanka KENDEROVA (“Cyril-and-Methody” National Library of Sofia)
* Delio Vania PROVERBIO (Vatican Library), Turkish manuscripts in the Vatican Library: A brief survey of the (late) twentieth-century acquisitions.
* Angelo Michele Piemontese, (Sapienza, Università di Roma), The Persian Manuscripts at the Vatican
* Luca BERARDI (Università di Napoli, “L’Orientale”), Ottoman manuscripts in Italian libraries
* Maria SZUPPE (CNRS, Paris / UMR “Mondes iranien et indien”), Ziyodov Manuscripts from the Regional Museum of Ferghana (Uzbekistan

PANEL 4. Chair: Roberta GIUNTA (Università di Napoli “L’Orientale”)
* Nourane BEN AZZOUNA (Agence France Museums / post-doc. “Mondes iranien et indien”), Nuskha-shinasi et catalogage de manuscrits en Iran (20e-21e siècles)
* Anne REGOURD (Centre for Studies in Asian Cultures and Social Anthropology, Austrian Academy of Sciences, Vienna), Le catalogage des papiers filigranés des manuscrits de Zabid et ses apports : le Yémen, une place privilégiée pour l’étude des papiers dits “locaux”
* Paolo SARTORI (Institut für Iranistik, Vienna), The Archive of the Khans of Khiva: an Islamic culture of documentation?
* François DEROCHE (École Pratique des Hautes Études, Paris), Typologie paléographique et catalogage

7 December 2012
Palazzo DuMesnil
PANEL 5. Chair: Agostino Cilardo (Università di Napoli “L’Orientale”)
* Dagmar E. RIEDEL (Columbia University), The Downsides of Popularity: the Methodological challenges posed by the manuscript tradition of al-shifa’ by ‘Iya? b. Musa
* Roberto TOTTOLI (Università di Napoli “L’Orientale”), Textual criticism and bibliography in Muslim Arabic texts: the case of a variant in a passage in the manuscript and printed versions of the Daqa’iq al-akhbar by ‘Abd al-Ra?im al-Qa?i
Carmela BAFFIONI (Università di Napoli “L’Orientale”), The Ms. Ambrosiano arabo & 105 sup and its relationship with Berlin syr. 88

PANEL 6. Chair: Claudio LO JACONO (Istituto per l’Oriente C. A. Nallino, Rome)
* Annie VERNAY-NOURI (Bibliothèque nationale de France), Gloses décoratives dans la Turquie ottomane du XVIe siècle
* Osamu OTSUKA (PhD Candidate, University of Tokyo), The genealogical tree of ?amd-Allah Mustawfi: how to write general history in a few folios?
* Kristina RICHARDSON (The City University of New York), Reconstructing the autograph corpus of Ibn Tulun (d. 1546)
* Nuria MARTINEZ DE CASTILLA MUÑOZ (Universidad Complutense, Madrid), La codicologie au service de l’ecdotique: le cas des manuscrits morisques

PANEL 7. Chair: Maria Vittoria FONTANA (Sapienza, Università di Roma)
* Serpil BAGCI (Hacettepe University, Ankara), Where do we place the pictures? The consistency of Mahall-i Tasvir
* Noha ABOU-KHATWA (PhD candidate, University of Toronto), Layout in the service of textual studies: a Mamluk Qur’an at the Royal Ontario Museum
* Tulun DEGERLENDIRICI (Hacettepe University, Ankara), A History from the Edge: Flyleaf Notes on the Turkish Hamzanâma Manuscripts and their Contribution to the History of Reading

PANEL 8. Chair: Valentina SAGARIA ROSSI (Accademia dei Lincei, Roma)
* Ayse ALDEMIR-KILERCIK (Sabanci University, Sakip Sabanci Museum, Istanbul), Vassale: A unique restoration technique of the past that led to the loss of codicological data
* Anna Maria DI TOLLA (Università di Napoli “L’Orientale”), An Arabic-Berber manuscript on customary law from Tafilalt, Morocco
*Florian SCHWARZ (Institut für Iranistik, Vienna), The author as publisher. A codicological view on the oeuvre of the Kurdish theologian Ibrahim al-Kurani (1616-1690)
17:30 Discussion
18:00 Final remarks.

Quomodo decoretur pictura librorum

ARTICLE: Stefanos Kroustallis, ‘Quomodo decoretur pictura librorum’: Materials and Techniques of Medieval Illumination, in Anuario de Estudios Medievales, 41, 2011, n. 2, pp. 775-802.


The illumination of manuscripts was one of the most important sumptuary arts from the VIth to the XIIIth centuries, due to the symbolic and material value of the illuminated codex. As one of the tempera painting techniques, illumination followed the same guidelines regarding the preparation and use of pigments and colorants, taking into account the peculiarities of a flexible support such as parchment. The paper will study the materials and techniques of medieval illumination, using as primary sources contemporary treatises on art technology. These technical data will be associated with documentary information regarding the concept and work of the painter-illuminator in order to highlight the importance of one of the main ars mecanicae in the Middle Ages.

Imagining the Past in France (Catalogue)

CATALOGUE: Imagining the Past in France, 1250–1500, catalogue of the exhibition, The J. Paul Getty Museum, 16 November 2010 – 6 February 2011, edited by ELIZABETH MORRISON and ANNE D. HEDEMAN, Los Angeles 2010 (The J. Paul Getty Museum), $49.95 (paperback) or $80.00 (hardback).

This publication presents approximately 55 manuscripts from over 25 libraries and museums across the United States and Europe, supplemented by medieval objects ranging from tapestries to ivory boxes. Together they show how historical narratives came to play a decisive role at the French court and in the process inspired some of the most original and splendid artworks of the time. It is the first major publication to focus on exploring the ways in which text and illumination worked together to help show medieval readers the role and purpose of history.


Foreword by David Bomford (pp. viii-ix)
Lenders to the Exhibition (p. x)
Preface and Acknowledgments (pp. xi-xv)
Notes to the Reader (pp. xvi-xvii)
Introduction (pp. 1-7)

* Elizabeth Morrison, From Sacred to Secular: The Origins of History Illumination in France (pp. 9-25)
* Keith Busby, Vernacular Literature and the Writing of History in Medieval Francophonia (pp. 27-41)
* Gabrielle M. Spiegel, The Textualization of the Past in Thirteenth-Century French Historical Writing (pp. 43-51)
* Joyce Coleman, Reading the Evidence in Text and Image: How History Was Read in Late Medieval France (pp. 53-67)
* Anne D. Hedeman, Presenting the Past: Visual Translation in Thirteenth-to Fifteenth-Century France (pp. 69-85)

Part One: Dawning of the Vernacular, 1250-1315 (pp. 89-129)
Part Two: Collecting the Past, 1315-1400 (pp. 131-189)
Part Three: Enriching History, 1400-1500 (pp. 191-257)
Part Four: Beyond French Manuscripts (pp. 259-317)

Bibliographies for the Catalogue Entries (pp. 319-323)
Textual Editions (pp. 324-326)
References (pp. 327-352)
Index of Names and Texts (pp. 353-359)
Index of Works of Art (pp. 360-363)
Illustration Credits (p. 364)
About the Authors (pp. 365-366).

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The Gothic Grandeur at the Getty

EXHIBITION: Gothic Grandeur: Manuscript Illumination, 1200–1350, The Getty Center (1200 Getty Center Drive, Los Angeles, CA), 13 December 2011 – 26 February 2012 and 28 February – 13 May 2012.

The Gothic period, stretching from about 1200 to 1350 in Europe, saw the construction of soaring cathedrals and the first universities. Cities teemed with students, tradesmen, aristocrats, and churchmen, who all clamored for illuminated manuscripts. This exhibition showcases a range of books, from lavish prayer volumes and Bibles, to illustrated scientific texts and romances.

The increase of trade and the growth of cities throughout Europe during the Gothic period meant that both patrons and artists traveled more frequently, bringing with them artwork and styles that encouraged artistic discourse across regions. In the north, the style of manuscript illumination that emerged around 1200 was distinguished by naturalism tempered, by the end of the period, with courtly refinement. The art of ancient Greece and Rome as well as that of the Byzantine Empire influenced developments in southern Europe, resulting in the use of volumetric figures and stylized forms.

During the Gothic era, artists began to experiment with the design and format of the page in a variety of ways to increase its overall decorative effect. One of the most enchanting innovations was the extensive embellishment of the margins. These marginal elements sometimes relate thematically to the main image on the page, but often add a sense of humor. Other art forms also influenced the look of the painted page, such as stained glass, with its emphasis on geometric shapes and the predominant use of red and blue.

In the early Middle Ages, manuscripts were largely produced by monks in monasteries for the use of the Catholic Church. During the Gothic era, however, the art of manuscript illumination became the province of professional artists living in rapidly expanding urban centers. Manuscripts designed to inspire devotion as well as to instruct and entertain were commissioned by a wide variety of individuals. Scenes reflecting aspects of daily life and society in the Middle Ages began to appear on the pages of a growing assortment of illuminated books— devotional works, law texts, scholarly literature, and romances—that might be written in either Latin or, for the first time, a local European language.

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Royal Manuscripts (Exhibition)

EXHIBITION: Royal Manuscripts: The Genius of Illumination, London, The British Library (St Pancras, 96 Euston Road), 11 November 2011- 13 March 2012.

Royal Manuscripts: The Genius of Illumination is the British Library’s first major exhibition to bring together the Library’s Royal collection, a treasure trove of illuminated manuscripts collected by the kings and queens of England between the 9th and 16th centuries.

Curated by Dr Scot McKendrick (Head of History and Classical Studies, British Library), Professor John Lowden (Courtauld Institute of Art, University of London) and Dr Kathleen Doyle (Curator of Illuminated Manuscripts, British Library), the exhibition features stunning manuscripts that are among the most outstanding examples of royal decorative and figurative painting from this era surviving in Britain today, their colours often as vibrant as when they were first painted.

However, the manuscripts do much more than declare the artistry of their makers; the luxurious objects unlock the secrets of the private lives and public personae of the royals throughout the Middle Ages and provide the most vivid surviving source for understanding royal identity. As well as providing clear instruction on appropriate regal behaviour they also give a direct insight into royal moral codes and religious belief and shed light on the politics of the day.

Visitors to the exhibition will discover a series of spaces where they will be able to get up close to the objects, and will learn how the manuscripts were created. In addition, visitors will be introduced to the background of the collection, including how and why Edward IV turned the collection into a library after years of personal collecting by the monarchs and laid the foundations for the present British Library.

The catalogue features a full-page entry of around 750 words on each manuscript included, as well as three illustrated essays that explore the wider history and context of this unique collection. It is lavishly illustrated, with a beautiful reproduction of an image from each manuscript presented alongside the text for every entry.

Click here to learn about the Royal opening on the 10th of  November with Her Majesty the Queen and the Duke of Edinburgh.

The exhibition has been reviewed by ROWAN WATSON, in The Burlington Magazine, volume CLIV, number 1309, April 2012, pp. 287-289.

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Medieval Gospel Illumination at the Getty

EXHIBITION: In the Beginning Was the Word: Medieval Gospel Illumination, The J. Paul Getty Museum (1200 Getty Center Drive, Los Angeles, CA), 30 August – 27 November 2011.

The four Gospels of Matthew, Mark, Luke, and John offered powerful accounts of the life of Jesus Christ and formed the basis of the religion founded by his disciples. As the physical manifestation of the Word of God, Gospels were considered the most important books of the Middle Ages.

The word Gospel comes from the Old English word god-spell, meaning “good news.” This was in turn a translation of the Greek word for this collection of texts: evangelion. With examples from Western Europe, Ethiopia, Byzantium, and Armenia, this exhibition traces the tradition of Gospel illumination in Christian art and worship.

Spreading the teachings of the Gospels was an important feature of early Christianity, and as a result, these texts were quickly translated from Greek into the many spoken languages of the world. The manuscripts in this section were produced between the ninth century through the seventeenth century and in Western Europe, Ethiopia, Byzantium, and Armenia.

In spite of this incredible chronological and geographical breadth, the main aspects of the program of illumination remained relatively uniform. Gospels typically contained a portrait of each of the four evangelists as well as decorated canon tables. In each example, however, subtle variations are clear, revealing distinct regional inflections and hints of the artistic cultures that produced them.

Apart from portraits of their authors, Gospel books were often illustrated with scenes from the life of Christ. Reserved in most cases for luxury commissions, such pictures were meant to make the books text more easily understandable and to emphasize its importance. llustrations of the stories of Christ’s life also appeared in books for the Mass and in private prayer books.

In the first two centuries of the common era, public reading of religious texts formed the core of both Jewish and Christian worship. This tradition persisted in the medieval Christian church. Books made for this purpose were venerated as sacred, along with the other furnishings of a church’s altar.

Since few people in the Middle Ages were literate, listening was the sole means for most people to receive the information in the Gospels. Excerpts from the Gospels were read aloud during daily services and for particular feast days. Later in the Middle Ages, with the rise of literacy, private prayer books came to include readings from the Gospels as well.

In this Initial D, ‘Christ calls his first two apostles to their new vocation’, entreating the fishermen Peter and Andrew to cast aside their net and become instead “fishers of men” (piscatores hominum). The Latin phrase is part of the chant for the Feast of Saint Andrew. The words for the chant and the fishing episode are taken from the Gospels of Matthew and Mark. A choir would have gathered around this book to sing the antiphon, or response, to the readings for the eight prayer services celebrated daily by monks, nuns, and clerics of the Church.

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Illuminare: Centre for the Study of Medieval Art

Illuminare – Centre for the Study of Medieval Art is an academic and documentation centre at the Catholic University of Leuven (K.U.Leuven).

It was established in 1983 as the Centre for the Study of Flemish Illuminators by Maurits Smeyers (1937-1999), professor at the Catholic University of Leuven (K.U.Leuven) and an authority on manuscripts and miniatures. Since September 2008 the study centre has been called Illuminare – Centre for the Study of Medieval Art. At present Illuminare is directed by Professor Jan Van der Stock and has a staff of 15 associates.

From the outset the centre concentrated on the study of illumination in the Southern Netherlands from around 1350 to 1550, especially in the cities of Bruges, Brussels, Tournai and Ghent, and in Hainaut and the present-day department of North France. Illuminare also gathers extensive documentation on illuminators, scriptoria and workshops, book types, bindings etc. From its inception the study centre has carried out research, provided education and offered expertise.

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New Perspectives on Flemish Illumination

CONFERENCE: New Perspectives on Flemish Illumination, Koninklijke Bibliotheek van België – Bibliothèque royale de Belgique (KBR), Keizerslaan 4 – Boulevard de l’Empereur 4, 1000 Brussels, 16-18 November 2011.

In 1959 Léon Delaissé organized an exhibition entitled La miniature flamande. Le mécénat de Philippe le Bon (The Flemish Miniature. The Patronage of Philip the Good). Seen in Brussels, Amsterdam and Paris, it was a ground-breaking initiative. Now, more than fifty years later, our knowledge of the illuminated manuscript in the Southern Netherlands during the Burgundian period has vastly increased, in large part thanks to new research techniques and topics.

Traditional approaches such as connoisseurship and codicology have refined our understanding of the chronology and geographic distribution of manuscript production. In recent decades, moreover, considerable attention has been directed towards historical contextualization – guild organization, actual working practices in the shop, and the complex relationship between word and image. The part played by the commissioner in the production, use and spread of illuminated books is hugely important. Attitudes to and the handling of the medieval parchment heritage in later centuries is also currently explored.

The Flemish Miniatures exhibition (Brussels-Paris, 2011-2012) provides the occasion for this colloquium. Its aim is to establish the current position vis-à-vis recent research results and the new perspectives they offer. Connections between illumination and panel painting, sculpture, engraving, woodcuts, stained glass and tapestry will be discussed. The intention is to achieve a fruitful interdisciplinary dialogue.


Wednesday, 16 Novembre 2011
5 – 8 pm: Registration

Thursday, 17 November
9 am: Registration and coffee
Morning session – Chair: Prof. Dr. Jan Van der Stock (Illuminare, K.U.Leuven)
9.45 am: Prof. Dr. Patrick Lefèvre (Director of the Royal Library of Belgium), Introduction
* Dr. Lieve Watteeuw (Illuminare, K.U.Leuven), Manuscript research, codicology and conservation. Flemish manuscripts revealing new challenges
* Till-Holger Borchert (Groeningemuseum Brugge), Imaging history – imagining history: the concept of the past in miniatures for the Burgundian court and its pictorial traditions
* Prof. Dr. Jeffrey Hamburger (Harvard University), A Mass of St. Gregory by the Master of the Houghton Miniatures: Tradition, Innovation and Artistic Self-Consciousness in Fifteenth-Century Flemish Manuscript Illumination
* Dr. Catherine Reynolds (London), Stories without words: the vocabulary of Loyset Liedet

Afternoon session – Chair: Dr. Dominique Vanwijnsberghe (KIK-IRPA)
2.15 pm: Prof. Dr. Alison Stones (University of Pittsburgh), Alexander, Arthur and Charlemagne: tradition and innovation in Flanders in the Late Middle Ages
* Dr. Janet van der Meulen (Vrije Universiteit Amsterdam), The Illuminating Contents of Bodley 264: About a New Alexander and the English Court in the Low Countries
* Dr. Mara Hofmann (University of London), Mise-en-page in manuscripts containing polyphonic music: The
Choirbook for Philip the Fair and Juana of Castile of 1504/06 (KBR, MS 9126)

* Dr. Anne Margreet As-Vijvers (Universiteit van Amsterdam), Re-Thinking Margins and Miniatures: Collaborative Practices in Flemish Manuscript Painting around 1500
* Sara Lammens (Royal Library of Belgium), The Flemish Miniatures exhibition, an introduction
5.30 – 7 pm: Visit to the exhibition Flemish Miniatures

Friday, 18 November
9 am: Registration and coffee
Morning session – Chair: Dr. Thierry Delcourt (Bibliothèque nationale de France)
9.30 am: Prof. Dr. Gregory Clark (University of the South in Sewanee, Tennessee, USA), The Books of Hours of the Wauquelin’s Alexander Master
* Prof. Dr. Anne-Marie Legaré (Université Lille 3), Le Maître de l’Évangéliaire de Tournai et ses collaborateurs
* Dr. Dominique Vanwijnsberghe and Dr. Erik Verroken (KIK-IRPA), Jean Le Tavernier: une réévaluation de sa biographie et de son œuvre à la lumière d’un livre d’heures inédit
* Dr. Griet Steyaert (Royal Museums for Fine Art of Belgium), “Benois seront les misericordieux”, the illumination of KBR ms. 9296 compared to panel paintings by the Master of the View of Saint Gudule and the Master of the Legend of Saint Barbara
* Prof. Dr. Lynn F. Jacobs (University of Arkansas), Dissolving Boundaries: The Thresholds of Netherlandish Triptychs and Flemish Manuscript Illuminations

Afternoon session – Chair: Prof. Dr. Barbara Baert (K.U.Leuven)
2 pm: Prof. Dr. Anne Dubois (UCL), Dr. Marina Van Bos (KIK-IRPA) and Dr. Lieve Watteeuw (Illuminare, K.U.Leuven), Painting techniques in the grisailles. From Jean le Tavernier to Willem Vrelant
* Nancy Turner (J. Paul Getty Museum), Of ‘Flesh color well made’: techniques for painting flesh tones in fifteenth-century Flemish manuscript illuminations
* Dr. Elizabeth Morrison (J. Paul Getty Museum), Codicological Puzzles and Artistic Interchange in Flanders
* Dr. Bernard Bousmanne (Royal Library of Belgium), Concluding Remarks
4.15 pm: End

Registration deadline: 9 November 2011.

Source: H-ArtNet

The Anjou Bible

The Anjou Bible. A Royal Manuscript Revealed, Naples 1340, LIEVE WATTEEUW and JAN VAN DER STOCK, eds,  (Corpus of Illuminated Manuscripts, 18), Paris – Leuve – Walpole (Ma.) 2010 (Peeters), XII +335 pages, € 85,00.

The Anjou Bible, now kept in the Theology Faculty’s Maurits Sabbe Library of the University of Leuven (Belgium) is a superbly illuminated manuscript created at the Royal Court of Naples in the turbulent fourteenth century. At this time much of Central and Southern Europe was governed by the successful dynasty of Anjou, which continued to expand its territories and encouraged artists and writers like Giotto, Simone Martini, Boccaccio and Petrarch. In 1328, after the death of her father, Joanna of Anjou became the official heir to the prosperous Kingdom of Naples and Sicily. Several years later her grandfather, Robert I, gave Joanna and her young fiancé Andrew of Hungary a precious gift, which became known as the Anjou Bible, a manuscript that is priceless from a historical and art-historical point of view.

In addition to Bible texts and splendid miniatures, it contains a wealth of historical information about the house of Anjou and the book’s origins. One of the artists responsible for the magnificent painting was Cristophorus Orimina, the leading illuminator in Naples, who signed the work. The Anjou Bible has now been carefully conserved and studied: the research findings are brought together in this book. Essays by some of the most noted experts in the field describe how the arts were promoted at the court of Robert I of Anjou and also shed light on the Bible’s genesis and on all the research methods and results. This book is richly illustrated and contains all the illuminated folios of the Anjou Bible.

Table of Contents

The Anjou Bible: A Masterpiece Revealed (pp. VIII-IX)

*John Lowden, The Anjou Bible in the Context of Illustrated Bibles (pp. 1-25)
* Frans Gistelinck, The Anjou Bible: A Treasure from the Maurits Sabbe Library in Leuven (pp. 27-35)
* Cathleen A. Fleck, Patronage, Art, and the Anjou Bible in Angevin Naples (1266-1352) (pp. 37-51)
* Alessandro Tomei and Stefania Paone, Paintings and Miniatures in Naples: Cavallini, Giotto and thge Portraits of King Robert (pp. 53-71)
* Michelle M. Duran, The Politics of Art: Imagining Sovereignty in the Anjou Bible (pp. 73-93)
* Nicolas Bock, A Kingdom in Stone: Angevin Sculpture in Naples (pp. 95-111)
* Alessandra Perriccioli Saggese, Cristophoro Orimina: An Illuminator at the Angevin Court of Naples (pp. 113-125)
* Luc Dequeker, The Anjou Bible and the Biblia Vulgata Lovaniensis, 1547/1574 (pp. 127-137)
* Pierre Delsaerdt, Arras College Library Leuven: The Academic Habitat of the Anjou Bible for Three Centuries (pp. 139-145)
* Lieve Watteeuw and Marina Van Bos, Illuminating with Pen and Brush: The Techniques of a Fourteenth-Century Neapolitan Illuminator Explored (pp. 147-169)
* Roberto Padoan, Marvin E. Klein, Gerrit de Bruin, Bernard J. Aalderink and Ted A.G. Steemers, Quantitative Hyperspectral Study of the Anjou Bible (pp. 171-185)
* Lieve Watteeuw, Codicology of the Anjou Bible (pp. 187-207)

Illuminated Folios of the Anjou Bible (pp. 209-299)
Captions to the Illuminated Folios of the Anjou Bible (pp. 301-307)
Biographies of Robert I and Joannna I of Anjou (pp. 309-310)
Bibliography (pp.311-328)
Partners (pp. 329-331)
About the Authors (p. 333)
Photo Credits (p. 333)
Colophon (p. 334).

Lern more about the International Conference: Miniatures and Music at the Court of Anjou Naples ca. 1340, M – Museum Leuven, 1-2 novembre 2010; and about the Exhibition: La Bible d’Anjou, Naples 1340: un manuscrit royal révélé, M – Museum Leuven, 17 septembre – 5 décembre 2010.

The book has been reviewed by C.M. Kauffmann, in Studies in Iconography, 33, 2012, pp. 298-300.