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Re-Inventing Traditions

On the Transmission of Artistic Patterns in Late Medieval Manuscript Illumination

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Edited By Joris Corin Heyder and Christine Seidel

The volume comprises 16 papers given at the conference Re-Inventing Traditions held in Berlin in 2012. It negotiates the question of the transmission of artistic patterns in late medieval manuscript illumination. The model as such is often regarded as a mere working tool but recently the conditions of its creation and transformation have been discovered as a field of research. Among the central themes of these essays are textual tradition, workshop methods and the development and changeability of artistic models throughout different media and in various European regions.
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La transmission du cycle enluminé d’un traité didactique profane de 1379 à la fin du XVe siècle : le Livre des deduis de Henri de Ferrières: Sandrine Pagenot

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Sandrine Pagenot

La transmission du cycle enluminé d’un traité didactique profane de 1379 à la fin du XVe siècle : le Livre des deduis de Henri de Ferrières1

Abstract

Norman lord Henri de Ferrières’s work, Les Livres du roy Modus et de la royne Ratio, was written between 1354 and 1377 and its oldest illuminated version dates back to 1379 (Paris, BnF, ms. fr. 12399). Its first part, the Livre des deduis, is the most complete French hunting book from the 14th century. The author teaches hunting, falconry and many methods of trapping game and game birds. It received an illuminated cycle of 54 miniatures, conceived by the Parisian painter the “Maître du Rational des divins offices” in close co-operation with the author. 32 handwritten copies, completed over more than a century, remain, 26 of which are illuminated. This article presents, after defining the typology of the initial cycle, the modes of its transmission from the 1390’s to the beginning of the 16th century. It is based on examples coming from a selection of eight manuscripts, regarding the evolution of the thematic composition, the iconographic content and the stylistic treatment.

Through the eight copies, the representations respect the sense of the original cycle and stick to simplicity and didactic rigour: the festive and courtly aspect of the hunt, and its pomp, barely appears. New stylistic information reinforces the pedagogical goals, by developing the realism of the paintings. But it is...

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