PhDr. Kateřina Průšová Book as a Jewel, Francoflemish Books of Hours from the National Library in Prague Abstract The purpose of this dissertation is to present the first comprehensive catalogue of Franco-Flemish books of hours from the collections of the National Library in Prague (hereafter, NK). Some of the included manuscripts were already published in journals some of them have never been published previously. The core of the catalogue is a formal and stylistic analysis of books of hours, including an attribution to the individual masters and workshops, localization and dating based on a comparison of stylistically related manuscripts. This work is a development from previous my research done on Parisian books of hours [NK Břevnov 297, NK Osek 70 and NK XXIII G 89; Master's thesis and 'rigorous work']. Six books of hours come from the National Library in Prague [NK XXIII H 22, NK Břevnov 296, NK XXIII F 198, NK XXIII G88, NK Osek 65, NK VI D 25] and one manuscript in the collection of the Lobkowicz family at Nelahozeves castle, previously deposited in the Prague National Library [with a shelf- mark VI Fg 67]. The catalogue covers the period of the greatest flowering of Flemish book illumination from the first half of the 15th century to the beginning of the 16th century. The books of hours from the...

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The Hours of Edith G. Rosenwald (c.1340–80) is a small book of hours in the Rosenwald Collection at the Library of Congress. Despite unique iconography and luxurious illuminations, this manuscript has so far received little scholarly attention. This thesis analyzes the size and iconography of the Rosenwald Hours to suggest that it was designed for a specific owner and function. No surviving documentation gives evidence of ownership, yet the standard program of miniatures was changed to suit a specific audience. The manuscript’s iconographic program and stylistic treatment are here considered in the context of contemporary books made for women, particularly women of the royal court in Paris, to suggest a likely audience. One of only a few extant miniature books of hours, the Rosenwald Hours is a valuable tool for looking at the place of small manuscripts in medieval society. This thesis examines the physical size, the iconography, and the inclusion of saint portraits as indicators of a function beyond the standard devotional use. A case is made for the manuscript’s connection to pilgrimage and to protective amulets. Combined with the assessment of its iconography, this study suggests an owner and intended use for miniature books of hours that provides a new way to look at these manuscripts, from obscure Flemish examples to the famous Hours of Jeanne d’Evreux. / text

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This thesis is an artefact documenting the process of adapting a late medieval painting of hell into a short horror film. The process of adapting the Three Mouths of Hell, housed within the Hours of Catherine of Cleves, serves as an experiment in applying a dramaturgical approach to medieval studies. The process of adaptation and production, informed by critical research about the Hours of Catherine of Cleves and its Three Mouths of Hell, yields new frameworks for understanding the history of Catherine of Cleves, her Book of Hours, and the Three Mouths of Hell.

Refletindo sobre uma sensação de leveza e dilatação da passagem temporal, a pesquisa elabora a expressão \"tempo suspenso\" e analisa de que maneira essa singular percepção pode ser transmutada em códices. Para sua compreensão, dialoga sobretudo com duas produções artísticas: Em busca do tempo perdido (1908-1922), de Marcel Proust, e A última tempestade (1991), de Peter Greenaway. A primeira foi escolhida por discutir uma sensação como estopim para a elaboração de uma poética. A segunda, por colocar o códice artesanal como receptáculo de um assunto. O campo formado pelas duas referências aglutina a temática levantada e representa princípios geradores e norteadores no desenvolvimento de uma sintaxe visual composta de referências históricas e formais da estrutura do códice. Ademais, para a compreensão da dilatação do tempo foram analisadas obras clássicas japonesas onde se encontram características próprias dos termos wabi-sabi e ma. Elas são a representação estética de um método no qual a práxis poética é um momento decisivo na estruturação do objeto final. A partir dos diálogos estabelecidos, foram realizados sete livros de artista, chamados de códices, cada um apresentado separadamente em capítulos formados por registros fotográficos e textos contextualizadores dos assuntos elaborados. / Reflecting upon a soft and expanding sense of the passage of time, this re- search elaborates the term \"suspended time\", analyzing how this singular perception is possibly transformed into codex art. It dialogues mainly with two artistic works for further comprehension: Marcel Proust\'s In Search of Lost Time (1908-1922) and Peter Greenway\'s Prospero\'s Book (1991). The first one has been chosen for debating a sensation as the trigger for the elaboration of poetics. The second one for setting the handicraft codex as receptacle of a subject. The field formed by both works ties together the presented topic and represents the generative and guiding principles of a visual syntax made up of formal and historical references from the codex structure. Furthermore, in order to comprehend the expansion of time, classical Japanese works in which specific characteristics of the terms wabi-sabi and ma appear, have been analyzed. They are the aesthetic representation of a method in which the poetic praxis has a major role in the final object construction. Seven artists\' books named codex have been created out of the established discussion, each one is presented separately in chapters formed by photographic records and guiding texts about the formulated topics.

Refletindo sobre uma sensação de leveza e dilatação da passagem temporal, a pesquisa elabora a expressão \"tempo suspenso\" e analisa de que maneira essa singular percepção pode ser transmutada em códices. Para sua compreensão, dialoga sobretudo com duas produções artísticas: Em busca do tempo perdido (1908-1922), de Marcel Proust, e A última tempestade (1991), de Peter Greenaway. A primeira foi escolhida por discutir uma sensação como estopim para a elaboração de uma poética. A segunda, por colocar o códice artesanal como receptáculo de um assunto. O campo formado pelas duas referências aglutina a temática levantada e representa princípios geradores e norteadores no desenvolvimento de uma sintaxe visual composta de referências históricas e formais da estrutura do códice. Ademais, para a compreensão da dilatação do tempo foram analisadas obras clássicas japonesas onde se encontram características próprias dos termos wabi-sabi e ma. Elas são a representação estética de um método no qual a práxis poética é um momento decisivo na estruturação do objeto final. A partir dos diálogos estabelecidos, foram realizados sete livros de artista, chamados de códices, cada um apresentado separadamente em capítulos formados por registros fotográficos e textos contextualizadores dos assuntos elaborados. / Reflecting upon a soft and expanding sense of the passage of time, this re- search elaborates the term \"suspended time\", analyzing how this singular perception is possibly transformed into codex art. It dialogues mainly with two artistic works for further comprehension: Marcel Proust\'s In Search of Lost Time (1908-1922) and Peter Greenway\'s Prospero\'s Book (1991). The first one has been chosen for debating a sensation as the trigger for the elaboration of poetics. The second one for setting the handicraft codex as receptacle of a subject. The field formed by both works ties together the presented topic and represents the generative and guiding principles of a visual syntax made up of formal and historical references from the codex structure. Furthermore, in order to comprehend the expansion of time, classical Japanese works in which specific characteristics of the terms wabi-sabi and ma appear, have been analyzed. They are the aesthetic representation of a method in which the poetic praxis has a major role in the final object construction. Seven artists\' books named codex have been created out of the established discussion, each one is presented separately in chapters formed by photographic records and guiding texts about the formulated topics.

Images of the Mater dolorosa, the weeping Mother of God mourning over her dead son, are plentiful art of Northern Europe during the fifteenth and sixteenth centuries and often foreground the shedding of effluvia—blood, sweat, and tears—in their depictions of the holy pair. This paper explores the visual themes of tears, blood, eyes, and wounds as vital actors in images that require close, meditative, and affective looking and engagement. Such image formats include small-scale pairings of the Man of Sorrows and Mater dolorosa as well as books of hours. In these contexts, the holy fluids and their bodily sources expand the images' narratives and allow for greater exegesis of their devotional prompts. This phenomenon of expansion via effluvia occurs throughout Flemish devotional culture of this period; this paper uses Albrecht Bouts's diptych panels of the Mater dolorosa and Man of Sorrows, produced between 1490 and 1525, as the chief case study to encapsulate and ground those ideas while still acknowledging that they also apply beyond this image. Considering the widespread commonalities between blood and tears in visual and textual representations of the early modern Flemish devotional culture and the visual similarities between weeping eyes and bleeding wounds, this paper argues that Mary's eyes act as the external manifestations of her internal wounds and become locus of her Compassion for Christ. Furthermore, pictorial blood and tears function as metonymic devices that, like the Man of Sorrows type, invoke the entirety of the Passion and Compassion. The multivalent functions of the blood and tears in Bouts's diptych expand it beyond just a representation of Mary and her son and allow it to become a window and mirror into which viewers could look to engage in penance and communion with Mary and Christ.