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ILLUMINATING THE RENAISSANCE ILLUMINATING THE RENAISSANCE THE TRIUMPH OF FLEMISH MANUSCRIPT PAINTING IN EUROPE T H O M A S K R E N A N D SCOT M C K E N D R I C K with contributions by Maryan W. Ainsworth, Mari-Tere Alvarez, Brigitte Dekeyzer, Richard Gay, Elizabeth Morrison, Catherine Reynolds THE ...

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ILLUMINATING THE

RENAISSANCE

ILLUMINATING

THE RENAISSANCE THE TRIUMPH OF FLEMISH MANUSCRIPT PAINTING IN EUROPE

T H O M A S K R E N A N D SCOT M C K E N D R I C K

with contributions by

Maryan W. Ainsworth, Mari-Tere Alvarez, Brigitte Dekeyzer, Richard Gay, Elizabeth Morrison, Catherine Reynolds

THE

J.

PAUL

GETTY

MUSEUM

• LOS

ANGELES

© 2003 J- P a u l Getty Trust Getty Publications 1200 Getty Center D r i v e , Suite 500 L o s Angeles, California 90049-1682 www.getty.edu T h i s publication is issued i n conjunction w i t h the exhibition Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, held at the J. P a u l G e t t y M u s e u m , L o s Angeles, and the R o y a l A c a d e m y o f Arts, L o n d o n . T h e exhibition is o n v i e w i n L o s Angeles f r o m June 17 to September 7, 2003, and i n L o n d o n f r o m N o v e m b e r 29, 2003, to February 22, 2004. T h i s exhibition is supported b y an indemnity f r o m the Federal C o u n c i l o n the A r t s and the Humanities. Christopher H u d s o n , Publisher M a r k Greenberg, Editor in Chief A n n Lucke, Managing Editor D i n a h Berland, Project Editor Karen Jacobson and N o m i K l e i n m u n t z , Manuscript

Editors

K u r t Hauser, Designer A n i t a Keys, Production

Coordinator

Typeset by Diane L . Franco and G & S Typesetters Separations b y Professional Graphics Inc., Rockford, 111. P r i n t e d and b o u n d i n England by Butler & Tanner L i m i t e d COVER: S i m o n B e n i n g and A n t o n i o de H o l a n d a , Genealogical Tree of the Kings of Aragon (detail, ill. 147a); HALF-TITLE PAGE: Master o f James I V o f Scotland, The Last Judgment (detail, ill. m a ) ; FRONTISPIECE: V i e n n a Master o f M a r y o f Burgundy, Alexander Takes the Hand of Roxanne (detail, ill. 54a); TITLE PAGE: T h e Spinola H o u r s , fol. 269 (detail; see cat no. 124); PAGE ix: Master o f the Dresden Prayer B o o k , Crossing of the Red Sea (detail, ill. 93b); PAGES x, x i : S i m o n B e n i n g and workshop, Stein Q u a d r i p t y c h (detail, ill. 146)

L i b r a r y o f Congress Cataloging-in-Publication D a t a K r e n , T h o m a s , 1950Illuminating the Renaissance : the t r i u m p h o f Flemish manuscript painting i n Europe / T h o m a s K r e n and Scot M c K e n d r i c k w i t h contributions b y M a r y a n W . A i n s w o r t h ... [et al.], p. c m . E x h i b i t i o n at the Getty M u s e u m f r o m June 17 to September 7, 2003, and at the R o y a l A c a d e m y o f Arts f r o m N o v e m b e r 29, 2003 to February 22, 2004. I S B N 0-89236-703-2 (hardcover)-ISBN 0-89236-704-0 (pbk.) i . Illumination o f books and manuscripts, F l e m i s h - E x h i b i t i o n s . 2. Illumination o f books and manuscripts, Renaissance-Flanders Exhibitions. I. M c K e n d r i c k , Scot. II. J . P a u l G e t t y M u s e u m . III. R o y a l A c a d e m y o f A r t s (Great Britain). IV. Title. ND3171.K74 2003 745 -6V'09493107479494 - d c 2 i 2003001611

CONTENTS

vii

Foreword Deborah Gribbon, Professor Phillip King, C.B.E., Lynne Brindley

viii

Lenders to the Exhibition

xii

Acknowledgments

xv

Notes to the Reader

i Introduction Thomas Kren and Scot McKendrick 15

Illuminators and the Painters' Guilds Catherine Reynolds

35

Illuminators and Painters: Artistic Exchanges and Interrelationships Thomas Kren and Maryan W. Ainsworth

59

Reviving the Past: Illustrated Manuscripts of Secular Vernacular Texts, 1467-1500 Scot McKendrick

CATALOGUE 81

PART 1 From Panel to Parchment and Back: Painters as Illuminators before 1470 Thomas Kren Flemish Artists of the Turin-Milan Hours • Rogier van der Weyden • Petrus Christus • Simon Marmion (A) • W i l l e m Vrelant

121 P A R T 2 Revolution and Transformation: Painting in Devotional Manuscripts, circa 1467-1485 Thomas Kren Vienna Master of Mary of Burgundy (A) • Master of the Moral Treatises • Hugo van der Goes Master of the Houghton Miniatures • Ghent Associates • Master of the First Prayer Book of Maximilian (A) • Simon Marmion (B) • Master of the Dresden Prayer Book (A) • Dreux Jean (A) Master of Margaret of York Group (A)

223 P A R T 3 Painting i n Manuscripts of Vernacular Texts, circa 1467-1485 Scot McKendrick

Vienna Master of Mary of Burgundy ( B ) • Loyset Liédet - Jean Hennecart • Dreux Jean ( B ) * Lieven van Lathem • Master of Margaret of York Group ( B ) • Rambures Master • Master of the Privileges of Ghent and Flanders • Master of the Harley Froissart • Master of Anthony of Burgundy • Master of the Dresden Prayer Book ( B ) • Master of the London Wavrin • Master of the Getty Froissart • Master of the White Inscriptions • Master of the Soane Josephus • Master of Edward IV (A) • Master of the First Prayer Book of Maximilian ( B ) • Master of the Flemish Boethius 313 P A R T 4 Consolidation and Renewal: Manuscript Painting under the Hapsburgs, circa 1485-1510 Thomas Kren

Master of the First Prayer Book of Maximilian (c) • Simon Marmion (c) • Master of Edward IV (B) • Gerard David • Master of James IV of Scotland (A) • Master of the Lübeck Bible • Master of the David Scenes in the Grimani Breviary (A) • Master of the Dresden Prayer Book (c) • Master of the Prayer Books of around 1500 • Master of Antoine Rolin 411 P A R T 5 N e w Directions i n Manuscript Painting, circa 1510-1561 Thomas Kren '

Master of James IV of Scotland ( B ) • Gerard Horenbout • Lucas Hornebout • Master of the David 9

Scenes in the Grimani Breviary ( B ) • Master of the Soane H o u r s Simon Bening • Anonymous • Jan Gossaert • Cornells Massys • Pieter Bruegel the Elder • Master of Charles V and Circle • Master of Cardinal Wolsey • Anonymous • Pieter Coecke van Aelst 517 Appendix The Scribes Scot McKendrick

Selected Scribe Biographies Richard Gay

523 Bibliographies to the Catalogue Entries 532

References

561 Index of Names 567 Index of Works of Art 573 Illustration Credits 575 About the Authors

vii

FOREWORD

Manuscript illumination, the quintessential medieval art form, enjoyed its final triumph during the Renaissance. In the wake of the invention of printing, Flemish illuminators created extravagant and lavish manuscripts in which their art was revitalized and given new direction. These manuscripts were col­ lected by rulers, their consorts, and their courtiers across Europe: the dukes of Burgundy in Flanders; their Hapsburg successors in Spain, Germany, and Flanders; the Yorkist and Tudor monarchs in England; and the Aviz dynasty of Portugal. The art and achievements of these illuminators are the subject of Illuminating

the Renaissance: The Triumph of Flemish Manuscript Painting in Europe.

This publication accompanies the first exhibition to bring together the greatest works produced by Flemish illuminators during this exceptional period. Some of the objects included have never been exhibited previously, and most have been seen only rarely. Illuminating the Renaissance encompasses works that reveal the full range of sizes and formats in which illuminators worked: from a monumental geneal­ ogy to diminutive private altarpieces on parchment, from huge folio-size volumes to tiny prayer books, and from single, independent miniatures to books containing one hundred or more illustrations. The types of texts also vary: from histories, chronicles, and romances to Christian devotional writings, bre­ viaries, and books of hours. The exhibition presents manuscript illumination within the broader context of painting in oil on panel and explores the close relationship between the two media, including objects by artists who worked in both. Thomas Kren, curator of manuscripts at the J. Paul Getty Museum, and Scot McKendrick, cura­ tor of manuscripts at The British Library, conceived the exhibition and catalogue. The Getty Museum's Flemish manuscripts, some of the finest in the world, are among the high points of its collection. The British Library's holdings, founded on the manuscripts purchased by King Edward IV more than five hundred years ago, are arguably without rival. W i t h these strengths, the Getty and The British Library were ideal collaborators for this exhibition. For the presentation in London, this collaboration required a third partner. In 2001, when given the opportunity of providing the London venue, the Royal Academy of Arts was delighted to participate. W i t h its own successful history of exhibiting illuminated manuscripts, including the 1994-95 exhibition The Painted Page, which showed the highest achievements of Italian Renaissance book illumination, the Royal Academy offered its full commitment to the realization of this project. The British Library continued to support the exhibition through unprecedented and generous loans and through the participation of Scot McKendrick as co-curator of the exhibition. N o previous exhibition or catalogue of Flemish manuscript illumination of this period matches the scope and ambition of the present undertaking. We are most grateful to Thomas Kren and Scot McKendrick for their vision, determination, and scholarship. They undertook the task of selecting objects for the exhibition. Aided by their colleagues in the fields of manuscript illumination and northern Renais­ sance art, they pursued the relevant manuscripts, paintings, and drawings, securing loans with tenacity and diplomacy. As they did so, they took the opportunity both to explore the broad themes of this era and to approach the more perplexing problems of connoisseurship. This catalogue is a testament to their achievement. We extend our gratitude to the many institutions and private individuals, both named and anonymous, whose generosity has made this exhibition possible. It is our privilege to present these precious objects to a larger public. Deborah Gribbon, Director, J. Paul Getty Museum Professor Phillip King, C.B.E., President, Royal Academy of Arts Lynne Brindley, Chief Executive, The British Library

viii

LENDERS TO T H E EXHIBITIONS

Alnwick Castle, The Duke of Northumberland

London, Lambeth Palace Library

Antwerp, Museum Mayer van den Bergh

London, The National Gallery

Arundel Castle, The Duke of Norfolk

London, Public Record Office

Baltimore, The Walters Art Museum

London, Sir John Soane's Museum

Basel, Kunstmuseum

London, Victoria and Albert Museum

Berlin, Staatliche Museen zu Berlin, Preussischer

Los Angeles, The J. Paul Getty Museum

Kulturbesitz, Gemaldegalerie Berlin, Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Kupferstichkabinett Berlin, Staatsbibliothek zu Berlin, Preussischer Kulturbesitz,

Handschriftenabteilung

Bibermühle, Heribert Tenschert

Madrid, Biblioteca de la Fundación Lázaro Galdiano Madrid, Biblioteca Nacional Manchester, The John Rylands University Library of Manchester Montserrat, Biblioteca de FAbadia de Montserrat

Birmingham Museums and A r t Gallery

Munich, Bayerische Staatsbibliothek

Blackburn Museum and A r t Gallery

Naples, Biblioteca Nazionale "Vittorio

Brussels, Bibliothèque royale de Belgique Cambridge University Library

Emanuele III" N e w York, The Metropolitan Museum of Art

Cambridge, The Fitzwilliam Museum

N e w York, The Pierpont Morgan Library

Cambridge, St Johns College

Nova Rise, The Premonstratensian Abbey of

Cambridge, Mass., Fogg A r t Museum, Harvard University Cambridge, Mass., The Houghton Library, Harvard University Chatsworth, The Duke of Devonshire and the Chatsworth Settlement Trustees

Nova Rise Oxford, Bodleian Library Oxford, Christ Church Oxford, Magdalen College Paris, Bibliothèque de l'Arsenal Paris, Bibliothèque nationale de France

The Cleveland Museum of Art

Paris, Ecole nationale supérieure des Beaux-Arts

Copenhagen, Det Kongelige Bibliotek

Paris, Musée du Louvre

Darmstadt, Hessisches Landesmuseum

Philadelphia Museum of Art

Dublin, Chester Beatty Library

San Marino, The Huntington Library

E l Escorial, Real Biblioteca del Monasterio

Stonyhurst College

de E l Escorial (Patrimonio Nacional)

Toronto, A r t Gallery of Ontario

Glasgow University Library

Valencia, Colección Serra de Alzaga

The Hague, Koninklijke Bibliotheek

Vatican City, Biblioteca Apostólica Vaticana

Hatfield House, The Marquess of Salisbury

Vienna, Ôsterreichische Nationalbibliothek

Holkham Hall, The Earl of Leicester and Trustees

Waddesdon Manor (The National Trust)

of the Holkham Estate

Ware, St Edmund's College

Kingston Lacy (The National Trust)

Wilton House, The Earl of Pembroke

Lisbon, Fundaçâo Calouste Gulbenkian, Museu

Windsor Castle, Her Majesty Queen Elizabeth II,

Calouste Gulbenkian London, The British Library

The Royal Library Wormsley Library, Sir Paul Getty, K.B.E.

London, The British Museum London, The Courtauld Institute Gallery London, Her Majesty Queen Elizabeth II, The Royal Collection Trust

and other collectors who wish to remain

anonymous

xii

ACKNOWLEDGMENTS

Illuminating the Renaissance is the result of years of research, negotiations, and planning. It is with pleasure and great appreciation that we thank those institutions and individuals who have made both the exhibi­ tion and this publication possible. In Los Angeles John Walsh, former director of the Getty Museum, and Deborah Gribbon, the Museum's current director, lent enthusiastic support to this project from the outset. Lynne Brindley, chief executive at The British Library, offered critical and generous support for a project that showcases the Library's remarkable holdings of Flemish Renaissance manuscripts, and the Royal Academy of Arts greeted the prospect of this exhibition with enthusiasm. We are deeply grateful to them all. We wish to thank all the individuals on the staffs of the J. Paul Getty Museum, the Royal Acad­ emy of Arts, and The British Library who collaborated on the preparation of this exhibition. It has been a privilege to work with such experienced and dedicated teams. Their commitment, resourcefulness, patience, and good humor have been a source of inspiration and have made our tasks easier in every respect. In particular we want to thank, at the Getty, William Griswold, assistant director for collections; Quincy Houghton, head of exhibitions and public programs; Amber Keller, senior exhibitions coordina­ tor; Sally Hibbard, chief registrar; and Cory Gooch and Betsy Severance, registrars. At the Royal Academy of Arts we especially thank Norman Rosenthal, exhibitions secretary; MaryAnne Stevens, collections sec­ retary and senior curator; Cecilia Treves, exhibitions curator; Emeline Max, head of exhibitions organiza­ tion; and Lucy Hunt, exhibitions organizer. A t The British Library, thanks are extended to Jill Finney, director of strategic marketing and communications; Pam Porter, head of manuscripts loans; and Barbara O'Connor, registrar. The study of Flemish manuscripts is a tremendously complex undertaking due to the ambitious nature of the books themselves, their far-flung locations, and the technical nature of manuscript studies. Inevitably this survey of a great era of Flemish illumination rests on foundations built over several gener­ ations by an army of talented scholars whose contributions we have endeavored to recognize specifically where appropriate here. Flemish manuscripts remain to this day a lively field of research. In particular we would like to thank our colleagues who contributed essays and entries to this catalogue and also offered many valuable suggestions regarding content and presentation: Mari-Tere Alvarez, Brigitte Dekeyzer, Richard Gay, Susan L'Engle, Elizabeth Morrison, and especially Maryan W. Ainsworth and Catherine Reynolds. Janet Backhouse and L o m e Campbell offered many thoughtful suggestions as the project first took shape, and Christiane van den Bergen-Pantens, Patricia Stirnemann, and Elizabeth Teviotdale con­ ducted extensive research toward the identification of escutcheons in many of the books. John Plummer and Margaret Scott have generously shared the results of their own ongoing, long-standing research for many of the catalogue's entries to help us with problems of locating books of hours and the dating of illuminations on the basis of fashion, respectively. Justine Andrews, Agnes Bertiz, Rita Keane, and Christopher Lakey have devoted countless hours to the references for this volume, which represent only a portion of their work. Richard Gay has tirelessly administered the project on behalf of the Getty Manuscripts Depart­ ment. Elizabeth Morrison has taken responsibility for all gallery materials and the editing of the descrip­ tive data for the individual catalogue entries. Rita Keane has assisted in the administration of loans. In addition, we extend our thanks to Kurt Barstow, Elizabeth Caldwell, Kristen Collins, Tulis McCall, Christina Nielsen, Stephanie Porras and Elizabeth Teviotdale in the Department of Manuscripts at the Getty. Further, we would like to acknowledge the assistance of the Research Library of the Getty Research Institute, especially Jay Gam, Ross Garcia, Aimee Lind, Joyce Ludmer, Amelia Wong—and with it the

xiii

great importance and value of the Research Library's large Photo Study Collection of illuminated manuscripts, ably staffed by Tracey Schuster and Mark Henderson. At The British Library we would like to thank Claire Breay, Greg Buzwell, Kathleen Houghton, Jacqui Hunt, and Peter Kidd, who provided invaluable administrative and research support. We are also indebted to Alixe Bovey, H u g h Cobbe, Laura Nuvoloni, A n n Payne, Alice Prochaska, David Way, and Christopher Wright. In addition we acknowledge our debt both to the rich research collections of The British Library and to the dedicated staff members who make these remarkable collections both accessible and a pleasure to consult. Deep thanks for her conservation of key manuscript loans and guidance on issues related to the books' installation and safekeeping go to Nancy Turner, associate conservator of manuscripts at the Getty. We also thank those conservators whose appraisal and treatments of objects in the exhibition made their display possible: Priscilla Anderson, Liudmila Lidon Arnal, Nancy Bell, Laurence Caylux, Alan Derbyshire, Teresa Lignelli, Teresa Martin, John Mumford, Deborah Novotny, Sabrina Pugh, Catherine Rickman, Jean Rosston, Helen Shenton, Pilar Ineba Tamarit, Jiri Vnoucek, Lieve Watteeuw, Deborah Willis, and Akiko Yamazaki-Kleps. The imaginative installation at the Getty is due to A n n Marshall, as well as Reid Hoffmann, Leon Rodriguez, and Nicole Trudeau, all working under the direction of Merritt Price, and at the Royal Academy to Ivor Heal. In the production of this splendid catalogue, we express our gratitude to Getty Publications, in particular Mark Greenberg, editor in chief; Dinah Berland, project editor; Kurt Hauser, designer; Anita Keys, production coordinator; Cecily Gardner, photo researcher; and Brandi Franzman, now staff assistant in the Department of Manuscripts; along with the invaluable contributions of editorial consultants Desne Ahlers, Mary Gladue, Karen Jacobson, N o m i Kleinmuntz, Sar...