DOI article:
Łanuszka, Magdalena: Piętnastowieczny rękopis Godzinek w krakowskiej Bibliotece Książąt Czartoryskich
DOI Page / Citation link: https://doi.org/10.11588/diglit.19072#0125
ing the miniaturę and separating it from the base-de-page area with representations of animals
against a landscape. From the frame projections vine scrolls issue to fonu a border inhabited
by perching birds or hybrids - creatures half human and half animal. Ali the miniatures but one
have similar, cheąuered, coloured-and-gold backgrounds. Considering the missing parts of the
text, it may be assumed that the original programme of the decoration included at least five
more miniatures; these were in all probability scenes of The Annunciation, The Visitation, The
Descent of the Holy Spirit on the Apostles, The Crucifixion, and a Requiem Mass. The seven
paintings preserved in situ depict the following scenes: The hlathńty, The Annunciation to the
Shepherds, The Adoration of the Magi, The Flight into Egypt, The Presentation in the Tempie,
The Coronation of the Virgin Mary, and God the Father Enthroned. The images adorning the
bas-de-page and the hybrids in the margins most probably have a symbolic meaning associated
with the miniaturę on a given page; likewise, their astrological interpretation is possible, but this
would be the subject of a separate study.
The very choice of subject-matter for the miniatures illustrating particular parts of the Hours
seems to point to some links with the Paris circle of illuminators; also the style of the painted
decoration of the Cracow manuscript appears to be of Paris origin.
Unlike Jaroslawiecka-Gąsiorowska, I do not find any "Italian" type of figures here; they
lack modelling so typical of that painting and the characteristics of south French illumination
in which human figures were modelled, as in Italy, with whites, colours were more pastel, and
solids were defined by means of a darker colour rather than hatching which appears in the Cracow
object. Furthermore, one would try in vain to find in Ms. Czart. 3467 the plasticity of the dense
folding of draperies, contrasts of light and shade or slendemess of figures, the features present
in Netherlandish art. Instead of them there are here more thickset figures wrapped in soft gar-
ments, whose physiognomic types and modelling derive from the circle of illuminators linked
with the workshop of the Master of Marshal Boucicaut. In that circle can also be found similar
cheąuered backgrounds and tightly "twisted" spiky branches in the margins. They appear in, for
instance, the Paris breviary of c. 1414 (Chateauroux BM - ms. 0002, i 11. 1) and three lectionaries
for Sainte-Chapelle at Bourges (Bourges, BM, mss. 0033, 0034, and 0035) as well as the Book
of Hours executed by an imitator of the Master of Marshal Boucicaut and an imitator of Master
Egerton (Paris c. 1410, J. Paul Getty Museum, Los Angeles. MS. LUDWIG IX 5, ill. 2) and the
Paris Book of Hours from the workshops of the Master of Marshal Boucicaut and the Master of
the Hours de Rohan (1415-1420, J. Paul Getty Museum, Los Angeles, MS. 22, ill. 3). Here also
can be mentioned the Bridwell Book of Hours, defined as "French-Flemislf' with the influence
of the Master of Marshal Boucicaut (Bridwell Library Special Collections). In addition, some
resemblance seems to be discemible in the Book of Hours ad usum Rennes, illuminated by
Master Luęon c. 1405. (The Free Library of Philadelphia, Rare Book Department, Widener 4).
Furthermore, a similar modelling and cheąuered backgrounds are encountered outside Paris, as
is shown in the Hours ad usum Angers (The Loire Valley, early 15lh century - Chartres - BM
- ms. nouv. acq. 168) or the earlier, 14* century, Bibie de Valenciennes (in the Bibliotheąue
Municipale de Besanęon). An important argument for the relationship between Ms. Czart. 3467
and Paris illumination is its remarkable stylistic and iconographic kinship with the Hours manu-
script linked with this circle and dated to c. 1400-1410 (ill. 4).
Eąually strong echoes of Paris illumination can be discerned in the non-figural omamenta-
tion of the Czartoryski manuscript. A similar mise-en-page - a miniaturę in a thin. triple frame
from which issue smali spiky shoots with jagged leaves - appeared in Paris book illumination in
the first half of the 14th century; the pattern of a miniaturę whose frame surrounded the bas-de-
page together with a few lines of the text, was popular for a very long time, being still used in
the early 15th century. It was, for instance, employed in the Tres Belles Heures of Jean de Berry
97
against a landscape. From the frame projections vine scrolls issue to fonu a border inhabited
by perching birds or hybrids - creatures half human and half animal. Ali the miniatures but one
have similar, cheąuered, coloured-and-gold backgrounds. Considering the missing parts of the
text, it may be assumed that the original programme of the decoration included at least five
more miniatures; these were in all probability scenes of The Annunciation, The Visitation, The
Descent of the Holy Spirit on the Apostles, The Crucifixion, and a Requiem Mass. The seven
paintings preserved in situ depict the following scenes: The hlathńty, The Annunciation to the
Shepherds, The Adoration of the Magi, The Flight into Egypt, The Presentation in the Tempie,
The Coronation of the Virgin Mary, and God the Father Enthroned. The images adorning the
bas-de-page and the hybrids in the margins most probably have a symbolic meaning associated
with the miniaturę on a given page; likewise, their astrological interpretation is possible, but this
would be the subject of a separate study.
The very choice of subject-matter for the miniatures illustrating particular parts of the Hours
seems to point to some links with the Paris circle of illuminators; also the style of the painted
decoration of the Cracow manuscript appears to be of Paris origin.
Unlike Jaroslawiecka-Gąsiorowska, I do not find any "Italian" type of figures here; they
lack modelling so typical of that painting and the characteristics of south French illumination
in which human figures were modelled, as in Italy, with whites, colours were more pastel, and
solids were defined by means of a darker colour rather than hatching which appears in the Cracow
object. Furthermore, one would try in vain to find in Ms. Czart. 3467 the plasticity of the dense
folding of draperies, contrasts of light and shade or slendemess of figures, the features present
in Netherlandish art. Instead of them there are here more thickset figures wrapped in soft gar-
ments, whose physiognomic types and modelling derive from the circle of illuminators linked
with the workshop of the Master of Marshal Boucicaut. In that circle can also be found similar
cheąuered backgrounds and tightly "twisted" spiky branches in the margins. They appear in, for
instance, the Paris breviary of c. 1414 (Chateauroux BM - ms. 0002, i 11. 1) and three lectionaries
for Sainte-Chapelle at Bourges (Bourges, BM, mss. 0033, 0034, and 0035) as well as the Book
of Hours executed by an imitator of the Master of Marshal Boucicaut and an imitator of Master
Egerton (Paris c. 1410, J. Paul Getty Museum, Los Angeles. MS. LUDWIG IX 5, ill. 2) and the
Paris Book of Hours from the workshops of the Master of Marshal Boucicaut and the Master of
the Hours de Rohan (1415-1420, J. Paul Getty Museum, Los Angeles, MS. 22, ill. 3). Here also
can be mentioned the Bridwell Book of Hours, defined as "French-Flemislf' with the influence
of the Master of Marshal Boucicaut (Bridwell Library Special Collections). In addition, some
resemblance seems to be discemible in the Book of Hours ad usum Rennes, illuminated by
Master Luęon c. 1405. (The Free Library of Philadelphia, Rare Book Department, Widener 4).
Furthermore, a similar modelling and cheąuered backgrounds are encountered outside Paris, as
is shown in the Hours ad usum Angers (The Loire Valley, early 15lh century - Chartres - BM
- ms. nouv. acq. 168) or the earlier, 14* century, Bibie de Valenciennes (in the Bibliotheąue
Municipale de Besanęon). An important argument for the relationship between Ms. Czart. 3467
and Paris illumination is its remarkable stylistic and iconographic kinship with the Hours manu-
script linked with this circle and dated to c. 1400-1410 (ill. 4).
Eąually strong echoes of Paris illumination can be discerned in the non-figural omamenta-
tion of the Czartoryski manuscript. A similar mise-en-page - a miniaturę in a thin. triple frame
from which issue smali spiky shoots with jagged leaves - appeared in Paris book illumination in
the first half of the 14th century; the pattern of a miniaturę whose frame surrounded the bas-de-
page together with a few lines of the text, was popular for a very long time, being still used in
the early 15th century. It was, for instance, employed in the Tres Belles Heures of Jean de Berry
97