The galleries below illustrate the illuminated pages of individual manuscripts from the Abbey’s collection of rare books. 和画廊一起, there is a PDF copy of the entire manuscript that can be viewed with Adobe Reader or similar software. The manuscript numbers are taken from a catalogue of rare books in the library.
拉丁女士.，英国，ca. 1450
119片叶子(14片).7 x 10.5 cm). 非常尖的哥特字体. 18行. 8人聚会. 拉丁文原文:为亨利六世祈祷, 日历, 诗篇, 冗长, 圣母的时刻, 死亡办公室, 十字架的时间, 祈祷. 几个装饰的边框和首字母，一个历史悠久. 装订:棕色猪皮，19世纪.
The standard English style of illumination practiced during the fifteenth century is readily distinguishable from its counterparts on the continent. 不断飙升的, 有节奏的叶型, 尖尖的字母缩写, and explosive vine ornament are as aggressive as the Gothic book hand of the text. 柔和的色调, 温柔的造型, 大量的树叶, 球形, lobed forms and golden discs are typical of English work from the 1440’s onward. The potential subtlety of this otherwise forceful style is apparent in the delicate rendering of a cleric’s head emerging from the soft leaf patterns of an initial painted in monochromatic tones of rose (45v). 第一片在当代完成的叶子, 虽然不同, hand指的是国王亨利六世(†1463), 亨利七世(1485-1509年在位), 以及14世纪80年代爆发的英国“出汗病”. 此外, 日历上有复活节死亡的记号, 院线, and Mumford families — one referring to the death of Margaret Paston whose will, 根据英国档案办公室所附的信, 写于1482年. 玛格丽特的丈夫约翰·帕斯顿是亨利七世的法律顾问. Hence the manuscript was likely in use by the last two decades of the century. 帕斯顿和布罗姆霍尔姆修会关系密切, 诺福克, suggests this as an early and possibly original provenance for the manuscript.
出处:帕斯顿家族，诺福克
罗马人使用. 拉丁女士.产于法国中部，约. 1475
16 × 12厘米. 黑色丝绒绑扎，缝在4个凸起的带子上.
Documentation of this manuscript book exemplifies the difficulties encountered by a cataloguer in attempting to accurately describe a bound text. The cataloguer’s collation or description of the organization of the text block was: A6, B-D12, E6, F-H12, I-K8, L8(-1). 当这本书被拆封时，很明显，实际的校勘是:A8, B6, C-F8, G2, H4, I8, J-K6, L-M8, N8(-1), O6, P6(-1).
However, neither collation is an accurate reflection of how the book was originally constructed. 当地图是用牛皮纸制作的时候.e. 毛发或谷物的侧面和肉的侧面, 很明显，之前的修复已经失去了原来的秩序. Some of the leaves were probably broken free when the book was taken to the 19th century binder, 而且他显然不懂拉丁文. He guarded pairs of leaves to make folios and commenced to sew the book back together. 决定替换现有的牛皮纸警卫, 其中大部分已经脱落, 用金色的皮肤, 而是保持叶子的顺序不变. 因此, the text block is in the order received and the original location of leaves 53, 60, 61, 89, 94, 95是未知的. Leaf 101, which is conjugate with leaf 97, is incorrectly numbered and should be leaf 100.
罗马人使用. 拉丁女士.，法国，ca. 1525
拉丁语和一些法语. 羊皮纸:22 × 15.7 cm. 每页16行文字，面积(对齐)为11.8 x 7.4 cm. 162年的手卷. 正面和背面空白页.
This 圣经 is illustrated in a style which is a successful blending of Italian and Northern influences. The miniatures are set in architectural frames and typical is the division of the picture-space into two sections by a descriptive scroll. 插图的总数，大大小小的，是35.
鲁昂用法. 拉丁女士., N. 法国,. 1475
162片叶子(18片).5 × 12厘米.尖哥特字体. 15行. 8人聚会. 拉丁文和法文文本:日历, 圣母的时刻, 诗篇, 冗长, 为炼狱中的灵魂祈祷, 死亡办公室, 马太福音所说的激情, 祈祷, 福音的教训, 15条信仰. 13幅带有镶边装饰的大型微缩画. 装帧:棕色小牛，镶金装饰, medallions with the Crucifixion (front) and Annunciation (back) and the name “Françoise Boucher”, 17摄氏度.
Of the various centers of illumination in northern 法国 during the late fifteenth century, Rouen was undoubtedly the most productive source for lavishly decorated 书 of 小时. Large numbers of these manuscripts betray a homogeneous but elegant standard of production less inclined to originality than conspicuous display. 无限制地使用垫金漆, 捐赠肖像的介绍, and a rather precious figure style are typical features of the Rouen school. We can infer that division of labor within workshops was especially common by this time as a means of meeting the inflated demand for prayerbooks. 这份手稿中出现了两组捐赠者的肖像, one included in the original stages of production — a young woman in prayer in the Pietà with a knight kneeling in the border (135r). 这样的数字是一般的, 匿名键入并注明在公开市场上出售的书. The knight’s armor was modified to bear the insignia of the arms accompanying the second set of donors added shortly after. 第二对位于报喜下面(13r). 奇怪的是, the Annunciation itself contains two additional figures (one crowned with a coronet) behind the Virgin and Gabriel. 在一门标准学科中，这种奇怪的变异意味着什么还不清楚.
Provenance: The de Melleu family (inscription); Françoise Boucher.
拉丁女士., N. 法国，第一季度. 16 c.
127片叶子(15片).3 x 10.3 cm.) bastard脚本. 22号线. 8人聚会. 拉丁文和法文文本:日历, 福音的教训, Obsecro te, O Intemerata, 圣母悼歌, 圣母的时刻, 受难记, 圣灵的启示, 诗篇, 冗长, 死亡办公室, 向圣徒祈祷, 约翰所说的激情. 12个大的和27个小的微缩，许多装饰的边界和首字母. 装帧:红丝绒，18世纪.?
By the turn of the sixteenth century manuscript illumination was well into its final phase. and-made 书 of 小时 had to compete with less expensive printed editions available in large numbers by this time. The richly illuminated vellum codex had become a pretense in an era of rapidly changing values. Here the miniatures are set in architectural borders that overtly define the frame as a window opening into space. The figures are repetitive and graceless, but colorfully rendered and highlighted in gold. The style and calendar point to northern 法国, possibly the flourishing school of Rouen. St. 汉纳(4月15日)被列入历法，直到1519年才被封为圣徒. Hence the manuscript may have been written after that date, late in the first quarter of the century.
巴黎Use，法国，15世纪早期.
152片叶子(17 × 12).5 cm.尖哥特字体. 14行. 8人聚会. 拉丁文和法文文本:日历, 福音的教训, Seven salutations to St. 芭芭拉(插入), 圣母的时刻, 诗篇, 冗长, 十字架的时间, 圣灵的启示, 死者, 童贞的十五乐, 祈祷. 10 miniatures, 2 historiated initials and ivy vine borders with gold leaf. 装帧:法国，带镀金装饰的褐色斑纹牛犊，18世纪.
The strength of Parisian influence during the late 14th and early 15度enturies drew talented illuminators from many outlying regions. 北方大师的涌入, 尤其是弗兰德斯, helped bring about distinctive changes in French style — the mixture of Gothic elegance with emerging currents of an earthy naturalism. The spiraling ivy vines of gold and refined page design 在这份手稿中 are counterpointed by an often course figure style and blunt realism that typify the personalized devotional imagery in Burgundian regions. 一个主题，如上帝的父亲威严(74), 以一种优雅的僧侣风格描绘的, 与《集团有限公司官网》(公元50年)的简单质朴形成对比. 配色方案倾向于丰富的蓝色，淡紫色和橙色. 阴沉的面部表情, heavy-lidded眼睛, and decorative backgrounds associate this manuscript with the workshops of the Boucicaut and Egerton Masters active in Paris during the early decades of the 15度entury.
出处:底盘. W. Reynell (inscription); Scribner’s, N.Y.
Mr. 和夫人. S. 埃伯利·汤普森(Eberly Thompson)系列. 5)
特鲁瓦使用，第三季度. 15度. N. 法国
H132离开(17).5 x 13厘米)尖哥特字体. 18行. 8人聚会. 拉丁文和法文文本:日历, 福音的教训, 十字架的时间, 圣灵的启示, 圣母玛利亚, Obsecro te, O Intemerata, 诗篇, 冗长, 死亡办公室. 5张大型微缩图, 10个历史上的首字母, 用水果划分边界, 花, 鸟, 动物, 和其他风格怪异的. 装订:有镀金工具的褐色斑纹牛犊. 18 c.
的宫廷, decorative style of northern 法国 tends increasingly to approach the book as an ornament. Dazzling displays of gold and jewel-like colors enliven the miniatures and border designs. Borders are commonly divided into compartments with alternating background.
罗马用法，拉丁语ms.佛罗伦萨，c. 1475
228片叶子(13 x 9厘米). 圆形意大利哥特手. 13行. 10人聚会. 拉丁文文本:日历, 圣母的时刻, 死亡办公室, 激情时刻, 十字架, 诗篇, 冗长. Two miniatures and four historiated initials, many lavishly decorated initials and borders. 绑定:牛皮纸.
This exquisite little 圣经 is a fine example of illumination as practiced at the heart of the Italian Renaissance. The Italian approach to the figure and composition is restrained and elegant, 不如同一时期佛兰德自然主义的蓬勃和广泛. 边框是大胆和明亮的颜色. 花卉装饰, 充满活力的首字母, and delicately attenuated figure style are characteristic of Florentine work during the second half of the 15度entury. The miniature style is related but not identical to works by 法国sco d’Antonio del Chierico and Attavante, 都在这一时期活跃. On general stylistic grounds the manuscript should be dated around the 1470s.
Provenance: House of Farnese; Signor Cattenacio (1736); Joachim Besozzi, Abbot of Santa Crucis if (both owners identified in an inscription on an enclosed vellum leaf); Scribner’s, N.Y.
Mr. 和女士. S. 埃伯利·汤普森(Eberly Thompson)系列. 7)
罗马用法，拉丁语ms.弗兰德斯，上个季度. 15度.
149片(13片).5 × 10厘米)勃艮第布尔塔德字体. 14行. 8人聚会. 拉丁文原文:十字架的时刻, 圣灵的启示, 群众, 福音的教训, 圣母的时刻, 诗篇, 冗长. 34岁的微缩模型, 棘果和花喷雾的边界, 和虚幻的边界展示鲜花, 昆虫, 等. 装帧:法国红摩洛哥，镶金工具. 18 c. 现代索兰德箱.
In flanders the last phase of manuscript illumination is marked by a dramatic redefinition of the relationship between texts and decoration. The school of illumination centered in the major artistic capitals of Ghent and Bruges drew heavily on contemporary panel painting as a source for miniature compositions. Complex architectural interiors and detailed landscapes reflect the naturalism introduced by Jan van Eyck earlier in the century and developed by Roger van der Weyden, 雨果·范德戈斯, 汉斯·梅姆林一样, 杰拉德·大卫. 在这份手稿中, 例如, the Virgin and Child with Angels (25v) is derived from altarpiece compositions like those of Memling. Many subjects not previously included in 书 of 小时 were introduced by these illuminators. The blue and gold acanthus patterns with sprays of 花 and fruit typical of earlier Flemish illuminators are retained on some leaves. But a new style in which the entire leaf is conceived as an illusionistic scenario dominates most of the illuminated pages. In this later style the border panels are treated like display cases with foliage and fauna scattered over the surface in colorful arrangements. These sill-life frames often intrude on the pictorial space of the miniatures. Alternatively, the text is frequently shown suspended in front of an open narrative landscape. Such playfulness tends to subordinate the text and betrays the widening gap between the illuminator’s more illusionistic aesthetic and the inherent two-dimensional restrictions of the book format. The style of the borders and the doll-like figure types show close affinities with manuscripts grouped around the Prayerbook of Mary and Maximilian I. But the less painterly landscapes and lanky proportions of many figures are closer to manuscripts done by the Master of Edward Iv during the 1480s for the great patron Louis of Bruges. Both trends are current in the Ghent/Bruges region during the 1480s and 90s, 这篇手稿的可能日期.
出处:福文家族(意大利手迹铭文), 1545-46); Jacques Comte de Foncina (inscription, 18 c. ?)
在1520年之前
由Thielman底槽印刷(fl 1497-1524)
菲利普·皮古歇(fl 1488-1518)印刷的许多《葡萄新京》, Thielman底槽, Antoine Vérard (fl 1485-1514) and others represent the highest artistic development of the printed lay prayer book. 中世纪的概念, 《集团有限公司官网》的特点是每页都有完整的边框, 通常由许多小木片或金属片组成, 这两者很难区分. 有些被印在羊皮纸上，并被精心地照亮.
拉丁语，法国，约. 1350
This manuscript contains a series of homilies on the Gospels arranged by feast days. 在作业的最后，有人加了注释, along with the following inscription in 拉丁: This book is for the use of Brother Gabriel de Vultis (or Vultris) which he purchased from Brother Gabriel de Pichotis (or Picehotis). 缩写FGDP出现在最后一页的底部.
拉丁. 意大利，13世纪晚期.
301片叶子(17片).5 × 12厘米). 小方形哥特字体. 61行，两列. 10人聚会. 拉丁文文本:拉丁文版与圣. 杰罗姆的开场白. 5 historiated initials and many decorated in colors with animal grotesques along the borders. 装订:带扣的木板上的棕色摩洛哥，现代风格. 在折叠盒里. Inset inside front board: panel from an early brown calf binding with stamped decoration, 15 16 c.
Italian Gothic approaches to page design are readily distinguishable from the French. Where the Parisian Bible seeks an integration of text and decoration (Cat. 2)，意大利大师遮住了他的首字母. Marginal grotesques and foliage meander along the borders with less regard for balancing the page. 尽管它们的体型很小, the initials assert themselves with a sculptural fullness brought forth by modeling in pale tones of color and white highlighting. Hooded and trumpet-like terminations of the vine forms are typical of Italian work from this period. Such features along with the script and figure style indicate a workshop in northern Italy. The historiated initials portray the “authors” of each text they precede: St. 杰罗姆, 《葡萄新京》的翻译者, before his prologue; Christ as Creator at the opening of Genesis; Solomon; Ecclesiastes; and St. 约翰福音.
Provenance: Albert Natural (ex libris); Scribner’s, N.Y.
Mr. 和夫人. S. 埃伯利·汤普森(Eberly Thompson)系列. 8)
The library has begun the exciting task of digitizing its collection of rare manuscripts and other materials. 通过慷慨的帮助，我们迈出了重要的第一步 Dr. Stephen Delamarter and his associates with the Ethiopic Manuscripts Digitization Project, Jeremy Brown and Erik Young. The library hopes to obtain funding to continue digitizing all the manuscripts in its collection, 以及其他与内战有关的稀有材料.
