Ein Bild, das Karte enthält. Automatisch generierte Beschreibung Austria’s art of book illumination in the 15th century Maria Theisen ÖAW, Wien Ein Bild, das Karte enthält. Automatisch generierte Beschreibung From north to south: 1st half of the 15th century Brief recapitulation: •Due to the geopolitical situation and dynastic relations between the Luxemburgs and the Habsburgs, the arts in the Duchy of Austria - including book illumination - also show strong "influence" by Bohemian-Moravian art in the years around 1400. •This phenomenon was practically based on immigrant artists and on the purchase of works of art. In particular, “the book” as a very mobile medium was suitable for transporting stylistic characteristics over long distances (especially via monastic and university networks). •However, there are only a few examples of book painting in Austria in the first decade of the 15th century. This circumstance is generally associated with the uncertain political situation in the Duchy after the death of Duke Albert IV. (+1404), after which a dispute over supremacy broke out within the Habsburg family. Albert's son, Albert V, was placed in the care of Duke William of Austria, who, however, died in 1406. Wien, ÖNB, Cod. 2765, „Rationale Durandi“ sponsored by the Dukes of Austria, c. 1395-1404 One of the most famous examples of the highest artistic quality from the time around 1385/1404 is represented by the "Rationale Durandi" (ÖNB, Cod. 2765). It was illuminated by several artists and with representations of the Habsburg dukes as well as a first representation of the University of Vienna. The paintings show clear parallels to Bohemian book illumination during King Wenceslas’ times. What is „Bohemian“ style? Rationale Durandi, Wien, um 1385/90 (1. Phase) (Wien, ÖNB, Cod. 2765) Prager Beispiele, um 1390/1400 What is „Franco-Flemish“ style? What is „Franco-Flemish“ style? > Ein Bild, das Text enthält. Automatisch generierte Beschreibung > Ein Bild, das Text enthält. Automatisch generierte Beschreibung > •Master Nicholas > Ein Bild, das Text, darstellend, ausgestaltet, Zeichnung enthält. Automatisch generierte Beschreibung • •One of the artists involved in the illumination of the “Rationale Durandi” could have been - as assumed on the basis of stylistic observations - a certain "Master Nicholas“, whom we know from the Klosterneuburg antiphonary. •However, the period around 1400 is also known as the time of the "International Style", in which we observe a particularly intensive mix of different European regional styles. Franco-Flemish fashions can also be observed in the Duchy of Austria, especially in the aforementioned "Rationale Durandi". Nicholas is a representative of the Central European variant of the International Style, in which Austrian, Bohemian and Franco-Flemish inputs are mixed. Rationale Durandi, Vienna, c. 1395 (Wien, ÖNB, Cod. 2765) Bible of King Wenceslas IV, Prague, c. 1390 (Wien, ÖNB, Cod. 2759) Generally characteristic of book illumination in Austria is the comparatively strict and symmetrical arrangement of the individual ornaments and forms. ! Ein Bild, das Text enthält. Automatisch generierte Beschreibung This illuminator also belongs to the same circle of illuminators who illuminated this Psalter with commentary by Nicholas of Lyra in German for a member of the von Hohenberg family (“Lyra Master”). Here, too, you can see very finely executed, round figures with soft, brownish incarnate. The tendrils follow an orthogonal principle. Martyrologium Usuardi for Sedlec monastery, c. 1410/15 (Gerona, Diözesanmuseum, M.D. 273) This master and his workshop dominated the scene of book illumination in Prague until the outbreak of the Hussite Wars (1419): the so-called workshop of the Martyrologium Master. This master and his collaborators increasingly took Flemish and French inspirations and worked preferably for courtly clientele as well as for rich monasteries, such as the Cistercian monastery of Sedlec. An education of Master Nicholas in the circles of the Martyologium workshop is therefore considered probable. Bratislava,SNAAntiphonary IV A late offshoot of the Martyrology workshop can be found in the Slovak National Archives in Bratislava. It shows how the stylistic transfer could work: This antiphonary was originally intended for St. Martin's Cathedral in Bratislava, as shown by the figure of St. Martin in front of the towers of the city's coat of arms. This folio was illuminated during the 1420s, in those years when the widow of King Wenceslas IV, Queen Sofia, took up residence in Bratislava Castle because of the Hussite Wars. She died in Bratislava in 1428. Fragments of an antiphonary for Sedlec, 1414 Abbot Jacob and his Cistercian brothers The influx of Catholics who fled from Bohemia to neighbouring regions to escape the Hussites, as well as the mobile, small art objects and books they brought with them, also provided a renewed strong impetus for Bohemian art in the Duchy of Austria around 1420. It is specifically known from Klosterneuburg that the Cistercian monks from Sedlec had fled here and that they had brought goldsmith's work, panel paintings and illuminated books from central Bohemia. > Ein Bild, das Gebäude, Haus, Himmel, draußen enthält. Automatisch generierte Beschreibung > > •Klosterneuburg Antiphonary, Cod. 65-68, 1421-24: •Nicholas •Michael •Vitus > Ein Bild, das Text, bemalt, ausgestaltet, Zeichnung enthält. Automatisch generierte Beschreibung A famous example of this period is the so-called “Klosterneuburg Antiphonary”, which was almost certainly made in collaboration between Bohemian monks and the Klosterneuburg canons. This observation refers partly to the typical Bohemian notation and partly to the style of the illuminations. For the antiphonary, there are entries in an account book of the monastery, which records the collaboration of three illuminators for the years 1421 to 1424. They are named, namely Master Nicholas (who may already have worked on the Rationale Durandi), Master Michael and Vitus. Vitus’ contribution is rather minor, he only created some ornamental initials – it is however interesting to know, that art historians have identified him with the master who also illuminated the Kremsier town book. Master Michael was the most stable illuminator, who worked for Klosterneuburg until the middle of the century, but also for the Viennese court and numerous monasteries in Moravia. His style mixes Salzburg/Bavarian characteristics (see his tendency towards shapeless-soft bodies and ugly faces), but his acanthus tendrils are undoubtedly based on Bohemian models. Klosterneuburg Antiphonary, c 1421/24 Master Nicholas Martyrologium for Sedlec, c 1410/15 (Gerona, Museum of the Diocese. M.D. 273) Master Nicholas is the finest of the artists mentioned, hehas strong stylistic AND iconographic connections to Bohemian art, see e.g. the way he paints his tendrils or, as an iconographic take-over, see Mother Mary in front of the blossoming tree or bush. Such iconography has been common in Bohemia, but not in Austria. Ein Bild, das Boden, drinnen, Raum, Gebäude enthält. Automatisch generierte Beschreibung Ein Bild, das Text enthält. Automatisch generierte Beschreibung Vienna, St. Augustine‘s: St. George‘s and Corpus Christi (double) chapel Ein Bild, das Text enthält. Automatisch generierte Beschreibung Wien, ÖNB, Cod. 2722 (before 1437) Melk, Cod. 1080 (1438/39) •Despite Austria's substantial participation in the costly Hussite wars under Duke Albert V, who was King Sigismund's closest ally and son-in-law, the arts experienced an upswing during his reign. In the field of book art, too, an increased production of luxurious Bibles, missals, prayer collections etc. for monasteries and the court can be observed. Remember: The Pogrom from 1421 against the Jewish communities in Austria helped Albert and his court to fill their coffers – Albert financed the Hussite wars, but also his marriage to Elisabeth and prestigious commissions with this money (e.g., he paid the priest Thomas for the stained glass windows in the new Court chapel by giving him the deserted house of the Jew Muschlein)… •The most important representative in the field of bookillumination is the Master of Albert’s Prayer Book. •Numerous codices were illuminated by his hand for monasteries in the vicinity of Vienna, above all for Klosterneuburg, as well as for Duke Albert. The anonymous master received his name after two prayer books that he illuminated for Duke Albert in the late 1430s (ÖNB and Melk). Both show Albert at Holy Mass, adoring the elevated host - this image stands in each case to a prayer that was to be prayed during the Eucharist. The emphasis on the Eucharist and the Host is particularly interesting against the background of the Hussite Wars, which had just ended with a compromise. Especially since he had this scene painted twice. The altars shown in the miniatures are also interesting. Although we cannot identify them exactly, the altars always show St. George and a Man of Sorrows (Corpus Christi). We know that there was an old Order of St. George of the Habsburgs, of which, unfortunately, no information has come down to us about the time of Albert V. But: The Knights of St. George always met in the Augustinian Church, in the immediate vicinity of Vienna Castle. A double chapel had been built there for them - financed by the Wallsee family, one of the most powerful noble-families in the country who served as advisors to the dukes. This double chapel was dedicated to St. George and Corpus Christi. The Order of the Knights of St. George was a noble martial order that fought with the sword for the Christian world order. In this light, the two miniatures appear almost as a confession of the Austrian duke and king in defence of the Church against infidels and heretics. Bible of Scribe John, Prague New Town 1443 (Wien, ÖNB, Cod. 1181) Prayerbook for King Frederick IV, 1447/48 (Wien, ÖNB, Cod. 1767) The style of this master is - as we discussed in more detail in the last session - very much influenced by Bohemian book art. Just remember the golden penwork on the page margins of Albert’s Prayerbook or also some iconographic adoptions such as Mary's last prayer. However - and I can show this here particularly well in comparison - he did not take up the then modern Bohemian style, but book art from the time of King Wenceslas IV. He was already miles away from the then contemporaneous book art of Bohemia. So, we can also read the political situation quite well from his style. Albrechtsminiator.jpg AT8500-1844_11r.JPG C:\Dokumente und Einstellungen\Theisen\Desktop\ProseminarHussiten\MissaleBrünn8-10.jpg Prag 1409 C:\Dokumente und Einstellungen\Theisen\Desktop\ProseminarHussiten\MissaleBrünn8-10.jpg Brno, Town Archive, Ms. 8/10, dat. 1413 Missal for St. Jacob Wien, ÖNB, Cod. 1844; Prague, dat. 1409 Hasenburg Missal Master of Albert‘s Prayerbook Wien, ÖNB, Cod. 1767, 1447/48 While artistic relations with the Bohemian heartland almost came to a standstill, Vienna still cultivated the “Bohemian style” familiar from pre-Hussite times and maintained more intensive contacts with Brno. The extremely finely executed but rather brittle and somewhat lifeless (frozen) style could at least indicate a stylistic transfer via Brno (cf. Missal for St. Jacob in Brno). Grammarbook for Ladislaus Postumus Klosterneuburg, CCl 48, c. 1440/45 Nikolaus von Dinkelsbühl, German Preachings Michael Master of Albert‘s Prayerbook Both the Master of Albert’s Prayer Book and Master Michael were active until the middle of the 15th century, which means that they continued to practise their art even after the death of Duke Albert, who died in 1439 and had succeeded Sigismund (+ 1437) as King Albert II only the year before. He was succeeded by Duke Frederick, King since 1440 and Emperor Frederick III since 1452. This man lived to a very old age, dying only in 1493 - and that means he will now accompany us for the rest of the period we are considering. At first, he took over the guardianship of Albert’s son Ladislaus, who was born only after his father's death (in 1440). It was Master Michael who illuminated a textbook, a grammar, for the young Ladislaus. Here, we see the Master's preference for wooden boxes as well as his characteristic acanthus vines, the tips of which are always accentuated with two or three white parallel lines. Bible for King Frederick Wien, ÖNB. Cod. 1187, c. 1435/40 “ Prayerbook for King Frederick Wien, ÖNB, Cod. 1767, 1447/48 Ein Bild, das Text enthält. Automatisch generierte Beschreibung Master of Albert‘s Prayerbook (and others) Michael (and others) Legenda Aurea for King Frederick Wien, ÖNB, Cod. 326, 1446/48 Michael and the Master of Albert’s Prayer Book worked together on larger commissions for the court, for example, they illuminated a Bible and a Prayerbook for King Frederick or a collection of saints' legends, the Legenda Aurea. In these luxurious commissions we also meet other masters who either continued with the style of the Master of the Albert’s Prayer Book or came to Vienna as guests, as court artists. Klosterneuburg, CCl 960 Klosterneuburg, CCl 616 Klosterneuburg, CCl 609 (dat. 1450) Klosterneuburg, CCl 606 Klosterneuburg, CCl 72 (dat. 1452) Master of the Klosterneuburg Missals, Vienna Martinus Opifex from Regensburg On the one hand, this is a master who did a great deal for Klosterneuburg - you may remember the numerous missals he decorated. He was given the name "Master of the Klosterneuburg Missals" and was very likely from the very region. On the other hand, we see here the contribution of a quite different master whom we even know by name: Martinus Opifex from Regensburg. Ein Bild, das Text enthält. Automatisch generierte Beschreibung So let us stay briefly with the succession of the Master of Alberts Prayer Book. Apart from the Master of the Klosterneuburg Missals, we have to mention here another, unfortunately anonymous illuminator who is named after schoolbooks which he illuminated for Prince Maximilian. However, this master was already active at the Viennese Court before Maximilian's birth. This is a Prayerbook, which was written and illuminated for Duke Albert VI (1418-1463) around 1458. The Master of the schoolbooks illuminated just one page here: the entry page with a „portrait“ of Duke Albert VI. Interestingly, he had taken it from a copperplate model, which was created by the so-called Master of the Playing cards. An anonymous master, who, as his name says, had designed several sets of playingcards – and these served as models for book illuminators throught Europe. Ein Bild, das Text enthält. Automatisch generierte Beschreibung Ein Bild, das Text, Buch, alt, Skulptur enthält. Automatisch generierte Beschreibung The rest of the manuscript was illumated by masters who are not identified yet. Master of the Schoolbooks for Prince Maximilian, ca. 1465 and 1467 Ein Bild, das Text enthält. Automatisch generierte Beschreibung Martin Roland, Studien zur Buchmalerei Abecedarium. Wien, ÖNB, Cod. 2368 Doctrinale puerorum, Wien, ÖNB, Cod. 2289* Here now are the works for which the master received his name. These books were financed by the rich Viennese citizen Stephan Heuner, they represent the first textbooks that Maximilian received as a seven-year-old. From the Abecedarium he learned the alphabet, the Pater noster, Ave Maria and other prayers as well as mnemonic verses. In the P[ater noster]-initial the young prince is depicted next to his first teacher Jakob von Fladnitz. We see him here spelling from a codex. On the right we see the Doctrinale, which is a grammar textbook that was part of every pupil's basic reading in the Middle Ages. By 1467 at the latest, Maximilian was being taught together with aristocratic and bourgeois children, as we see depicted here in the very first initial. Since Maximilian's mother, Empress Eleonora, disapproved of this kind of education, it is very likely that this book was only made after Eleonora's death in 1467. Apart from that, the text itself was only intended for somewhat more advanced students. Ein Bild, das Text enthält. Automatisch generierte Beschreibung Alexander de Villa Dei, Doctrinales I – IV, shortly after 1466/67: Here we see Maximilian as juvenile Prince enthroned, whilst a servant holds the Austrian heraldic crest. Prayerbook for Empress Eleonora of Portugal (1436-1467), Wien, ÖNB, Cod. 1942, c. 1464 Ein Bild, das Text, Altar enthält. Automatisch generierte Beschreibung Somewhat earlier, this richly illustrated Prayer book must have been made for Eleanora of Portugal. The book contains eleven full-page miniatures, which always show the crowned empress and her little son Maximilian in adoration. The calendar follows the rite of the Dominican Order, with which the ruling couple maintained close contacts. In addition, saints' feasts celebrated in the dioceses of Passau and Salzburg are listed. Numerous Dominican saints are also represented in the pictorial program. On the page where the empress is shown in adoration of Our Lady, she is presented to the Madonna by the Dominican Catherine of Siena. Ein Bild, das drinnen enthält. Automatisch generierte Beschreibung Ein Bild, das Person, Mann enthält. Automatisch generierte Beschreibung Rogier van der Weyden for Leuven (Flanders), c. 1435/40 As you can see according to the two coats of arms on the lower frame - on the right the imperial double-headed eagle, on the left that of Portugal - the donor was Eleonora of Portugal, who married Emperor Frederick III in 1450. It is unfortunately less certain whether the sheet, which is blank on the reverse side, formed part of a travel altarpiece, or if it was intended as a devotional picture or if it was taken from a prayer book. The format is at least almost A4: 25,8 x 20,2 cm, so, the size of a small panel painting. What is particularly fascinating about this piece, however, is that the Master of the schoolbooks copies here a famous artist who was active in Brussels at the time: Rogier van der Weyden. Why he did this unfortunately remains speculation. But it would be good speculation to take a closer look at the Bohemian delegation that arrived in Vienna in the spring of 1467. For the sake of simplicity, I may quote or translate Christian Oppitz (who was actually doing research on the motif of the black man in art): "On behalf of his brother-in-law, the Bohemian King George of Podiebrad, Lev of Rosental visited the most important princely courts of Europe in the years 1465-1467.”… “Lev of Rosental and his entourage travelled via Frankfurt and Cologne to Brussels, where they were given a splendid reception at the court of the Burgundian Duke Philip the Good. Next stop was England, from there they went back across the English Channel and then through western France to the Iberian Peninsula, where the delegation met the kings of Castile, Portugal and Aragon.“ … “The return journey from Portugal took Lev of Rosental and his companions through southern France, northern Italy and finally Austria, where they arrived in early 1467. In Graz they met Emperor Frederick III, and a few days later in Wiener Neustadt his wife, Eleonora of Portugal. As it was carnival, they stayed at her court for over a week and spent the time with dances and other amusements.” (https://denkwuerdigkeiten.com/tag/eleonore-von-portugal/) We know that they had presented Eleonora gifts as well as a letter from her brother. And it is tangibly close to say that among these gifts there was a small panel painting by the most famous artist from Brussels… Ein Bild, das Person, Kleidung, Personen, darstellend enthält. Automatisch generierte Beschreibung Vienna, Maria am Gestade, Epitaphium of Caspar Hornperger, 1462 Master of the Schoolbooks Apart from that, although this master was also able to copy current trends from Flanders, in most of his works he remained faithful to the art of the Viennese circle. He can be very well anchored in the Viennese scene - also because he shows striking affinities with the contemporaneous panel painting of the town. The Master of the schoolbooks worked not only for the imperial court, but also for monasteries in and around Vienna until the late 1470s, which made him an epigone of Bohemian-inspired book art in Vienna. Wien, ÖNB, Cod. 2774 (History Bible, 1448) Wien, ÖNB, Cod. 2774 Munich, BSB, Clm 5469 (Pelagius, De statu ecclesie, former Chiemsee monastery) Probably due to the Hussite wars and the early death of Ladislaus, which made an occupation of the Bohemian throne a distant prospect for some time, the duchy recalled more strongly its connections with Salzburg and Bavaria around the middle of the 15^th century. I show you here, just as a reminder, the illumination of a history Bible in which the Master of the Klosterneuburg Missals collaborates, among others, with an anonymous master who apparently came from Salzburg or Bavaria, as the comparisons with the Bavarian manuscripts show. Around the middle of the century Austrian manuscript illuminations show a mix of old memories of Bohemia and new currents coming in from the West or Northwest. Prayerbook for King Frederick Wien, ÖNB, Cod. 1767 1447/48 Martinus Opifex from Regensburg Ein Bild, das Möbel, Garderobe, Gewebe enthält. Automatisch generierte Beschreibung The most striking evidence of this was provided by the aforementioned Martinus Opifex from Regensburg, who, incidentally, is very well documented by Central European standards in the archives of the city of Regensburg. During the late 1440ies, he contributed to the Bible, the Prayerbook, and the Legenda Aurea, and he brought a completely new, extremely expressive style that accepts the distortion of figures into ugliness. His pictorial compositions are not, as is often the case, based on symmetry, but on asymmetry - placing nothing or secondary elements in the centre and thus sending the viewer's eye on a voyage of discovery. Wien, ÖNB, Cod. 2773 Before 1455 (Historia Trojana) Martinus Opifex from Regensburg Ein Bild, das Text, Boden, Holz enthält. Automatisch generierte Beschreibung Ein Bild, das Text, Gewebe, mehrere enthält. Automatisch generierte Beschreibung By mere positioning the individual elements, he achieves the suggestion of movement. And he also uses the colours like a dramaturge in the theatre. With such boldness, Martinus Opifex remained unique in Vienna. – The Historia Trojana is certainly the most famous work of Martinus Opifex, and the same time, the last one. He must have created it before 1455 (when he died) on his own expense, also named himself in this work. It was then given to the library of the Regensburg townhall, before Emperor Frederick bought it. Perhaps it was used as a kind of „history book“ with hundrets of large-formate miniatures to look at („show and tell“) for the young Prince Maximilian. Ein Bild, das Karte enthält. Automatisch generierte Beschreibung Close relationships between Moravia and Austria Wien, ÖNB, Cod. 4739 Wien, ÖNB, Cod. 3974 Wien, ÖNB, Cod. 1775 Wien, ÖNB, Cod. 4743 dat. 1459/60 Manuscripts for the Brno Charterhouse St. Trinitas And because we are here in Brno, I would like to take this opportunity to show you another group of manuscripts that is also very revealing regarding politics. This group of manuscripts was once made for the Brno Charterhouse. You certainly know that I have the task of cataloguing the Bohemian and Moravian illuminated manuscripts of the National Library. During this work, these codices caught my eye. Obviously, they belong together: they were decorated with penwork and illuminated by the same people. Antiphonary for the Brno Charterhouse, 1460ies (datable) (Wien, ÖNB, Cod. 1775) Theological Miscellany (German) for the Brno Charterhouse, dat. 1464 (Wien, ÖNB, Cod. 2828) But the style is neither "Bohemian" or "Moravian", despite the acanthus tendrils, which people always like to reflexively locate in Bohemia. The forms are somewhat different - I won't bore you with details. It is important to know that the figures on the one hand take up patterns from the master of Albert’s Prayer Book, and on the other hand show the influence from Bavaria mentioned earlier - both in terms of the tendrils and the figures. You may remember that I had already shown you the picture on the left when we were talking about the technique of illumination: two of the manuscripts have not been completed and are in different degrees of completion. This could possibly be explained by the fact that the Charterhouse was attacked in 1467/68 by the troops of Matthias Corvinus and the monks had to flee. Nikolaus de Lyra, 1454 (dat.) Schreiber: Sigismund Puchperger, Vienna Wien, ÖNB, Cod. 4475 But we also know that the Charterhouse was repopulated by monks from the Duchy of Austria and Styria after it was destroyed by the Hussites. Thanks to the support of the Brno citizens and also of King Ladislaus and his successor Georg von Podiebrad, the Charterhouse experienced a boom again in the 1450s and early 1460s. In Cod. 4373 Paulus, professed from Aggsbach, declared that he completed the first part of the book in 1459 and the second in 1460 - in the Brno Charterhouse. And he writes that the monks are very grateful to Georg Podiebrad for his support, just as they were grateful for Ladislaus' support. - In Cod. 2828 a certain Matthias from Judenburg - that is from Styria - declares himself to be the very scribe. He dated his work to 1464. In view of these hints, it seemed right, just for once, not to follow Josef Krasa's path, who focused on Bohemia, but to look to Austria nearby. And indeed: here we find the closest relatives in the circles of the master of Albert’s prayer book. An altar that is now in Bratislava at the National Gallery, and stems from the same workshop that painted altarpieces in Vienna, belongs to this style group too. The picture in the oval above is from a manuscript that was written and illuminated in Vienna for a Viennese theologian. Antiphonary for the Brno Charterhouse, 1460ies Wien, ÖNB, Cod. 1775 Breviary, around 1450 Wien, ÖNB, Ser. n. 4732 This life-size and deceptively real-looking butterfly, which can also be found in a Viennese breviary, is a particularly beautiful detail. Nikolaus de Lyra, 1454 (dat.) Scribe: Sigismund Puchperger, Vienna (Wien, ÖNB, Cod. 4475) Antiphonary for the Brno Charterhouse, 1460ies Wien, ÖNB, Cod. 1775 Here we can once again compare the aforementioned Viennese manuscript for the Viennese theologian Thomas of Wuldersdorf with the ornamental initials of the Brno antiphonary: You see the same delicately drawn tendrils inside the initial and the jagged acanthus leaf can be described as identical. Cod. 4743 – Brno, dat. 1459 and 1460 Cod. 3974 - Brno Cod. 4475 – Vienna, dat. 1454 Cod. 1775 - Brno Cod. 1775 - Brno Here you can see the initials of the relevant codices side by side: there is no doubt that these manuscripts were given ornamental initials by the same person who previously decorated the Viennese manuscript. Latin-Czech-German dictionary for Ladislaus Posthumus, 1453 (dat.) Rome, BAV, Pal. Lat. 1787 But what makes the matter particularly exciting: We see King Ladislaus enthroned on this page, in front of a group of soldiers. The figure of Ladislaus follows the same model that we find in a dictionary of the young king as early as 1453. And this dictionary has definitely been illuminated in Prague. Josef Krása was absolutely right about that. Funnily enough, our illuminator even copied the green mask at the base of the tendrils. But he continues the tendrils themselves in Viennese style. But how did this artist come up with the model for his King Ladislaus figure? Did he see them in Prague and copy them? In fact, his figure is exactly the same height. Or was there perhaps a woodcut or engraving that was circulating? Unfortunately, none of this has been preserved. Nevertheless, the latter could be a solution. Latin-Czech-German dictionary for Ladislaus Posthumus, Prague 1453 (dat.) Rome, BAV, Pal. Lat. 1787 When we remember that this copper engraving has come down to us, at least for the first soldier! Everything comes together in Brno. Covers for the Brno Charterhouse St. Trinitas, c 1460/65 Cod. 4739 (text dat. 1459/60) Cod. 3974 Cod. 2828 (text dat. 1464) The Codices of the Charterhouse were not only written and illuminated on site: they were also bound there. Cod. 4739 Cod. 3974 Cod. 2828 Workshop „Band ornamental III“ (EBDB w002757) Workshop „Eichel-Lilie I“ (EBDB w002774) Covers for the Brno Charterhouse St. Trinitas, c 1460/65 Brno bookbinder-workshop (see Jiří Glonek): Jirí Glonek was able to define a workshop for the Charterhouse, or at least active in Brno, in which numerous codices of the time were bound - I have linked his essay for you on this slide. You can see here a number of rubs offs made by the individual stamps on the covers. They are all recorded in a database operated by Berlin (“Einbanddatenbank” – EBDB). This database offers very good help in determining bindings. I have also set links for our Brno manuscripts so that you can come to this website and try a little by yourself. Cod. 2828 Cod. 1775 Cod. 3974 Cod. 4743 Cod. 4739 Cod. 3994 Cod. 4475 Cod. 4161 4162 4163 4238 Brno group Viennese group Brno covers Ultimately, the following picture emerges for our manuscript group: All codices are written on the same paper, they were written by monks from Austria and Styria, they have the same book decorations - and those codices that still have original bindings were bound in Brno. This group is directly connected to a group in Vienna via the paper and the book decorations. Most of the codices listed here were written for Thomas of Wuldersdorf, the Vienna magister of theology. I have not yet been able to determine to what extent Thomas of Wuldersdorf might have had connections with the Brno Charterhouse. What is certain, however, is that the Brno manuscripts were all created in Brno - they are, so to speak, a small Viennese style island in Brno. Artistis who may have met in Vienna around 1480 Ein Bild, das Karte enthält. Automatisch generierte Beschreibung Close relationships between Moravia, Austria, and Salzburg Ein Bild, das Text, bedeckt, farbig, alt enthält. Automatisch generierte Beschreibung Master of Frederick‘s Breviary Adéla Pavlíčková, Mistr Fridrichova breviáře There are four illuminators that dominated book illumination in Vienna in the second half of the century. One of them was the so-called Master of Frederick’s Breviary. According to his extensive œuvre we can roughly reconstruct his itinerary: We see that he was active in Olomouc during the late 1460s and early 1470s and then moved to the Moravian-Austrian region – roughly during the late 70s and early 80s, he seemed to have settled in Vienna. After 1484 he increasingly worked for clients in Moravia again. His youngest work dates from 1494. Perhaps he commuted between Moravia and Austria more often than we know. Ein Bild, das Text enthält. Automatisch generierte Beschreibung Olomouc, VKO, M IV 2 (Černý kat. 207) Gradual for the Olomouc Clarisses, 1470ies Ein Bild, das Text enthält. Automatisch generierte Beschreibung Ein Bild, das Text enthält. Automatisch generierte Beschreibung However, he certainly had his training in Moravia or Bohemia, if one looks at his tendril formation, for example, or of course his figures - these clearly refer to the "Beautiful Style" as it had been fashionable in the first quarter of this century. But everything seems stiff and frozen, despite the perfect execution. We have had this basic characteristic before. You remember: the master of the Albert’s Prayer Book had a similar “problem”... Olomouc, VKO, M III 7 (Černý kat. 194) Missal for the Olomouc diocese, 1472-77 Ein Bild, das Text enthält. Automatisch generierte Beschreibung Ein Bild, das Text, Gewebe enthält. Automatisch generierte Beschreibung Sister manuscript of: Olomouc, ZAO, CO 45 (Černý kat. 21) – so-called „Missal of Jan z Bludova“ The Master of Frederick’s breviary had started his career in the Olmouc region, whilst Protasius of Boskovice (1457-1482) held the office of Bishop of Olomouc. Thus, Protasius very likely was also one of his patrons. Protasius had studied in Vienna, and his nephews were in the service of the Emperor in Vienna. It is therefore very likely that the Master of Frederick’s Breviary first worked for Bishop Protasius in Olomouc and was finally introduced to the Viennese court by the Boskovice family around 1477. Ein Bild, das Text, bedeckt, farbig, alt enthält. Automatisch generierte Beschreibung Breviary for Emperor Frederick III Munich, Cgm 68, c. 1477/80 This is the most famous, name-giving work of our master: The breviary for Emperor Frederick III. We see on the left Emperor Frederick III with his three sons, Princes Christopher, Maximilian and John; above Christ and St. Christopher. On the right hand side Empress Eleonora, the Habsburg's Portuguese wife, with her two daughters, the princesses Helena and Kunigunde; above them Mary and St. Augustine. - Although the breviary was created only around 1477/80, both Eleonora (she died in 1467) and all of her children, even those who died early, are shown in the miniature. Only two of them were still alive at the time of the manuscript's production: Kunigunde, who married Duke Albrecht IV of Bavaria in 1487, and Maximilian, who later became Emperor as Maximilian I. Antiphonary of the Order of St. George (Hochmeister Johannes Siebenhirter) Graz, UB, Ms. 1, 1481 Ein Bild, das Text, ausgestaltet, farbig, Zeichnung enthält. Automatisch generierte Beschreibung Ein Bild, das Text, Gewebe enthält. Automatisch generierte Beschreibung Characteristics of our master’s style are the grey underpainting of the figure's incarnate parts and the frequent use of black and white in sharp contrast with the colour and gold applications. contrast. His style, however, hardly changed over the decades, even though in his earlier phase, the colours are somewhat lighter and the transitions between them softer than in his later works. These are characterised by a certain hardness of form and a tendency towards darker colouring. - I am showing you one of his greatest works, which he illuminated on behalf of the Grand Master of the Order of St. George. This order was re-founded by Frederick III. In 1469 and had its seat in Millstadt, Carinthia. Unfortunately, the Graz University Library, which holds this antiphonary today, did not scan this wonderful manuscript, but this may also have something to do with its enormous scope and the impressive folio size format. There are only a few miniatures on Imareal, to which I have inserted a link for you here. Antiphonary of the Order of St. George (Hochmeister Johannes Siebenhirter) Graz, UB, Ms. 1, 1481 Ein Bild, das Text enthält. Automatisch generierte Beschreibung Rosarium decretorum Wien, ÖNB, Ink 4 A 10 (after 1473) Ein Bild, das Text enthält. Automatisch generierte Beschreibung Wien, ÖNB, Cod. 3165 (after 1474) In some cases, it is difficult to decide whether he illuminated a book for or in Moravia. I show you two examples for this question with the Rosarium decretorum, which was printed in 1473 and consequently must have been illuminated after 1473. But when? Was he still in Moravia or did he already work in Vienna? The same applies to the Heroides by Ovid – a humanistic text, copied by Ladislaus of Boskovice, a nephew of the aforementioned Olomouc Bishop Protasius. Concerning The manuscript can at least be dated after 1474, as it is accompanied by a Commentarius Calderini in Juvenalem printed in Rome in 1474. The watermarks and the binding of Viennese provenance also indicate that the manuscript was actually made in Vienna. After all, Ladislaus of Boskovice had strong connections to this city, as he had begun to study in Vienna in the 1470s and later remained in good contact with the humanist circles at the university. Ladislaus is mentioned in documents after 1480 as a canon of Olomouc and provost of the Brno chapter. In 1486 he finally gave up his ecclesiastical career and became chamberlain and councillor to King Ladislaus II Jagiello. Thus, there is much to suggest that Cod. 3165 was created in Vienna before this time, that is, in the late 1470s, and that it was integrated into Ladislaus’ newly built library in Moravská Třebová during the 1490ies. It was bought for the Viennese court library only in 1831. Ein Bild, das Text, Zeitung enthält. Automatisch generierte Beschreibung Linz, OÖLB, Ink 586 (after 1475) Ein Bild, das Text enthält. Automatisch generierte Beschreibung Klosterneuburg, Cod. Typ. 13 (c. 1488/90) The master of the Frederick Breviary was an incredibly prolific illuminator. I am sure almost every manuscript collection in Europe has at least one manuscript illuminated by him. These two examples are representative of the fact that he also illuminated many incunabula. The Madonna in the Klosterneuburg print (a Historia plantarum by Plinius), by the way, again follows the Bohemian type of the Beautiful style-Madonna in front of the flowering bush. Ein Bild, das Karte enthält. Automatisch generierte Beschreibung Following the river Danube: Abbey St. Nikola (Passau), Wilhering, St. Florian, Baumgartenberg, Herzogenburg, Melk, Göttweig, Klosterneuburg, Schotten (Vienna) Passau, Staatliche Bibl., Ink. 28, Bl. l2a Passau, Staatl. Bibl., Ink. 28, c. 1480 Gregor IX., Decretales, Venedig, Nicolaus Jenson, 8.V.1479, GW 11459 With stamps from the Augustian Canonry in Passau (EBDB) Alba Julia, Biblioteca Nationala a Romaniei, Filiala Batthyaneum, Ms. II-3, fol. 7r Missal for the use of Passau diocese, 1482 Armand Tif, Der Illuminator des Koloman-Antiphonars We have seen with the master of the Friedrichsbrevier that he apparently came to Vienna from Olomouc, so this master here may have come from Lower Austria – perhaps the Dürnstein canonry – and served clientele in the Danube region. At least, it can be stated that his entire clientele can be anchored in the environment of the Augustinian canons' monasteries along the Danube between 1478 and 1488, the earliest works from Dürnstein, the latest from St. Pölten. Around 1480, he seemed to have been in Passau, Bavaria. My colleague Armand Tif was able to trace his itinerary very well in this respect. The tendril forms of this artist are different from the Bohemian ones, more related to the Bavarian style. The central veins of the leaves, formed into large, shiny drops, are quite typical. There is also a preference for large, colourful fantasy flowers with a penchant for posterity. What we also encounter with this master: a new business model! You can already see two illuminated incunabula here. For the illuminators, printing did not mean the end of their art - but it did mean change. Most printed books did not receive very detailed book decoration at all. Very often only the first page was decorated. Therefore, this master here visited one monastery after another and offered to illuminate AND bind existing prints. Max Lehrs, Geschichte und kritischer Katalog des deutschen, niederländischen und französischen Kupferstichs im XV. Jahrhundert. Wien 1908–1934 Passau, Staatl. Bibliothek, Ink. 26, Bl. A4a (1480) Master E.S. L 94 Here again a beautiful example of his tendril formations - the leaves with the shimmering drops in the middle and the leaf ends that curl up like paper snakes. It is also interesting to observe how the illuminator drew on printed models as inspirations for his figures. - Of course, he was not the only one to discover this: all the illuminators of his time made use of the copperplate engravings of famous artists, which they used as models. Göttweig, StiftsB, Ink. 147, Bl. A2a Junianus Maius, Liber de priscorum proprietate verborum. Treviso: Bernhard von Köln, 1477 (GW: M20099) The master also had influential nobles as patrons, as this print shows. This incunabula had originally been commissioned by a member of the Kuenring family, an old and mighty noble-family in Lower Austria and was probably used as a schoolbook. Lateron, it was given to Göttweig abbey, which is very close to Krems on the Danube. St. Pölten, Diözesanarchiv, Hs 1 Koloman-Antiphonary => Master of the Koloman Antiphonary Now we are in St. Pölten, today's capital of Lower Austria. And this is where the main work of this book artist is kept: a large antiphonary for the Augustinian canons of St. Pölten, which was commissioned by the provost Koloman (reg. 1486-88). Unfortunately, we again do not know our illuminator by name. Therefore, we call him "Master of the Koloman Antiphonary" after this work. The antiphonary is not dated. But since it was made for provost Koloman, it must have been produced around 1486/88. St. Pölten, Diözesanarchiv, Hs 1 Inscription MGT „Mit ganzer Treue“ (with all fidelity) Sometimes the artist wrote small coded messages in the initials, like here "MGT" - with all fidelity - or now and then also dates. Unfortunately, he never gave us his name. Concerning the tendril formations, may I also draw your attention to the sticks woven into knots, which occur frequently in his work. Breviary, St. Pölten, Hs. 105, 1482 Here is a breviary from Lower Austria illuminated by him, which is even dated 1482 and can thus also give us a clue to the dating of the antiphonary. Klosterneuburg Missal, CCl 612, 1479 (Scribe: Provost Hieronymus Sitznberger) We travel on and find ourselves at Klosterneuburg Abbey. Here, too, there are some works by his hand - he dated this Missal in an initial with 1479. Remember this Missal well - then you will soon see it again in a variant and without doubt be able to attribute it to the same master. Klosterneuburg, CCl 612, 1479 Engraving by Master E.S. (Lehrs Nr 55) Before that, however, I would like to draw your attention to the copy of the Man of Sorrows after an engraving by the master E.S.. Apparently, our itinerant painter had a portfolio of various copperplate engravings with him, which he perhaps also presented to his customers. They could then choose: this Man of Sorrows please, plus that saint, etc. Wien, ÖNB, Ink. 2.E.4 Wien, ÖNB, Ink. 18.A.13, vol. 2 (1481) The bindings of the Master of the Koloman Antiphonary are interesting in that he not only provided them with ungilded, so-called “blind” stamps, but also with a technique that originated in the production of saddles and bags: leather cut. The stamps he used varied depending on the monastery in which he stayed - but in the design he always remained true to his own style. Leather cut Wien, ÖNB, Ink. 6.A.14, Front cover Wien, ÖNB, Ink. 6.A.14, fol. 2r Aurelius Augustinus, De civitate dei. Mit Kommentar von Thomas Waleys und Nicolaus Trivet. Basel: Michael Wenssler und Bernhard Richel, 25.III.1479 (GW 2885) In combination with certain blind stamped tools and leather cutting, he was able to create large-format leaves - very similar to those of another master whom he certainly met in Vienna at the latest. Ulrich Schreier from Salzburg became really famous for this technique. We will see works by him later. In the case of the illuminations, may I draw your attention once again to the large, plump fantasy flowers. They are a feature that was becoming more and more popular. Wien, ÖNB, Ink. 18.A.13, vol. 2 (1481) (1. vol. in Nürnberg, Stadtbibliothek, Inc. 505.2) Wien, ÖNB, Ink. 18.A.13, vol. 2 fol. 2r (1481) Here again the offer in a set: book illumination AND binding by the same hand, namely that of the Master of the Koloman Antiphonary. This is a printed Missal, dated 1481 by the Master. And perhaps you remember seeing something similar already in Klosterneuburg... Klosterneu- burg, CCl 612, um 1479 Wien, ÖNB, Ink. 18.A.13, fol. 2r (1481) Indeed: at least the initial is amazingly similar in design. The Viennese copy also shows the figure of a reclining stag in the tendrils. You may ask yourself: what is a stag doing in the tendrils of a missal? The answer is: his mission is to be beautiful, nothing more. He has no deeper meaning, but follows a visual habit practised since the 13th century. The margins of Bibles, prayer books and liturgical texts were animated by figures of the "topsy-turvy world", the opposite world that always belonged to these texts like shadow to light, evil to good - all together as an expression of God's creation. Wien, ÖNB, Ink. 18.A.13, fol. 2r (1481) By this late period, however, this had often been forgotten, and rarely became profound commentaries on the main text. The fact that the artist again used a copperplate engraving as a model shows how much this claim had already been lost. Wien, ÖNB, Ink. 18.A.13, fol. 2r (1481) From west to east: 2nd half of the 15th century Ein Bild, das Karte enthält. Automatisch generierte Beschreibung Salzburg – Vienna – Poson/Poszony/Bratislava [USEMAP] Ein Bild, das Text, Gewebe enthält. Automatisch generierte Beschreibung C. 1478-1489, completed 1494 Michaela Schuller-Juckes (2009) Ulrich Schreier und seine Werkstatt. One of the most famous Salzburg book artists of the second half of the 15th century was Ulrich Schreier, who created outstanding works of book illumination and binding design. Schreier produced numerous works on behalf of Salzburg Archbishop Bernhard von Rohr (reg. 1466-1481). For him, he worked together with the most famous illuminator from Regensburg at the time, Berthold Furtmeyer, on the book decoration of this five-volume magnificent missal. The comparison with his colleague makes the peculiarities of our Salzburg artist particularly clear: he prefers delicate, fragile forms. His figures appear rather flat and sallow. Berthold Furtmeyer, as a contrast, painted strong figures, modelled their bodies very convincingly, as can be seen here particularly well in the nude figure of Eve. Not only the figures, but also his decorative forms are of solid, convincing plasticity. - As a side note, Berthold Furtmeyer implemented a very interesting iconographic programme here, which was certainly designed by theologians: The tree of life and death. Thus, we see the Fall of Man in particular through the guilt of the woman, represented by Eve, who passes the apple on to the poor sinners for whom death already awaits. On the other hand, the overcoming of mortal sin by Eve's antipode Mary, who consented to give birth to the Son of God. Above her, Christ on the cross, who through his death on the cross reopened the gate to heaven. His body also hangs in the form of hosts in the tree, picked by Mary and passed on to the faithful. Behind them an angel in promise of the kingdom of heaven. But let's return to Ulrich Schreier! Ein Bild, das Gewebe enthält. Automatisch generierte Beschreibung Ein Bild, das Text enthält. Automatisch generierte Beschreibung In these slides you can see very well what we said earlier: the fragility of the forms, rather rigid forms that are delicately painted. The tendrils consist of extremely thin branches to which very slender leaves are attached. Ulrich Schreier, Stratter Bible (Erasmus Stratter:scribe), UB Graz, Ms. 48, fol. 1r Also hat die Bibel ain enndt vnd hat geschriben Erasm Stratter zu Saltzpurg am freitag vor Sannd Rueprechts tag im herbst a. d. 1469 Here is another example from this period that illustrates this characteristic of Schreier's very well. This is a Bible that was written by Erasmus Stratter in Salzburg in the year 1469. Schreier repeated the pattern of the author's portrait several times, as we will see in a moment. Ulrich Schreier, who is documented in the charters of the city of Salzburg and settled in Vienna around 1480, where he enrolled in the faculty of arts, also seems to have had a good sense of humour. Very often he used caricature-like faces as fillings of initials or also on the penwork initials. As a symbol of the diversity and his inventiveness, I show you here this collection of faces. Sometimes, it seems, he might have enjoyed making fun of the ruling heads - and with him his clients. His enrolment at the university, moreover, was probably less dedicated to his studies, as he never appears as having passed a final examination. As a member of the university, however, he had access to the city's largest book turnover centre. He illuminated and bound numerous books on behalf of the university professors. Ein Bild, das Text enthält. Automatisch generierte Beschreibung Latin Bible for the Prasch family, 1472 Wien, ÖNB, Cod. 1194 Ein Bild, das Text, Zeitung enthält. Automatisch generierte Beschreibung Ein Bild, das Text, Zeitung enthält. Automatisch generierte Beschreibung Ein Bild, das Text, Zeitung enthält. Automatisch generierte Beschreibung die bibell hat illuminirt der Schreier The knowledge of his name can be either through invoices, or even better, in connection with a work signed by him. Such an opportunity is offered by this Bible, in which it is recorded in writing that Ulrich Schreier illuminated it: die bibel hat illuminiert der Schreier. Salzburg university: Ulrich Schreier Ein Bild, das Möbel, Kommode, Garderobe enthält. Automatisch generierte Beschreibung M I 146, 1477 Ein Bild, das Kommode enthält. Automatisch generierte Beschreibung M III 48, after 1477 Ein Bild, das Text, Ziegelstein enthält. Automatisch generierte Beschreibung M II 17, 1471 Ulrich Schreier's speciality was not only to illuminate books, but also to bind them very beautifully and artistically. Very often, he tried to apply decorative forms that he used inside the book to the cover as well. Very often he combined stamps with leather-cutting techniques and very characteristic for him are the large-scale leaf formations that he created from individual stamps and leather-cutting. He also painted and gilded some of the covers afterwards, in order to emphasise the individual decorative elements. Ein Bild, das Text, Möbel enthält. Automatisch generierte Beschreibung Astesanus de Asti: Summa de casibus conscientiae Printed in Venice in 1480 Salzburg, UB, Ink W II 438 Bratislava, 1481 Ein Bild, das Text, Zeitung enthält. Automatisch generierte Beschreibung Ein Bild, das Text enthält. Automatisch generierte Beschreibung Here is a painted cover by Ulrich Schreier - unfortunately it is already quite damaged. But the attribution to Bratislava also gives us an idea that Ulrich not only delighted customers in Vienna with his art, but also extended his circles to Upper Hungary, very likely through university networks. by Dusan Buran attributed the coat of arms inside this print to Georg Peltell of Schönberg (d. 1486), provost of Bratislava and vice-chancellor of the Academia Istropolitana. The binding thus dates from Schreier's time in Bratislava. The death of Georg Peltell offers a terminus ante quem of 1486. Ein Bild, das Text, drinnen, Gewebe enthält. Automatisch generierte Beschreibung Múzeum mesta Bratislavy Ulrich Schreier was therefore a much sought-after book artist - and so it is obvious that he did not do everything on his own. In this antiphonary, which he illuminated for Bratislava, he collaborated with a second, who even named himself: Johannes Han de Weitra in Lower Austria. Johannes tried to adapt to Ulrich but could not refrain from putting rows of white dots on the leaves, as he knew it from Austrian artworks - and his doll-like figures seem less sharply outlined. The antiphonary was written and illuminated in the years 1487/88. Ulrich Schreier, Greiner Marktbuch Linz, OöLB After 1485 Digital OöLB Ulrich Schreier not only illuminated theological texts, Bibles and liturgical books, but also charters. This book is a collection of transcribed charters, which he then decorated with miniatures and coats of arms. It is the so-called Greiner Marktbuch. Grein is a small market town on the Danube, which had achieved prosperity through merchant shipping. Since the 14th century, the market town was granted certain tax rights on the trade in salt and wood on the Danube. These were confirmed by every reigning duke whose dukedom conducted salt and timber trade on the Danube. Most recently also by Emperor Frederick III, of which the people of Grein were obviously particularly proud. They had him depicted here with his insignia as the guardian of the law (with the sword), surrounded by the coats of arms of his countries. - I have copied a short description of a handwriting here so that you can see what something like this should look like. This is the basic record, which gives us information about the material, the dimensions, the script, the content and the binding. Ideally, a short history of the previous owners would also be nice. Such information is always at the beginning or summarised at the end of each special study, after which one pursues one's question. You want to find out who the illuminator was or prove that the illuminator suggested in the research illuminated it - you do that with comparisons, as we do here. We ask how, for whom, when and why, put everything in a historical context and thus try to give the object and the people associated with it their place in history. [Transcript of charter]: Duke Albert IV confirms the rights and customs of Grein regarding navigation on the Danube. Vienna, 4 June 1399. [Transcript of charter]: Duke Wilhelm and Duke Albert IV inform about the agreement with Archbishop Gregor of Salzburg concerning the trade in Hallein salt. Vienna, 27 June 1398. But let's now look at a few pages of this transcribed charter collection - it is, by the way, completely online on the homepage of the Upper Austrian State Library (you will find the link on the previous page). [Transcript of a charter]: Duke Sigmund of Tyrol grants the market town of Grein a coat of arms. Innsbruck, 2 January 1468. We see this city coat of arms repeated here in a larger miniature. [transcript of a charter]: Emperor Frederick III exempts the people of Struden from any service beyond the ordinary robot. Vienna, 11 January 1483. Wappenbrief Kaiser Friedrichs III. für Weissenburg, 1481 As I said, Ulrich Schreier was also a painter of charters - you can see how similar the result is to the Greiner market book in this document. Frederick III granted Weissenburg town privileges in 1481, which the people of Weissenburg paid for – not least, by having their town letter decorated with the new coat of arms by a well-known illuminator. Ein Bild, das Text enthält. Automatisch generierte Beschreibung Bernhard of Stentz, Calender calculation from 1482-1500 Wien, ÖNB, Cod. 2683 Ulrich Schreier also worked for members of the Viennese court, and of course for the emperor himself. This beautifully illuminated book for Frederick III is a book with instructions for calculating calendars from 1482 to 1500, by Bernhard Perger of Stentz (or Stainz), who had studied medicine and mathematics in Vienna. Ein Bild, das Text, alt, Zeichnung, Bilderrahmen enthält. Automatisch generierte Beschreibung Linz, OÖLB, Ink 605 Ulrich Schreier also illuminated countless incunabula - one of them is shown here - and we can already see in comparison with the previous work for the emperor that he was also able to work with less care and more open brushstrokes, probably depending on the demands or financial possibilities of the client. Wien, Cod. Ser. n. 2599 This is yet another Prayerbook for Frederick III. – all in all, we know about 11 Prayerbooks, which have been written and illuminated for him. This one here was illumiated by the Master of the Schoolbooks and Ulrich Schreier around 1485, the year of the canonization of the Babenberg Duke Leopold III. On these two pages we see miniatures from the workshop of Ulrich Schreier: on the left, Saint Leopold with a model of the church of Klosterneuburg in his hand and the two coats of arms of Austria and Lower Austria. On the right, a so-called Gnadenstuhl - that is, an enthroned God the Father presenting his Son on the cross, above which hovers the dove of the Holy Spirit. Ein Bild, das Text, ausgestaltet, Gewebe, Bilderrahmen enthält. Automatisch generierte Beschreibung Ein Bild, das Text, drinnen, ausgestaltet, Zeichnung enthält. Automatisch generierte Beschreibung These two miniatures were painted by the master of the schoolbooks - you probably already recognise him well by now - the borders, on the other hand, come from Schreier's workshop. Sunthaym-panels, Klosterneuburg, 1491 Ein Bild, das Wand, drinnen, Boden enthält. Automatisch generierte Beschreibung Thus, we approach Klosterneuburg again in the last decade of the century. This work also has to do with the canonisation of Babenberg Margrave Leopold: the so-called Sunthaym panels. Ladislaus Sunthaym was a priest and canon of St. Stephen's, but above all an outstanding historian who was commissioned to write a Babenberg genealogy on the occasion of Leopold's canonisation. Sunthaym, however, was not satisfied with composing existing historical works - such as from the history of the 95 rulers or similar historical works that were circulating in his time and took more into account the fantasy than the actual history of the event. He really tried to research, as we would do today: he traveled from archive to archive, studied documents and letters, also lovisited burial places, noted inscriptions, considered artefacts, etc. Of course, he also took some references from the existing literature. It took him quite a long time to complete his studies. Dated 1491 It probably took him until around 1490 for his work, after which his work was transferred in beautiful script onto eight large parchment sheets and illuminated. The date 1491 can be found in the second large initial on the first sheet. All sheets were only written on on one side so that they could be glued to wooden panels and presented. These are medieval posters, so to speak. But where was it presented? Sunthaym reveals it himself when he writes that the grave of St. Leopold is "here in the chapter house". This means that the tablets were in the immediate vicinity of the saint's grave in the chapter house of Klosterneuburg. - Since the canonization, numerous groups of pilgrims have been received in Klosterneuburg and taken to the chapter house, where they would even receive relief from sins for performing certain prayers on the day of Saint Leopold. It is therefore no coincidence that these tablets, which were certainly not read by anyone on site, at first glance look like the parchment tablets customary at the time, on which the annulation of sins was granted for certain amounts of days. In addition, these posters followed another tradition, namely the setting up of tablets next to the burial site of kings and queens so that the faithful could read something about their lives. Some of such tablets have been preserved in the Kingdom of England - and we know from written sources that Queen Anne of Bohemia also received such a tablet in Westminster Abbey. So here two messages are mixed in one - and that although no one actually read the texts, because the copy is absolutely flawed. For real reading, a small-format booklet was printed in the same year 1491 and sold to the pilgrims. The task of the pictures was not only to emphasize the meaning of the message together with the writing: the pictures were certainly viewed by more pilgrims than the writing read. And so, it is the images that depict essential scenes that are even missing in the text. For example, the so-called miracle of the veil, on which the foundation of Klosterneuburg is based. Margravine Agnes had lost her veil on the day of the wedding, it was only found years later in a treetop. When Leopold found this veil, the Blessed Virgin Mary appeared to him and he promised to build a monastery there. By the way, to get back to the facts: with his wife's money, because she came from a very rich family. ;-) Ein Bild, das Text, alt, ausgestaltet, Gewebe enthält. Automatisch generierte Beschreibung The eight panels were exhibited in the picture frames shown above for decades and were therefore often exposed to sunlight. The result was irreparable damage to the colors. I will show you here how the colors look now, in comparison to the colors as they were obtained from a codex by the same master. He may have designed the tendrils with the help of a second illuminator, but we don't want to go into that in detail here. In any case, you can see here that the Babenberg family tree has also been enriched at the margins with drollery figures. Here you can discover some funny characters: this camel, for example - which, of course, was painted from a printed model ... or a stag - you already know it: it is painted from one of the cards of the master of the playing cards. In this large miniature we see those people who were essential for the canonization of Leopold: of course the Pope and Emperor Friedrich III. - the two are right at the front. In a row behind it are Prince Maximilian, who just seems to be talking to Saint Leopold. The corpulent Provost Paperl von Klosterneuburg rises above them all. The other figures are witnesses to the scene and thus emphasize its importance. If you now look at the fillings of the letters on the left and right, you can see a popular motif of this illuminator: broad ribbons, around which strongly curled foliage twines. The leaves are modeled incredibly three-dimensionally, with strong accents in yellow, so that the leaves seem to shine and shimmer. These are peculiarities that were very fashionable in the last decade of the century from Nuremberg to Prague to Vienna. His figures are generally powerful, rather stocky, the painter adds details in lines of fine white paint. Rein, Codex Runensis 206 We haven't even given the master a name! Which is because, once again, we don't know what his name was. Unfortunately, the master of the Sunthaym panels is named very awkwardly after this missal, which, however, was very richly and splendidly illuminated by him. It was made for the Cistercian Rein Abbey in Styria and still is in situ. I took a detail from this shot earlier to show you the brilliant color palette of this artist. If you see the image as a whole, this effect is of course even more impressive. Especially considering these fantastic flowers or fruits, perls and golden dots, which he sprinkles into the shimmering tendrils. The scheme of leaf fillings in the initials is similar to that we saw on the Sunthaym panels. Rein, Codex Runensis 206 Here is another image where you can see that he really liked to put in the details in fine white color - apparently in a final step. In addition, the gold grounds are decorated with great care. Who has afforded such an expensive antiphonary? Finitus est liber iste procurante venerabili domino domino wofgango Abbate in Runa Anno domini millesimo.cccc.xciii° It was Abbot Wolfgang from the Rein Abbey, who in 1493 set himself a monument with this missal. Posterity appreciates it: We call this unusual artist "Master of the Wolfgang Missal from Rein Abbey". Abbot Wolfgang, who had studied law, was an important promoter of science and religious life. He is even said to have written this missal "manu propria et quidem flexis genibus" (with his own hand and on his knees), but this is unlikely. His main tasks were to repair the severe damage after the Turkish invasion of 1480, to fortify the monastery with defensive walls and towers (since one feared further Turkish and Hungarian invasions) and the economic consolidation, e.g. through the purchase of goods. He probably also began to build a new prelature. To finance these buildings, Emperor Friedrich III. the monastery initially half and soon the whole wine surcharge of 1482. Manuscriptorium: http://www.manuscriptorium.com/apps/index.php?direct=record&pid=AIPDIG-VKO___M_IV_1______0SD1FMA-c s Olomouc, VKO, M IV 2, dat. 1499 The master of the Wolfgang Missale certainly received more orders than are known today. One of the best-known is the one he received from Louka Abbey near Znojmo, for which he was to paint a gradual in 1499. Compared to what we've seen of him before, a lot had changed about his style by the end of the decade. That it is really the same master at work, however, shows a closer look at the figures, which are squat as before, with a tendency towards ugliness. Ein Bild, das Text enthält. Automatisch generierte Beschreibung He could have seen the type of design, in which everything appears to be pressed together under heavy glass, in Italy. From Cosmé Tura in Ferrara, for example. There, this effect is called Squarciato, an attempt to depict bodies as in relief art, by squeezing all forms. We partially know the way he fills the initials with leaves from Rein and Klosterneuburg - the tendrils, on the other hand, are quite different from those he painted in the Austrian works. Here he takes up forms as we actually know them from Bohemian book illumination. But that's not all! He also combines his decors with other inspirations. Wien, ÖNB, Cod. 2369 Ein Bild, das Text enthält. Automatisch generierte Beschreibung Doctrinale for Bianca Maria Sforza. Milano, c. 1478 with inspirations from Milan. This is very interesting because Maximilian was married to his second wife, Bianca Maria Sforza from Milan at the time (they married in 1494). Thus, through her, too, an artistic exchange with Northern Italy had come about. Here you see a doctrinal that her mother had presented her as a girl, and which she had taken with her to Austria. However, also Hinrich Sieveking's thought has something of its own, who wondered whether the master of the Wolfgang Missale might have met with an Italian artist who was on his way to Buda in order to work for King Matthias Corvinus. And at least it is even conceivable that our artist himself went to Italy for a while. Now I don't want to say that our master copied the Milanese style - not at all. But he took details from it that he apparently liked. Claudius Ptolemaios, 1489/90 Illuminator: Francesco da Castello from Milano in Buda Wien, ÖNB, Cod. 24 Hinrich Sieveking, Der Meister des Wolfgang-Missales von Stift Rein. Zur österreichischen Buchmalerei zwischen Spätgotik und Renaissance. München 1986. Here, for example, we have a work that was created for King Matthias Corvinus in Buda around 1489/90. The king had appointed an illuminator from Milan: Francesco da Castello. What we see here is a very clear organization of the page, straight borders that are filled with Renaissance motifs: candelabra, bowls, pearl necklaces, garlands and putti in between. The use of gold leaf and gold paint on a dark background gives the whole page a very precious character. This is something that we can certainly say of the Louka Gradual as well. Ein Bild, das Text enthält. Automatisch generierte Beschreibung Ein Bild, das Text enthält. Automatisch generierte Beschreibung Ein Bild, das Text enthält. Automatisch generierte Beschreibung Milano In addition, our master also adopted somewhat older characteristics from Milanese book art: For example, the ornaments composed of shimmering pearls, the covering of the surfaces with nets of fine white or yellow dots. In general, it was also very popular to insert small jewels as decoration in the tendrils. So, we already know the preference of Austrian masters for the inclusion of large, imaginative fruits and flowers and animals in the tendrils - you remember the master of the Koloman Antiphonary, which I am showing here again in detail top left. But now that is combined with trends from Italy and turned into something completely new. Ein Bild, das drinnen, ausgestaltet, Zeichnung, Gewebe enthält. Automatisch generierte Beschreibung Finally, I have to come back to the leaves of these tendrils in the Louka Gradual: these copy the old acanthus leaves as we basically know them from the 14th century onwards. Here, of course, in the more advanced variation, as it was designed by Valentin Noh in Prague. There are also arrangements of colorful balls on penwork decoration – in principle, also an old element from the beginning of the 15th century that the artist reformulated. In the Gradual of Louka, however, he shows that he also knows the current art of Bohemia very well: he knew the fillings with curled leaves in metallic shimmer from the works that were created for Kutná Hora, including those produced by the master Matthias, Matous. You can see a comparison from the Kutná hora Gradual at the top right. The master of the Wolfgang Missal is therefore a chameleon or, better said, a master of combining inspirations from different directions. There is a lot of thought about who he really was, what his itinerary was like and how he came up with these imaginative solutions. Definitely an exciting figure, about whom there is still a lot to be explored! With this fascinating representative of late Gothic and Renaissance book illumination in Austria, we close the arc that led us from the art of the International Style around 1400 to art around 1500, which in turn was shaped by different regions of Europe. And as you can see: the art of Bohemia and Moravia has always been an important constant for Austrian book art!