A book of hours by Anthoine Vérard in the University of Melbourne Hilary Maddocks

In 1996, a small illustrated were the most popular and widely of editions of books of hours issued book, or book of hours, printed owned book of the late . from the presses of Paris, for both in Paris in the early 16th century, They are usually small, portable and domestic and export markets. These was purchased by the University of liberally illustrated with devotional printed volumes were undoubtedly Melbourne Library under the terms of images. The core text is the office or more affordable than those in the Ivy M. Pendlebury Bequest (shelf hours of the Virgin, which includes and, although books of no. SC RB 39A/16).1 The book is not to be recited at the eight any sort were still too expensive for complete; it lacks the first three quires of the day (, most people, moderately wealthy and three other leaves (c1, c8 and l7). , , , , none, individuals such as merchants could Information that might identify the and ), each of which is now acquire their own book of hours. publisher, printer and approximate introduced by a large devotional Many practitioners in the book trade date of publication, often found in the illustration relating to the life of the made their livelihood substantially first few pages of a book of hours, is Virgin or Christ. Content varies (or, in the case of the brothers Gillet missing from this copy. Because of the considerably between versions, and Germain Hardouyn, almost difficulty in determining publication but some texts are standard. These entirely) by books of hours. details, the book was described include the calendar, readings, These included Simon Vostre, in the library catalogue only as a the litany and the penitential , Philippe Pigouchet, Thielman Kerver, Parisian book of hours, c. 1520. After , Suffrages of Jean Du Pré, the Hardouyn brothers, researching the book, however, I have the saints, and prayers to the Virgin and the bookseller and publisher identified it as the work of the great such as O intemerata and Obsecro te. Anthoine Vérard, for whom Jean Du Parisian publisher Anthoine Vérard These texts are usually illustrated, Pré printed France’s very first printed (died c. 1513), from around 1507–08. and borders were often similarly book of hours, on 2 September 1485.4 Furthermore, it belongs to a previously adorned with religious and sometimes Unlike manuscript books of unrecorded edition and is extremely secular subjects. Many examples in hours, which often included special rare, being one of only two known manuscript survive, some of which prayers and devotions specific to copies, and not included in any of the are justifiably famous for the beauty the commissioning patron, printed standard references. The book is also of their painted illustrations, or books of hours were usually made for of particular significance because, with illuminations.3 the open market. This meant they the exception of two detached leaves In the late Middle Ages, Paris was were not personalised at the time of in the State Library of Victoria, it a major centre for the production manufacture—although coats of arms, appears to be the only Vérard imprint and illumination of manuscript inscriptions and special illuminations in an Australian public collection.2 books of hours. Demand did not were sometimes added later by the abate, and indeed probably increased, purchaser. The technology of print Books of hours and printing when printing was introduced there imposed a level of standardisation Books of hours were personal prayer in 1470. In the late 15th and early on copies of an edition (although books, used mainly by the , and 16th centuries, literally hundreds minor variations within editions were

Hilary Maddocks, ‘A book of hours by Anthoine Vérard’ 15 common). But the efficiency and numerous woodcut and metalcut Grandes heures for Charles VIII, speed of printing also meant that illustrations include two metalcut Anne de Beaujeu and Charles many different editions could be border sequences representing biblical d’Angoulême,9 but most, such as the published. These varied in format, typological scenes and the Dance Melbourne book, were less lavish typeface, contents and decorative of Death. These are characteristic examples destined for the broader programs, in order to appeal to of illustrations used by Anthoine market. a range of potential buyers. One Vérard, and their presence indicates Vérard probably did not print his way publishers made their books that the book was printed in late 1507 books himself, but over his career distinctive, as well as competitive or shortly after. The leather binding subcontracted an increasing number in the marketplace, was to adorn with stamped gilt decoration on the of printers to carry out the work, them with newly commissioned spine dates from the 20th century. using typographical material that woodcut and metalcut programs Anthoine Vérard was one of he owned, including the woodcuts of illustration. The main subjects the major figures of early French and metalcuts. The printer of the in the hours of the Virgin were publishing: a Paris-based book Melbourne book of hours has not largely fixed, but the borders gave entrepreneur who dominated the been identified, but is surely among publishers the opportunity to industry in the city from 1485 those Vérard employed for these introduce new themes, such as the to 1512, issuing more than 300 books, who include Felix Baligault, Destruction of Jerusalem or the editions of various historical, Jean Du Pré, Guillaume Godard, Dance of Death. These borders must classical and devotional texts. An Etienne Jehannot, Pierre Le Dru, have been attractive to purchasers, adept businessman, he exploited Pierre Le Rouge, Guy Marchand, for they were frequently promoted the traditional patronage system by Phillipe Pigouchet, Jean Poitevin and alongside the publisher’s device on offering finely illuminated books Simon Vostre.10 Vérard’s editions the first page of the book.5 printed on parchment to eminent of books of hours vary in format figures such as Charles VIII of France (quarto, octavo and sextodecimo) The University of and Henry VII of England, as well and support (parchment and paper). Melbourne book of hours as operating on more commercial They were also issued for use in and Anthoine Vérard principles by printing books for a various dioceses, such as Sarum The University of Melbourne’s general market.7 Vérard astutely (Salisbury—for export to England), book of hours, now fully described exploited the enthusiasm for printed Chartres, Bourges, Tours, Rouen, in the library catalogue,6 is a books of hours. As well as printing Amiens, Paris, Orléans, Metz and characteristic example of an early the first in France, over the following Le Mans, in addition to the standard 16th-century Parisian printed 25 years he was responsible for over Roman use.11 book of hours. It consists of 93 80 editions, which constituted a The university’s book of hours pages in 12 quires (a–m8) and is sizeable proportion of his business.8 is for the use of Rouen. This is printed on parchment in 22 lines Some individual books were intended indicated by the abbreviation Ro. of Gothic bastarda type. The for distinguished patrons, such as the on all signed leaves, as well as

16 University of Melbourne Collections, issue 16, June 2015 Master of the Apocalypse Rose (designer), The Crucifixion, folios b4v.–b5, woodcut, from book of hours, use of Rouen, Paris: Anthoine Vérard, not before late 1507. Purchased 1996 by the Ivy M. Pendlebury Bequest in memory of Gerard Frederic Pendlebury, Rare Books, Baillieu Library, University of Melbourne.

characteristic responses for use of St Romanus, a seventh-century Four editions of books of hours Rouen in the Office of the Virgin bishop and the patron saint of by Vérard for the use of Rouen have and the Office of the Dead, and Rouen, whose feast is celebrated been recorded, none of which can various saints in the litany honoured there on 23 October, is also included be identified with the university’s in that diocese. A special prayer to (folio i4v.). example. They include two quarto

Hilary Maddocks, ‘A book of hours by Anthoine Vérard’ 17 Master of the Apocalypse Rose (designer), Christ blessing and dragon grotesque, lower border illustration, folio g4, metalcut.

editions or Grandes heures from with the more complete Marian In the early 16th century there c. 1490,12 and two octavo editions Library copy suggests that the was no copyright protection for with almanacs of 1503–20. One of book originally included 19 large designers of illustrations. Publishers these octavo editions has 28 lines of illustrations and at least 27 small and printers frequently borrowed and text13 and the other—which, like the illustrations. copied designs and consequently it university’s book, has 22 lines—was Some illustrations are metalcuts can be very difficult to identify an issued by Vérard in conjunction and others woodcuts, but all are edition or publisher solely from the with Rouen-based stationers Jacques relief prints, the plates of which woodcuts or metalcuts. In recent Cousin and Pierre Huvin and printer were placed in the forme and years Ina Nettekoven and Caroline Jean le Burges.14 The quire that printed at the same time as the type. Zöhl have done much to elucidate included the almanac (showing the The arrangement of plates could be our understanding of the illustrations dates of Easter over a span of years) quite elaborate; for example, up to in printed books of hours, and Mary is lacking in the university’s book, eight small plates were assembled Beth Winn has examined Vérard’s although the discovery of another, in order to print the borders on a books of hours and their illustrative complete copy of the same edition, single page. Perhaps unexpected for borders in considerable detail. Much in the Marian Library, University of the modern viewer is the addition of of my discussion is based on their Dayton, Ohio, reveals an almanac hand-painting to the printed page. invaluable research.17 for 1503–2015 on the verso of the Initials, line endings, illustrations It seems that Vérard did not unnumbered title page.16 The recto and the borders of pages bearing commission his own full-page is illustrated with Vérard’s customary large illustrations are enhanced with designs, but ordered copies of designs image of the Holy Grail, indicating coloured and gold paint, apparently already in use by other publishers. that the two copies constitute a by different artists, as the paint In the university’s book, the full- previously unrecorded fifth book of is applied more heavily on some. page metalcuts and woodcuts can hours for use of Rouen by Vérard. Sometimes the black lines of the be attributed to two designers. The woodcut are clearly discernible first is the Master of the Apocalypse Illustration beneath the paint, such as in the Rose of the Sainte Chapelle (or The University of Melbourne’s Crucifixion (b4v., see p. 17); in other Apocalypse Master), named for book is decorated with 13 full-page illustrations, such as the Raising his designs for the rose window of woodcut or metalcut illustrations, of Lazarus (f6, see opposite), the the Sainte Chapelle in Paris. This 17 small metalcuts, plus metalcut print is obscured. It was common artist, who was also an illuminator, borders on every page. Two leaves practice for publishers to have books was active c. 1480–1510, and is also that included illustrations (c8 and of hours decorated and painted called the Master of the Très petites l7), including one full-page and one in this way before sale; no doubt heures of . Four half-page, are lacking. The first three it increased the selling price and large illustrations in the university’s quires, also lacking, included several enhanced the book’s value as a book were printed from his designs: other illustrations. A comparison precious devotional object. Crucifixion (b4v., see p. 17),

18 University of Melbourne Collections, issue 16, June 2015 Jean Pichore (designer), The Raising of Lazarus, folio f6, woodcut.

Pentecost (b5v.), Trinity (i5, see p. 21) and Visitation (m3v., see p. 23).18 His style is very much in the decorative Gothic tradition, with clear-cut lines, shallow space and stocky figures. In the university’s book his woodcuts and metalcuts can be distinguished by an elegant, richly decorative architectural structure that frames each scene like a proscenium arch. However, the Apocalypse Master’s original designs were commissioned not by Vérard, but by another publisher and bookseller, Simon Vostre, around 1495–98, for use in his octavo books of hours. For Vostre, the Apocalypse Master designed a 21-plate set of large metalcut illustrations; 14 of these were completed by 1496 and the remainder a little later, around 1498. Shortly after Vostre’s set had been completed, Anthoine Vérard began to use his own 18-plate set in his books of hours, based on the same designs by the Apocalypse Master. The nature of Vérard’s arrangement with Vostre and the Apocalypse Master is not known: possibly the artist supplied both publishers with the same designs, Vérard may have paid Vostre a copying fee, or perhaps he simply had them copied without permission. Vérard’s copies, while very close in composition to Vostre’s originals, differ in their details because Vérard

Hilary Maddocks, ‘A book of hours by Anthoine Vérard’ 19 Master of the Apocalypse Rose (designer), The Dance of Death: La theologiene [theologian], nouvelle marié [newlywed] and La fem[m]e grosse [pregnant woman], vertical border illustration, folio h8, metalcut.

had the 14 designs from Vostre’s Jean Pichore (active c. 1502–22) who, (b6v.), Massacre of the Innocents metalcuts of 1496 cut in wood, not like the Apocalypse Master, was a (d3), Dormition (d7v.) and David and metal, and this has resulted in prints prolific illuminator of . Uriah (e3v.). Vérard copied the others with cruder cross-hatching and less Together these two artists were the from Hardouyn’s set and, again, all sinuous lines, particularly in the principal designers of illustrations are included (or were once included) representation of hair. The woodcuts in Parisian printed books of hours. in the university’s hours: St John also lack the cross-hatched ledge Pichore also ventured at least once the Evangelist with the Poison Cup, on the lower border of the metalcut into publishing; together with Rémi Augustus and the Tiburtine Sibyl (a7), image. Three woodcut designs de Laistre he published a book of the to the Shepherds made for Vérard appear in the hours, dated 5 April 1503 (1504 (c2), the (c5), university’s book of hours: Pentecost, n.s.), which he had illustrated with the Presentation in the Temple (c8) the Visitation and the Crucifixion. his own printed designs. His designs and the Raising of Lazarus (f6). The Missing from the university’s copy were subsequently used by publishers university’s copy almost certainly once but evidently in the Marian Library Simon Vostre, Thielman Kerver, contained all these illustrations; the copy is the Betrayal, probably also Guillaume Eustache, Germain and pages with the Poison Cup and the a woodcut copy of Vostre’s 1496 Gillet Hardouyn and Anthoine Presentation have been removed but metalcut. The remaining four Vérard, among others. Compared to are present in the Marian Library designs in Vérard’s 18-plate set were the Apocalypse Master’s essentially copy. Vérard first employed these based on Vostre’s 1498 metalcuts French , Pichore’s looser, Hardouyn copies in a book of hours and were similarly cut in metal. more fluid style is indebted to French dated October 1507,20 which suggests In the university’s book only the and German Renaissance artists such late 1507 or 1508 as the earliest Trinity, which opens the Suffrages, as Poyet, Dürer and Schongauer. possible publication date for the is from this large metalcut sequence, Pichore’s designs in the university’s university’s edition. although it is not a perfect copy of book were copied by Vérard from For the Pichore copies, Vérard Vostre’s metalcut: for example, the two sources: an octavo set designed again chose to execute them in upper border in Vérard’s version is for the 1504 hours by Pichore and de woodcut and, because of the less decorated with angels, in Vostre’s with Laistre, and later adopted by Vostre; pliable medium, the prints are dragons. The Marian Library’s book and another from a set designed for noticeably simpler and less detailed. includes the Holy Grail, Zodiac Man Gillet Hardouyn in 1505–06.19 From For example, a comparison of and Tree of Jesse in the first three late 1507, Vérard copied selected Hardouyn’s and Vérard’s cuts of quires, and while I haven’t viewed compositions from these two sets Augustus and the Tiburtine Sibyl these, they are almost certainly the for use in his books of hours. These reveals that Vérard’s version omits remaining three of Vérard’s metalcut include five that first appeared in the intricate criblée work in the copies of Vostre’s originals. Pichore’s 1504 hours, all of which background and replaces the ornate The other nine full-page illustra- were used for the university’s book: marbling on the pavement with tions in our book were designed by the Annunciation (a1), Nativity simple cross-hatching.

20 University of Melbourne Collections, issue 16, June 2015 Master of the Apocalypse Rose (designer), The Holy Trinity and Saints, folios i4v.–i5, metalcut.

Small illustrations and borders Printed books of hours were The typological scenes are supported The 17 small metalcuts that illustrate frequently decorated with elaborate by two unidentified prophets in the minor texts in the book appear to printed borders; the university’s lower borders. Other non-narrative have been made for Vérard around book is no exception. Two cycles in subjects also appear, such as peasants 1498. They are in the style of the the style of the Apocalypse Master picking apples and playing music and Apocalypse Master, similar to those appear: the Dance of Death in the fantastic Renaissance-inspired vases he designed for Vostre and Kerver lateral borders of the Office of the in the vertical borders, and cavorting around 1495–97 but somewhat cruder Dead, and typological scenes in cupids, wild men and dragons in the and less detailed. most of the other lateral borders. lower borders. These non-narrative

Hilary Maddocks, ‘A book of hours by Anthoine Vérard’ 21 Master of the Apocalypse Rose (designer), typological scenes of Joseph cast into the well, the Entombment of Christ, and Jonah cast into the sea, right-hand border illustration, folio d5, metalcut.

scenes, which first appear in Vérard’s cast into the well (Genesis 37:23–4) for various publishers, including books of hours in around 1500, are and Jonah cast into the sea, ( Jonah Vérard, from 1497.23 However, it copies in reverse of the Apocalypse 1:15 – 2:1) (see above). Thus the Old seems that Jehannot did not have Master’s c. 1497 designs for Vostre. Testament events are fulfilled in the more than 15 of the 50 possible plates, The allegorical Dance of Death New Testament, and Joseph and as the latest he uses represents the metalcut criblée borders each show Jonah are antitypes of Christ. The Betrayal. The Apocalypse Master’s three men or women from different New Testament text appears in two typological borders were also used levels of society engaged in a ritual panels between the lateral metalcut in Vérard’s hours until about 1510; dance with Death, represented as a with, on the lower border, an Old however, a maximum of only 14 cadaver (see p. 20). These images in Testament text between two prophets different borders were ever used, the Office of the Dead encouraged who witnessed the events. and some editions have as few as prayer by reminding the viewer of The typological sequences eight.24 Without the full contingent their own mortality and the inevitable derive from the ‘Picture Bible’, of 50 subjects, the chronology loses and indiscriminate nature of death. the Biblia pauperum, which had a meaning, and consequently the Pictorial cycles of the Dance of long manuscript tradition and was borders appear in no particular order. Death, including frescoes and printed also printed as a block-book in the This is the case with the university’s versions, first appeared in the 15th Netherlands in 1480–85. Winn has book, where only 13 of a possible 50 century. Vérard copied his set in shown that Vérard used typological borders are used, repetitively and not about 1500 from Simon Vostre’s borders as early as 1488 in the hours in logical order. The first chronological 66-figure version of 1495–98 by the of the Virgin in his books of hours, subject is the Circumcision, the Apocalypse Master; however Vérard’s based on the 50 sets in the printed last the Resurrection.25 Winn has appear in reverse, with the cadaver to Biblia pauperum. Vérard’s early sets suggested that the plates wore out and the right of the figure, and he appears included 49 central subjects (he were discarded, or that perhaps a full not to have copied all of Vostre’s conflated the Circumcision and the set of typological borders was never plates. In the university’s hours, 16 Presentation) and they appeared in cut from designs by the Apocalypse different plates, comprising 24 men sequence, from the Birth of Mary to Master.26 and 24 women, are represented.21 the Crown of Eternal Life. He even In conclusion, the University From chambermaid to queen, peasant helpfully included an explanatory of Melbourne Library is fortunate to pope, we are all equal before Death. table or repertoire to help the reader to have this printed book of hours Most of the remaining vertical identify the subjects.22 Vérard used in its Rare Books Collection. A borders illustrate typological scenes, two different sets of typological rare copy of a hitherto unrecorded where an event or type from the New metalcuts. The second, represented in edition by Anthoine Vérard, it is also Testament is shown with two Old the university’s book, was designed by a characteristic example of a 16th- Testament prefigurations or antitypes. the Apocalypse Master. These later century publishing phenomenon. For example, the Entombment of borders first appeared in books of Many printed books of hours remain Christ appears between Joseph being hours printed by Etienne Jehannot undiscovered in public collections;

22 University of Melbourne Collections, issue 16, June 2015 Master of the Apocalypse Rose (designer), The Visitation, folio m3v., woodcut.

neither manuscript nor fully printed book, they are overlooked and under-researched and, because of incomplete cataloguing, it is often impossible to identify specific editions without examining them at first hand. While individual copies are increasingly being digitised, many are still unrecorded, and it is hoped that this brief analysis will assist towards further understanding of how these books were made and used.

Acknowledgement: I am very grateful to Professor Mary Beth Winn for her comments on this article before publication. I also thank Professor Winn, Dr Ina Nettekoven and Dr Caroline Zöhl for their generous advice and assistance with my identification of the University of Melbourne’s book of hours.

Dr Hilary Maddocks is a graduate of the University of Melbourne and an art historian specialising in the illumination and illustration of medieval European manuscripts and early printed books. She has been a creative fellow of the State Library of Victoria and a visiting fellow at Corpus Christi College, University of Cambridge. Her book on Australian printmaker Hertha Kluge- Pott was published by Macmillan in 2015.

1 The university bought the book in 1996 from Kenneth Hince Old & Fine Books. Nothing is known of its provenance before this date. I thank Anthony Tedeschi, curator of rare books at the University of Melbourne Library, for this information. 2 The State Library of Victoria holds one leaf from The passion of owr Lord Iesu Christe wythe the contemplatio[n]s, c. 1508 (call no. RARESEF Sticht Coll. (England) 30) and a leaf (fol. e8) from the 1489 edition of

Hilary Maddocks, ‘A book of hours by Anthoine Vérard’ 23 Jean Pichore (designer), David and Uriah, folio e3v. (detail), woodcut.

Tristan printed by Jean le Bourgeois (call no. au XVIe siècle conservés dans les bibliothèques at Binghamton, 1990, pp. 101–20; Mary RARESEF 093 H11W). This is included in publiques de Paris, Paris: Imprimerie Beth Winn, ‘Vérard’s hours of February 20, Konrad Haebler (trans. André Barbey), West- Nationale, 1907, no. 136; Moreau, Inventaire 1489/90 and their biblical borders’, Bulletin European incunabula: 60 original leaves from chronologique, no. 75. I thank Ina Nettekoven du Bibliophile, no. 2, 1991, pp. 299–330; Mary the presses of the Netherlands, France, Iberia and for kindly sending me the catalogue entry Beth Winn, ‘Vérard’s hours of 8 February Great Britain, Munich: Weiss & Co., 1928. (76.1) for a copy of this edition, from the 1489/90: prologue, table and typological 3 For an introduction to books of hours, see Roger forthcoming second Bibermühle catalogue borders’, Papers of the Bibliographical Society Wieck, The book of hours in and of printed horae. of America, vol. 87, no. 3, September 1993, life, London: Sotheby’s, 1988. 15 Publishers did not insert a new almanac for pp. 337–62. 4 The only extant copy is in the Pierpont Morgan every edition; for this reason an almanac 18 See Tenschert and others, Horae B.M.V. Library, New York, call no. ChL1447C. cannot be used to accurately date an edition. (especially p. 128) and Nettekoven, Der 5 See Mary Beth Winn, ‘Printing and reading 16 I thank Mary Beth Winn for informing me Meister (especially p. 90). the book of hours: Lessons from the borders’, of this copy and for generously sharing her 19 See Tenschert and others, Horae B.M.V. Bulletin of the John Rylands University Library research on Vérard’s books of hours. The book, (especially p. 537) and Zöhl, Jean Pichore, of Manchester, vol. 81, no. 3 (special issue), which is printed on paper, is in the collection pp. 172–5. autumn 1999, pp. 177–204. of the Marian Library, International Marian 20 See Tenschert and others, Horae B.M.V., 6 http://cat.lib.unimelb.edu.au/record=b2186890 Research Institute, University of Dayton, pp. 537–8. Vérard’s copies from Hardouyn first ~S30. Ohio, call no. ML-RB Catholic 1500?. I am appear in an edition dated 30 October 1507 7 See Mary Beth Winn, Anthoine Vérard, Parisian also grateful to Dr Jason Bourgeois of the (Macfarlane, Antoine Vérard, no. 238). publisher, 1485–1512, Geneva: Droz, 1997. Marian Library for information on this book 21 These subjects range from ‘the pope’ and ‘the 8 Winn, Anthoine Vérard, p. 221. The universal and for providing photographs of several emperor’ to ‘the usurer’, ‘the child’, ‘the widow’ short title catalogue (www.ustc.ac.uk) lists some pages for comparison. While the two books and ‘the fool’. 120 editions of books of hours by Vérard, are certainly from the same edition, there 22 See Winn, ‘Biblical typology’; Winn, ‘Vérard’s suggesting that Winn’s figure of 80 is a appears to be some unresolved discrepancy in hours of February 20’; and Winn, ‘Vérard’s conservative estimate. the collation. The Marian Library copy is [ ]8 hours of 8 February’. 9 Winn, Anthoine Vérard. A = B8 a–l8 and the Melbourne copy is a–m8. 23 See Tenschert and others, Horae B.M.V., 10 Winn, Anthoine Vérard, pp. 486–9. Dr Bourgeois has advised that quire l in the pp. 60 ff, nos. 5 and 6. 11 Universal short title catalogue. Melbourne copy = quire k in the Marian 24 For example, see the Vérard imprint in the 12 John Macfarlane, Antoine Vérard, London: Library, m = l, and quire k (which includes the Bibliothèque Nationale de France, NF Res. Chiswick Press, 1900, nos 209, 210. Suffrages) in the Melbourne copy is missing 2905, almanac 1488–1508, http://gallica.bnf. 13 Brigitte Moreau, Inventaire chronologique from the Marian Library copy. However, it fr/ark:/12148/bpt6k10577449/f1.image. des éditions parisiennes du XVIe siècle d’après remains unclear as to exactly how the contents 25 The central subjects in the typological borders les manuscrits de Philippe Renouard, Paris: of the two copies differ. are 6: Circumcision; 11: Massacre of the Imprimerie Municipale, 1972–2004, no. 74; 17 See Tenschert and others, Horae B.M.V.; Ina Innocents; 13: of Christ; Hanns Bohatta, Bibliographie der Livres Nettekoven, Der Meister der Apokalypsenrose 14: ; 15: Raising of d’Heures … des XV und XVI Jahrhunderts, der Sainte Chapelle und die Pariser Buchkunst Lazarus; 19: Entry into Jerusalem; Vienna: Von Gilhofer & Ranschburg, um 1500, Turnhout: Brepols, 2004; Caroline 26: Betrayal; 30: Pilate washes his hands; 1924, no. 1337; Winn, Anthoine Vérard, Zöhl, Jean Pichore: Buchmaler, Graphiker und 31: Carrying of the Cross; 32: Nailing to no. H-27; Heribert Tenschert, Ina Nettekoven Verleger in Paris um 1500, Turnhout: Brepols, the Cross; 34: Piercing of Christ’s side; and Caroline Zöhl, Horae B.M.V.: 158 2004; Caroline Zöhl, Digital horae website, 37: Entombment; 39: Resurrection. Numbers Stundenbuchdrucke der Sammlung Bibermühle Department of Art History, Freie Universität, refer to the place in the entire series, not the 1490–1550 (3 vols), Ramsen: Antiquariat Berlin, http://horae.geschkult.fu-berlin.de/; order in the university’s book. See Winn, Bibermühle; Rotthalmünster: Antiquariat Mary Beth Winn, ‘Biblical typology in the ‘Vérard’s hours of 8 February’, pp. 359–62, Heribert Tenschert, 2003, pp. 912–19, no. 111. borders of French books of hours 1488–1510’, for a listing of all Vérard’s typological borders 14 Macfarlane, Antoine Vérard, no. 249; Paul in Warren Ginsberg (ed.), Ideas of order in the with their biblical references. Lacombe, Livres d’heures imprimés au XVe et Middle Ages, State University of New York 26 Winn, ‘Biblical typology’, p. 113, n. 22.

24 University of Melbourne Collections, issue 16, June 2015