book of hours

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book of hours,

form of prayer book developed in the 14th cent. from the prayers of clerics appended to the main service. The subjects of the miniature illustrations (see miniature paintingminiature painting
[Ital.,=artwork, especially manuscript initial letters, done with the red lead pigment minium; the word originally had no implication as to size].
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) were frequently derived from the appendix of the Psalter. The book of hours served as a devotional work containing various prayers and meditations appropriate to seasons, months, days of the week, and hours of the day. Many such books are masterpieces of illuminationillumination,
in art, decoration of manuscripts and books with colored, gilded pictures, often referred to as miniatures (see miniature painting); historiated and decorated initials; and ornamental border designs.
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 and were symbols of refinement and wealth in fashionable houses of the 15th cent. Jean, duc de Berry, was among the most renowned collectors of books of hours, and his Très Riches Heures (Musée Condé, Chantilly), illustrated in part by the Limbourg brothersLimbourg brothers
, fl. 1380–1416, family of Franco-Flemish manuscript illuminators. The Limbourg brothers, Pol, Jan, and Herman, were trained as goldsmiths. They succeeded Jacquemart de Hesdin in 1411 as court painters to Jean, duc de Berry.
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 (c.1415), is among the greatest achievements in this genre.
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References in periodicals archive ?
Those exquisitely appareled hunting parties passing by "obedient and unfestive peasants before their houses" (280) pictured in Simon Bening's Books of Hours, for instance, portend a world in which the poor naturally know their place and are unable, congenitally, to countenance aspirations for wealth or elegance.
"The Arcana collection offers the best examples of their type, ranging from Books Of Hours to works of literature and on the natural world.
One of the most beautiful Books of Hours was designed in 1324 for Jeanne d'Evreux, Queen of France.
Yet the personal character of much information indicates that Books of Hours were for many families the "go to" place for saving intimate information for more than one generation.
Tory published five principal editions of Books of Hours in the 1520s and 1530s.
1240, into the age of printing and Reformation, describing the gradual crystallization of a stable set of contents centered around the Psalms and the Office of the Dead; it demonstrates the way in which the book worked its way into the daily personal lives (devotional and secular) of its owners, and, in a final chapter in the more polemical mode that we associate with the author of The Stripping of the Altars, takes issue with the view that the interiorized religion catered for and promoted by Books of Hours, set their users at odds with the community of the institutional Catholic church.
Burgundian books of hours and devotional portrait diptychs, two groups of works much studied in conventional art historical circles, are here given new historical connections to each other along with new interpretations.
Pearson compares the patronage of books of hours to that of devotional portrait diptychs, finding that while both types of works focused upon the Virgin, the female owners of books of hours were three times as numerous as males, and that only three of the thirty-six known devotional diptychs depict women as donors--a ratio of six to one.
He was delighted to find himself addressing a group of undergraduates who were able to articulate the meanings and significance of many of the items in the repertoire of symbols found in various books of hours and other devotional texts.
Illumination from Books of Hours Janet Backhouse British Library, 9.95 [pounds sterling] ISBN 0 7123 4849 2
Controversially, the effigy of Richard Beauchamp, Earl of Warwick (above), from St Mary's in Warwick, is being shown in the exhibition and the history of the Beauchamps and Nevilles earns itself a small chapter in the book, along with pictures of books of hours and stained glass.
John Higgitt's meticulous examination of the manuscript known as The Murthly Hours is a welcome addition to a significant body of recent work on medieval books of hours. The breadth and depth of this study bear eloquent witness to the complexity that has come to characterize scholarly assessments of illuminated manuscripts in that it combines the disciplines of codicology, iconography, diplomatics, and art history.