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ARLiS/NA Conference
Toronto 2012

Codices Illustres presents Facsimile Finder

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During the 40th ARLiS/NA Conference in Toronto,
Codices Illustres will introduce
a new awesome tool to the librarians' community.

Come to
meet us at our table; look out for Athena (the Little Owl), we're right under her!

We will show you some new publication we offer - with great discounts - to libraries!
Check them out below!

The Missal of Barbara of Brandenburg
Mantua, between 1442 and 1465 (Archivio Diocesano, Mantua)
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An extraordinary union of Late Gothic and Renaissance miniatures

The Missal of Barbara of Brandenburg was created between 1442 and 1465, when the most prominent artists working in Mantua were Leon Battista Alberti, Pisanello and Vittorino da Feltre. Other important artists of the time also included Andrea Mantegna, Girolamo da Cremona and Luca Fancelli. The Missal of Mantua was commissioned in 1442 by Gian Lucido Gonzaga to Belbello da Pavia, considered the most important representative of Late Gothic miniatures and noted for the renowned Offiziolo Alfonsino.

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Les Triomphes de Petrarque
Rouen, around 1500 (Cod. 2581 - Osterreichische Nationalbibliothek, Vienna)
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The most illuminated manuscript of Petrarch’s “Trionfi”

The illuminated manuscript of the “Trionfi” preserved in Vienna, created at the beginning of the XVI century, belongs to the artistic production of the School of Rouen. The artists that worked on this manuscript broadened their interests towards the characters, the mythical, legendary or historic stories that Petrarch mentions in the poem. This manuscript is the French translation of the italian text. The peculiarity of this manuscript consists mainly in the extraordinary number of miniatures: in almost all the other illuminated manuscripts of the “Trionfi” the illustration is limited to 6 miniatures of six triumphal carriages, while this copy has 86 large miniatures and over 1800 gold initial letters. Furthermore the illuminators, taking inspiration from the text, developed a sort of “visual hypertext”: in fact, in each illustration different plains of action in its temporal development are represented.
Clienti italiani: rivolgersi direttamente ad UTET/De Agostini (011 2099 111 - Sito web)
Kitâb al-Diryâq
Persia, 1198 (ms. Arabe 2964 - Bibliothèque nationale de France, Paris)
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Theriaque de Paris: the most ancient theriaca recipes

This fascinating manuscript describes the theriaca, the ancient medicinal compound initially used as a cure for bites of poisonous snakes and wild animals. The work of Muhammad ibn Abi al-Fath, dated 1198, includes illustrations of the medicinal plants used for the recipes drawn up by the most important physicians in the Greek tradition, such as Galen and Andromachus. The commentary volume of the facsimile edition, translated in six languages (two versions available: Italian-German-Spanish or French-English-Arab), is written by five expert Arabists: Oleg Grabar, Islamic art professor at the universities of Princeton and Harvard; Jaclynne Kerner, Oriental art historian at the California State University Long Beach; Marie Geneviève Guesdon, a bibliologist at the Bibliothèque Nationale de France; Françoise Micheau, a lecturer of Medieval History of Islamic Countries at the Sorbonne University; Anne Caiozzo, an Arabist at the Université Paris-Diderot.

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Flemish Book of Hours of Marie de Medici
Bruges/Ghent, between 1515 and 1520 (Ms. Douce 112 - Bodleian Library, Oxford)
Marie de Medici
The “Master of the David Scenes in the Grimani Breviary” – A Brilliant Illuminator at the Apex of His Career

The Flemish Book of Hours of Marie de Medici was probably commissioned by a wealthy female patron in Ghent or Bruges and produced between 1515 and 1520 by an anonymous artist known today simply as the “Master of the David Scenes in the Grimani Breviary. “The David Master” was one of the great Flemish masters and is mentioned in company with Gerard Horenbout and Simon Bening. The David Master was at the apex of his career and artistic maturity when he began working on the Flemish Book of Hours of Marie de Medici, and it is one of the most elaborately ornamented works ever to come out of his studio.

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“La Flora” Book of Hours
Bruges/Ghent, after 1483 (ms. I.B.51 - National Library of Naples)
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The Book of Hours dedicated to Charles VIII, King of France (1483-1498)

The innovative character, variety in format, and iconography of its illumination and the complexities of its codicology make this manuscripts, known as La Flora, among the most important and challenging of its day. La Flora features illumination by Simon Marmion, the Master of the Dresden Prayer Boook, the Master of the First Prayer Book of Maximilian, and the Master of the Prayer Books of around 1500.
The suite of full-page miniatures by
Simon Marmion is the earliest illumination contained in the manuscript: Marmion painted 22 full-page miniatures that pioneered close-up small groups of a few figures seen at half-length, which represent his most distinctive illumination and perhaps his greatest achievement.
Clienti italiani: rivolgersi direttamente ad UTET/De Agostini (011 2099 111 - Sito web)
Codex Rotundus
Bruges, end of the 15th century (Hs 728 - Dombibliothek Hildesheim, Hildesheim)
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A miniature manuscript in a circular format

Inside the Codex Rotundus lays a 266 page book of hours in Latin and French. The manuscript is unique in form and size: the pages are cut approximately circular in shape and measure a little over 9 cm in diameter.
Not only are the individual pages in a round format but as well are the text and three full-page miniatures. These unique features, as well as the 30 historicized initials come from one of the most highly regarded original book painters who has gone down in art history following the Hildsheim manuscript as the “Painter of the Codex Rotundus”.
The Painter of the Codex Rotundus must have followed in the tradition of Willem Vrelants in Bruges around 1460. More than likely, the Rotundus Painter had also worked for some time in the Bruges workshop of the Dresden masters and was therefore inspired by many different stylistic perspectives.
Stein Quadriptych
Bruges, late 1520s (W. 442 - Walters Art Museum, Baltimore)
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Manuscript or Altarpiece?

The Stein Quadriptych features sixty-four miniatures that tell the story of the lives of the Virgin and Christ. The individual miniatures, at 6.8 by 5.2 cm (211/16 x 21/16 in.), are organized in four panels of sixteen miniatures and have been so arranged since they were first uncovered in the late nineteenth century.Inevitably, given the unusual format of the piece, especially for a manuscript illuminator as Simon Bening, scholars have wondered whether this series was originally conceived as an altarpiece or for a book, and the debate is still open.
Certainly, Bening devised one of his most original artistic conceptions. Not only did he exploit the close-up for dramatic effect, but he also heightened the immediacy of the story by knitting together successive narrative moments, sparking the sensation of minute-by-minute storytelling.
Wiener Musterbuch
Prague, Late 14th century (Inv.-Nr. KK 5003/5004 - Vienna Museum of Art, Vienna)
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Brilliance and virtuosity of a Bohemian artist.

The Master of Ambrass was a Bohemian painter active probably in Prague at the end of the fourteenth century. He was the creator of the Wiener Musterbuch, a set of silverpoint studies and subjects all dated to the same period, which were used as models in painters’ studios. Among the subjects are bust-length images of Christ, the Virgin, various saints, the Crucifixion, and the Annunciation. The pictures are collected in groups of four, affixed to fourteen small framed panels. Three independent designs also exist, depicting a philosopher and astronomer, a sybil and John the Evangelist, and the Three Magi; these, too, were probably part of the set. Such is the realism of the designs that it is believed the Master had contact with an artist of the Franco-Flemish school.
Sacramentary of Beauvais
Northern France, around 1025 (Ms. Ludwig V 1 - J. Paul Getty Museum, Los Angeles)
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An Italian Scribe in France

The Sacramentary of Beauvais in the collection of the J. Paul Getty Museum is one of a pair of lavish liturgical manuscripts almost certainly produced in Northern France by an Italian scribe, who also may have illuminated the volumes. Only ten leaves of the original book have survived, those leaves clearly preserved because of their beauty and the generous use of gold and - more remarkably - silver. Included among the surviving leaves are three pages of text written in gold on painted purple grounds, a stunning full-page Crucifixion scene and a nearly full-page initial in gold and silver, as well as smaller painted
initials. The complete manuscript was known to the 17th-c. canons of Beauvais cathedral as the “Missal of Roger of Champagne,” and indeed, the sacramentary most probably was created at the behest of Roger of Champagne (d. 1016), the first count-bishop of Beauvais who was named in an inscription on an early binding.