The Hospitaller Master in Paris and Acre: Some Reconsiderations in Light of New Evidence Author(s): Jaroslav Folda Reviewed

work(s): Source: The Journal of the Walters Art Gallery, Vol. 54, Essays in Honor of Lilian M. C. Randall (1996), pp. 51-59 Published by: The Walters Art Museum Stable URL: http://www.jstor.org/stable/20169108 . Accessed: 15/05/2012 07:34
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Master The Hospitaller Some Reconsiderations

Jaroslav Folda

in Paris and Acre: in Light of New Evidence

The Hospitaller Master two manuscripts

is a painter who apparently worked on in Paris between 1276 and ca. 1280 before

ca. 1280 and 1291, going to Saint-Jean d'Acre where, between he illustrated dght other codices.His hand has not been recog nized before 1276 or after 1291. During the course of his work, his color palette changes and develops in response to various the paintings of theHospitaller factors. By approaching Master in terms of color, thepaper investigates what light this aspect of his work can shed on his career as reconstructed from
these ten manuscripts.

to the con imagery changes according tent of the various individual texts and, no doubt, the that this artist wishes of the patrons. It is noteworthy and narrative appears to have initials, drolleries, of the manuscripts however, no evidence appears that various more, historiated figurai panels, in the margins and painted flourishes done he worked. There is, that he was also a scribe, that is, it scribal hands, all different, wrote in which he worked. Further in which

the texts of the codices

Note: See color plate section for color plates 1-5.

the large red-and-blue penwork initials, which we find in many of his manuscripts, appear also in unillus trated exemplars, and as yet we cannot directly link the hand of the Hospitaller Master with these impressive embellishments. the We know neither calligraphic

Introduction
in honor of Dr. Lilian Randall, the symposium held at the Walters Art Gallery on 25 February At to my 1995, certain questions were voiced in response as the Hospitaller Master.1 paper to have worked in Saint who appears This painter, as the last decade of its existence Jean d'Acre during of Jerusalem, the defacto capital of the Latin Kingdom the artist known circa as being in Paris in the is identified 1280-1291, to the Frankish late 1270s before East.2 traveling In reply to one particular question on the use of color on

name

of the Hospitaller Master, nor the name of his in Paris, or why the Hospitaller Master left to patron (s) a circa 1280. It appears that in Acre, go to Acre of St. Stephen, among of the Hospitallers,

knight, William Hospitaller others members including

and the aristocracy, commissioned work Templars, from him. It seems plausible that the Hospitaller Master may have been a cleric in one of the lower orders personal The and that he may have gone patron left to go there.3 earliest Master work in which to Acre because of his the

the hand

raised by Dr. Randall Master, by the Hospitaller of additional and in light of the appearance herself, as painted miniatures identified newly by the
Hospitaller Master, some reconsiderations are in

in regard to this artist. To summarize aspects of the current state of the question on the work of the Hospitaller Master relevant order here, appears in two manuscripts produced circa 1280 and Acre. his hand between 1276 and circa 1280 in Paris, and between in other codices made Master remarkable executed for a their

Hospitaller is, rent list?done in Paris, dated 1276, now in the Archives nationales, to S 16261. Another manuscript also attributable pi?ce in which the Hospitaller Master Paris, apparently initial (pi. 1) before he left to go painted an historiated to Acre, has recently been identified at the Biblioth?que nationale de France, ms. lat. 5334, a libellus on the life of Saint Martin.4 Along with the seven and miracles manuscripts attributed whose to the hand have previously been in of the Hospitaller Master a newly codex in the recognized illustrations

can be recognized is a censier?that for the Abbey of Sainte-Genevi?ve

1291 in eight the Hospitaller Overall, of miniature group paintings coherence of style and notable secular texts

mostly

they decorate.

for the diversity of the The iconography

Acre, we now have to add to this group, ms. Biblioteca Marciana, Venice, fr. app. 20 (=265), which contains the Livre des assises TheJournal of the Walters Art Gallery 54 (1996) 51

of Jean d'Ibelin from the Latin

manuscripts in Paris and Acre? What

law code (pi. 5), the most celebrated East. What do these two new light shed on the work of the Hospitaller Master

scenes

of

Saints

Martin,

Loup,

and

Genevi?ve?were

done

do they additional evidence in regard to questions of stylistic development, provide the use of color,5 and the sequencing of undated worked on by the Hospitaller Master? manuscripts

by one hand, and that the fourth?illustrating the ch?sse of Saint Genevi?ve being carried through the streets of Paris on the feast of Saint Genevi?ve-des in execution accomplished a second It is striking that by painter.8 the Saint Martin initial in the libellus is also closer the more

Ardents?was

and was done to the fourth

The Hospitaller
With

Master

in Paris (W^csu1280)
lat. 5334 as a work of for

in quality: compare the overall panel drawing style, the figures of the malades, and, again, the details of faces, hair, and hands. What interpretation identified by Stahl, I think we can still see one hand at work on all five illustrations under discussion here. Consider the for all of these figurai images the impact of the different models used by the Master.9 consider the common Further, Hospitaller elements that link the two groups of miniatures, for and canons in the second the kneeling and example fourth panels of the censier on folios 13r and 26v. The remarkable and closeness of these in the basic technique to unify these miniatures Differences two figures?in and colors used do exist that design by the their despite fact of diverse sources should be given to these observations? Without the distinctions minimizing

the identification

of BNF

the Hospitaller it appears Master, at least two different commissions

that he undertook in Paris: one,

the Abbey of Sainte-Genevi?ve, consisted of four panel miniatures illustrate the abbey's censier, or rent which for the year 1276; the other was an historiated list, initial S, which marks the beginning of a libellus on the life and miracles of Saint Martin. Both of these are in Latin, but they were done by different manuscripts for both of these codices are scribes. The illustrations in content, but only the libellus contains texts religious the text in the censier is secular with religious content; but, of course, it was done The illustrations for both however, miniatures the codices in which multiple The sources without for a religious institution. of these manuscripts are, direct textual bases in on and must depend

painter?serves slight differences. these miniatures. change

artists.

as well two panels, I propose, however, and development

in regard to as to the entire set of five they not indicate separate

they appear found elsewhere.

in one painter,

in the censier are panels lines of text?high and approximately initial S in the nearly square in shape. The historiated lines of text? 3.5 cm?four libellus is approximately four miniature 8.0 cm?twelve

I suggest, not only in is indicated, Development the handling of the figures, which grew more assured as the artist worked along, but also in the use of color. One of the striking features of the censier is the artist's conservative selection which of hues consists from the standard blue, of the lead
orange-red.

high and also nearly square.6 I have argued elsewhere that the libellus was done shortly after the censier, in the late 1270s. Are the miniatures by the same painter? There both codices can be no doubt is in the same basic that the figurai work style. The question in of

Gothic palette, now discolored white?some

white?and grey, brown,

of pink by oxidation
and

and

orange,

whether determining same painter is more is between

the they were done by precisely to resolve. The obvious difficult Saint Martin

the small size of the libellus miniature, Despite a somewhat enriched there palette, though

we find

(pi. 1) in the libellus comparison and Loup, and the two bishops, Saints Germain initial on folio in the in the censier panel lr.7 Factoring in dimensions, the basic drawing comparing change of such as the handling style, and looking at details in three-quarter view, the curl over the blessing hands, etc., there can the ear, the miter, be no doubt that the figures are very close. However, the facial features the Saint Martin accomplished A similar regard proposed 52 to be a bit more appears in execution. What does this mean? initial

of Gothic which painting, typical and white, but also standard pink, blue, orange-red, and brown-purple, and includes lavender, pink-purple it is striking that even though the beige. Furthermore, historiated panels, interest initial is much smaller initial than the miniature a bit more in the the figures in three-dimensional show

still very includes the

not so much modeling, in the draperies, which are still mainly defined by line and flat color, but in the more robust poses and in the faces, which were
red.

painted

in white,

with

a touch

of

beige

and

some

question was raised by Harvey Stahl in He to the censier miniatures themselves. that the first three panels?including the

The Hospitaller (ca. 1280-1291)

Master

in Saint-Jean d'Acre

Helen, Zeuxis, and some of the athletes almost appear to wear garments with vertical stripes. These trends, which begin in Acre with the Bible and the Chantilly Rhetoric manuscripts by the hand of the Hospitaller in some of Master, intensify noticeably his later work. In particular I refer to the miniatures William in two manuscripts of the History of Outremer by of Tyre: one now in Paris (BNF, ms. fr. 9084; in Boulogne-sur-Mer (Bibl. pi. 4)16 and the other ms. sequence of their 142).17 Setting aside the question for the moment,18 it is striking that the Master in stabilizes style of the Hospitaller it

In order to test further our proposal of one artistic Master working in Paris hand, that of the Hospitaller and Acre, let us also turn to manuscripts to attributed the Hospitaller Master consider similar criteria from his in Saint-Jean d'Acre and in other codices selected

oeuvre. two earliest The proposed that he painted in Acre appear to be a manuscripts of Cicero's Bible, datable to circa 1280, and amanuscript Rhetorica ad Herennium and De inventione, dated 1282 (pis. 2 and 3).10 can the same basic immediately recognize in the Bible and Rhetoric miniatures that we found style in the illustrations of the censier and libellus, in terms of We figure style, the handling of poses, faces, and draperies, the design of architecture, and the overall aspect of the We can identify the presence of the composition.11 same hand in certain on specific figures by focusing parallels in design,12 details of execution of imagery,13 and signature aspects ornament in illuminated initials or drapery in comparable details of the

mun.,

drawing two exemplars, these with a greater consistency evident than found in his earlier work. Nonetheless, is just at this point that the palette of the Hospitaller Master

and achieves its changes most dramatically richest blossoming. The reasons for this development are not fully known, but one very likely factor is the commission that the Hospitaller BNF fr. 9084. were painted Master The to received apparently first five miniatures of this

finish codex

design.14 certain changes can be identified. Nonetheless, What developments do we see? There is a slight in the character of the line the design change drawing; is now carried out, in the Bible and in the Rhetoric in black lines of equal fluency, but with, codex, the figures and the perhaps, greater and there is a greater use of white lines, architecture, in the Rhetoric manuscript. In terms of fig especially ure more of the figures grow slightly style, the proportions with larger heads. In terms of color, we stocky notice not only a further enrichment of the palette? substance in both

Crusader style, and Frankish elements.19 Italian, combining Byzantine, The coloring of these miniatures is strikingly different from Master; yellows, along
brown,

in a colorful

the French one

Gothic

palette greens

of the

the Hospitaller

notices the blues,

and

especially pinks,

and medium with

grey,

strong oranges, in these five panels, and variants

In the seventeen

of purple,
panels

orange-red.

the Hospitaller to complete Master painted the cycle of the miniatures, he introduces new striking to his palette, in response to emphases apparently these works (pi. 4) .20In particular we notice the strong of yellow, more use of lavenders extensive presence and orange-reds, introduction of brown and black, and a reduction use of light blues. The in the shading of the
hues employed on the garments continues, and now

especially in the Rhetoric miniature with the introduction a matter of yellow, of taste and the of availability also with regard to the shading of the pigment?but in the draperies, to which begin color, for example form three-dimensional (pis. 2 and 3). In are strong between the color of fact, parallels the libellus initial (pi. 1) and that of the Bible (pi. 2) in there of pink, palette and dark blue, and pink-purple, orange-red, light lavender. And even though yellow and light green are also found in the Bible, they are employed as merely colors, or accent colors, not as main hues in specialty the way we see yellow used in the Rhetoric codex.15 As a to the development between the Bible and parallel regard the practice of shading the manuscript, while again visible in the former?in the garments, or seated Lord of the standing light blue garments in the latter (pi. 3), so that 2)?is (pi. strengthened the Rhetoric to the basic French Gothic indicate

is clearly some attempt to indicate this type of in the skin tones of certain shading (pi. 4). figures Whereas BNF fr. 9084 shows a dramatic use of as a focal color, often with pinks yellow juxtaposed and lavenders in very unusual the compositions, from Boulogne-sur-Mer (ms. 142) shows a manuscript there emphasis on bright lime-green.21 Once again, a unique color choice; is used light green Gothic painters. It is the way it is used that regularly by similar it is not is significant. Here, in contrast to the more standard Gothic blue, red, or white,22 we find entire city walls, towers, or arches, or in the case of the Holy Sepulchre, the sepulchre There is also a itself, in lime-green. use of bright for garments, especially vigorous orange-red on major figures. The shading of garments on certain 53

figures
lavender

continues,
hues.

especially

in light blue,

grey,

and

In addition

to the close

of these two manuscripts, In the initial publication first by that BNF fr. 9084 was completed I proposed in 1286, and that Boulogne Master 142 the Hospitaller was done shortly thereafter. Stahl sequence, correctly sur-Mer manuscript out pointing for Books cycle this questioned that the Boulogne 6 and following than that in

part of these manuscripts, later in BNF fr. 9084

in the early relationship certain peculiarities found are also transferred into

the odd text incipits and lack 142, notably Boulogne at the start of Books 12 and 13. It is also of miniatures worth with out that the format of BNF fr. 9084, pointing are numerous wide-format illustrations?there its

more if anything, conservative was, from it. Upon BNF fr. 9084 and only partly derived and in light of the coloristic evolution reconsideration mentioned it seems

are two text columns which six panel miniatures imitated in Boulogne wide?is 142 at Books 1 and 9. are the Finally, Iwould observe that these twomanuscripts among those executed by the Hospitaller in terms of the range of hues employed and Master, in the choice of focal colors, that is, colors chosen for colorful both major
are,

most

that the sequence above, however, is the more likely one. initially proposed scenario. BNF fr. 9084 was the following Consider begun in the colorful Crusader style of the first five panels, but then the work was handed to the Hospitaller the remaining miniatures

components
however, not

of
the

the miniatures.
same in each

These
manuscript,

colors

presumably closely Master color

for the same reasons

the colors of the most

in Master, who completed his own style, albeit with a sharp increase in coloristic in the use of yellow, lavenders and intensity, especially that this and browriyand black. I propose orange-reds, or coordinating his was his direct response?adjusting style?to
manuscript.

also vary: the Hospitaller copied miniatures had different tastes, patrons with different different to customize pigments his work. available, and he used These various features of the two linkage and copy, because

there were nonetheless

indicate

the close

the work London was then

that had already Histoire executed one or

been

done

in this

in terms of model manuscripts are not found in a later History they (Florence, apparently Bibl. the Master

The 15268)

universelle

including painters,23 on BNF fr. 9084. Meanwhile, the Hospitaller worked to do a second History of Master was commissioned he Outremer codex, Boulogne 142; for this manuscript painted notable is set of twenty-two panels. What the complete is that he copied the iconographie program of of BNF his own them with the directly, that style. This means to suit his new patron, fr. 9084 but

by two of

(BL, Add. MS a large team of those who had

of Outremer codex ms. Plu.LXI.10), Laurenziana, done by the last extant manuscript

in Acre, in early 1291.26 Hospitaller that Boulogne Stahl points out, however, 142 does not follow BNF fr. 9084 in regard to the imagery of the miniatures that these relation the more
more in

at the start of Books refer back seems to the later Florence conservative
harmony with

to an earlier to be more one

the

16, and in cycle. Moreover, Plu.LXI.10 cycle, the cycle than forward-looking in Boulogne that is, 142,
codex.27

6, 9, 15, and

the first five miniatures transformed he executed whoever certain black

in BNF fr. 9084

imagery

Florence

the result in the first five itwas. Coloristically, of of Boulogne miniatures 142 is a combination aspects seen in of his models: the Patriarch at Book 1, the grey and his of Jerusalem, are combined with a

I would differences

argue between

here

that whereas

there

are

out, we must distinguish the cycles were executed the one

as Stahl points the manuscripts, the dynamics of how between in regard to their patrons, on

attendant,

and Peter

Sepulchre Holy imitates the purple sepulchre decoration openings itself

superstructure of BNF fr. 9084, though the is lavender with round red and blue dome pink with rounded black trim.24 The colors of other

the Hermit, lavender whose

as hand, and specific workshop procedures are related, on the indications of how the manuscripts Master It seems clear that the Hospitaller other. than out Boulogne 142 for a different patron ordered BNF fr. 9084. Thus, these two cycles whoever are by no means identical, even though they are very close in certain respects; the imagery is not exac?y the carried same in Boulogne had apparently 142 in those cases where the patron even for the instructions, specific as in the case of the heraldry 1-5 (such and there were variations in

instead of intense and golden for instance

of Books 3 and the miniatures examples, on what appear in their are similarly a variation 4, is a there For Books 2 and 5, however, models. of in the program and deliberate notable departure color, which was apparendy prompted the patron. The main figure in these identifiable clearly evoke 54 heraldic the person arms, whose of Godefroy by the desires of two cases is given distinctive colors de Bouillon!25

images in Book of Bouillon), of Godefroy what the patron wanted

in the later parts of the cycle we should not lose sight of the as well. Nonetheless, for both of miniatures fact that the program

that is for BNF fr. 9084 and for Boulogne manuscripts, went back to earlier Crusader cycles.28 The question 142, to is, in what way were those earlier cycles available Master and how did he use them.29 the Hospitaller when we isolate the other aspects discussed Moreover, above, such as the color and the atelier characteristics that the and format, it appears of configuration case to be made is based on the evidence strongest that Boulogne 142 was executed 9084 and that the miniatures 142 were based shortly after BNF 1-5 for Books on those fr. in

Statement: described

"...the stylistic and above would suggest

relations iconographie that the Paris fr. 9084

and Boulogne may have been executed manuscripts as early as the late 1270's [sic] and that the most in Folda's Acre series may be as advanced manuscript I stand early as the early 1280's [sic]."35 Nonetheless, by my original argument, with the censier done in Paris in Acre circa 1280, the and dated 1276, the Bible Rhetoric dated 1282, BNF fr. manuscript Chantilly 9084 dated circa 1286, Boulogne 142 circa 1286/early 1287, and Florence Plu. LXI.10 early 1291.36 In propos Stahl used as a criterion for ing his reinterpretation, Acre the standards In arguing historically are distinct between illumination. of Parisian manuscript I am taking the position that, my dating, as well as geographically, Acre and Paris artistic them. centers In the certain strong ties despite case at hand, when the to Acre from Paris, he clearly

directly Boulogne 9084, as previously argued.30 two The Hospitaller Master painted before Acre fell in 1291. One just manuscripts History

in BNF fr. other is the

of Outremer codex now in Florence, mentioned of the Livre des above,31 and the other is a manuscript ms.

fr. app. 20 (=265), in the assises, by Jean d'Ibelin, in Venice Biblioteca Marciana (pi. 5).32 In terms of with the the drawing style is very consistent design, work where relation Master seen in BNF fr. 9084 do these in Acre?33 two manuscripts and Boulogne 142, but in stand coloristically of the Hospitaller

Hospitaller Master came as retained his Parisian training, but his development a painter in the East then proceeded to his according new circumstances and his interaction with this new as a matter of Indeed, I propose art in the Latin Kingdom that Crusader principle on its own historical must be evaluated terms, not or any other those of Paris, Constantinople, Venice, artistic environment. center from which various components European of its artistic stimuli may have originated. This last ar has been clearly and, I hope, convincingly principle gued in regard to Crusader art in the twelfth century.37 A complete of reconsideration of the dynamics Crusader art in the context of the complex interactions of the Latin Kingdom with the Byzantine Empire, the Latin Empire, Frankish Armenian Kingdom, Western Greece, Lusignan Cyprus, the the Mamluk and Empire,

to the earlier

development

it is evident Looking first at the codex in Venice, is rich but that the colors used that the color palette that is,more French Gothic than conservative, or Boulogne those in BNF fr. 9084 142. In the miniature on folio lr of the law book (pi. 5), the dominant colors are strong Gothic and blue, with subordinate pink are more
use of white, lavender, orange-red, pink-purple, red

use of the yellow and light purple, and only minimal to the time found in the exemplars attributed green same colors used in a and 1287. These between 1286 are found similar manner, but somewhat softened, with in the Florence very few exceptions History of Outremer. Here the focal colors are pink, blue, too,
and lavender, a clear reversion to the more traditional

to assess more fully the issues Europe is needed that are raised by the phenomenon of the Hospitaller a French Gothic painter from Paris who Master in Acre, comes
of

French

Master by the Hospitaller in Paris and just after his arrival in Acre. Furthermore, if we look closely at the way the colors are used in Gothic used

colors

to work

in Saintjean
as the Crusader

d'Acre

for the last decade

its existence

capital.38

faces

terms of the shading of drapery and the modeling of in the earlier works, we notice that the emphasis is less experimental and more on refinement in both these

Conclusion The discussion issues above has identified from several problematic research in comparative

late manuscripts. The refinement in color is matched indications of the Hospitaller by other Master careful of these production workshop's manuscripts
patrons.34

that can benefit

for what may have been very discriminating Stahl in

late thirteenth-century illumination. manuscript Similar problems in regard to identifying artistic hands
have been encountered with some of the most accom

There

regard worth commenting with a discussion

is one final point raised by Harvey to the Hospitaller Master manuscripts on here. of Stahl concluded style and made

that is his review

plished manuscript Near East. The hand of his assistants

and

in Paris and the icon painters of Master Honor? and the work is one obvious in example;39 and his assistants in a

in Paris

the following

the Near East we have T'oros Roslin

55

remarkable 1260s?most

series of manuscripts with colophons?done

from

the 1250s and

the challenging Palaeologina group the end of the century;41 there is the problematic icons now of painters associated with Crusader Monastery haps most of Saint Catherine's relevant on Mt. to the Hospitaller universelle in the British

inHromkla;40 we have at in Constantinople series in the

the impact of other artistic work on the artist in individual circumstances. above has focused analyzed of artistic on color?observed as a pigment?as

the patron and The discussion

Sinai;42 and per is the Master Library a date of "...several of this

development; my intention perspective, of color and importance to the painting. issue of color

as a hue, but not an aspect in the consideration but even from such a limited has been the need to emphasize the for more attention of medieval

case of the Histoire

in future

studies

(Add. MS 15268). Hugo Buchthal proposed 1286 for this codex and commented that,

in the illustrations hands may be distinguished [but] their style is surprisingly uniform."43 manuscript, In fact, the several hands have not been worked out, nor direct BNF New have they been

atelier of a multicultural Finally, the identification one which in which the Hospitaller Master worked, the London BNF fr. 9084, produced apparently Histoire universelle, and Boulogne 142, among other raises interesting questions for investigation. manuscripts, How many hands in fact worked on these manuscripts as painters, perhaps miniatures and scribes? There were calligraphers, as three as many the doing painters in BNF fr. 9084?one of whom was the at least six or more how on the can we

of to other manuscripts related such as for the Hospitaller Master, significance also clearly has several hands. fr. 9084, which on and critical in the reassessment late thirteenth of these

research

century painters prominent on the case of the Hospitaller promise to help shed light in Paris and then in Acre. Master working to the work of these other important Compared artists, the oeuvre of the Hospitaller Master and coherent consistent, homogeneous, Despite his obvious Master is remarkably stylistically. the naivete,

Master?and Hospitaller Histoire. More London understand BNF the confluence fr. 9084?with

importantly, of styles

the Frankish

Eastern

in that appears Crusader

even simplicity, show development, does, however, Hospitaller and a limited sensitivity certain signs of sophistication, in Saint-Jean d'Acre to his multicultural surroundings while 1291. Master he worked there over a ten-year span prior

style in the first five miniatures French Gothic the unapologetic Master in the last seventeen other Acre Hospitaller the French, with of components characteristic Acre wanted With above which Paris Master's

starkly combined with style of the Hospitaller the miniatures?or along manuscripts, and Islamic Crusader, as Histoire universelle, of painted books in

to

Byzantine, the London

in fact, that the Hospitaller It is remarkable, was accepted as a member of the Acre circle of conceived style to he worked. of as a even

patrons in the 1280s?

of what

his Parisian contributing painters, in which environment the multicultural hand found favor in the midst his distinctive Thus, work within BNF Crusader
circumstances,

regard to the Hospitaller Master, the discussion a bit further ways in to explore has attempted not only in his brief career in he functioned, after his environment but also in the Acre from
As we

that

in many the confines

fr. 9084. painter

very different, ways such of a single manuscript become Master The Hospitaller by his
and the specific commissions

looks

departure
evidence.

Paris
assess his

circa
oeuvre,

1280,

in light
that

of new
color is

it is clear

locus operandi, his workshop

his patronage,

an important component, and it is perhaps surprising in the last years that his color grows more conservative is not surprising d'Acre. What of his work in Saintjean as an artist. In changes as he develops not the same as it his color is the early and mid-1280s, was in Paris in the 1270s. By 1291, indeed by the early a Crusader painter. 1280s, he had become is that his color University ofNorth Carolina Chapel Hill, North Carolina

after he and develop his art to change arrived inAcre. Among these changes one very important aspect is color. that caused The issues of color palette and little are ones of pigments of manuscript history need French would style, patron, greater book relatively illumination, in regard attention the chemistry in the studied

and they clearly to Crusader and

are many factors that painting.44 There the use of certain colors; they include influence resources and specific taste, and the financial of a particular workshop and of any given commission artistic available materials, practices, and in using certain pigments, skill

requirements preferences 56

Notes
like to express my thanks to Betsy Burin and the Walters Art to participate in the symposium the invitation honoring to contribute to this and for the opportunity Randall, on in her honor. is based The paper here presented Festschrift 1.1 would Gallery Lilian for research scholar notes done in the below. at the J. Paul Getty Museum in Malibu while a visiting in the of 1995, as well as recent work cited spring like to express my for their hospitality appreciation at the Getty, and Mary included to Thorn and and Kren to Alison Richard

combination hallmark The

of

strictness

of the Hospitaller review

and relieving Master."

openness

which

is...the

and challenging article of Stahl was the most probing that dealt with my 1976 book and the proposed identification of the Hospitaller Master. Stahl's review was based on significant study of the original manuscripts and a number of the points he raised are discussion worth further discussion here as research continues.

9. I do not but

I would

and Liz Teviotdale Stones, Rouse Finally

Turner, Quandt, Abigail Nancy for their help with certain matters I would like to thank members

to pursue the issue of models any further here, propose to some extent the matter has already been discussed in regard to the censier. See Folda, Crusader 55-59. Illumination, Manuscript Crusader Manuscript and 422. Illumination, 42-76; Stahl, review of

thirteenth-century North Carolina dealing Hudson,

of the University on certain problems Master: with the Hospitaller Elizabeth Germann, Jennifer Erika Scott Karakas, Olmsted, Kline, Jonathon Jennifer manuscript in the fall of 1995 for their work

of my at illumination

in my paper. on late seminar

10. Folda, Folda,

417-19

11. Folda, Crusader Manuscript and 3 here. 12. Compare seated figure

Illumination,

pis. 27-50,

and our pis. 2

and Erika Yowell. All of these colleagues Adera Scheinker, Rockett, to the content have contributed of this work, but the problems that remain 2. On are, of course, mine alone.

the design of figures in the libellus (the bishop, pi. 1) with the in the Rhetoric codex, fol. 113r (Folda, Crusader Manuscript IUumina?on, pi. 31) or the figure of the Lord in the Bible (pi. 2). 13. Compare the rendering (Folda, Crusader Manuscript Bible (ibid, pi. 48) and of faces in the handling of the Bible executioner) 14. Pis. of elements of architecture 35) with in the censier those in the

see the the Hospitaller Crusader Master, J. Folda, following: at Saint-fean 1215-1291 Illumination ?Acre, (Princeton, Manuscript and 178-96, nos. 4-9, 11, and 12; H. Stahl, review of 1976), 42-116 in Zeitschrifi far Kunstgeschichte, 43 Illumination Folda, Crusader Manuscript (1980), 416-23; Manuscripts fournalofthe 3. The Richard and P. Edbury and J. Folda, 'Two Thirteenth-Century of Crusader from Saint-Jean d'Acre," Legal Texts and Courtauld Institutes, 57 (1994), 243-54.

(Folda, or the Rhetoric

(ibid., pi. 27), or the libellus (the malades, pi. 1 here) with those Crusader Manuscript Illumination, pi. 44, the codex (pi. 3 here, the javelin throwers).

Illumination, pi. the Rhetoric manuscript

Warburg

forthcoming Rouse will

production following "The Book Authentic

of the Lyell Lectures publication by Mary and new on evidence shed important for book light in Paris in the period In the meantime, the 1250-1350. article is available, others: M.A. and R.H. Rouse, among Trade at ca. 1250-1350," the University of Paris, toMedieval Texts and Manuscripts Approaches 259-338. to thank in

and Folda, Crusader Manuscript Illumination, pis. 33-36, 38, and 39, for the drapery; 27-29, ibid., pis. 30-32 and pi. 1 here for the illuminated initials. 15. In the Zeuxis a tower, and on and panel (pi. 3) the yellow is found on Zeuxis's on the spears the capitals of the Temple, being shot which the athlete is putting. In the Orator ladder, thrown

1-4 here

Witnesses: 1991),

(Notre Dame, 4. A separate Avril discussion of

Fran?ois 5. All

is in press. I would like study of this codex to this manuscript. for drawing my attention of color hue in this article is based

the panel is Illumination, (Folda, Crusader Manuscript pi. 27), however, yellow used in a more it appears on two full-length important way because as stones and other building towers, on certain materials, panels men hold, and as part of the garments wear. people 16. Folda, Crusader Manuscript Illumination, Illumination, pis. 101-117. p. 58, color pi. B,

on

direct

the manuscripts in question. So far no research has been carried out on the chemistry of the pigments used. Chemical Master manuscripts analysis of samples from each of the Hospitaller observation to specify what materials were being employed results observed, and would help us evaluate along with the coloristic state of the colors may have been. One wonders the original what would enable about even the effects of fading, in the case of paintings etc., oxidation, rubbing, repainting, as well preserved as these seem to be. us

17. Folda, Crusader Manuscript and pis. 118-39. 18. Stahl, sequence. 19. H. review

opposite

of Folda, 419 and 422 raised I will discuss this further below.

questions

about

the

in the Latin Kingdom Miniature Painting offerusalem 92 and 93, pis. 135f and 136. For color illustrations of the 1957), see: for Book 2, F. Shor, "In the Crusaders' miniatures, Footsteps," National 121 (1962), 735; for Book 3, J. Riley-Smith, ed., The Atlas of the Geographic, Buchthal, (Oxford, York, 1990), 105; and for Book 5, A. Hopkins, Knigfits (London, 1990), 86 and 87, or a cropped and slightly dark reproduction Billings, The Cross and theCrescent (New York, 1987), 88. 20. Folda, Crusader Manuscript Illumination, Illumination, pis. 101-117. p. 58, color pi. B, Crusades (New inM.

research has been done in recent years on pigmentation Significant technical aspects connected with the study analysis and other important to selected of manuscript illumination. See note 44 below for references publications that will be of interest to the readers of this article.

6. Folda, Crusader Manuscript Illumination, {censier), and pi. pis. 33-36 1 here are (h x w): for the censier (libellus). The actual dimensions x 7.7 cm; fol. 13r, 8.1 x 8.2 cm; fol. 20r, 7.8 x 7.9 cm; panels, fol. Ir, 7.2 and fol. 26v, 8.0 x 8.1 cm. For the libellus, the initial is 3.55 x 3.45 cm. In both main figurai cases imagery, there are painted marginalia are not our concern associated here. for the color, with the

21. Folda, Crusader Manuscript and pis. 118-39. 22. R. Branner,

opposite

Louis

which

in Paris during theReign of Saint Manuscript Painting Los Angeles, and London, color pi. XXI 1977), (Berkeley, lat. 8892, fol. 30); L.M.C. Randall et al., Medieval (Paris, BNF, ms. and Renaissance in the Walters Art Gallery, I, France, Manuscripts 875-1420 fol. 145v); and London, (Baltimore 1989), and M. Thomas, Medieval pi. XLVIII Miniature (Paris, BNF, ms. Painting, 79-87. of in 291, color pi. Va (MS French Miniatures (New lat. 1023, fol. lv).

7. Folda, Crusader Manuscript Illumination, pi. 33 and, see the miniature on fol. 26v, p. 58, pi. A. opposite 8. Stahl, review of Folda,

W.47, York,

421-22; Folda, Crusader Manuscript Illumination, pis. 33-36, opposite p. 58, pi. A. Stahl sees the first three panels as "by a less experienced artist who draws more weakly, exhibits a flaccidity of line and form found of and an awkwardness a care in detail, in the fourth in proportions and spatial intervals not one sees a firmness and finest miniature. There a sensitivity to scale and balance, and a

[1959]),

23. Buchthal, 24. This

line and

is important evidence that the first five miniatures BNF fr. 9084 were the actual model used by the Hospitaller Master in the format of drawings. 142, not some common model Boulogne

colorism

57

heraldry with its own distinct specific looking, but different in the image for Book 4, but it is not clear how is also found to Tancred related in the incident this might have been depicted. See Folda, Crusader Manuscript Illumination, pi. 121. 25. Very colorism 26. See note 27. Stahl, 28. Folda, 31 below. of Folda, 419. Illumination, Illuminators 83-91. ofWork (New observations

assume of the

that Acre same

was

somehow continuum

cultural Master was

a colonial simply as Paris, which

a part extension, it was not. The distinctively painting. volume dealing

Hospitaller different 38.

from Paris

clearly as a center

but Acre was Parisian, for late thirteenth-century

review

to attempt that reexamination in the second in the Holy Land, of my study on the art of the Crusaders with the period 1187-1291. I propose

Crusader Manuscript Medieval

29. JJ.G. Alexander, Haven and London, on changes, illumination,

and Thar Methods

some perceptive 1992), 107-120 makes in thirteenth-century and experimentation expansion, which require careful analysis when assessing workshop

39. E. Kosmer, "Master Honor?: A Reconsideration of the Documents," the documentation associated Gesta, 14 (1975), 63-68 has scrutinized with Honor?, but a critical analysis of the oeuvre by the master's hand since the time of Eric Millar's basic publications has yet to be carried out. 40. S. Der Nersessian, in the Armenian Kingdom Miniature Painting of to the Fourteenth Cilida from the Twelfth D.C., Century (Washington, a new Evans is preparing 1993), 51-76. Helen study on the hand of T'oros 41. The Roslin and his assistants.

in the nature and role of for dealing with cycles. Changes procedures of text and image, the notion of an artistic the archetype, the relationship of activity with verbal instruction, program, and the possible artistic modes to the fact that illustration in the sketches, motif books, etc., in addition on a much more new secular books was often executed ad hoc basis compared to Bibles and other religious books, inspire caution found variety in the miniatures 6-33. in how we in BNF fr.

the programmatic interpret 9084 and Boulogne 142 for Books 30. Seen in the larger

main studies are by H. Belting and H. Buchthal, Patronage in Thirteenth-Century An Atelier of Late Byzantine Book Constantinople: Illumination and Calligraphy D.C., 1978) and J. Lowden (Washington, and R. Nelson, 'The Palaeologina Additional Group: Manuscripts and New

the cycles of BNF fr. 9084 and perspective, 142 are quite similar in the way in which they incorporate Boulogne of Books 1-5 as a unit and then have the remaining the imagery part Nonetheless, from earlier programs. selectively cycle constructed are quite different to when it comes the end products for each cycle. Clearly, of the iconographie the particulars program observation about how BNF fr. 9084 and Boulogne Stahl's perceptive of the

Dumbarton Oaks Papers, 45 (1991), 59-68. See Questions," in the latter article the bibliography for a more list of complete on manuscripts in this group. publications 42. The main to date are the following: K. Weitzmann, publications Icons on Mount Crusader Sinai," Art Bulletin, K. Weitzmann, Oaks Papers, in the Crusader "Icon Painting D. Mouriki, 49-83; (1966), in Cyprus," The Griffon, n.s. 1-2 20

'Thirteenth-Century 45 (1963), 179-203; Kingdom,"

Dumbarton

for Books 1-5 is a special 142 are closely linked in terms of the miniatures these two manuscripts that feature of the relationship between workshop even yet, but this has an has not been fully explained phenomenon in the textual relationship of the first parts of the interesting parallel (Paris, Bibl. de l'Arsenal, ms. 5211) and BNF ms. nouv. that also needs further study (Folda, Crusader Manuscript reason to reverse there is no compelling Illumination, 60). Nonetheless, that the indications what are codicologically, textually, and artistically Arsenal acq. Bible fr. 1404 Boulogne 142 followed BNF fr. 9084. Illumination, opposite p. 58, color pi. C,

Icon Painting 'Thirteenth-Century and D. Mouriki, "Icons from the 12th to the 9-112; (1985-1986), in Sinai: Treasures of theMonastery, 15th Century," ed. K.A. Manafis (Athens, 1990), 102-124. 43. Buchthal, 44. Jonathan speaking Miniature Painting, 84.

31. Folda, Crusader Manuscript pp. 111-16. 32. Edbury 33. At and Folda,

'Two Thirteenth-Century

Manuscripts,"

243-54.

and G.L. Stout, Painting Materials: work, R.J. Gettens A Short Encyclopedia (New York, 1942; reprt. 1966) and the studies of D.V. Thompson, (London, e.g., The Materials ofMedieval Painting later reprintings, there are a number of researchers 1936), with illumination. today whose work deals with medieval manuscript in Armenian the important of micro-samples analyses et al. illumination Orna, by T. Mathews, Mary Virginia manuscript Their work is cited in T.F. Mathews and R.S. Wieck, eds., Treasures Armenian Illuminated Manuscripts, in Heaven: exh. cat., New York, See Morgan Library Pierpont in the United Also States, studies inorganic pigments is the Parker Considerations Some Methods Library in Regard 1994), 216, under "Pigments." at the J. Paul Getty Museum In England and organic colorants. there Conservation "Some see, e.g., C. Porter, Project: (New York, Arie Wallert to the Need in Conservation for Pigment Identification and and Preservation in Small active

important basic reference

Alexander points out how little has been done relatively 39 and 40, nn. 43-49), but certain (Medieval Illuminators, studies exist as a basis for further research. Besides the

held 25 February 1995, it was the symposium, color used by about the striking by Lilian Randall posed question that stimulated Master this manuscript for painting the Hospitaller my inquiry in regard to color as a part of his development. the Walters to a more conservative of why this change palette oc question curs needs further study. Clearly, is important, the issue of patronage we know very little as yet about but unfortunately specific patrons some indications two manuscripts, for these (Edbury and despite 34. The 'Two Thirteenth-Century Folda, 249). Also it is obvious Manuscripts," Master was joined by an assistant who was much that the Hospitaller more than he in terms of color, the artist of Paris, BNF, conservative ms. fr. 20125, done in Acre ca. 1287, and this may also have been a factor Other Illumination, 95-102). (Folda, Crusader Manuscript new contact with manuscripts and/or painters may also be identified with further research. review of Folda, 422. factors from

Suggested," and K. Swift (Cambridge, Libraries, ed. N. Hadgraft 1994) 97-100; Raman Microscopy and the London see, e.g., S.P. Best, R.J. Group: of arti and R. Withnall, "Non-destructive Clark, analysis pigment n.s. 16 (1992), 1-8. In Italy facts by Raman microscopy," Endeavor, of analysis is described the PIXE technique by two teams of scholars: F. Lucarelli, and P.A. Mando, and P. Del Carmine, J.D. MacArthur, M. Rotta, and P. Semoli, "Use of M.G. Ciardi Dupr? dal Pogetto, Particle-Induced Analysis Fisica of of Ancient as a Non-Destructive of Technique X-Ray Emission from the Dipartimento di Miniatures," preprint no. 67 (1988), the University of Florence, 17; other

including elsewhere

35. Stahl,

two newly the libellus from Paris identified 36. The manuscripts, done from Acre and the Livre des assises from the late 1270s to Stahl when he wrote his review article. ca. 1290, were not known 37. J. Folda, in theHoly Land: 1098-1187 of the Crusaders can always be identified; it however, 1995). Exceptions of to recognize the artistic independence and consider The Art with century, just as with Jerusalem that as a working principle, in the rather twelfth. than

(Cambridge, is important in the thirteenth Acre One must begin

are reported in two papers of a conference findings using this method in Erice, and Techniques," and Medieval Book Materials "Ancient In France the paper by L. Dunlap, in Studi e Testi, 357 (1993), 57-120. in fourteenthand painting materials and early fifteenth "Pigments century production Parisian artistique manuscript au Moyen Age, in Artistes, illumination," I Altet, ed. X. Barrai artisans et II (Paris,

58

1990)

271-93

addresses Also,

published: Age. Teinture, peinture,

perspective. Paris were

papers

the problem of pigments from an international given at et colorants

an art-historical

R. Fuchs (Paris, 1990). Finally, (Fachhochschule K?ln) have been very active in this and D. Oltrogge (Universit?t G?ttingen) in the catalogue Heinrich der L?we field. Moreover, of the exhibition, und sane Z?t: Herrschaft und Repr?sentation der Weifen 1125-1235, ed. J. Luckhardt Ulrich Museum 3 vols., Braunschweig, Anton Herzog has an interesting (Munich, 1995), V.R. Kaufmann I De diversis artibus des Theophilus im Buch "Malanleitung im Evangeliar Heinrichs des L?wen," II, and F. Niehoff,

Pigments enluminure, in Germany,

in colloquium de VAntiquit? et du Moyen ?tudes historiques et physico-chimiques

paper, ihre Anwendung und 301-312. These indication ca. 1400

researchers

that pigment is very

Quandt Abigail of studies and cited above.

work give us a clear published ca. 1100 to in medieval analysis manuscripts to at this time. My thanks actively being pursued to the impressive for drawing my attention range and their approaches represented by the material

different

NB:

to consult Readers the may wish of illuminations mentioned reproductions in pis. 1-5: illustrated ch?sse of Ste.-Genevi?ve nationales, Manuscript 1976), carried pi?ce

following in the

sources text but

for not

The

1276. Paris, Archives In J. Folda, 1275-1291 Crusader (Princeton,

in procession, censier, Paris, S 16261, fol. 26v. at Saint-fean pi. A. dAcre,

Illumination

opposite

p. 58, color

Crusaders Outremer, Acre, In Folda,

take Antioch.

Book of Tyre, 6, William ca. 1287. Bibl. mun., ms. Boulogne-sur-Mer, Illumination, opposite

History of 142, fol. 49v.

Crusader Manuscript

p. 58, color pi. B.

in Constantinople. Book envoys to the Byzantine Emperor ca. 1291. Florence, of Tyre, History 20, William of Outremer, Acre, ms. Plu. LXI.10, Bibl. Laurenziana, fol. 232v. Crusader In Folda, Crusader Manuscript Illumination, opposite p. 58, color pi. C.

PHOTOGRAGHS: Chantilly, Mus?e

Nationale; pis. 1, 2, 4, Paris, Biblioth?que Marciana. Cond?; pi. 5 ,Venice, Biblioteca

pi.

3,

59