1 531 résultats
réf. ST18310cGermany ca. 1100. 130 x 204 mm. 5 1/8 x 8". Single column 13 extant lines in a late Caroline hand. Rubrics in red. ◆Recovered from a binding and thus noticeably browned stained and vaguely wavy one side somewhat faded several small holes just two touching any letters other imperfections but still a very presentable specimen the ink especially dark on one side and legible on both. This is an early fragment in a distinctive hand lacking the heaviness of other scripts of the period and with a feeling of the elongated grace of the humanistic. Despite having previously been used as a binding scrap the fragment remains definitely readable partly because of the clarity of the scribal hand. Elected pope in 590 Gregory I ca. 540-604 also known as Gregory the Great was one of the most influential pontiffs in the history of the Church. In addition to revising liturgical worship he wrote extensively on theology offering homespun wisdom rather than esoteric debates. His "Homilies on the Gospels" were intended to be preached to common people rather than a monastic audience and as a consequence were greatly admired for their straightforward language and pastoral relevance. unknown books
1465réf. ST17243bBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. Rubrics in red one two-line initial in gold filled with blue on pink ground WITH THREE LARGE HISTORIATED INITIALS: ONE FEATURING AN OVAL-SHAPED PIECE OF FLESH WITH A GASH IN THE CENTER AND TWO WITH CHRIST'S DISEMBODIED FOOT SHOWING THE PUNCTURE WOUND FROM THE CRUCIFIXION each initial in pink or blue with white tracery filled with dark pink and thin gilt lines and dots four wavy blue rays radiating from behind each appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Vellum a shade less than bright faint marginal rumpling trivial paint transfer on one initial BUT IN FINE CONDITION the initials richly painted and extremely well preserved. From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. A sister leaf to the present item features three additional initials showing a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work. The present leaf surpasses both of these examples in terms of excellence of the artistic hand and attention to detail. unknown books
1465réf. ST17243aBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. Rubrics in red WITH THREE LARGE HISTORIATED INITIALS: ONE WITH A PORTRAIT OF CHRIST WEARING THE CROWN OF THORNS AND TWO WITH DISEMBODIED HANDS SHOWING THE STIGMATA each initial in pink or blue with white tracery filled with dark pink or blue with thin gilt lines and dots hands with wavy blue rays radiating from behind the appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Margins with a little light soiling BUT IN FINE CONDITION THE PAINT OF THE INITIALS ESPECIALLY RICH AND WELL PRESERVED. From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. A sister leaf to the present item features three additional initials showing the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work--but the present leaf surpasses both of these examples in terms of excellence of the artistic hand and level of detail depicted. unknown books
1500réf. ST20810SParis ca. 1500. 163 x 115 mm. 6 1/2 x 4 1/2". 12 leaves. Single column 18 lines in a gothic book hand. Feast days in alternating blue and burnished gold script two-line "KL" initials painted blue with white tracery and embellished with orange and blue ivy on a burnished gold ground each with a spray of gilt leaves and painted flowers one-line "A" initials in burnished gold over a pink and blue ground each page with a panel border of colorful flowers berries and acanthus over a painted gold ground with 24 SMALL MINIATURES depicting the labor of the month on rectos and zodiacal signs on versos. Some moderate smudging and soiling in bottom and fore margins January and February with tiny wormhole in head margin the miniature for January conceivably improved by a later hand but all in all a very lovely Calendar the high-quality paintings very well preserved and the whole with vibrant colors and brightly gleaming gold. Vibrantly illustrated and shimmering with gold this is an excellent example of a complete Calendar that would have appeared at the beginning of a luxuriously appointed Book of Hours. Each month is illustrated with the labor or occupation appropriate for the moment. These are in turn: warming by the fire feasting pruning picking flowers courting threshing hay harvesting wheat baking bread treading grapes sowing feeding hogs and slaughtering a hog. Our artist chose to compose these scenes more as portraits than depictions of actual tasks framing the image around each figure's face and sometimes only including small details that might indicate their occupation. In the month of June for example which depicts threshing hay we see only a sliver of the farmer's sickle and nothing at all of the hay. Instead the farmer himself is the primary focus here: and he is particularly well-executed with gentle shading on his downcast features careful brushstrokes highlighting the gleam of his hair and brushed gold suggesting the sun beating down on a bright June day. In addition to the labor or occupation of the month on the recto the 12 signs of the zodiac are depicted on the verso of each leaf these executed with equal charm and care. In cheerful bright colors our artist has depicted Leo's preening pose and glimmering mane the drama of Sagittarius' drawn bow and the cherubic plumpness of Aquarius molded in bluish shadows. In addition to the aesthetic achievements of its various parts the whole is desirable as a so-called composite Calendar with the name of a saint or special celebration occupying every day of the year. The origin of the composite Calendar is uncertain but the general opinion is that it was formalized in the early 14th century. The Parisian Hours of Jeanne d'Evreaux copied in ca. 1330 has been put forth as an early example. In any case the Calendar was subject to numerous changes in the course of time as various saints were canonized and supplanted those who while still recognized as saintly were deemed to be less favored residents for a particular calendar date. The saints' days on this Calendar are fairly typical for the Use of Paris and given the high-quality illumination liberal use of gold and robust borders it is likely that the parent manuscript was produced by an accomplished atelier in that city. Although single Calendar leaves regularly come on the market complete Calendars--particularly ones with extensive visual programs as here--are much more difficult to acquire. unknown books
réf. ST20981Italy 15th century. 264 x 200 mm. 10 3/8 x 7 7/8". Single column 41 lines in a neat humanist hand. With two two-line initials in blue. One corner torn away not affecting text a few marginal wormholes vellum a bit soiled and with a few small stains but a very good example the text entirely legible and overall clean and presentable. Containing text by an author who was much admired during the Renaissance this leaf is a lovely example of the humanistic script that emerged in Italy during the 15th century. The elegance and legibility of humanistic script derives from Caroline miniscule the predominant style of writing in Western manuscripts from the ninth through 12th centuries. Both scripts favor clear rounded letter forms wider spacing between letters and few abbreviations resulting in manuscripts that are extremely attractive and easy to read. The text here comes from a work titled "De Opificio Dei" exploring the handiwork of God with a concentration on the marvels of the human body and soul. The present leaf includes chapters 8-10 which discuss the human head including especially the seats of the senses: eyes ears nose and tongue. Our author Lactantius ca. 260-340 was a late-in-life Christian who became one of the ablest defenders of the faith in its early centuries. He was held in high esteem by Renaissance intellectuals and was one of the earliest authors to be printed first appearing in 1465. unknown books
réf. ST21124c-01France or Low Countries 14th century. 270 x 230 mm. 10 3/4 x 9". Double columns 32 lines in a gothic book hand. Rubrics and staves in red several initials measuring two or more lines in red or blue with contrasting penwork. Unevenly trimmed missing at most a line of text at the bottom of each column and several words or part-words at corners of outer columns vellum with soiling browning small holes and paper residue consistent with having been used in a binding one side quite darkened but the text there legible with effort nevertheless and entirely legible on the other side. From a noted Missal with numerous large penwork initials this leaf was once used as the cover for a binding yet remains substantially complete. The text here comes from the Temporale containing the cycle of moveable feasts in the Christian year and includes text for Tuesday and Wednesday Feria III and IV of Passion Week. The musical notation on this leaf is highly developed consisting of a four-line staff clef marker and square neumes. unknown books
1430réf. ST20979aParis ca. 1430. 191 x 140 mm. 7 1/2 x 5 1/2". Single column 16 lines in an elegant gothic book hand. Rubrics in gold line-fillers with color foliate and geometric designs on burnished gold ground two one-line initials and three two-line initials in blue or pink enclosing colored vines with foliage on gold ground one four-line initial in blue with white decoration enclosing a lattice pattern each compartment with an orange or blue leaf on gold ground BOTH SIDES WITH A DENSE RINCEAUX BORDER consisting of colorful acanthus flowers and many hairline vines terminating in gold leaves ivy and seed pods and with numerous gilt bezants. With just a couple tiny scuffs to paint and with slight rubbing to some of the small gold details but in lovely condition. This is an opulently decorated leaf from a Book of Hours offered in fine condition with glittering rinceaux borders delicate initials and luxurious gold rubrics. These sumptuous details and the high quality of the work indicate that this leaf was part of a costly manuscript commissioned by a wealthy patron. Other leaves from the same parent manuscript were sold at Bloomsbury on 6 December 2017 lots 63 and 64. One of these leaves showed St. Genèvieve leading the female saints in the Litany pointing to Paris as the place of origin. unknown books
réf. ST20617cAustria Salzburg second half of 12th century. 319 x 244 mm. 12 1/2 x 9 1/2". Single column 27 lines in a lovely proto-gothic hand. Rubrics in red two one-line initials and one two-line initial in red WITH A LARGE 140 mm. WHITE-VINE INITIAL INHABITED BY A BIRD outlined in red and filled in with blue and green. Lower margin of recto with a 20th century note in red ink identifying the text. Recovered from a binding and thus with overall darkening top half of verso somewhat soiled with top line obscured though with all other letters on both sides very distinct cut a little close to the thin red extension of the initial a few minor holes inlcuding one elongated one through the top part of the initial with minimal loss. Even with these defects a powerfully attractive leaf with memorable decoration and script. Containing a beautiful proto-gothic script and an exceptional Romanesque initial this leaf is a particularly desirable example of early Austrian manuscript production. The opening initial "F" is formed with foliate designs outlined in red given shape by coloring in the negative space with an intense azure blue and moss green. Adding to the initial's charm is a large bird perched on one of the curving branches turning its head to the right as if to read the text like the initial it is also outlined in red. The white-vine style seen here would later become a model for the Italian Humanist scribes and illuminators of 15th and 16th centuries who substituted glistening gold leaf for the vibrant yellow paint favored by some artists of the Romanesque period. The text here is from St. John Chrysostom's homily on St. Matthew 22:34-40 an account of the Pharisees questioning Jesus on God's law asking "which commandment in the law is the greatest" Jesus famously replies with the key tenets of the Christian faith: "You must love the Lord your God with all your heart with all your soul and with all your mind. This is the greatest and the first commandment. The second resembles it: You must love your neighbor as yourself. On these two commandments hang the whole Law and the Prophets." This text was the Gospel reading for the 19th Sunday after Pentecost preceded by the incipit "Frequenter iudei diversis interrogationibus" "The Jews repeatedly tested him with various questions". The present leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg a manuscript that was later dismembered for use in bookbinding. According to the source from which we purchased this leaf it was shown in 1893 to the Medieval historian and later the Abbot of St. Peter's Salzburg Willibald Hauthaler 1843-1922 who wrote the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. unknown books
1500réf. ST20810PParis ca. 1500. 165 x 117 mm. 6 1/2 x 4 5/8". Single column 18 lines in a gothic book hand. Rubrics in red line fillers in blue and pink with gold bezant five one-line initials in burnished gold on pink and blue ground one two-line initial in blue on gold ground with a flower in the center one three-line initial in blue filled with ivy on gold ground recto with panel border of colorful flowers vase and acanthus verso with A LARGE ARCH-TOPPED MINIATURE OF THE ANNUNCIATION TO THE SHEPHERDS surrounded by A FULL BORDER of acanthus flowers and two birds all on a painted gold ground. Slight soiling to vellum but a very well-preserved leaf in fine condition. From what was surely a costly Book of Hours this leaf features a charming and skillfully painted miniature of the Annunciation to the Shepherds attributable to the workshop of Jean Pichore fl. ca. 1502-20 a major figure among illuminators of the period and one of the most sought-after artists in France at the turn of the 16th century. Depicting the traditional subject associated with the hour of Terce our miniature portrays as usual an angel appearing to shepherds tending their flock bringing news of the birth of Christ. Although the biblical narrative suggests that the shepherds were startled by the angel's appearance the three figures in this miniature appear remarkably unmoved--in fact only one of them seems to take any notice at all. The first shepherd sits on the ground looking straight ahead; the second holds his hands in prayer but looks little more than well prayerful at the angel in the sky; and a third figure maintains a slightly aloof expression taking no particular interest in the unfolding miraculous event. What may seem to be indifference can be explained easily enough by the artist's successful portrayal of nighttime cold! All three shepherds are thickly dressed one with his arms pressed tightly against his chest another with a hood partly covering his face and the sheep are tightly huddled together into one woolly white cluster. Another manifestation of the artist's success here is seen in the particularly well done molding of the faces with subtle shading attractively rendered features and clear individuation. Moreover although the shepherds seem essentially unmoved their garments are dusted with a glistening gold radiance from above a further subtle touch revealing a high level of achievement on the part of the painter. Finally the borders are one last source of delight with a small bird shown in mid-flight and a second one investigating a single strawberry that seems to have been placed there just for him. All of these indications of sophistication suggest that the original manuscript must have been commissioned by a patron able to pay a premium for the work of a highly skilled atelier. unknown books
réf. ST18250bEngland first half of 13th century. 235 x 117 mm. 9 1/4 x 4 1/2". Single column 49-50 lines in a gothic hand. Rubrics in dark brown ink three two-line initials in red or blue with contrasting penwork one four-line puzzle initial in red and blue with red and blue penwork decorations and long marginal extenders. With a few contemporary corrections in a different hand verso with scant remnants of mounting tape. Gwara Handlist no. 7. ◆Top edge trimmed cutting into the large initial's ascender one corner cut away not affecting text a couple of wrinkles and a bit of soiling to vellum but in excellent condition overall quite clean and entirely legible. Noticeably different in appearance from the Medieval leaves more commonly encountered on the market such as Books of Hours Bibles liturgical books etc. this leaf features a tall thin "ledger" format and offset initials spaced slightly apart from the rest of the line. The text here comes from the "Aurora" a commentary on the Bible in verse form written in the late 12th century by French poet Petrus Riga 1140-1209 a canon of Rheims cathedral. Although little is known about the author's life Riga's text became immensely popular throughout Europe and was routinely studied in Medieval universities. In fact it is likely that the present leaf came from a manuscript intended for a student or academic as its dimensions suggest it was made for easy transport and could even have been slipped into a pocket. In the 20th century the parent manuscript was owned and dismembered by biblioclast Otto Ege and leaves appeared as specimen no. 7 in his "Fifty Original Leaves from Medieval Manuscripts Western Europe XII to XVI Century." Single leaves from this manuscript appear at auction very rarely. The last example we were able to track on RBH and ABPC sold at Bloomsbury in 2016 for an all-in price of £3100. unknown books
réf. ST20978Italy probably Tuscany first half of 12th century. Each half approximately 134 x 198 mm. 5 1/4 x 8 3/4". Single column 13 lines of text with neumes in a rounded proto-gothic hand. Rubrics and clef line in red two one-line initials in red A THREE-LINE ROMANESQUE WHITE-VINE INITIAL measuring 50 mm. tall in a pale yellow wash enclosing scrolling white-vines on a ground of green blue and red. Each half with a long closed tear one marginal the other touching text the part with the initial trimmed at top apparently cutting off all or part of a line lower end of initial a little faded and slightly trimmed the recto of the lower half rather faded but text discernible with close observation several small stains a small hole and other minor problems associated with being used as binding material; nevertheless in presentable condition with a once lovely and still pleasing initial. The refined Romanesque white-vine initial here opens the responsory "Hodie dilectissimi omnium" "Today the most beloved of all" for the feast of All Saints. Composed of light color washes paired with a vibrant red and featuring vines with acanthus-like curls the initial is simple but very elegant. The leaf probably comes from an antiphonary or similar manuscript containing the music to be sung for Mass with neumes organized around a single stave above each line of text. Unlike earlier notation which functioned as more of an aide-mémoire for singers who had already memorized the melody the notation here actually allows the singer to "read" the music: diastematic neumes show changes in melodic direction and the stave here labeled either "A" "C" or "F" clef for further clarity indicates the relative pitch of each note. The upper half of a leaf from the same parent manuscript was sold at Van de Wiele Auctions on 9 March 2024 lot 867 and was attributed to Tuscany based on the style its decoration which like our initial included distinctive acanthus sprays as well as muted washes of yellow green and blue. unknown books
réf. ST20617bAustria Salzburg second half of 12th century. 298 x 232 mm. 11 3/4 x 9 1/4". Single column 26 lines in a lovely proto-gothic hand with two lines of uncials. Rubrics in red two two-line initials in red one four-line initial in red. Lower margin of recto with a 20th century note in very small letters in red ink see below. Recovered from a binding and thus with overall darkening though the recto much less affected by this four lines of contemporaneous annotations slightly trimmed though good margins all the way around vertical crease with small wormholes and tears touching text but not affecting legibility other minor defects but on the whole quite well preserved and entirely legible. Containing a large elegant initial and a beautiful proto-gothic script featuring two rows of uncials this leaf is an excellent example of early Austrian manuscript production. The text here includes the end of a homily by the Venerable Bede followed by the rubric for the Feast of the Birth of Mary Magdalene July 22 commencing with St. Gregory the Great's Homily 33 beginning "Ad Pharisei prandium dominus discumbebat" from his "Homilies on the Gospels." The homily played an important role in Christian understanding of Mary Magdalene as a penitent sinner identifying her for the first time as the unnamed "sinful woman" who comes to anoint Christ's feet at the house of a Pharisee Luke 7:36-50 and conflating her with Mary of Bethany sister to Martha and Lazarus. Although modern scholarship now differentiates these three women Gregory's interpretation of Mary Magdalene as a reformed prostitute has persisted for centuries. The present leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg a manuscript that was later dismembered for use in bookbinding. The script is particularly pleasing being large and dignified with extremely regular letterforms executed by a steady hand. According to the source from which we purchased this leaf it was shown in 1893 to the Medieval historian and later the Abbot of St. Peter's Salzburg Willibald Hauthaler 1843-1922 who wrote the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. unknown books
1441réf. ST19880Italy Ferrara 1441-48. Visible leaf: 245 x 187 mm. 9 5/8 x 7 3/8"; Frame: 380 x 315 mm. 15 x 12 1/4". Double column 30 lines in a very fine rounded gothic hand a few lines of text in the same hand but smaller. Mounted and in a simple but pleasing gold frame. Visible side with rubrics in red one-line initials in burnished gold or painted blue one two-line initial in burnished gold on a pale pink ground with white tracery a lovely illuminated bar between the columns with a central plant knot AND SPROUTING IN UPPER AND LOWER MARGINS CLUSTERS OF FLOWERS AND LEAVES IN VARIOUS COLORS AS WELL AS GOLD BEZANTS outer margin with swirling penwork studded with gilt bezants running the length of the column each penwork swirl enclosing a painted and gilt flower with ONE FIVE-LINE HISTORIATED INITIAL DEPICTING ST. PAUL HOLDING A SWORD AND BOOK the initial painted pink with green leaves and a blue and green acanthus extension on a gilt ground. ◆Not examined outside of frame but in very fine condition: vellum slightly wavy text in the bottom margin just a bit faded but by all appearances A VERY CLEAN BRIGHT LEAF SPARKLING WITH GILT. Executed with great skill and delicacy and in sensitive Italianate colors highlighted especially by spring green and pink the present leaf is from a manuscript intended for a powerful aristocrat. It comes from the celebrated Breviary illuminated for the chapel of the Marquises of Este rulers of Ferrara and Mantua a manuscript commissioned by Leonello d'Este duke of Ferrara from 1441-50. Because the d'Este family kept excellent records we have confidence that this manuscript was done for Leonello by Giorgio d'Alemagna Bartolomeo de Benincà Guglielmo Giraldi and Matteo de' Pasti see Toniolo "La Miniatura a Ferrara dal Tempo di Cosmè Tura all'eredità di Ercole de' Roberti" 1998 pp. 19-20 and 76-77. The leaves show subtle variations in the style of the illuminations a result of work done by a team of artists doing variations on a theme. At one time in a Spanish library the manuscript was brought to Britain during the Peninsular War and came to be owned by the Rolls family later Lords Llangattock of Monmouth in Wales from whom it takes its name. By the time the work reached Britain most of the miniatures had already been cut out. The Breviary sold at Christie's on 8 December 1958 lot #190 to Goodspeed's of Boston who broke it up. The intact first quire of 10 leaves was purchased by Philip Hofer and given to Harvard cf. Wieck "Late Medieval and Renaissance Illuminated Manuscripts" p. 130 and fig. 74 and individual leaves appeared in 1967 in the catalogues of Folio Fine Art "the quality of the leaves is extremely high" Maggs Brothers "of a very high quality" and Alan Thomas "of exquisite quality". The present example is especially desirable for the portrait of St. Paul who is depicted holding a sword and book and whose carefully molded features reflect the growing interest in realistic portraiture in Renaissance Italy. unknown books
réf. ST17060ZFrance probably Besançon 3rd quarter of 15th century. 239 x 165 mm. 9 3/8 x 6 1/2". Single column 15 lines in an elegant gothic book hand. Rubrics in dark pink line-enders in dark pink and blue highlighted with a gilt bezant several one-line initials and one two-line initial in burnished gold on dark pink and blue ground with white tracery one three-line initial in pink with white tracery filled with trefoils painted red or blue all on a gold ground verso with panel border of delicate hairline vines terminating in gilt bezants and ivy and with acanthus and flowers recto with A HALF-PAGE MINIATURE OF THE CRUCIFIXION in an arch-topped gilt frame Christ in the center of the composition with the mocking inscription "I N R I" "Iesus Nazarenus Rex Iudaeorum" on a banner above him the Virgin standing on the left and St. John on the right the landscape behind them filled with hills and trees under a tessellated sky SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy colorful acanthus strawberries and flowers the text and image further framed by a "U"-shaped bar of gold pink and blue extending the full height of the miniature. ◆Virgin's robe a little mottled and chipped minor chipping elsewhere borders with slight smudging to some of the hairline vines small marginal stain but in all in excellent condition with wide margins with the colors very bright and the miniature well preserved. Opening the Hours of the Cross a shorter text that is sometimes found in addition to the Hours of the Virgin this touching miniature of the Crucifixion is richly painted and features a particularly emotional depiction of Christ his head slightly bowed with an expression of pain. Blood flows freely from his wounds partly merging with the orange in the sky and partly forming rivulets at the base of the cross. This exsanguination stands in contrast to the more typically restrained indications in other Crucifixion scenes and serves to emphasize the cruel suffering of the execution. His mother stands to the left in a blue cloak hands knitted together and with a look of weary resignation on her face; to the right stands St. John whose lips are slightly parted as he looks directly at the crucified Christ as if searching his face for signs of life. Our artist has made an unusual choice for the background with the lower two thirds devoted to a naturalistic landscape with many hills and trees and the sky entirely tessellated with squares of red blue and gold. While the Virgin and St. John are both firmly situated within the earthy realm the body of Christ occupies both spaces perhaps emphasizing his dual nature as both human and divine. Stylistically this leaf can be localized to the Franche-Comté region in eastern France and is closely related if not directly attributable to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city see Avril and Reynaud p. 197. The similarities are especially apparent in the figures' faces which are slightly puffy in appearance and have distinct slit-like eyes. As noted by Avril and Reynaud the unnamed master of this atelier was deeply indebted to the Master of Morgan 293 a talented Burgundian illuminator active in the second quarter of the 15th century whose name derives from a particularly lovely Book of Hours made for the Use of Besançon. In fact there are certain consonant details between this miniature and the Crucifixion in the Morgan manuscript: Christ's position and physicality are nearly identical as is the pattern of blood as it moves down the cross and both artists create a division in the landscape with the Morgan artist using gold rather than tessellation for his sky. Whoever the artist responsible for the present miniature the work here is clearly accomplished both quietly powerful and an excellent representation of a distinct regional style. unknown books
1490réf. ST20853France ca. 1490. 144 x 99 mm. 5 5/8 x 3 3/4". Single column recto with 14 lines in a gothic book hand. Attractively matted and framed. Rubrics in red two two-line initials one painted pink on blue ground with flowers the other painted blue and inhabited by a rampant lion on pink and gold ground recto with a panel border featuring long-stemmed flowers and owls on a pink ground verso WITH A HALF-PAGE ARCH-TOPPED MINIATURE DEPICTING PENTECOST WITH A FULL BORDER featuring a plethora of different flowers berries greenery songbirds an owl and a butterfly all ON A RICHLY PAINTED GOLD GROUND. Trimmed close on one side and just grazing a border on the opposite side very minor chipping to faces trivial signs of rubbing or wear otherwise a fine leaf--colorful bright and very pleasing to the eye. This leaf contains the customary Pentecost miniature associated with the Hours of the Holy Spirit but with several attributes that set it apart from other examples we have encountered. The miniature here depicts a densely crowded scene with the Virgin at the center surrounded by the apostles each of whom wears a burnished gold halo. Packed tightly together they gaze up at a white dove who emanates small red tongues of fire above their heads. According to biblical tradition this visitation by the Holy Ghost in the form of a dove enabled Christ's disciples to start preaching marking the beginning of the Christian Church. The artist favors an unusual pastel palette choosing pale pink for the walls and eggshell blue for some of the floor tiles as well as bright yellow muted lilac rose and lime green for the robes of the apostles. Looking more closely at the figures we see that each face is carefully individualized each with its own features and expressions. Although most crane their necks to get a view of the miracle unfolding one of the apostles looks directly out at the viewer as if surprised by our presence. Moving outside the miniature we note that the leaf features a particularly exuberant border with tangles of flowers fruit acanthus leaves and several birds including an owl in one corner. There is additional interest on the verso with another bright border painted an intense pink and filled with more flowers and owls. unknown books
1470réf. ST19885Netherlands ca. 1470-80. 164 x 123 mm. 6 1/2 x 4 7/8". Single column 17 lines in a gothic hand. Capitals touched with red rubrics in red one-line initials in red or blue one two-line initial in blue A VERY LARGE HISTORIATED INITIAL approximately 60 mm. square DEPICTING PENTECOST the initial painted blue with white tracery on a burnished gold ground surrounded by A FULL BORDER decorated with colorful acanthus large flowers strawberries insects including a grasshopper fly moth and mosquito all on a liquid gold ground. See: Marrow et al. "The Golden Age of Dutch Manuscript Illumination" nos. 79-81. ◆Margins just faintly soiled gold very slightly rubbed but IN FINE CONDITION the initial and border beautifully preserved. This is an extraordinarily handsome leaf featuring an oversized historiated initial depicting Pentecost attributed to the circle of the Master of the London Jason. Our artist has made remarkable use of space fitting 13 clearly defined people within an initial opening measuring 45 x 32 mm. The Virgin sits enthroned directly in the center encircled by the Apostles dressed in blue violet green and orange robes. Our artist cleverly adds a notch at the top of initial--like a cupola inside a chapel--in order to fit an image of a dove inside the scene. The figures show an impressive degree of individualization and emotional response as they witness the descent of the Holy Spirit; a few gesture in surprise two lower their gaze and some look up in awe. The work is stylistically like that of the Master of the London Jason named for his work on the "Historie van Jason" manuscript now housed at the British Library. As Marrow et al. note the Master's style is characterized by "somewhat short heavy figures that are well formed and have unusual slightly broad yet expressive faces with deep sunken eyes." Our leaf's enclosing border is of very considerable interest featuring as it does naturalistic flowers strawberry plants insects and a small brightly colored bird all painted in colors that perfectly complement the main scene. A very fine production all around this distinctive energetic leaf would make a notable addition to any collection. unknown books
1470réf. ST17245-09Northern France probably Rouen ca. 1470. 180 x 117 mm. 7 x 4 5/8". Single column 18 lines text in a bâtarde hand. Text in red blue and gold two-line "KL" in shell gold on blue and red ground both sides with panel border composed of flowers and ink dots WITH TWO SMALL MINIATURES each centered in the middle of the panel borders featuring the labor of the month Threshing and the zodiac sign a young woman for Virgo. Vellum a bit soiled and slight wrinkling in margins small area of rubbing at bottom of the Virgo miniature but in excellent condition overall the fine details in the miniatures well preserved. Situated among the flowers of the panel borders here are two small but charming miniatures depicting the labor of the month "Threshing" and the zodiac sign for August. According to Roger Wieck far fewer than half the Books of Hours of the period contain illustrated calendars "even in manuscripts with otherwise lavish cycles of miniatures"; when they do appear they are invariably charming as is the case here. In the threshing scene a young layman brings down his grain flail two hinged pieces of wood the longer one called a helve and the other a beater joined by a thong in an effort to separate the grain while neatly gathered bushels of straw appear just behind him. On the verso we see a representation of Virgo as a young woman holding appropriately two long stalks of grain in her hands. The rich palette used in these miniatures allows the delicate gold highlighting on the harvested crop and garments to shine through adding a fine sense of detail to each image. unknown books
réf. ST17245-02France probably Rouen second half of 15th century. 162 x 117 mm. 6 3/8 x 4 5/8". Single column 17 ruled lines text in a bâtarde hand. Text in gold blue and red "KL" in scrolling white letters on a gold ground with small blue and red blossoms both sides with panel border of acanthus flowers small ink dots and gold bezants WITH TWO SMALL MINIATURES showing the labor of the month Threshing on recto and the zodiac sign Virgo on verso. ◆Small wrinkle in lower margin just touching the lower edge of the miniatures trivial smudging but IN VERY FINE CONDITION the vellum especially clean and bright the paint quite rich and the miniatures extremely well preserved. With clean white vellum small but appealing miniatures and attractive lettering and decoration this is a desirable example of a calendar leaf from a high-quality Book of Hours likely made in Rouen. According to Roger Wieck far fewer than half the Books of Hours of the period contain illustrated calendars "even in manuscripts with otherwise lavish cycles of miniatures"; when they do appear they are invariably charming as is the case here. In the lower margin of the recto is a small miniature depicting the typical labor for August "Threshing" in which a young layman brings down his grain flail two hinged pieces of wood the longer one called a helve and the other a beater joined by a thong in an effort to separate the grain while neatly stacked unprocessed clumps of straw appear just behind it. On the verso we see a representation of Virgo as a young woman holding appropriately a long sheaf of grain in her hand. While most of the feast days that appear in the calendar are typical for the period the inclusion of St. Sauveur i.e. Transfiguratio Domini on 6 August is characteristic of a calendar for the use of Rouen suggesting that the parent manuscript may have been produced in that place or the region around it. unknown books
réf. ST17245-04France possibly Rouen mid-15th century. 173 x 130 mm. 6 3/4 x 5 1/8". Single column 16 ruled lines text in a gothic book hand. Text in gold blue and dark pink "KL" in blue with white tracery on a gold ground decorated with dark pink baubles and leaves and with a floral spray extension both sides with panel border composed of densely packed acanthus flowers and hairline vines with gold bezants WITH A SMALL ROUNDEL MINIATURE at the bottom depicting the labor of the month Pruning set on a panel of flowers hairline vines and gold bezants. With numbering to the left of the golden numbers and a few calendar entries in a later hand. ◆Light soiling to vellum a few small smudges in the borders a little paint transfer affecting a couple lines of text and margins of the verso but these issues all very minor and on the whole in fine condition with a particularly well-preserved miniature with rich uneroded paint. With lovely panel borders and a particularly charming roundel miniature showing the labor of the month this leaf likely comes from a high-quality manuscript made for a person of means. Though miniatures depicting the labors of the month are often illustrated with just a single person performing the task here we are treated to two laypeople--a man and a woman--working together to prune and break ground in their field. The man appears to be carrying an axe for trimming branches while the woman carries a long stick to loosen dirt for spring plantings. The names of several saints have been added to the calendar by a later hand though it would appear that they were erroneously placed in March: St. Hugh belongs on 9 April Pope Leo on 11 April and St. Tiburtius on 14 April. While almost all of these feast days are commonly found in Books of Hours of this period Hugh Bishop of Rouen is slightly unusual suggesting that the manuscript may have been made in or at least ended up in Rouen. unknown books
réf. ST17060VFrance probably Besançon 3rd quarter of 15th century. 239 x 165 mm. 9 3/8 x 6 1/2". Single column 15 lines in an elegant gothic book hand. Rubrics in dark pink line-enders in dark pink and blue with a gilt bezant several one-line initials in burnished gold on dark pink and blue ground with white tracery one three-line initial in blue with white tracery filled with flowers painted pink or blue all on a gold ground verso with panel border of delicate hairline vines terminating in gilt bezants and ivy and with a spray of blue flowers and a red bud recto with A FULLY-REALIZED HALF-PAGE MINIATURE OF A BURIAL in an arch-topped gilt frame with two laymen lowering a shrouded corpse into the ground a small group of hooded monks to the left and two ecclesiastical figures reading from a book to the right all in front of a gothic church painted pink with a blue roof SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy colorful acanthus strawberries and blue flowers the text below the miniature further framed with a thin "U"-shaped line extending the full height of the miniature. A very few trivial imperfections quite minor wear to paint on clothing a little insignificant smudging one small light stain in the blank margin of verso but these defects not the least distracting and overall the miniature in fine condition with rich well-preserved color. This is a splendid miniature from a particularly large Book of Hours showing a detailed rendering of a scene from contemporary Medieval life--that of a burial in a churchyard involving clergy mourners and laymen. Apart from those relatively few copies with illustrated calendars the miniatures found in Books of Hours are almost entirely devoted to retrospective Bible scenes that are obviously outside the experience of the illuminator; it is only in the present kind of scene at the beginning of the Office of the Dead that we can see a contemporaneous image that would have come directly from the Medieval experience. While our painting is fairly typical in subject matter and design it offers a number of interesting details about the Medieval rites and rituals surrounding death. The present scene represents the final stage preceded by the funeral procession Requiem Mass prayers Absolution and the procession into the graveyard in which the body is actually laid to rest in the ground. Though the corpse would have been encased in a coffin during the aforementioned rites and processions it was customary to bury the dead in only a shroud in the present example the artist has even thought to show the stitching along the length of the shroud. Three groups of people each serving a different function appear in this miniature: in the foreground are two laborers lowering the body into an earthen grave a small group of mourners in black cloaks stand off to the left and a duo of clergy members stand to the right. The latter have tonsured heads and each wears a black cope donned prior to administering Absolution to the deceased; together they hold a manuscript containing the Rites for Burial. The background is composed of a grand church or cathedral containing a number of fine architectural details including several windows including a clerestory level an arched entrance a dome and decorative touches. Stylistically this leaf can be localized to the Franche-Comté region in eastern France and is closely related if not directly attributable to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city see Avril and Reynaud p. 197. The similarities are especially apparent in the figures' faces which are slightly puffy in appearance and have distinct slit-like eyes. As noted by Avril and Reynaud the unnamed master of this atelier was deeply indebted to the Master of Morgan 293 a talented Burgundian illuminator active in the second quarter of the 15th century whose name derives from a particularly lovely Book of Hours made for the Use of Besançon. Whoever the artist responsible for the present miniature this work is an excellent representation of a distinct regional style extremely attractive and replete with interesting details that connect us to the Medieval experience. unknown books
1450réf. ST11774-85Paris ca. 1450. 159 x 108 mm. 6 1/4 x 4 1/4". Single column four lines of text on the verso 15 on the recto in a very pleasing gothic book hand. Attractively matted. Recto with a line filler in colors and gold verso with a one-line initial in burnished gold on a maroon and blue background with white tracery and a three-line "D" in blue and white enclosing a spray of violets in the same colors the capital on a burnished gold ground the same side WITH A FULL SWIRLING BORDER of acanthus leaves flowers and berries and many burnished gold ivy leaves ENCLOSING A BLOODY ILLUMINATED MINIATURE OF THE MASSACRE OF THE INNOCENTS measuring approximately 78 x 54 mm. Fore and lower margins on the side with the miniature a bit rubbed and with a faint patina reflecting frequent use also minor fading and loss of paint and gold in the same place otherwise in fine condition THE MINIATURE itself REMARKABLY WELL PRESERVED WITHOUT ANY EROSION OF PIGMENT. This leaf comes from a Book of Hours decorated by extremely skilled members of what must have been a first-class workshop. The Massacre of the Innocents cannot help but be a moving subject and the composition here as well as the painter's considerable ability add to the emotional impact in the present miniature. The center of the scene is dominated by the gold-armored gray-bearded soldier whose sword is raised over the head of a woman clinging to her son. The blood-spattered foreground is littered with the dismembered bodies of infants looking like so many broken dolls. On the left we see a row of modest cottages providing considerable depth as they recede toward distant hills. On the right stands a crowd of grim-faced soldiers all as elderly as their commander and seemingly following orders that are unwelcomed; it is perhaps the acute sadness in their faces that makes this scene especially memorable. The clear sky green fields and serene blue mountains in the distance contrast markedly with the horrific events unfolding. unknown books
1939réf. ST17129-020Wimbledon Surrey September 1939. 373 x 255 mm. 14 3/4 x 10". 12 vellum leaves seven with text and illuminations. Single column approximately 30 lines in a fine calligraphic hand. Attractive contemporary dark blue crushed morocco covers with gilt and blind rules raised bands with gilt rules gilt-ruled turn-ins vellum pastedowns. Text in blue black green and red a few lines with larger lettering in gilt several two-line initials in colored ink five two-line initials in red or blue with floral decorations opening pages with eight two-line initials in gold the lines here of a larger size than rest of text six three-line initials in gold filled and surrounded by floral decoration three four- to six-line gilt initials with more intricate floral decorations one of these with gilt stippling and two surrounded by a gilt frame and ONE VERY LARGE 80 x 45 mm GILT "B" decorated with stippling filled with two-tone green leaves pink flowers and large gold bezants. First leaf with ink inscription "Presented by Dr. W J Pearson / in appreciation of the work of / Ashridge Hospital 1939-1946"; two silk guards. Boards with a hint of soiling but A BEAUTIFUL MANUSCRIPT IN OUTSTANDING CONDITION the paint lovely and bright and the gold sparkling. This beautifully executed manuscript by a notable female calligrapher and illuminator features the oft-quoted and much-loved biblical text known as the "Sermon on the Mount" in which Matthew relates various moral teachings attributed to Christ. The text is written in an extremely pleasing and regular upright script throughout but the first opening listing the nine Beatitudes in capital letters is especially striking. Opening with the largest and most attractive initial in the manuscript it begins with "Blessed are the poor in spirit" in prominent gilt lettering; this is followed by the other blessings each beginning with a smaller gilt "B" initial written entirely in blue capital letters. The rest of the text penned primarily in black ink but accented with cheerful gilt initials and occasional colored lettering exudes a sense of order and simple elegance befitting the contents. Illuminator and calligrapher Violet Wilson was born in Wimbledon in 1902. She studied calligraphy under Claire G. M. Evans who had been a pupil of Graily Hewitt known for his work with the Ashendene Press and one of the principal British calligraphers and teachers of lettering in the first half of the 20th century. Wilson became a member of the Society of Scribes and Illuminators in the U.K. in the 1930s. The San Francisco Public Library has examples of her work in its Harrison Collection of Calligraphy and another illuminated copy of the "Sermon on the Mount" made in 1957 was included in the Baltimore Art Museum's 1965 exhibition and catalogue titled "Two Thousand Years of Calligraphy." The catalogue entry no. 213 notes that Wilson preferred to work on books and decorative maps and exhibited her work in many countries. According to the presentation inscription in the present work this manuscript was given to Ashridge Hospital--formerly a monastery and royal residence--by the distinguished physician Dr. Wilfred John Pearson 1884-1957 who had headed one of the London sectors of the Emergency Medical Service during World War II. His obituary in the "British Medical Journal" declared him "one of the striking figures of his time.". unknown books
réf. ST20617aAustria Salzburg second half of 12th century. 300 x 243 mm. 11 5/8 x 9 1/2". Single column 27 lines in a lovely proto-gothic hand including lines in red and black uncials. Rubrics in red two one-line initials in red AN EIGHT-LINE 83 mm. tall WHITE-VINE INITIAL outlined in red and filled in with blue and green. Lower margin of recto with a 20th century note in red ink see below. Recovered from a binding and thus the vellum on one side noticeably darkened with a large lighter patch where a label may have been removed the other side faded with half the text illegible top edge trimmed close vertical crease going through initial much of the white in the capital now a light gray other minor issues but still an impressive leaf the once beautiful initial largely well preserved with its blue paint still rich. Containing an elegant proto-gothic script and a striking white-vine initial this leaf is an excellent example of early Austrian manuscript production. The large initial "A" is formed with foliate designs outlined in red given shape by coloring in the negative space with an intense azure blue and moss green. This style would later become a model for the Italian Humanist scribes and illuminators of 15th and 16th centuries who substituted glistening gold leaf for the vibrant yellow paint favored by some artists of the Romanesque period. The text of this leaf mainly includes readings for the seventh Sunday after Pentecost consisting of III Kings 2:1-17 beginning "Adpropinquauerunt dies David" according to the Vulgate numbering. It describes the Death of King David who instructs his son Solomon to keep the ways of God. With large and elegant letterforms executed by a steady hand this leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg. According to the source from which we purchased this leaf it was shown in 1893 to the Medieval historian and later the Abbot of St. Peter's Salzburg Willibald Hauthaler 1843-1922 who wrote in very small letters the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. Despite some condition issues related to its reuse in a later binding this leaf is still very impressive because of its beautiful calligraphy and decoration. unknown books
réf. ST12668bHNortheastern France probably Arras late 15th century. 146 x 95 mm. 5 3/4 x 3 3/4". Single column 15 lines in a pleasing bâtarde hand. Rubrics in red one- and two-line initials in brushed gold on a red or blue ground EACH SIDE OF LEAF WITH A BRUSHED GOLD PANEL BORDER WITH VERY PRETTY ILLUSIONISTIC FLOWERS AND FRUITS and intricate strapwork design in colors; WITH TWO SMALL MINIATURES measuring approximately 40 x 25 mm. depicting John the Baptist and John the Evangelist shown with their attributes. Headlines written in French in a later 18th century calligraphic hand. ◆Light soiling a touch of paint loss to frames and background not very noticeable and not affecting the figures otherwise an excellent specimen generally clean and smooth with ample margins winning decoration and shining gold. From a charmingly decorated 15th century prayer book this leaf offers the opportunity to acquire two particularly nice miniatures each depicting an important saint. The recto shows St. John the Baptist with a lamb at his side and a book balanced on his knee; and the verso depicts St. John the Evangelist as a young man holding a chalice with what ought to be snakes emerging from it in reference to the poisoned cup he was invited to drink as a test of faith but which instead look more like tendrils of smoke. For other leaves from this same manuscript please check our website. unknown books
1465réf. ST11151bBruges ca. 1465. 181 x 127 mm. 7 1/8 x 5". Single column 19 lines in a careful pleasing gothic book hand. In a very attractive new gilt wooden frame. Rubrics in pink or faded red one two-line initial in blue magenta and burnished gold two lines with undulating line fillers in blue and gold both sides of the leaf with a three-quarter panel border incorporating foliage blossoms and ivy leaves on hairline stems the vertical part of this frame with a bar border composed of colors and burnished gold terminating at top and bottom in colorful acanthus leaves and WITH TWO SMALL BUT VERY PLEASING MINIATURE PAINTINGS SAINT ELIZABETH ON THE RECTO AND SAINT GERTRUDE ON THE VERSO. ◆Tiny wormhole in fore edge where it has done negligible damage small portions of the blue paint in the Elizabeth miniature eroded gray paint slightly smeared as well but apparently at the time of painting otherwise in fine clean fresh condition. This leaf is characteristic work from the circle of Willem Vrelant the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century. His leading position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. The illuminator of our Book of Hours shows a number of distinctive stylistic traits. Among these are a preference for boldly patterned cloth backdrops tessellated flooring landscapes filled with stylized bushes and trees and persisting prominent architectural constructions that frame the subject frequently in a corner in these leaves it is a waist-high outdoor wall or an indoor feature resembling wainscoting. The inclination for strong geometrical patterning is manifested in the artist's angular treatment of human figures and their garments. Dressed in pink and blue Elizabeth is depicted with a sweet round face. She is saluted here as the woman worthy to be the mother of John the Baptist the forerunner of the Redeemer. Gertrude is dressed in monastic black although a pink undergarment is visible and her inky habit is trimmed in gold. This shimmering feature is a reminder that Gertrude 626-59 was the daughter of Pepin I of Landen Mayor of the Palace for the Frankish realm of Austrasia and the forebear of Charlemagne. Gertrude is a natural choice for illustration by an artist of Bruges since she was the patron of nearby Nivelles. The saint was routinely invoked for aid in coping with mice and is here shown surrounded by four animated rodents as black as her habit. No legend survives to explain why she had such power over the creatures who seem here to be more her pets one climbs her staff of office than her victims. unknown books
