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Journal articles on the topic 'Iconography of a book of hours'

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Published: 4 June 2021

Last updated: 18 February 2022

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1

Ralph, Karen. "Performance, Object, and Private Devotion: The Illumination of Thomas Butler’s Books of Hours." Religions 11, no. 1 (December 31, 2019): 20. http://dx.doi.org/10.3390/rel11010020.

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This article considers the major cycles of illumination in two Books of Hours belonging to Thomas Butler, seventh Earl of Ormond (c.1424–1515). The article concludes that the iconography of the two manuscripts reflects the personal and familial piety of the patron and was designed to act as a tool in the practice of devotion.

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2

Vidas, Marina. "Resemblance and Devotion: Image and Text in a Parisian Early Fourteenth–Century Book of Hours Made for a French Noblewoman." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 33. http://dx.doi.org/10.7146/fof.v53i0.118820.

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Marina Vidas: Resemblance and Devotion: Image and Text in a Parisian Early Fourteenth-Century Book of Hours (Copenhagen, Royal Library, Ms Thott 534 4º) Made for a French Noblewoman The focus of this article is Ms Thott 534 4º, a small Parisian early fourteenth-century illuminated Book of Hours in the collection of the Royal Library, Copenhagen, about which up until now, very little has been published. Firstly, the textual and pictorial contents of the manuscript are listed. Secondly, the specific elements in the book which indicate that it was made for a woman are analysed. The article pays particular attention to the representation of the book’s owner and to other images of women in Ms Thott 534 4º. Additionally, possible readings of the juxtaposed images and texts relevant to the original owner of the manuscript are explored. Thirdly, the significance of the presence of Norman saints in the Calendar and memoriae, as well as of hagiographic material invoking saints that had a cult following in France and England are discussed. Fourthly, the components which reveal that the original book owner had connections to Paris are enumerated and analysed. It is shown that there are stylistic and iconographic similarities between Ms Thott 534 4º and two other Parisian personal devotional manuscripts, the Psalter and Hours of Blanche de Bourgogne (New York, New York Public Library, Ms Spencer 56) and a Psalter-Hymnal (Baltimore, Walters Art Gallery, W. 115) which, in all likelihood, was made for Blanche de Bretagne (c. 1270–1327). These similarities suggest that the three manuscripts are likely to date from around the same time. Drawing on the hagiographic and pictorial material in Ms Thott 534 4º, it is concluded that the Book of Hours was executed around 1310 for a lady with connections to Paris, Evreux, and possibly England. More specifically, Marguerite d’Artois, Countess of Evreux (1285–1311), is proposed as a possible candidate as the original owner of the manuscript.

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3

O'Kane, Martin. "The Iconography of the Book of Ruth." Interpretation: A Journal of Bible and Theology 64, no. 2 (April 2010): 130–45. http://dx.doi.org/10.1177/002096431006400241.

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4

Alone, Y. S. "Book review: Kazim Abdullaev, Buddhist Iconography of Northern Bactria." Studies in History 35, no. 1 (February 2019): 128–31. http://dx.doi.org/10.1177/0257643018816400.

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5

authors, Various. "Book reviews." Notes and Records of the Royal Society of London 58, no. 2 (May 22, 2004): 233–43. http://dx.doi.org/10.1098/rsnr.2004.0051.

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Six book reviews in the May 2004 issue of Notes and Records: Marco Beretta, Imaging a career in science: the iconography of Antoine Laurent Lavoisier . Ulf Lagerkvist, Pioneers of microbiology and the Nobel Prize . C. Djerassi and D. Pinner, Newton's darkness: two dramatic views . Ted Dadswell, The Selborne pioneer. Gilbert White as naturalist and scientist: a re–examination . William Tobin, The life and science of Léon Foucault: the man who proved the Earth rotates . Robert Siegfried, From elements to atoms: a history of chemical composition .

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6

Dobres, M. A. "Book Review: Ancestral Images: The Iconography of Human Origins." European Journal of Archaeology 4, no. 1 (April 1, 2001): 138–41. http://dx.doi.org/10.1177/146195710100400107.

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7

Loomis, Sabra. "Book of Hours." San Francisco Jung Institute Library Journal 9, no. 1 (January 1990): 39. http://dx.doi.org/10.1525/jung.1.1990.9.1.39.

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8

Dodson, Courtney. "Book of Hours." Iowa Review 30, no. 2 (October 2000): 114. http://dx.doi.org/10.17077/0021-065x.5273.

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9

Hinson, E. Glenn. "Book Review: The Iconography of the Sarcophagus of Junius Bassus." Review & Expositor 88, no. 4 (December 1991): 469. http://dx.doi.org/10.1177/003463739108800431.

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10

Hoffenberg, R. "Book Review: History and Iconography of Endemic Goitre and Cretinism." Journal of the Royal Society of Medicine 78, no. 3 (March 1985): 273–74. http://dx.doi.org/10.1177/014107688507800327.

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11

Cummings, Brian. "Luther and the Book: The Iconography of the Ninety-Five Theses." Studies in Church History 38 (2004): 222–32. http://dx.doi.org/10.1017/s0424208400015849.

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Luther’s Ninety-Five Theses are not perhaps the book of the millennium, but they have some claim to being one of the books of the half-millennium. Few books in Church history can have had as much effect as this single-page broadsheet. Through this text, or so it is sometimes represented, Western Christianity was cut in two. The Ninety-Five Theses heralded the new age of print, with its capacity to transform culture in ways which have a strong resonance with our own ‘age of information’. The theses, it was said, were known throughout Germany in a fortnight and Europe in a month. With some justice, the theses have been described as the publishing event of the sixteenth century, and the first media sensation of the modern era.

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12

Jensen, Robin M. "Book Review: Jewish Historiography and Iconography in Early and Medieval Christianity." Theological Studies 54, no. 4 (December 1993): 732–34. http://dx.doi.org/10.1177/004056399305400409.

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13

Dmytrenko, Nataliia. "ICONOGRAPHY OF "THE LAST SUPPER" AND ITS ORIGINS IN THE MONUMENTS OF THE EARLY CHRISTIAN ERA." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 98–108. http://dx.doi.org/10.33838/naoma.28.2019.98-108.

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The article deals with the works of monumental painting, decorative and applied art and art of the book miniature of the early Christian era with the first images that refer to the prototypes of the "Last Supper". The research of iconography and the origins of the plot, namely, the influence of Roman art on the formation of iconography and artistic works of Christian art at its earliest stages of creation is the main line of the article. The main problems of identification of the plot, its symbols and use in various art forms are highlighted.In the study of the iconography of the plot "The Last Supper", the main difficulties arise with the origin of the plot, and therefore, with the use of evangelical or synoptic sources for its interpretation by masters who created these works of art. Times of dating, works of the early Christian era over time transformed even more and changed in the context of the development of iconography with its artistic peculiarities. The placement of Christ's disciples during the conduct of the sacrament, their posture, clothing, symbolism and details of the conditional interior, which accompany each work deserve detailed examination, art-study analysis and scientific explanation.In the study of the Byzantine book miniature of the early Christian era, it appears necessary to determine which part of the text from the Holy Scripture is illustrated alongside the image of the "Last Supper" and which additional miniatures accompany it. Also, special attention deserves exceptional and rare in the number of works of decorative and applied arts, in which the plot was embodied. In addition, to consider the origin and development of the iconography of the "Last Supper", it appears necessary to analyse and distinguish the differences in the iconography of works.The material of the article is illustrated by the works of the monumental art of the Roman catacombs and exhibits from the collection of the Louvre Museum, the State Historical Museum in Moscow, the Archbishopric Treasury of the Rossano Cathedral and the miniatures of the Cambridge Library of the Corpus Christi College.

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14

Cox, Victoria. "Silverman, Gail. A Woven Book of Knowledge. Textile Iconography of Cuzco, Peru." Bulletin de l’Institut français d’études andines, no. 40 (1) (April 1, 2011): 213–16. http://dx.doi.org/10.4000/bifea.1690.

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15

Hiemstra, Nancy. "Book Review: Images of Illegalized Immigration: Towards a Critical Iconography of Politics." International Migration Review 47, no. 1 (March 2013): 241–42. http://dx.doi.org/10.1111/imre.12020.

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16

Mcguirk, Pauline M. "Book Review: Reinventing modern Dublin: streetscape, iconography and the politics of identity." cultural geographies 12, no. 4 (October 2005): 534–35. http://dx.doi.org/10.1177/147447400501200412.

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17

Nsele, Zamansele. "Book review: Shannen L. Hill, The Iconography of Black Consciousness: Biko’s Ghost." Journal of Asian and African Studies 52, no. 7 (March 1, 2016): 1060–62. http://dx.doi.org/10.1177/0021909616634233.

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18

Yogev, Jonathan. "The Seven Eyes of God." Vetus Testamentum 69, no. 2 (April 17, 2019): 307–19. http://dx.doi.org/10.1163/15685330-12341354.

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Abstract The image of the stone with seven eyes in the book of Zechariah 3-4 is very puzzling, and has been interpreted in various ways. In this study I will suggest that the most logical interpretation of this image lies in the Babylonian kalû ritual and the well-known mythological Sibittu iconography that was familiar and accepted by the returning Babylonian exiles. This iconography was chosen for a specific reason, and then was given a new identity by the prophet, probably as part of a certain agenda.

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19

Stephens, Jessica. "A Little Book of Hours." Études irlandaises, no. 34.1 (June 30, 2009): 178. http://dx.doi.org/10.4000/etudesirlandaises.1558.

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20

Monks, Peter Rolfe. "A singular Book of Hours." Australian Library Journal 44, no. 2 (January 1995): 101–12. http://dx.doi.org/10.1080/00049670.1995.10755710.

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21

Kramer, Larry. "from A Book of Hours." Missouri Review 9, no. 1 (1985): 23. http://dx.doi.org/10.1353/mis.1985.0138.

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22

Pietrini, Sandra. "Anti-Rhetorical Strategies in Early Modern Images of Comic Actors: Harlequin’s Iconography and its Surviving Medieval Features." Early Modern Culture Online 5 (February 25, 2018): 53. http://dx.doi.org/10.15845/emco.v5i0.1290.

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The Compositions de Rhétorique by Tristano Martinelli were published in 1600 as a present to Maria de’ Medici for her marriage. The book is composed by blank pages interposed by images and the frontispice shows the famous actor as an almost hellish figure, bearing a pannier full of little Harlequins. A similar iconography pattern is to be seen in theRecueil Fossard, though as part of a dramatic context, and could ultimately derive from the iconography of Hellequin, as it is shown in a miniature of the Roman the Fauvel, where the hellish figure leads a cart with dead unchristened children. Discussing the hellish origin of Harlequin, most of scholars have neglected the evidence that some of his attributes are rooted in the sinful world of medieval entertainment. The pannier full of little kids or apes, for instance, recurs in medieval iconography of jesters, and since the XIVth century it begins to occur also in the depictions of devils, who assume some comical connotations. Exploring the context of medieval miniatures in relation to later iconography of actors, the article aims at rediscussing the vexed question of the hellish origin of Harlequin, providing some examples of a puzzling intertwining of elements and patterns.

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23

Bourke, Cormac. "The iconography of the devil: St Vigean's, Eassie and the Book of Kells." Innes Review 58, no. 1 (May 2007): 95–100. http://dx.doi.org/10.3366/inr.2007.58.1.95.

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24

Vallard, Annabel. "Silverman Gail P., A woven book of knowledge. Textile iconography of Cuzco, Peru." Journal de la société des américanistes 95, no. 95-2 (December 5, 2009): 306–12. http://dx.doi.org/10.4000/jsa.12765.

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25

Borck, Cornelius. "Book Review: Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière." Transcultural Psychiatry 43, no. 2 (June 2006): 321–24. http://dx.doi.org/10.1177/1363461506064881.

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26

Yesmin, Fariya. "Book review: Rahela Khorakiwala. 2020. From the Colonial to the Contemporary: Images, Iconography, Memories, and Performances of Law in India’s High Courts." Contributions to Indian Sociology 54, no. 3 (October 2020): 471–73. http://dx.doi.org/10.1177/0069966720942920.

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Rahela Khorakiwala. 2020. From the Colonial to the Contemporary: Images, Iconography, Memories, and Performances of Law in India’s High Courts. New Delhi: Bloomsbury Publishing India Pvt. Ltd (Hart Imprint). xvi + 277 pp. Figures, Appendix, Bibliography, Index. ₹889 (hardback).

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27

Pinderhughes, Dianne. "Education and Transparency: Changes in Campus Iconography." Perspectives on Politics 14, no. 3 (August 31, 2016): 766–67. http://dx.doi.org/10.1017/s1537592716002097.

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Woodrow Wilson is the only American political scientist to have served as President of the United States. In the time between his political science Ph.D. (from Johns Hopkins, in 1886) and his tenure as president (1913–21), he also served as president of Princeton University (1902–10) and president of the American Political Science Association (1909–10). Wilson is one of the most revered figures in American political thought and in American political science. The Woodrow Wilson Award is perhaps APSA’s most distinguished award, given annually for the best book on government, politics, or international affairs published in the previous year, and sponsored by the Woodrow Wilson Foundation at Princeton University.Wilson has also recently become the subject of controversy, on the campus of Princeton University, and in the political culture more generally, in connection with racist statements that he made and the segregationist practices of his administration. A group of Princeton students associated with the “Black Lives Matter” movement has demanded that Wilson’s name be removed from two campus buildings, one of which is the famous Woodrow Wilson School of Public and International Affairs (see Martha A. Sandweiss, “Woodrow Wilson, Princeton, and the Complex Landscape of Race,” http://www.thenation.com/article/woodrow-wilson-princeton-and-the-complex-landscape-of-race/). Many others have resisted this idea, noting that Wilson is indeed an important figure in the history of twentieth-century liberalism and Progressivism in the United States.A number of colleagues have contacted me suggesting that Perspectives ought to organize a symposium on the Wilson controversy. Although we do not regularly organize symposia around current events, given the valence of the controversy and its connection to issues we have featured in our journal (see especially the September 2015 issue on “The American Politics of Policing and Incarceration”), and given Wilson's importance in the history of our discipline, we have decided to make an exception in this case. We have thus invited a wide range of colleagues whose views on this issue will interest our readers to comment on this controversy. —Jeffrey C. Isaac, Editor.

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28

Planas Badenas, Josefina. "The bishop Morgades' Book of hours." Locus Amoenus 5 (December 1, 2000): 67. http://dx.doi.org/10.5565/rev/locus.103.

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29

Tarasenko, Mykola. "Some Remarks to the Semantics of Image of Deity on the Coffin of Sepi III (Cairo CG 28083)." Eikon / Imago 10 (February 8, 2021): 229–39. http://dx.doi.org/10.5209/eiko.74148.

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The problem of the iconography of a unique image of a deity drawn on the Middle Kingdom rectangular coffin of Sepi III (Cairo CG 28083; B1C; Deir el-Bersha; CT VI, 386) is discussed in the article. It is possible that the god is the first known image of the syncretic double god Re-Osiris. The deity (with a head unusually for Egyptian iconography unfolded in full face) is shown sitting on a throne with the inscription “millions (of years)”. The image of this god could be a visual display of the eschatological plot described in Spell 1130 of the Coffin Texts (the union of Atum(-Re) and Osiris after destruction of the Universe) at the end in the Book of Two Ways, that is represented on the bottom of Sepi’s coffin.

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30

Varty, Kenneth, and Paul Wackers. "A selective survey of visual representations of Reynardian Literature and fox lore in the last fifty years." Reinardus / Yearbook of the International Reynard Society 30 (December 31, 2018): 212–58. http://dx.doi.org/10.1075/rein.00021.var.

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Abstract This article offers a survey of fifty years research into Reynardian iconography. It analyses secondary and primary sources: it discusses a number of book length studies, it shows trends in articles, makes suggestions for further research, describes the properties of and the main research on the major illustration cycles of Reynardian literature and ends with an annotated bibliography.

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31

Gibbs, James. "BOOK REVIEW." Legon Journal of the Humanities 32, no. 1 (August 27, 2021): 134–42. http://dx.doi.org/10.4314/ljh.v32i1.6.

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32

Moodey, Elizabeth. "A Leaf from a Book of Hours." Record of the Art Museum, Princeton University 59, no. 1/2 (2000): 46. http://dx.doi.org/10.2307/3774802.

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33

Walker, Jeanne Murray. "Book Review: The Little Hours: Grass Script." Christianity & Literature 42, no. 1 (December 1992): 190–91. http://dx.doi.org/10.1177/014833319204200128.

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34

Tripp, David. "Book Reviews : Office Hours - of Pra Yer." Expository Times 100, no. 4 (January 1989): 151–52. http://dx.doi.org/10.1177/001452468910000425.

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35

Smyth, Patricia. "The Popular Picturesque: Landscape in Boucicault's Irish Plays." New Theatre Quarterly 32, no. 4 (October 14, 2016): 347–62. http://dx.doi.org/10.1017/s0266464x16000427.

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The inspiration for Dion Boucicault's first Irish subject, The Colleen Bawn, in a set of pictur esque views of Ireland after the artist W. H. Bartlett is well documented, and Bartlett's iconography of wild scenery, moonlight, round towers, and ruined abbeys features strongly throughout the Irish plays. Although Bartlett's compositions were widely known in the nineteenth century, there has been little consideration of how they may have informed the audience's understanding of the plays. Rather, they are regarded as a set of clichéd, stereotyped images, which the playwright subverted through a process of ironic distancing and repurposing. In this article Patricia Smyth argues that, on the contrary, Boucicault made use of the mythical and supernatural associations of picturesque Ireland in order to convey a particular narrative of Irish history. Patricia Smyth is a Visiting Research Fellow at the University of Warwick. She has published articles and book chapters on French and British nineteenth-century art, visual culture and theatre. She is co-editor of Nineteenth-Century Theatre and Film, co-edited with Jim Davis a special issue dedicated to theatrical iconography (2012), and is currently completing a book on Paul Delaroche and theatre.

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36

Rees, Roger. "Images and Image: a Re-Examination of Tetrarchic Iconography." Greece and Rome 40, no. 2 (October 1993): 181–200. http://dx.doi.org/10.1017/s0017383500022774.

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Consideration of Tetrarchic portraiture has usually focused on the extant porphyry sculptures (plates 2, 6, 7, 9, and 10). This was perhaps inevitable, since the arresting eyes of the Cairo bust or the stubby legs of the Vatican groups are certainly curious. Few scholars have resisted the temptation to pronounce their aesthetic judgement (and why not?), but none has been as caustic as Bernard Berenson who saw in them ‘the meanest symptoms of decay’, an effect into which the sculptor had ‘simply blundered and stumbled’. Berenson's book and many of the other academic works which refer to the porphyry sculptures address the wider issue of style and, in particular, stylistic change in Late Antiquity. They cite the same art, but draw a range of conclusions: L'Orange proposes parallels between style and the structure of society; Kitzinger suggests a conscious approximation to a ‘sub-antique’ style; and Bandinelli sees the porphyry work as exceptional, specialized and short-lived. Without neglecting the porphyry sculpture, the present essay aims to consider the whole range of surviving portraits and to make sense of them within the relatively narrow field of Tetrarchic ideology. This necessarily involves the question of style and, therefore, has points of contact with the above ideas. However, the present study is primarily ‘internal’, drawing together images diverse in form and location. Patterns are soon apparent, but the Tetrarchy had to establish its ideological stability and credibility if the government were to endure. It collapsed quickly (A.D. 284–311), but in this respect, Tetrarchic portraiture offers a good example of the power of art to manipulate its audience by instilling belief.

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37

Engel, Laura. "Reflections." Eighteenth-Century Fiction 33, no. 4 (June 1, 2021): 557–76. http://dx.doi.org/10.3138/ecf.33.4.557.

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Contemporary artists Elizabeth Colomba and Fabiola Jean-Louis employ eighteenth-century subject matter, iconography, and media to reimagine the visual history of Black women. Putting Colomba’s and Jean-Louis’s work in dialogue with my own, I return to the premises of my book Women, Performance, and the Material of Memory: The Archival Tourist (2019), to re-examine, interrogate, and acknowledge my position as a white scholar.

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38

Fleming, John V. "Book Review: The Iconography of the Mouth of Hell: Eighth-Century Britain to the Fifteenth Century." Christianity & Literature 45, no. 2 (March 1996): 242–44. http://dx.doi.org/10.1177/014833319604500211.

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39

McMullen, Dianne M., and Gregory T. Clark. "The Spitz Master: A Parisian Book of Hours." Sixteenth Century Journal 37, no. 2 (July 1, 2006): 519. http://dx.doi.org/10.2307/20477901.

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40

Hamburger, Jeffrey. "The de Brailes Hours: Shaping the Book of Hours in Thirteenth-Century Oxford.Claire Donovan." Speculum 68, no. 4 (October 1993): 1103–5. http://dx.doi.org/10.2307/2865526.

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41

TSURTSUMIA, Mamuka. "Book review:Piotr L. GROTOWSKI. Arms and Armour of the Warrior Saints: Tradition and Innovation in Byzantine Iconography (843-1261). Translated by Richard Brzezinski. Leiden, Boston: Brill, 2010." BYZANTINA SYMMEIKTA 22 (November 13, 2012): 363. http://dx.doi.org/10.12681/byzsym.1085.

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<p style="text-align: center; line-height: 110%; text-indent: 36pt" class="MsoNormal" align="center"><span style="font-family: 'Times New Roman','serif'">Book review of:Piotr L. Grotowski. Arms and Armour of the Warrior Saints: Tradition and Innovation in Byzantine Iconography (843-1261). Translated by Richard Brzezinski. Leiden, Boston: Brill, 2010. pp. XXV, 483. ISBN 978 90 04 18548 7.</span></p><p style="line-height: 110%; text-indent: 36pt" class="MsoNormal"> </p>

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42

Sheedy, K. A. "Attic Late Geometric Iconography - Theodora Rombos: The Iconography of Attic Late Geometric II Pottery. (Studies in Mediterranean Archaeology and Literature, Pocket-book 68.) Pp. 578; 78 plates. Jonsered: Paul Åstrom, 1988." Classical Review 40, no. 2 (October 1990): 418–19. http://dx.doi.org/10.1017/s0009840x00254358.

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43

Reeve, Matthew. ""The Murthly Hours": Art, Aristocracy, and The Illuminated Book." Religion and the Arts 8, no. 1 (2004): 100–105. http://dx.doi.org/10.1163/1568529043602694.

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44

Villanueva, R. A. "Epithalamion beginning with The Tempest, and: Book of Hours." Ploughshares 47, no. 1 (2021): 177–79. http://dx.doi.org/10.1353/plo.2021.0038.

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45

Ramakers, Bart. "Paper, paint, and metal foil." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 68, no. 1 (August 5, 2019): 136–67. http://dx.doi.org/10.1163/22145966-06801006.

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This essay concerns itself with the category of the costumed entry at the Leiden rhetoricians’ festival of 1596. The entry by the Haarlem chamber of rhetoric The Pelican was designed by Hendrick Goltzius. It is argued that inventions like Goltzius’s were considered examples of good or best practice from which other artists and craftsmen involved in entry-making could learn, both during and after the event. The latter purpose was served by the printed festival book, which contained information on both invention (iconography) and execution (materials and techniques) of the entry characters. The use of such festival books is further corroborated by an analysis of the book collection of the Pelican chamber, which has survived more or less complete.

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46

Masters, Joellen. "BOOK REVIEW: Elizabeth A. Campbell.FORTUNE'S WHEEL: DICKENS AND THE ICONOGRAPHY OF WOMEN'S TIME. Athens: Ohio University Press, 2003." Victorian Studies 46, no. 4 (July 2004): 687–88. http://dx.doi.org/10.2979/vic.2004.46.4.687.

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47

Fernández, Víctor M., Jorge De Torres, Andreu Martinez d'Alòs-Moner, Carlos Cañete, Alessandro Bausi, and Gashaw Belay. "Judith and the Dragon: A Jesuit architectural relief from Gorgora Iyäsus church, 1626–1632." Aethiopica 18 (July 7, 2016): 173–82. http://dx.doi.org/10.15460/aethiopica.18.1.769.

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In the 2014 excavations at the Jesuit church of Gorgora Iyäsus on the northern shore of Lake Ṭana a remarkable relief in stone was unearthed. The relief was originally part of the church’s façade. It represents the biblical heroine Judith over a dragon and it contains two inscriptions in Gǝʿǝz from the Book of Judith and Genesis. This piece represents one of the few recorded inscriptions on stone from the end of the Aksumite period to the present time. The article focuses on the historical context that witnessed the production of this relief and provides an interpretation of its iconography.

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Anufrieva, Natalia V. "Iconography of The Passion of Christ in the Old Believer Tradition (with Reference to Manuscripts from Ural Book Depositories)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 22, no. 3(200) (2020): 89–109. http://dx.doi.org/10.15826/izv2.2020.22.3.046.

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Saltykova, V. A. "Illuminated Gospel, dated 1684, from the Cathedral of the Archangel at the Moscow Kremlin Museums: to the question of iconographic sources." Russian Journal of Church History 1, no. 3 (October 23, 2020): 46–66. http://dx.doi.org/10.15829/2686-973x-2020-3-33.

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Abstract:

This article deals with miniatures of the Gospel from the collection of the Moscow Kremlin Museums, dated 1684. The author analyzes the iconography of the compositions, identifies the sources used as models for the masters who decorated the book, and also examines the circumstances associated with the order of the manuscript. The text touches on the issue of artistic connections between Russia and Western Europe in the field of book illustration of the 17th century and describes in detail the creative work of the court masters on the miniatures of the Gospel. The author discovers a Western European visual source that has never been associated with the range of Kremlin monuments before, which complements our vision of the iconographic lexicon of the court masters of the second half of the 17th century.

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Proske-van Heerdt, Dorine. "A French and a Flemish Book of Hours in Guernsey." Scriptorium 45, no. 2 (1991): 266–87. http://dx.doi.org/10.3406/scrip.1991.1601.

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