Journal articles on the topic 'Fraternitas Beatae Mariae Virginis'

The illuminated Book of Hours dedicated to the Blessed Virgin Mary which was originally held in the former Paravia Library is today located at the Research Library in Zadar. Unfortunately, no information exists about this manuscript. It is bound between covers made of wood veneer and sheathed with black leather. It consists of 156 folios which contain the Office of the Blessed Virgin Mary, the book of hours dedicated to the Blessed Virgin Mary, the book of hours dedicated to the Holy Spirit, Holy Cross, a portion of the office for the dead, seven funerary psalms and various prayers for specific occasions. The text is written in a single column on folios made of vellum (8 x 11.4 cm). It is written in literary Latin, in the Italian-style Gothic script. The text is written in black ink which dominates the manuscript while the rubrics are in red. The text begins with a calendar of which only January, February, November and December remain. The painted decorations feature in the initials and in the margins; there are no stand-alone illustrations filling an entire text-free page. The manuscript has three types of illuminated initials: litterae historiate, litterae dominicalis and litterae ferialis. Of those, there are six litterae historiatae, the subjects of which follow the aforementioned offices contained in the text. Each decorated littera historiata is located within the text, which is framed by a wide border filled with a decorative rinceaux-type band, the main element of which is ivy enhanced with interwoven flower motifs. The Litterae dominicales were rendered so as to form stylized floral shapes and elements dominated by an intense blue, red, green and yellow colour. Initials which resemble stylized flowers are framed on both sides by an L-shaped vegetal scroll which is most commonly composed of multi-coloured blue and red flowers, leaves, and gold and black “fruits”, that is, the motif of a sun disc with rays. The Litterae ferialis were depicted in two ways, either in red and blue or in gold and blue. If the letter is blue, the decoration and the dense graphic ornament are in a contrasting colour such as red, and vice versa, the latter sometime accentuated with tiny gilt details. Each initial is accompanied by a littera arabescata with a small undulating graphic ornament descending from the litterae ferialis along the text. The Book of Hours contains only four Litterae dominicales (fols 15v, 28r, 31r and 38v). Most pages feature a littera dominicalis and a littera ferialis. Litterae arabescatae, which descend from the ornamental bases of the litterae ferialis, consist of three spiral scrolls with a necklace-like sequence of motifs such as birds, flowers, and peculiar huts with volute-like ornaments which resemble pagodas, and these are then interspersed with other, much smaller motifs, for example crosses, flowers and beads. Decorative margins found on the pages with the illuminated litterae historiatae display features of a sporadic Mannerist influence in the newly established refinement of the classical Renaissance, but also a solidity which is in contrast to the lush late Gothic drôleries which had dominated before. For example, on in the decorative margin on folio 59v there is a masked head. With regard to the painted initials inside the litterae historiatae, certain details, such as the rendering of volume with emphasized black outlines, the positioning of the bodies and similar designs, demonstrate compatibility with a number of contemporaneous examples of manuscript illumination which have been preserved in Croatia. In the first place are the illuminated manuscripts from the Treasury of Split Cathedral such as the image of king David in the initial B in the fifteenth-century Psalterium Romanum (ms 633, fol. 5, Cathedral Treasury, Split). Compared to the Renaissance manuscript illuminations at Zadar, it can be noted that the figural illuminations, the litterae historiate, in this Book of Hours are stylistically closest to the Missal of Abbot Deodato Venier. In her article Manoscritti miniati di area veneta e padana nelle biblioteche della Croazia: alcuni esempi dal XIII. al XVI. secolo, F. Toniolo linked the marginal decoration of the Zadar Book of Hours to the type used by the Venetian miniaturist Benedetto Bordone, to whom Susy Marcon too attributed the Zadar codex. However, F. Toniolo pointed out that she was not convinced that this miniaturist decorated it himself, stating that it is more likely that it was the work of a different illuminator from his workshop. She then compared the Zadar Book of Hours with a work of a miniaturist who has been named The Second Master of the Grifo Canzoniere (Il Secondo Maestro del Canzoniere Grifo) after a collection of poems composed by the court poet Antonio Grifo, in which he decorated several pages. She compared the Zadar Book of Hours with fol. 233 of the Grifo Canzoniere, which depicts the Triumph of Anteros and Venus Genetrix surrounded by a marginal decoration similar to the one at Zadar. The miniaturist who illuminated the Zadar Book of Hours must have interacted with or worked within the circle of artists whose works Toniolo identifies as the comparative material for the Zadar illuminations, which can be immediately observed at first sight. For example, the marginal decoration is typically Venetian, and similar to the type used by Julije Klović (Giulio Clovio), Girolamo da Cremona, Benedetto Bordone and other minaturists who worked in this circle. However, if one compares figural illuminations, only a number of differences can also be noted. Although the proposed definition of this circle of manuscript illuminators is highly likely, in my opinion, the issue of the miniaturist responsible for the Zadar codex remains open to debate. Since there is no information about the manuscript, and given that this is an easily portable object, it is difficult to say whether it was produced locally or brought to Zadar. Based on the stylistic and comparative analysis presented in this article, I suggest that this Book of Hours may have originated in the manuscript illumination circles of Ferrara or even Lombardy, and I argue that the workshop in question demonstrates either the strong influence of the Venetian school or the fact that some of its minaturists maintained connections with the Venetian lagoons.

En este artículo, dedicado al arte plumario, la autora sugiere el probable origen del árbol de Jesé representado en las mitras pertenecientes al Völkerkunde Museum de Viena y a la catedral de Toledo: una xilografía estampada en el libro Officium Beatae Mariae Virginis que está en la Biblioteca Comunal de Imola. Además, describe otros referentes visuales y narrativos que pudieron influir en las representaciones vegetales que elaboraron los artistas indígenas, y discurre sobre la posibilidad de que esas creaciones vayan más allá del aspecto formal; es decir, que sean, gracias a la interpretación local de los modelos europeos, representaciones de los propios conceptos indígenas.

SUPLEMENT DO BADAŃ NAD POLSKIMI MODLITEWNIKAMI DRUKOWANYMI XVI WIEKU. PRÓBA IDENTYFIKACJI I CHRONOLOGIZACJI ARKUSZA ZE ZBIORÓW ARCHIWUM ARCHIDIECEZJALNEGO W GNIEŹNIE NA PODSTAWIE ANALIZY ZDOBIĄCYCH GO DRZEWORYTÓWCharakterystyka ułomka znalezionego podczas prac inwentaryzacyjnych w Archiwum Archidiecezjalnym w Gnieźnie w tzw. luzach papierowych. Chronologizacja i identyfi kacja znaleziska na podstawie analizy zdobiących go ilustracji. Dziedzice Marka Szarfenberga czy Maciej Szarfenberg? Hortulus animae czy Horae Beatae Mariae Virginis? A SUPPLEMENT TO THE STUDY OF POLISH PRAYER BOOKS PRINTED IN THE 16TH CENTURY. AN ATTEMPT TO IDENTIFY AND ESTABLISH THE CHRONOLOGY OF A SHEET FROM THE COLLECTION OF THE ARCHDIOCESAN ARCHIVES IN GNIEZNO ON THE BASIS OF ITS WOODCUT DECORATIONSThe article is an attempt to identify a single, much damaged sheet discovered during inventory taking at the Archdiocesan Archives in Gniezno. An analysis of this historical specimen, especially its graphics content, has made it possible to establish that it is a fragment

The author based on three monastery chronicles of the Late Middle Ages analyses the method of portraying the Bohemian kings from the Luxembourg and Poděbrady families and tries to point out factors which influenced this method of chronicle narration. The sources for this article are canons’ regulars chronicles in Żagań, Wrocław and Kłodzko: Catalogus abbatum Saganensium, Chronica abbatum Beatae Mariae Virginis in Arena i Cronica Monasterii Canonicorum Regularium in Glacz. The figures of rulers appear in the chronicles mainly in the context of their relationships with the particular monastery, especially when it comes to property matters: granting, rights and taxes. The other aspect in which the rulers are mentioned in the chronicles are the conflicts between secular and Church power. From the analysis of the texts a conclusion can be drawn that the picture of the rulers is diverse in different places where the chronicles were written and the attitude of the local society towards the particular ruler. It is best seen on the example of George of Poděbrady, a Hussite on the Bohemian throne. The chronicle of Żagań has a separate position – apart from the local issues, it presents the general information, unrelated to Church, including the ruling persons.

This paper is more concerned with posing questions than attempting to provide answers. I am principally interested in trying to establish whether there was a connection between the English Arminians’ emphasis on ritual and the beautification of churches in the 1620S and 1630S and the perception at the time that Roman Catholicism was gaining ground, especially in London and at the court. It has long been known that Charles I’s court was considered by contemporaries to have been rife with Catholic activity. Likewise, the embassy chapels in London provided a focus for Protestant discontent as a result of their attracting considerable congregations of English Catholics. The 1620s also saw the Arminian faction within the Church of England grow in influence, acquiring the patronage of the Duke of Buckingham and of King Charles himself. As has been demonstrated by Nicholas Tyacke, for example, this faction was very much orientated towards the court, and gained power by working within this milieu under the leadership of Laud and Neile. However, I am not concerned here with the politics of the Arminian rise to control of the Church of England hierarchy, but rather with their interest in ceremonial worship, their endeavour to place liturgy rather than the sermon at the centre of services. Was a leading Arminian such as John Cosin, for instance, reacting to what amounted to a Roman initiative? Furthermore, one needs to ask what part aesthetics played in attracting and retaining the allegiance of Catholics to what was, after all, an illegal form of worship. Even if the no longer faced the likelihood of physical martyrdom, financial penalties were severe, and the threat of imprisonment remained for priests and laity alike. Yet some twenty per cent of the titular nobility and many ordinary folk remained loyal to Rome. May not the very nature of Catholic worship provide a clue to explain this phenomenon? Clearly this is an extremely wide subject, which the time and space available does not permit me to explore in depth on this occasion. Therefore, I propose to focus on two specific areas: what attracted crowds of Londoners to the Catholic worship offered by the embassy chapels; and on one aspect of the Arminian response, namely, the field of devotional literature. I shall examine John Cosin’s A Collection of Private Devotions… Called the Hours of Prayer (1627) in the context of its being a reply to popular Catholic devotional books of the period, such as the Officium Beatae Mariae Virginis, commonly known as the Primer. Thus I shall address issues connected with both public and private devotions.