Browse Items (21 total)

A sequence of owners seemed compelled to express their ownership of Summerfield C65. Their unique penmanship reveals how subsequent caretakers inscribed themselves into this Book of Hours. These five-hundred-year-old pages contain twelve long-dead…

Several changes personalized Summerfield C65 after its initial printing, ranging from the painting of several printed images and rubrics to the inscriptions added by subsequent owners. Among the most distinctive of these is the insertion of a round…

This sumptuous manuscript includes the traditional contents of Books of Hours: the Calendar of Saints, excerpts from the four Gospels, the Hours of the Blessed Virgin Mary, Penitential Psalms, the Hours of the Cross, the Hours of the Holy Spirit, and…

This elaborately decorated Book of Hours ("The Vosper Hours") is a late 15th-century manuscript from Langres, France. While many Books of Hours contained materials such as owners' names and hand-written texts and annotations, this manuscript has no…

The Master of the Troyes Missal incorporated both archaic and contemporary iconographic details into his artwork. His choice of animated roundels may be inspired by one of his predecessors, the Bedford Master. The illustrations beginning Matins and…

A reader or viewer opening Summerfield C65 would notice three specific characteristics: it is a printed book, it has been well used, and it was transformed into a hybrid object blending print and manuscript culture. But, what does its appearance say…

Purchased by KU in 1955 and previously owned by Baron Charles Despines (1777–1852) of the Académie Florimontane of Savoie, MS A6 is a unique example of a late-medieval Book of Hours. Small in size (110mm x 85mm), this handwritten, hand-painted,…

The colophon on the final page of Summerfield C65 states that it was produced on 1 October 1505 by Guillaume Anabat, a book printer in Paris, for Germain Hardouyn, a prominent book publisher. Although printed solely in black ink, Hardouyn had many of…

These folios and their aesthetics reveal the intersection between public and private spaces. Printed on vellum for book publisher Germain Hardouyn during the sixteenth century, this Book of Hours also enters a common space between manuscript and…

Marginal borders were a central feature of Books of Hours and they offered some of the greatest opportunities for artistic invention and innovation. Borders could serve as entertainment, but they could also carry liturgical messages and devotional…