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Beyond Words Illuminated Manuscripts in Boston Collections Edited by Jeffrey F. Hamburger, William P. Stoneman, Anne-Marie Eze, Lisa Fagin Davis & Nancy Netzer McMullen Museum of Art, Boston College 116. Book of hours (“Emerson-White and others sufficiently wealthy to have had private chapels and access to ration of this type appears not only on leaves introducing major new texts and highly finished drawing of Fourteen Heads now in Berlin,15 that was the services of personal ecclesiastical advisors.1 or text segments, but on all the original text leaves as well, investing the presumably part of a set of model drawings. Hours”), use of Rome The texts of the Emerson-White Hours, including its unusual liturgi- book with qualities of opulence and variety to engage and stimulate the Master of the Dresden Prayer Book, Simon cal components, are closely matched by those of the Huth Hours, another eyes and mind of its owner. Marmion, Ghent Associates, the Master of the foremost Flemish illuminated manuscripts of the same period.2 The cycle of illustration of the Emerson-White Hours is likewise rich Despite differences in the sequence of the texts in the two books, the and diverse, despite the fact that it has come down to us in a markedly of the Houghton Miniatures (with Hugo replications are detailed enough to imply that one of the two volumes incomplete state. The manuscript lacks most of the full-page illustrations van der Goes) et al. (illuminators) copies the other or that both are based on a common model. The simi- that were presumably present when it was completed. Estimates of the Probably Bruges, Flanders, c. 1480 larities between the two extend also to codicological and artistic features, number of missing full-page miniatures range from twenty to forty or more, Parchment, formerly one volume of 248 leaves, subdivided in the late nineteenth such as the layout of the pages, the numbers of lines of text per page, the although the precise number is difficult to establish. Among large miniatures century into two consecutively foliated volumes: MS Typ 443: ff. vi (i–v binder’s script, common patterns of border decoration, some repeated pictorial absent from the book that were presumably removed from it at an uncer- vellum, vi old paper) + 118 + v (binder’s vellum); MS Typ 443.1: ff. v (modern compositions, and miniatures by some of the same illuminators.3 The two tain date, one can propose cycles of full-page illustrations for the Hours of binder’s vellum) + 130 (ff. 119–248) + vi (binder’s vellum), 143 x 104–5 (c. 73 x books are true “sister manuscripts,” an observation buttressed by the fact the Virgin and the Hours of the Passion (eight miniatures each), and single 48) mm that both contain sets of initials in the margins of some of their decorated full-page miniatures that may have prefaced such texts as the Psalter of the Harvard University, Houghton Library, MSS Typ 443 and 443.1 pages which presumably refer to their unidentified patrons (“YY” in the Passion, some of the ten Masses, Prayers to Mary, the Short Hours of the Quaritch, 1886 (cat. 369, no. 35696); divided by Quaritch, 1892. MS Typ 443: Emerson-White Hours and “MY” and “YM” in the Huth Hours).4 The Cross and of the Holy Spirit, the Seven Penitential Psalms and litany, the William A. White, 1892; Mrs. William Emerson; gift of the family of William Augustus White and daughter Frances White Emerson, 1958. MS Typ 443.1: possibility ought to be considered that both volumes were made not only Office of the Dead, and some of the suffrages of saints. Thus far three extant Quaritch, 1892; Alfred T. White; Adrian Van Sinderen; gift of Mrs. Adrian Van at the same approximate date and locale, but also for members of the same single-leaf miniatures have been proposed as illustrations removed from the 6 Sinderen, 1966. or closely related families. manuscript; others, if they survive, remain to be identified. The program of decoration and illustration of the Emerson-White The illustration of the Emerson-White Hours was entrusted to a One of the finest illuminated books of hours pro- Hours is also noteworthy. The manuscript is furnished with elaborate diverse group of miniaturists, including some active primarily in different duced in Flanders c. 1480, the Emerson-White Hours is unusually com- marginal decoration of the type introduced into Flemish illumination in locales. The juxtaposition of miniatures by different painters in this book plex in its textual, decorative, and pictorial elaboration. In addition to texts the 1470s, consisting of gold, colored, or gold and colored panel borders allies the commission with a distinct class of books of hours that showcase commonly found in Flemish horae of this period, the manuscript contains with trompe l’œil decoration of painted or gold foliage and flowers, some the work of leading illuminators of the period. The practice can be com- a series of texts drawn from or for use in liturgical celebrations, such as also including birds or insects, jewelry, iconographically charged objects pared with that found in some modern musical performances in which guest Dominical Prayers for the Liturgical Year, a set of six Masses, and the and figural details (such as rosaries or a series of panel borders incorpo- soloists, including leading artists from other locales, are contracted to step Office for Good Friday. Liturgical texts of this type are found normally rating depictions of the Instruments of the Passion), simulated fretwork in to enhance the productions and the reputations of local ensembles. The 5 only in bespoke books of hours, particularly those made for noble patrons containing initials, and leaves with margins consisting of simulated opu- Emerson-White Hours incorporates miniatures by four or more of the most lent brocades, architectural frameworks, or fully historiated scenes. Deco- talented painters active in Flanders during the period, who contributed illus- trations displaying the artistic skills for which they were best known. The largest number of miniatures in the book were entrusted to the Master of the Dresden Prayer Book, who produced the twenty-four illus- trated roundels in the calendar and twenty of the twenty-five historiated initials.7 As these illustrations all appear on text leaves that make up part of the corpus of the manuscript, it is likely that it was produced in Bruges, which was the center of this painter’s activity by c. 1480. Three of the seven full-page miniatures in the manuscript, all on f. 112v inserted single leaves, are by Simon Marmion of Valenciennes, one of the 8 By far the most distinctive feature of the works attributed to the Mas- leading panel painters and miniaturists of the period. Marmion’s skills in ter of the Houghton Miniatures is their strong relationship, even depen- the depiction of lush and detailed landscapes, all rendered in a distinctive dence, on the art of Hugo van der Goes. This accounts for some stylistic palette dominated by vibrant greens, atmospheric blues and pastel pink, characteristics of the works gathered together in this group, such as linear can be seen in the miniatures of the Penitent St. Jerome, St. Apollonia, and 9 features in depictions of hair and beards and the cool palette of works in St. Christopher. this manner, as well as the physical and expressive gravity of many of this One of a group of painters known as the “Ghent Associates,” contrib- painter’s figures, which invests them with suggestions of interiority and uted the full-page miniatures of St. George and the Dragon, St. Catherine, psychological depth. and St. Barbara (f. 112v), the last of which is closely based on an exqui- The question of when, where, and how works by this painter became site drawing of a seated female figure on green prepared paper by or after so fully and deeply imbued with formal and expressive qualities derived Hugo van der Goes,10 as well as the historiated borders on at least five other 11 from Van der Goes has not been posed. The closeness and dependence leaves. The miniaturists known as the Ghent Associates are closely allied suggest that the Master of the Houghton Miniatures must have worked for with the Master of Mary of Burgundy, and in earlier scholarship their works a while alongside Van der Goes, possibly as one of his close apprentices were frequently attributed to that painter. Features of some of the figures or assistants. by this painter, such as the drawn faces of his females, derive from types Questions of the nature of the relationship between a presumed familiar from the art of Van der Goes and have analogies in works attributed teacher and a student or follower invariably turn on estimations of matters to other miniaturists influenced by him, particularly the Master of the First 12 of quality and degree. In the Emerson-White Hours, the depiction of St. Prayer Book of Maximilian. The full-page miniatures in this style in the Anthony the Abbot in the Wilderness (f. 99v) seems to me sufficiently Emerson-White Hours are among the finest works attributed to the Ghent 13 superior to other of the miniatures in this group to suggest the possibility Associates. that it represents the work or participation of Hugo van der Goes him- The other leading figure who collaborated in this commission, also self, rather than that of a mere follower.16 The firm, angular and geomet- formerly subsumed in the proposed œuvre of the Master of Mary of Bur- ric forms of the figure of St. Anthony, the signs of apparent psychological gundy, has been named after this manuscript as the “Master of the Hough- 14 disquiet reflected in his grave and worn facial figures, and the suggestion ton Miniatures.” Works attributed to this painter also appear in the Huth of his immersion in the open book he holds on his lap, all invest him with Hours, the sister manuscript of the present book, in two detached minia- qualities analogous to those found in some of Hugo’s most memora- ff.
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    LIST OF WORKS More, Utopia, third edition, Portrait of Desiderius printed in Basel by Johann Erasmus, Antwerp, 1517. ROOM 19 Froben, November 1518. Windsor Castle, Royal Leuven, KU Leuven, Collection, Loaned by Her Thomas More’s Utopia University Library. Majesty Queen Elizabeth II. A ‘golden book’ from Leuven conquers the world 7.2. Ambrosius Holbein, The 14.A. Quinten Metsys, (Fictitious) Voyager Raphael studio replica?, Portrait of 1. Thomas More, The first Hythlodaeus tells the Story Desiderius Erasmus, edition of Utopia, printed in of the Isle of Utopia to Antwerp,after 1517. Roma, Leuven by Dirk Martens, Thomas More in Pieter Galleria Nazionale d’Arte december 1516. Brussels, Gillis’s Garden, in: Thomas Antica. Royal Library of Belgium. More, Utopia, third edition, printed in Basel by Johann 14.B. Quinten Metsys, 2. Monogrammist AP (?), Froben, November 1518. studio replica?, Portrait of View of Leuven, City of Art, Leuven, KU Leuven, Town Clerk Pieter Gillis, Culture and Science, University Library. Antwerp, after 1517. Antwerp (?), c. 1540. Antwerp, Koninklijk Brussels, Royal Library of 8. Thomas More at his Museum voor Schone Belgium. Writing Desk, in: Thomas Kunsten. More,La description de l’isle 3. Copy after Hans Holbein, d’Utopie ou est comprins le 15.A.B. Quinten Metsys, Portrait of Thomas More, miroer des republicques du Portraits of the Antwerp after 1527. London, monde, & l’exemplaire de Town Clerk Pieter Gillis and National Portrait Gallery. vie heureuse, Paris, his Wife Cornelia Sandrin published by Charles (diptych), Antwerp, c. 1514. 4. Workshop Hans Holbein, L’Angelier, 1550. Leuven, KU Oldenburg, Landesmuseum Portrait of the Wife of Leuven, University Library.