NOTES

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1. See also the miniature of Christ Being Nailed to the Cross in the same manuscript: Otto Pächt, The Master of Mary of Burgundy (London, 1948), p1. 13. For the complete facsimile, see F Unterkircher and A. de Schriver, Karls des Kühnen vel potius Stundenbuch der Maria von Burgund, Codices Selecti, 14 (Graz, 1969).
2. See Robert G. Calkins, Illuminated Books of the Middle Ages (Ithaca, 1983), 207.
3. Ibid., 24-82.
4. J. Plotzek and A. von Euw, Die Handschriften der Sammlung Ludwig, vol. 2 (Cologne, 1982), 256-85.
5. For a discussion of this manuscript, see Paul Pieper, "Das Stundenbuch der Katherina von Lochorst und der Meister der Katharina von Kleve," Zeitschrift Westfalen , Hefte für Geschichte, Kunstund Volkskunde, vol. 44, part 2 (1966), 97-163.
6. For a discussion of some "normal" cycles, see Calkins, Illuminated Books, 243-82 and 308-13.
7. The Boucicaut Master is named after the Book of Hours this anonymous miniaturist painted for Jean le Meingre, Marshall of France in the first decade of the fifteenth century (Paris, Musée Jacquemart-André, MS 2). For an illustration of Douce 144, see Millard Meiss, French Painting in the Time of Jean de Berry: The Boucicaut Master (New York, 1968), fig. 63.
8. John Plummet, The Hours of Catherine of Cleves (New York, 1966).
9. Ibid., pls. 18-19.
10. James Marrow, Passion Iconography in Northern European Art of the Late Middle Ages and Early Renaissance: A Study of the Transformation of Sacred Metaphor into Descriptive Narrative (Kortrijk, Belgium, 1979).
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11. This page, now in the Museo Civico in Turin, is among several folios frequently attributed to Jan van Eyck that are in a portion of a manuscript perhaps begun for Jean, Duke of Berry in the 1370s and subsequently finished by artists in Flanders about 1440. For this particular fragment of the manuscript see P. Durrieu, Heures de Turin, quarante-cinq feuillets á peintures provenant des Très Belles Heures de jeande France, duc de Berry (Paris, 1902; rpt. Turin, 1967), and for an evaluation of the thorny problems this manuscript poses, see J. Marrow's review in Art Bulletin, 50 (1968), 203-9.
12. For a full facsimile edition, see E. Trenkier, Rothschild Gebetbuch: facsimile und comentarium, Codices Selecti, 67 (Graz, 1979).
13. See J. J. G. Alexander, The Master of Mary of Burgundy: A Book of Hours for Engelbert of Nassau (New York, 1970), and for a discussion of the illusionistic innovations of this artist, see A. van Buren, "The Master of Mary of Burgundy and His Colleagues: The State of Research and Questions of Method," Zeitschrift for Kunstgeschichte 38 (1975), 286-309.
14. Jean Longnon and R. Cazelles, The "Très Riches Heures" of Jean, Duke of Berry (New York, 1969), p1. 128 (fol. 184r).
15. This artist is now known as the Master of the Brussels Initials, after the book of hours illuminated for John, Duke of Berry, in which he participated, now in Brussels (Bibliothèque Royale,MS 11060-61): see Meiss, French Painting in the Time of John, Duke of Berry: The Patronage of the Duke (New York, 1966), 229-46; Calkins, Illuminated Books, 250-82; and Patrick de Winter, "Art, Devotion and Satire: The Book of Hours of Charles III, the Noble, of Navarre, at the Cleveland Museum of Art," Gamut, A Journal of Ideas and Information 2 (Winter 1981), 42-59, for a sense of the controversy surrounding this illuminator.
16. Most recently, Thomas Kren, Renaissance Painting in Manuscripts: Treasures from the British Library (New York, 1983); Patrick de Winter, "A Book of Hours of Queen Isabel la Catolica," Bulletin of the Cleveland Museum of Art 67, no. 10 (Dec.1981), 342-427, and Donald Royce-Roll, "A Reconstruction of a Hypothetical Model Book Used for Saints Depicted in Suffrages of Late Flemish illuminated Manuscripts," a paper delivered at the 24th International Congress on Medieval Studies, Kalamazoo, Mich., May 1989 (a paper that grew out of the Cornell seminar).
17. See also the Christ Child with the Instruments of the Passion in the Prayer Book of Albrecht von Brandenburg (Malibu, J. P. Getty Museum, MS Ludwig IX.19, fol. 31v), which is also repeated in the Vienna Rothschild manuscript, fol. 199v. Sometimes, only a single figure is copied, and placed in a different setting, as in the case of the St. Sebastian in armor in the Older Prayer Book of the Emperor Maximilian I in Vienna (Österreichische Nationalbibliothek, Cod. 1907), placed with a bishop saint in the Grimani Breviary For the Grimani Breviary, see A. Grote, Breviarium Grimani: 17
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Faksimilieausgabe der Miniaturen und Kommentar (Berlin, 1973).
18. See for instance Pieper, "Stundenbuch der Katherina von Lochorst," figs. 12 and 32, for a comparison of the Deposition from a Book of Hours in Münster by the Master of Catherine of Cleves, and a copy of a lost Deposition by Robert Campin.
19. Cf. Millard Meiss, French Painting in the Time of Jean de Berry: The Limbourgs and Their Contemporaries, vol. 2, figs. 714 and 549. For the Hennessy Hours, see J. Destrée, Les Heures de Notre Dame dites de Hennessy (Brussels, 1923); and for a copy by Simon Bening in a series of detached Calendar miniatures (London, British Library, MS Add. 18855, fol. 108v) see Thomas Kren and Johannes Rathofer, Simon Bening: Flemish Calendar. Clm 23638 Bayerische Staatsbibliothek, München (Luzern, 1988), fig. 38. For model books in general, with an entry on the notebook of Ciovannino de' Grassi, see Robert Scheller, Medieval Model Books (Haarlem, 1963), 142-54.
20. See Kren, Renaissance Painting, 60.
21. Sixten Ringbom, Icon to Narrative: The Rise of the Dramatic Closeup in Fifteenth Century Devotional Painting, 2nd ed. (Doornspijk, 1984), 53.
22. See Kren, Renaissance Painting, 31-39, especially the miniature of St. Jerome in Penitence, pl. IV.
23. Ringbom, Icon to Narrative, 198.
24. Ibid., 201.
25. Ibid., figs. 191-94. Bening's Stein Quadriptych, with sixty-four scenes of continuous narrative set in four panels, contains many more scenes than could have been used in even the most expanded cycles of manuscript illuminations.
26. See, for instance, M. Friedlander, Early Netherlandish Painting (Leyden, 1967), vol.2, pls. 50-51 and 52-53.
27. Ringbom, Icon to Narrative, fig. 171.
28. The repetition of icons has been noted in Byzantine manuscripts: see Annemarie Weyl Carr, Byzantine Illumination, 1150-1250 (Chicago, 1986), and a recent paper by Robert Nelson.
29. James Marrow, "Artistic Self-Consciousness in the Middle Ages: Some Perspectives," paper presented at the 23rd International Congresson Medieval Studies, Western Michigan University, Kalamazoo, Mich., May 1988.
30. Erwin Panofsky, Early Netherlandish Painting (Cambridge, Mass., 1953): "It has been said that book illumination was killed by the invention of printing: but it had already begun to commit suicide by converting itself into painting. Even without Gutenburg it would have died of an overdose of perspective" (1:28).
31. Pächt, Master of Mary of Burgundy, 24 f. See also Ringbom, Icon to Narrative, 198.
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32. Pächt, Master of Mary of Burgundy, 42.
33. Marrow, "Artistic Self-Consciousness."
34. Ringbom, Icon to Narrative, 199.
35. See in particular, the Flora Book of Hours in Naples (Biblioteca Nazionale, MS I. B. 51): Ringbom, Icon to Narrative, figs 163-70); and a Book of Hours in Munich (Bayerische Staatsbibliothek, Cim 28345: ibid., figs.174- 84).
36. Similar frames into which cutout miniatures by the French illuminator Simon Marmion were inserted were used extensively in the so-called Flora Hours in Naples (Biblioteca Nazionale, MS I. B. 51) in the 1480s. Most of these miniatures are close-up images, which, it has been suggested, Marmion may have developed as a result of a sojourn in Flanders: Ringbom, Icon to Narrative, 199.
37. Ringbom, Icon to Narrative, 43, cites the example of St Luke painting a portrait of the Virgin in Huntington MS HM 1173, fol. 15v, where the Virgin is leaning on the edge of a window opening with a tapestry over the sill. The image of the Virgin that is being painted, however, is simply enclosed in a standard frame without any "window effect."
38. Ringbom, Icon to Narrative, 199.
39. L. Brand Philip, The Ghent Altarpiece and the Art of Jan van Fyck (Princeton, N.J., 1971), facing p. 26. For other altar frames see figs. 13-17 and 41-42. For the elaborate late gothic wooden tracery setting for the St. Wolfgang Altar by Michael Pacher, see Nicolò Rasmo, Michael Pacher (London, 1971), figs. 73-75.
40. Ringbom, Icon to Narrative, 200, notes that the pseudo frame was used earlier, in altarpieces, but was later left out. See the painted "portal" frames of Roger van der Weyden's Granada Altarpiece in Friedlander, Early Netherlandish Painting, vol. 2, p1. 1, and Dirc Bouts's Prado Altar of the Virgin, ibid., vol. 3 (Leyden, 1968), p1. 1.
41. Ibid., vol. 6 (Leyden, 1971), pls. 52-53.
42. Ringbom, Icon to Narrative, 46-46 [sic].
43. For this manuscript, see Kren, Renaissance Painting, 59-62.
44. A close copy exists in the Musé des Beaux Arts, Brussels: see the comparison made in de Winter, "Hours of Queen Isabel," figs 5-6.
45. See Kren, Renaissance Painting in Manuscripts, 59, for a list of manuscripts with similar architectural frames.
46. Ringbom, Icon to Narrative, fig. 5. See also his "Devotional Images and Imaginative Devotions: Notes on the Place of Art in Late Medieval Piety," Gazette des Beaux Arts 6e serie (Mar. 1969), 165.
47. Friedlander, Early Netherlandish Painting, vol. 8 (Leyden, 1972), pls. 4-5.
48. See de Winter, "Hours of Queen Isabel," figs. 66, 68, 70-71, 98, 113, as well as the illustrations of the Spinola Hours in Plotzek and von Euw, Handschriften der Sammlung Ludwig, for numerous other examples.
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49. See note 39 above.
50. See the North German ivory devotional booklet in the Victoria and Albert Museum (Inv. Nr. 11-72) illustrated in Jeffrey Hamburger, "The Use of Images in the Pastoral Care of Nuns: The Case of Heinrich Suso and the Dominicans," Art Bulletin (Mar. 1989), figs. 4-5.
51. Plotzek and von Euw, Handschriften der Sammlung Ludwig, fig. 400.
52. For the London Rothschild Hours, see Kren, Renaissance Painting, p1. X. For the Hours of Isabel the Catholic, see de Winter, "Hours of Queen Isabel," color pl. IV.
53. A point brought up by Donald Royce-Roll in the seminar on late Flemish manuscripts held at Cornell University, and presented in his paper; see note 16 above.