633:
228:
376:
288:
441:
453:
137:
697:
657:
669:
717:
645:
729:
22:
681:
267:, who was highly regarded and successful and was active in Bruges from the 1450s until his death in 1481. This tentative attribution is based on the resemblance of some of the figures in the miniatures to those in works attributed to him; the angular and linear manner of the figures' clothes is also consistent with his style. The text "pro me peccatore" (
187:
court were known to have had a preference for dark, sombre colours, and the black books can be assumed to have been designed specifically for their taste. Black books were more highly regarded than conventional illuminated books of hours, and today art historians assume they were commissioned by the
159:
illuminated manuscripts so named for their dark appearance. The effect was achieved by soaking the vellum in black dye or ink before they were lettered with gold and silver leaf. The black dye was highly corrosive so the metals had to be of high purity, and the vellum needed to be unusually thick to
298:
The manuscript consists of 122 pages each measuring about 17 cm × 12 cm (6.7 in × 4.7 in). The borders are mostly coloured light blue, while the illustrations are overwhelmingly dark, and of black, grey red, old rose and green pigments, with some white and flesh-tone
271:), which uses a masculine form of the Latin noun meaning "sinner", indicates that the book was produced for a man. Additionally, the inventory records of its mid-19th-century owner Nicholas Yemeniz state that it was produced by a workshop which had often been commissioned by the Burgundian Dukes.
274:
Other possible attributions include the circle of the French painter
Philippe de Mazerolles (d. 1479), or the workshop of Liévin van Lathem (active 1454–93). According to the Morgan Library, van Lathem's influence can be seen in the "figures in angular drapery move somewhat stiffly in shallowly
330:, birds, small animals and grotesques; the latter are similar in style to those found in the Black Hours of Galeazzo Maria Sforza, and include naked winged devils and hybrid men. They are ornamented exclusively in gold and are shaded mostly by black pigment. They are lined with yellow or gold
105:, New York, since 1912. It is one of seven surviving black books of hours, all originating from Bruges and dated to the mid-to-late 15th century. They are so named for their unusual dark blueish appearance, a colourisation achieved through the expensive process of dyeing the
303:
and seems to reflect a rather gloomy and mournful court outlook. The many shades of blue were achieved from a variety of ingredients, each allowing varying depths and varieties of colour. The miniature's technique and style can be dated as around 1475. In the 15th century,
592:
of the family of
Isabelle de Bethe is stamped on one of the pages; her family married into Burgundians and were wealthy and prominent members of Flanders society. The manuscript is described in an 1867 inventory of the collection of Nicholas Yemeniz (1806–1869), a
612:
in 1909 for $ 500 (about $ 15,800 in 2024 terms). Hoe held it until 1912; following his death that year it was sold in a large scale and commercially successful sell-off of his collection of rare and antique books. It passed between two book dealers,
172:" (c. 1477). The artwork is of a sophisticated and unusual taste, and the uncommon colour of the pages likely carried an almost mystical aura for the owner. MS M.493 can thus be assumed as intended for high nobility; probably from the court of
204:. From then on, Philip wore only black clothes as an expression of his grief. The style was adapted by other members of the court, who seem to have favoured black against gold and silver in artworks as well in formal dress, as can be seen in
432:. The hilly landscape behind the figures depicts the walls of Jerusalem set against a deep blue sky. The marginalia contain hybrid men, including one who is half fish and lifts a sword, and another with animal legs.
218:
observed of the
Burgundian rulers that their collections were "luxurious, the home treasury, and the library full of treasures, and the court ceremonial were oriented on a godlike super-elevation of the ruler."
279:... the men's flat faces are dominated by large noses". The style of the miniatures and borders is similar to those produced by the Galeazzo Maria Sforza in Vienna, but they are not from the same workshop.
210:
240:
The manuscript does not contain any family crest to identify the donor, who, given the expense of the book and its labour-intensive production, is assumed to have been a high-ranking member of court.
315:
of each prayer are formed from gold leaf on green ground. Their texts contain words from the Hours of the Cross, the Hours of the Holy Spirit, the Mass of the Virgin, the Hours of the Virgin, the
120:. However, no records survive of its commission, but its uniquely dark tone, expense of production, quality and rarity suggest ownership by privileged and sophisticated members of the
299:
colours. Each miniature is placed opposite the text of a prayer set against a dark background. This book's solemnity is in contrast to the bright colours found in most contemporary
428:. The gesturing mourners to their right are given facial expressions that convey a deep sense of sadness and loss. Behind them are two soldiers wearing helmets, one of whom may be
632:
477:
decorations on the edges outline a depiction of Mary at the centre of the court of the
Apostles. The gilded "D" represents the opening letter of the Hours of the Holy Spirit.
390:) pages of the book, mostly against calendar representations of days from the liturgical year. The illuminations include biblical figures dressed in contemporary late
259:
The artists who designed, illustrated and inscribed MS M.493 are unknown, as are the circumstances of its commission. The book is often linked to the circle of the
113:. This dye is very corrosive and the surviving examples are mostly badly decomposed; MS M.493 is in relatively good condition due to its very thick parchment.
1316:
404:(folio 14v) is the book's most acclaimed illustration. It is outlined by border illustrations of fantastical creatures and a peacock. The illumination shows
1088:
How Much Is That in Real Money? A Historical Price Index for Use as a
Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda
621:, the Maritime et d'art Flamand in Antwerp in 1930, at the Morgan's 50th anniversary exhibition in 1957, in Brussels in 1959, and in Bruges in 1981.
342:
353:
308:
pigment was extremely rare and worth more by weight than gold; thus its prevalence in this work is an indicator of the commissioner's wealth.
1306:
363:(known as Trautz-Bauzonnet), and is today encased in a wooden box, which is also modern. The binding is in tan pigskin with oxidised silver
1123:
680:
696:
806:
88:
1108:
How Much Is That in Real Money? A Historical Price Index for Use as a
Deflator of Money Values in the Economy of the United States
656:
161:
617:
and Léon Gruel, before its eventual acquisition by the
Pierpont Morgan Library later that year. The book was exhibited at the
1278:
1245:
1231:
1213:
1199:
1185:
888:
165:
1321:
668:
398:
wears the ceremonial robes of a 15th-century monarch. The decorations on the borders are particularly vivid in detail.
193:
76:
588:
MS 493's early history is obscure, and there are no surviving title or inventory records before the 19th century. The
716:
215:
334:
and extravagant foliage, including vines. The manuscript has deteriorated over time and has flaked in some areas.
728:
367:. Yemeniz's monogram of two interlocking "Y"'s is stamped on the central panel of the binding and on the clasps.
1311:
1115:
1095:
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with silver ink, with gold leaf added to the rubrics. The border decorations include landscapes, jagged
227:
1068:
954:
644:
144:
102:
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21:
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169:
155:
are a grouping of four to five (some books so defined contain only a few pages in this style) extant
473:... generated by using the technique of fixing an illumination on a piece of black dyed parchment".
1035:
614:
602:
386:
The miniatures depict scenes from the lives of the Virgin and Christ and are placed to the left (
80:
287:
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1086:
117:
45:
413:
205:
405:
152:
72:
248:(14 October), indicate it was produced in Bruges; or, given the inclusion of the feast of
8:
1291:
1047:
375:
324:
950:
347:
316:
241:
92:
827:
1274:
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1209:
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884:
770:
358:
245:
201:
197:
160:
survive the process. The black manuscripts date from about 1455–80 and include the "
55:
between 1460 and 1475. It consists of 121 pages (leaves) with Latin text written in
1173:
1102:
1082:
972:
452:
440:
421:
409:
177:
121:
387:
189:
173:
84:
830:. Simbach am Inn, Germany: Faksimile Verlag (in German). Retrieved 25 April 2018
785:
1178:
Man, Myth, and
Sensual Pleasures: Jan Gossart's Renaissance: the Complete Works
1064:
609:
598:
264:
125:
788:. New York: Old Manuscripts & Incunabula. p. 29. Retrieved 11 October 2015
1300:
1019:
300:
136:
110:
48:
124:
court. The book is often attributed, on stylistic grounds, to a follower of
589:
735:
391:
338:
320:
305:
56:
211:
Jean
Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good
59:
script. The words are arranged in rows of fourteen lines and follow the
638:
Folios. 9v–10r. Calendar: August (conclusion), opp: Calendar: September
98:
60:
35:
1263:
466:
68:
25:
Office of the Dead, folios 121v–122r; the manuscript's closing leaves
200:. The funeral procession was lined with 2000 black flags with black
707:
469:, as evidencing the "unusual, exquisite and precious overall effect
429:
364:
331:
184:
156:
1271:
Painted
Prayers: The Book of Hours in Medieval and Renaissance Art
465:
Art historian Ingo Walther described folio 18v, which depicts the
687:
480:
The following is a complete list of the manuscript's miniatures:
474:
260:
249:
71:, on pages dyed a deep blueish black; hence its designation as a
64:
1260:
Facsimile Ausgabe von Pierpont Morgan Library, New York, M. 493
1121:
739:
703:
523:(Folio 50v: "Nativity" (opposite "Hours of the Virgin: Prime"))
417:
341:
in the 19th century for its then owner, the French bibliophile
327:
312:
106:
67:
and placed within borders ornamented with flowers, foliage and
52:
395:
253:
601:. It was acquired by the French publisher and art collector
594:
773:. Morgan Library & Museum. Retrieved 11 October 2015
1038:. Morgan Library & Museum. Retrieved 4 October 2015
605:
in 1871. He sold the book to Alphonse Labitte in 1879.
63:
of the texts. The lettering is inscribed in silver and
1022:. Morgan Library & Museum. Retrieved 13 April 2018
424:
stand to the left of the foot of the cross. Both have
1143:"The Coming Sale of part of the Robert Hoe Library".
1050:. Morgan Library & Museum. Retrieved 7 April 2018
809:. Penn Libraries Manuscripts. Retrieved 14 March 2017
1208:(in German). Frankfurt am Main: Insel Verlag, 1982.
583:
686:
Folio 93v: Raising of Lazarus, Office of the Dead (
662:
Folio 38v: Hours of the Virgin: Matins (conclusion)
828:"Black Hours M. 493 – Morgan Library & Museum"
319:, and the Office of the Dead. The lettering is in
1218:MacBeth, Rhona, "The Rise of Blue in Europe", in
1156:"End of the Great Hoe Library Sale Approaching".
128:, a leading and influential Flemish illuminator.
1298:
192:. Philip's proclivity for black arose from the
1180:. New York: Metropolitan Museum of Art, 2010.
382:, folios 14v–15r; Calendar: Hours of the Cross
1317:Collection of the Morgan Library & Museum
495:(opposite "Hours of the Holy Spirit: Matins")
147:, New York. Each folio measures 170 × 122 mm.
1292:Full set of digitized images, Morgan Library
1226:. San Francisco, CA: Chronicle Books, 2015.
1074:
1224:Blue: Cobalt to Cerulean in Art and Culture
1147:. Volume 3, No. 2, November 1911. pp. 35–43
951:"House of the Virgin. Rome. XV cent. M.493"
458:Folio 14v marginalia: Hybrid man with sword
446:Folio 14v marginalia: Hybrid man with beard
674:Folio 28v: Mass of the Virgin (conclusion)
565:(opposite "Penitential Psalms and Litany")
558:(opposite "Hours of the Virgin: Compline")
1194:. New York: Thomas Y. Crowell Co., 1977.
1160:. Volume 4, No. 1, October 1912. pp. 5–11
408:with his head inclined and bleeding from
116:The book is a masterpiece of Late Gothic
1101:
1081:
1020:"Medieval & Renaissance Manuscripts"
572:(opposite "Office of the Dead: Vespers")
509:(opposite "Hours of the Virgin: Matins")
374:
286:
226:
135:
101:M.493 has been in the collection of the
20:
1124:"Consumer Price Index (estimate) 1800–"
1030:
1028:
917:
915:
913:
911:
909:
907:
905:
579:(opposite "Office of the Dead: Matins")
530:(opposite "Hours of the Virgin: Terce")
516:(opposite "Hours of the Virgin: Lauds")
162:Black Hours, Hispanic Society, New York
75:. The book contains fourteen full-page
1299:
866:
864:
862:
860:
858:
856:
854:
722:Folio 38r: Hours of the Virgin: Matins
537:(opposite "Hours of the Virgin: Sext")
244:noted in the calendars, including for
1122:Federal Reserve Bank of Minneapolis.
1060:
1058:
1056:
1015:
1013:
1011:
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937:
935:
933:
931:
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927:
781:
779:
766:
764:
762:
760:
236:, folios 62v–63r; Hours of the Virgin
1307:15th-century illuminated manuscripts
1273:. New York: George Braziller, 1997.
1065:"Schoenberg Database of Manuscripts"
1025:
985:Jenni & Thoss (1982), pp. 140–43
902:
893:
823:
821:
819:
817:
815:
166:Black Hours of Galeazzo Maria Sforza
851:
800:
791:
13:
1252:
1206:Das Schwarze Gebetbuch, Codex 1856
1053:
1006:
924:
776:
757:
624:
577:Chanting of the Office of the Dead
14:
1333:
1285:
812:
584:Provenance and exhibition history
79:and opens with the months of the
1240:. Berlin: Taschen Verlag, 2014.
883:. Berlin: Taschen Verlag, 2001.
848:Jenni & Thoss (1982), p. 143
727:
715:
702:Folio 104v: Office of the Dead:
695:
679:
667:
655:
643:
631:
551:(opposite "Hours of the Virgin")
544:(opposite "Hours of the Virgin")
451:
439:
1150:
1137:
1041:
997:
988:
979:
960:
502:(opposite "Mass of the Virgin")
488:(opposite "Hours of the Cross")
394:or Gothic dress. In folio 76v,
1204:Jenni, Ulrike; Thoss, Dagmar.
957:, 1998. Retrieved 8 April 2018
873:
842:
833:
282:
222:
143:, folios 18v–19r, c. 1460–75.
1:
746:
528:Annunciation to the Shepherds
370:
131:
87:– 14 recto), followed by the
1116:American Antiquarian Society
1096:American Antiquarian Society
1071:. Retrieved 22 November 2017
976:. Retrieved 24 November 2017
7:
1220:Museum of Fine Arts, Boston
970:. Oxford University Press:
955:Morgan Library & Museum
252:(12 November), possibly in
145:Morgan Library & Museum
103:Morgan Library & Museum
10:
1338:
1322:Illuminated books of hours
1166:
1069:University of Pennsylvania
807:"The Black Hours, MS M493"
786:"Das Schwarze Stundenbuch"
650:Folio 9r: Calendar: August
597:silk manufacturer born in
467:Descent of the Holy Spirit
619:Paris Colonial Exhibition
608:MS M.493 was acquired by
542:Massacre of the Innocents
233:Massacre of the Innocents
170:Hours of Mary of Burgundy
16:Illuminated book of hours
1036:Book of hours (MS M.493)
968:"Philippe de Mazerolles"
751:
556:Coronation of the Virgin
168:" (c. 1466–67) and the "
1003:Ainsworth (2010), p. 81
949:Curatorial description.
570:Resurrection of Lazarus
118:manuscript illumination
921:Walther (2014), p. 373
899:Walther (2014), p. 363
870:Walther (2014), p. 372
839:Harthan (2008), p. 108
797:Walther (2014), p. 362
383:
295:
237:
196:in 1419 of his father
148:
26:
994:MacBeth (2015), p. 10
603:Ambroise Firmin-Didot
535:Adoration of the Magi
378:
292:The Flight into Egypt
290:
230:
206:Rogier van der Weyden
139:
24:
1312:Black books of hours
352:, by the bookbinder
216:Emperor Maximilian I
194:brutal assassination
153:black books of hours
91:, and ends with the
73:Black books of hours
1266:Verlag Luzern, 2001
183:The members of the
89:Hours of the Virgin
81:liturgical calendar
406:Jesus on the cross
384:
317:Penitential Psalms
296:
238:
149:
93:Office of the Dead
42:Morgan Black Hours
27:
1279:978-0-8076-1457-0
1246:978-3-8365-5379-7
1238:Codices Illustres
1232:978-1-4521-2940-2
1214:978-3-4581-4063-4
1200:978-0-6900-1654-3
1192:The Book of Hours
1186:978-0-3001-6657-6
1174:Ainsworth, Maryan
1048:"The Black Hours"
966:Brinkmann, Bodo.
889:978-3-8228-6023-6
881:Codices Illustres
549:Flight into Egypt
246:Donatian of Reims
198:John the Fearless
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973:Grove Art Online
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615:Bernard Quaritch
500:Virgin and Child
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321:Gothic minuscule
294:, Folios 66v–67r
278:
269:for me, a sinner
208:'s contemporary
178:Charles the Bold
57:Gothic minuscule
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1253:Further reading
1250:
1236:Walther, Ingo.
1190:Harthan, John.
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1103:McCusker, J. J.
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771:"Fols. 62v–63r"
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563:David in prayer
486:The Crucifixion
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410:multiple wounds
402:The Crucifixion
380:The Crucifixion
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343:Nicolas Yemeniz
313:opening letters
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190:Philip the Good
174:Philip the Good
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1269:Wieck, Roger.
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126:Willem Vrelant
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738:Psalms and
736:Penitential
734:Folio 91r:
575:Folio 98v:
568:Folio 93v:
561:Folio 76v:
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484:Folio 14v:
357: [
346: [
306:Ultramarine
283:Description
223:Attribution
46:illuminated
31:Black Hours
1301:Categories
1262:. Luzern:
747:References
610:Robert Hoe
514:Visitation
420:veil, and
371:Miniatures
242:Feast days
185:Burgundian
132:Commission
122:Burgundian
83:(folios 3
77:miniatures
69:grotesques
1264:Faksimile
493:Pentecost
202:standards
188:court of
141:Pentecost
1105:(1992).
1085:(1997).
708:nocturns
521:Nativity
430:Longinus
392:medieval
332:filigree
325:acanthus
44:) is an
40:(or the
1167:Sources
706:(first
688:vespers
475:Rinceau
422:St John
418:wimpled
339:rebound
328:scrolls
261:Utrecht
250:Livinus
157:Flemish
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752:Notes
426:halos
396:David
388:verso
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254:Ghent
109:with
85:verso
38:M.493
1275:ISBN
1242:ISBN
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1131:2024
885:ISBN
595:Lyon
590:arms
414:Mary
311:The
151:The
65:gold
29:The
176:or
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