PICTURING PIETY: The Book of Hours (Les Enluminures, Paris and Chicago) Review

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PICTURING PIETY: The Book of Hours (Les Enluminures, Paris and Chicago) ReviewI would recommend this book to those who are adding to a large library on ill. mss., and are serious fans of the genre. 'Picturing Piety' is not about the best of the best. In that case, I would recommend buying individual facsimile manuscripts (e.g.: any book once owned by Jean, Duc de Berri; the Grandes Heures of Anne of Brittany; the Hours of Michelino da Besozzo, etc.). Those have usually been chosen for reproduction because of the beauty of their illustrations. For a survey on books of hours, obtain 'The Book of Hours', by John Harthan.
In this book, do not expect to be looking at top quality illuminations. This book was the catalogue of an exhibition of books that were also for sale. Most of these books of hours are by competent artists, painting for well-to-do, but not outstandingly wealthy clients. The borders and pictures are generally quite formulaic, though there are some exceptions. The Hours of Jacques Laroche (#9), by Jean Colombe and workshop (completer of the Tres Riches Heures of Jean, Duc de Berri) would be one such exception. There is also a miniature book of hours, which was probably produced for a Savoy princess (#17). While it has no illuminations, it is written in exquisite italic and rounded humanistic script, with attractive 2-line floriated capitals.
The virtues of this book are in the quantity of illustrations given, its text, and the fact that these are mostly not previously published manuscripts. Most books or catalogues on ill. mss. (e.g. Sotheby's or Christie's) show one or two pictures of each ms, often in black and white, and have only a sketchy description of the art history or background of the volume. 'Picturing Piety' gives each of the 26 books described a fairly generous allotment of three to seven full-colour images, mostly of their illuminations, but occasionally of the binding. The overall commentary is written by Roger Wieck, one of the best-known names in the field, who has solid academic qualifications. Technical description is by Sandra Hindman and Ariane Bergeron-Foote, who are also well-known.
Each entry contains an introduction to the book, explaining how it fits in the art history of the time, followed by a technical description of the size, text, illustrations, provenance and bibliography. Lastly, there is a French translation of the introduction. All but two of the books are French or Lowlands productions, written and illuminated by hand. The two outliers are a printed 1505 BoH, with hand-coloured metalcuts (whose illustrations were nevertheless designed by two professional illuminators), and a Gothic revival 19th C ms which is very much an amateur production.
In conclusion, if you wish to broaden your range of books on illuminated manuscripts, by all means buy this book.
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