Quill and Graver Bound: Frakturschrift Calligraphy, Devotional Manuscripts, and Penmanship Instruction in German Pennsylvania, 1755–1855

2016 ◽  
Vol 50 (1) ◽  
pp. 1-83
Author(s):  
Alexander Lawrence Ames
Keyword(s):  
Devotional Manuscripts

Rewarding Devotion: Indulgences and the Promotion of Images

1992 ◽  
Vol 28 ◽  
pp. 179-194
Author(s):  
Flora Lewis
Keyword(s):  
Image Plate ◽  
Liturgical Year ◽  
Devotional Manuscripts ◽  
The One

The indulgence is one of the Church’s mechanisms for encouraging pious practices which has generally had a bad press. This paper is concerned with its use in the veneration of three images: the Veronica, the arma Christi or instruments of the Passion, and the Man of Sorrows with the indulgence referring to the Mass of St Gregory. It addresses in particular the circumstances of the original grant of indulgence (whether real or spurious) and the role played by the indulgences in the transmission of these images in devotional manuscripts in England. The earliest of these indulgenced images, the Veronica, is also the most famous, and the one whose origin is most clearly attested. The Chronica maiora of Matthew Paris tells how the Veronica suddenly reversed itself while being carried in procession in 1216. Innocent III responded by composing a prayer in its honour, with an associated indulgence of ten days for each time the prayer was recited. It is noteworthy that although Innocent’s indulgence is commonly referred to as creating the new category of indulgenced image, the indulgence is attached to the prayer, and there is no suggestion that it was necessary to view the image. As is made clear in the Chronica, the addition of a representation of the image (plate 1) was prompted by the fervour of devotion: people did it for themselves. Thus two related, but not identical, impulses joined together to produce the indulgenced prayer to be said before the image, the model for all other indulgenced images. An early example of the prayer used as part of an exercise in devotional propaganda is found in the Revelations of Mechtild of Hackeborn. These normally followed the liturgical year, and on the day of the exposition of the relic she had a vision, aimed at arousing piety towards the image, in which she saw Christ in Majesty, with those who honoured the holy face with a special prayer approaching him,

scholarly journals Resemblance and Devotion: Image and Text in a Parisian Early Fourteenth–Century Book of Hours Made for a French Noblewoman

2014 ◽  
Vol 53 ◽  
pp. 33
Author(s):  
Marina Vidas
Keyword(s):  
New York ◽  
Fourteenth Century ◽  
Public Library ◽  
Pictorial Material ◽  
Art Gallery ◽  
York Public Library ◽  
New York Public Library ◽  
Book Of Hours ◽  
Original Owner ◽  
Devotional Manuscripts

Marina Vidas: Resemblance and Devotion: Image and Text in a Parisian Early Fourteenth-Century Book of Hours (Copenhagen, Royal Library, Ms Thott 534 4º) Made for a French Noblewoman The focus of this article is Ms Thott 534 4º, a small Parisian early fourteenth-century illuminated Book of Hours in the collection of the Royal Library, Copenhagen, about which up until now, very little has been published. Firstly, the textual and pictorial contents of the manuscript are listed. Secondly, the specific elements in the book which indicate that it was made for a woman are analysed. The article pays particular attention to the representation of the book’s owner and to other images of women in Ms Thott 534 4º. Additionally, possible readings of the juxtaposed images and texts relevant to the original owner of the manuscript are explored. Thirdly, the significance of the presence of Norman saints in the Calendar and memoriae, as well as of hagiographic material invoking saints that had a cult following in France and England are discussed. Fourthly, the components which reveal that the original book owner had connections to Paris are enumerated and analysed. It is shown that there are stylistic and iconographic similarities between Ms Thott 534 4º and two other Parisian personal devotional manuscripts, the Psalter and Hours of Blanche de Bourgogne (New York, New York Public Library, Ms Spencer 56) and a Psalter-Hymnal (Baltimore, Walters Art Gallery, W. 115) which, in all likelihood, was made for Blanche de Bretagne (c. 1270–1327). These similarities suggest that the three manuscripts are likely to date from around the same time. Drawing on the hagiographic and pictorial material in Ms Thott 534 4º, it is concluded that the Book of Hours was executed around 1310 for a lady with connections to Paris, Evreux, and possibly England. More specifically, Marguerite d’Artois, Countess of Evreux (1285–1311), is proposed as a possible candidate as the original owner of the manuscript.

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