codices - mgh-bibliothek.de · 10) n. golob, knjilno slikarstvo v sloveniji / buchmalerei in...

CODICES MANUSCRIPTI SUPPLEMENTUM 2

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Festgabe zum 65. Geburtstag von Alois Haidinger herausgegeben von

Martin Haltrich und Maria Stieglecker

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The Pontifical from the Archives of the Maribor Archbishopric (Ms 12)

Natasa Golob

The ecclesiastic reforms introduced by Emperor Franz I. endeavoured to newly demarcate the territo- ries of bishoprics, and this brought about a series of changes. The seat of the Lavantine bishopric was at St. Andrä in Lavanttal, rather to the north of a territory whose elongated form stretched as far south as the Sava River. In respect of the decision to have the seat of the bishopric more centrally situated, already in 1807 Franz I. went to inspect suitable buildings for the cathedral, residence, theological studies etc. in Maribor/ Marburg a. d. Drau and Ptuj/Pettau, ultimately stating his preference for Maribor'. Historical circumstances determined that these expressed intentions were not realised for another half century: it was Franz Joseph I.

who on 26th October 1856 signed the act decreeing that the chair of the Lavantine bishopric be transferred to Maribor, and in September 1859, a hundred and fifty

years ago, Bishop Anton Martin Slomsek effected this task. The library was also moved at this time, including a group of 48 medieval manuscripts. These manuscripts are mainly liturgical and theological in nature, and in terms of physical appearance they do not make for a uniform sight; concerning illuminations, these works reflect different, mainly Austrian, schools and stylistic orientations, and most probably they were bought or acquired on different occasions2.

Though the history of the library prior to its transfer to Maribor in 1859 was never the focal point of my studies, this history shall be presented at the upcoming exhibition on medieval manuscripts and early prints from this collection3. The fundamental presentation of all manuscripts, including the Pontifical, was written by the historian and palaeographer Milko Kos and the art historian France Stele: from 1921 they provided evidence for and descriptions of medieval manuscripts in various public libraries in the territory of the Ba-

novina Dravska, a political unit in the northern part of the Kingdom of Yugoslavia corresponding more or less to what is now the Repubic of Slovenia. These manuscript collections were presented in separate contribu- tions published in Zbornik za umetnostno zgodovino

') For a thorough study based on documents, letters etc. from the Archives of the Maribor Archbishopric presenting the period from the end of the 18th Ct. until 1859, see A. Oiinger, Sedez lavantinske gkofije na ýtajerskem v Mariboru 1.1859. Kronika. Casopis za slovensko krajevno zgodovino 31 (1983) no. 2-3, 158-16.

Z) The majority of the manuscripts are works of Austrian

schools, while fragments or parts of books are mainly remains of

manuscripts of Italian or French provenance. 3) For 2009, an exhibition with a catalogue was planned, but it

has been postponed; the history of the library will be the subject

of a special study.

-Archives d'histoire de fart 4; later the material (with some corrections) was edited as a special books. These texts also provided short introductions on the history of some related libraries6, while Stele added also a short description of illuminated Romanesque manuscripts from Sticna/Sittich and of manuscripts from the parish church in Kranj/Krainburg; he also contri- buted stylistic and iconographic descriptions of initials along with Kos' codicological outlines.

For the Maribor Pontifical these two leading me- dievalists suggested the date "end of the 15°i - beginning of the 161 century", while declining to state its possible provenance. The manuscripts from Maribor were not presented at the exhibition Minijatura u Ju- goslaviji, and neither were they mentioned'. Nearly 70 years after the first appearance of the Pontifical in Zbornik za umetnostno zgodovino9, I prepared a short description for the catalogue Gotika na Slovenskem/ Gotik in Slowenien10. Though I deemed it improb- able that Milko Kos had suggested an incorrect date of execution, I still felt that the character of the vine- scrolls and the images of some persons are not entirely dissimilar to the work of the Lehrbüchermeister". In addition, I considered it impossible that the forms of the drawings in the cadels (especially the elements of falling draperies) could belong to the time ca. 1500, and so I suggested "mid-15thCt; " adding - albeit with a question mark - "Lower Austrian work". It seems that these two texts are the only ones that have been dedicated to the Pontifical, though the manuscript has been presented at exhibitions on several occasions, most recently after a complex restoration of its bind-

^) Zbornik za umetnostno zgodovino / Archives d'histoire de fart. Ljubljana 1924-1929.

5) M. Kos-F. Stele, Srednjeve9ki rokopisi v Sloveniji / Co- dices Aetatis Mediae manu scripti qui in Slovenia reperiuntur. Ljubljana 1931.

6) I. e. for libraries in the former monasteries at Sti6na/Sittich, Kostanjevica/Landstraß, Bistra/Freudenthal, Jurklogter/Gairach, Pleterje/Pletriach, Gornji Grad/Oberdrauburg.

7) Kos, Srednjeve9ki rokopisi 216-218. 8) Minijatura u Jugoslaviji (Z. Munk, ed. ). Zagreb 1964. 9) Zbornik za umetnostno zgodovino 1929, Maribor - Skofijska knjiznica, 11-44; Pontifical, 39-41. 10) N. Golob, Knjilno slikarstvo v Sloveniji / Buchmalerei in

Slowenien, in: Gotika na Slovenskem / Gotik in Slowenien (J. Höfler, ed. ). Ljubljana 1995,351-369; description of the Pontifi- cal 365-366, ill. 366.

11) I was relying on the general representation of persons in the Lehrbuch für Maximilian I. ONB, Cod. 2368 and on resemblances between some grisaille drawings in the Pontifical and textile elements in the Lehrbuch, fols. 25v-26v.

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ing in 200612. This paper aims to propose a new date of execution and the milieu from whence the manuscript workers came.

Codicological data: In Slovene scientific literature this Pontifical is usually quoted as "no. 148", though this is a numerus currens in the Kos catalogue, not the shelf-mark. The oldest one is written on fol. Ir, 01X. 12; during the second half of the 201h Ct. this manuscript was temporarily labelled as Ms X; currently it is catalogued in the Archives of the Maribor Archbishopric as Ms 12.

The manuscript has preserved its original appearance, the only additions of later date being some corrections and additional notices made after the late 151 century, but mainly done by a 161 century hand, especially from fol. 88 on13. Though in the Kos catalogue 155 folios are mentioned, there are actually 15814. This difference is due to two foliations, both in Arabic numerals. The older one begins with the 2nd quire (as does the Kos catalogue: Ordo qualiter ecclesie et altaria dedicentur), while the second and nearly contemporary foliation starts with the 151 quire, which, though more or less contemporary, was added (Terribilis est locus) 15. Here the foliation from 1r- 158v is adopted.

The folios measure 344 x 255 mm; the parchment is - with a few exceptions - of a good quality 16, and its original edges and original binding with dark pink leather over wooden boards have been preserved; except for the metal clasps" it never had metal bosses or corner pieces. The quires mainly consist of quinios18, and there are catch-wordsi9, but no quire signatures.

12) During 2005 a complicate restoration procedure was undertaken to sew up the torn off split cords; all connections (except for one thread of the lower capital) between the front cover and the back had been damaged. The procedure of mini- mal conservation and restoration was organized by Jedert Vodo- pivec, the procedure was under the leading role of Christopher Clarkson performed by the staff of State Archives of Slovenia. J. Vodopivec - C. Clarkson, Conservation of parchment codex from Maribor. (E. N. Dobrynina, ed. ) International Conference on Conservation of Medieval Parchment and Binding 26-28 September 2007. Moscow. Summary. Moscow: Federal Agen- cy for Culture and Cinema of the Russian Federation: Grabar Art Conservation Centre; = Moskva: Federal'noe agentstvo po kul'ture i kinematografli: Vsepossijskij hudoiestvennyj naucno- restavracionnyj centr imeni akademika I. E. Grabarja, 2007,45- 46.

13) Cf. fols. 149v, 88v, 94v. 14) Kos did not count the 1#, though contemporary, quire. 15) Both foliations finish at the present fol. 73, the remaining

folios were numbered by a much later hand. 16) Between fol. 100 and 140 are several folios of slightly

smaller dimensions, some are also a bit stiff. 17) The binding bears the same structural and aesthetic ele-

ments as the manuscript Kos 115 (currently Ms. 37), a supposed- ly Salzburg binding from the end of the 14th Ct. Cf. J. Vodopivec, Vezave srednjevelkih rokopisov: strukturne prvine in njihov raz- voj / Medieval bindings in Slovenia: binding structures on stiff- board manuscripts. Ljubljana 2000,152-155.

16) Quires: (II-1)3 + (7. V)73 + (2.1V)1i9 + (6. V)149 + (V 1)158

19) Cf. fol. 119v.

The text was written by two scribes: Scribe A de- cided for a calligraphic gothic script, textus quadratus, copied the lst quire (fols. lr-2v, fol. 3r-v is empty), and most probably collaborated with rubricae from the quires after the 140i. Scribe B copied most of the text (2nd_1311 quires, resp. fols. 4r-158r, larger parts of the text from 160r on) in slightly leaded and slightly rounded textura, textus rotundus; texts of orations are of a smaller size and the same holds true for the majority of the notation (with diamond-cut nibs) of Bo- hemian type. The text is written in long lines; the Ist quire is arranged on 29 lines (UR = 7.5 mm), and the rest of the manuscript is written on 19 lines (UR = 11.5 mm)20. It is uncertain why the initial bifolio containing only an imperfect text for dedicatio ecclesie was added, but it assumed its place before the contemporary binding was made.

The texts for sacraments to be administered by the bishop are carefully executed", and some of them begin with painted initials; some initials were never inserted, while some rubrics are also missing and not all four-line staffs are filled with notation.

Fol. lr: In dedicatione ecclesie item - [T]erribilis est locus: for T an empty place remained;

Fol. 4r: Ordo qualiter ecclesie et altaria dedicentur - Uirtutum celestium: initial with Mary Magdalene holding a cup with ointment (ill. 5);

Fol. 42r: Ordo ad dedicandum altare: initial with a bishop at prayer before an altar, next to him is a dea- con with a pastorale (ill. 6);

Fol. 57r: Ordo ad consecrandum altare portatile: canon in a dark blue garment with a portable altar in his hands (ill. 7);

Fol. 66r: Ordo in reconciliacione violate ecclesie: St Agnes with a crown on her head, a palm branch in her right hand and a lamb in her left (ill. 8);

Fol. 72v: Ordo in consecracione cimiterii: no initial;

Fol. 82v: In reconciliacione cymiterij: initial with leaves in blue cams eu over burnished gold (ill. 9);

Fol. 86r: Ordo ad pueros consignados: a tonsured cleric (a bishop) is giving his blessing to a kneeling boy (ill. 1);

Fol. 88v: Incipit ordo qualiter sacri ordines cele- brentur: a young man in a dark blue garment is holding a tower - initial I- from which a girlish face gazes through a window; another man in a green jacket is trying to beat him with a flail (ill. 2);

20) The ruling is drawn with hardly visible lines, made with plummet: height = 0-48-263-344; width = 0-40-190-255. Prick- ing is visible, made after folding; the tool was damaged and the vertical lines are therefore not straight. Pricks were made with two different tools.

21) Attentive and immediate corrections are proved by rasurae; still some mistakes escaped the attentive eye, like on fol. 31v - dark blue lombard L was written (because of the misreading Lautate! ); possibly by the end of the 1501 century the blue initial was erased and substituted with a very modest, but correct Lom- bard C (Cantate).

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Fol. 94v: Ad clericumfaciendus - Oremus dilectis-

simi fratres dominum: St Peter in the white garments of a priest, holding a key in his right and a book in his left hand (ill. 3);

Fol. 119v: Ordo qualiter electus in episcopum con- secretur: Annunciation, Mary at a prayer desk and over her a Dove, and to the left Gabriel with a scroll; behind her a bookcase (ill. 10)22;

Fol. 140r: Benedictio super abbatem: no initial; Fol. 140v: Ordo ad consecrandum abbatissam: ini-

tial in burnished gold on a dark blue background; Fol. 141v: Sanctimoniales cum ad consecracionem:

no initial; Fol. 150v: Ordo ad consecrandum virginem: no ini-

tial; Fol. 154r: Tegitur (! ) clementissime pater: no initial.

Painted decoration: The Pontifical is indeed rich in decoration, containing 10 painted initials in tempera, nine of which have additional decoration in the form of vine stems spreading over the margins; there are also 5 initials with flourished pen-drawings, 56 decorated cadels and 408 lombardic letters. The initials are never assisted by lettre d'attente, and it seems that all lombards and cadels are the work of Scribe B; moreo- ver, the black and red ink are of the very same quality for the text, rubricae, notations and all pen-work initials. The initials fit well into the given space and their ascenders, tails, ears, bars etc. offer a fine display of ingenious spatial solutions. Details like the profile of a man suspended on a lombardic letter (fol. 142r, ill. 11) offer proof that he was a splendid drawing-master, one who offhandedly inserted humorous details23.

The lombardic letters are generally two lines high, and their stems and bowls have a simple split; all are in red and blue, generally with no decoration or just a half-dot, longer serif etc. A few larger lombards have in their inner field a fleuronee filling, consisting of large buds. They are organized in a half-palmette (76v, 141v) or two-side palmettes (5r, 120r), aligned in an even row (22r, 120r, 142r; ill. 11)24. The buds sometimes have two parallel strokes, as if the drawing- master wished to provide the illusion of shading; quite often they have a dot in the centre (120r, 142r). The buds may form part of the outer border (4r, 120r), but also all cadels are trimmed and the strait trimming line turns now and then into a sequence of buds or small rectangles.

An interesting element is formed by sequences of lines growing from the cadels in a triangular form and at the top fluttering away in a frilled thread (fibrilla, 23r, 141v). These ornaments appear in slight variations and they were often used by the calligrapher in

smaller and larger dimensions. -A characteristic element is a triangular tuft, drawn with several fine lines

emerging from the initial. Some lines are quite short,

22) Kos, Srednjevegki rokopisi, does not mention this initial.

73) The same type of profile is added to the cadel on fol. 141v.

24) There are no rosettes.

just a break in the outer line (146v), and sometimes they appear as just one tuft (51v, 120r, 142r etc. ) or continue in a wavy line of several tufts (45r, 120r etc., ill. 12). There are also five initials with an elongated middle line, ending in frilled threads or waved knots with little dots in between (45r, 51v, 119v, 120r, 142r). Due to the spatial circumstances, two initials grew out frilled threads into the lower margin (19v, 39r), giving the appearance of a sort of cadenza in drawing, because this is the field where the motif of drapery be- comes smooth (39r, ill. 13). The central threads bend toward the centre or finish with a figure of eight loop - an element not used within horizontal tufts. Some frilled threads are executed on a parallel line in preparatory drawing with plummet, and this shift provides an insight into the careful attention toward the utterly minute details of composition; computer-facilitated enlargements show that the longest frilled threads are composed of several consecutive lines.

The documentary material I had available to me did not offer me comparative examples in the sense that I might find fieuronnee of the same composition. On the other hand, no one can deny that in some Bohemian and Austrian manuscripts from around 1400, similar frilled threads appear. But this is just a general similarity, indicating a single aesthetic principle.

The wit and sprightliness that are personal qualities of the drawing-master-calligrapher-scribe are presented here as my basic wish to offer the achievements of this artist to the knowledge of my fellow re- searchers, and as a wish to contribute his works to the atlas of a flourished and other drawn decoration and for the atlas of typology of cadels: both atlases are de- sired and needed, but not yet in existence. Bohemian manuscripts from the mid-14th Ct. offer a rich display of ornaments composed of frilled threads in gold and silver ink, with decoration of sheaves and spirals con- structed of several parallel lines covering the margins, many of them ending in triangular tufts and figure of eight loops - not to mention that many of them adorn the manuscripts for Kings Charles IV. and Wenceslav. However, both the aesthetic result and the use of these elements are quite different in the Maribor Pontifical.

On the other hand, in Austrian manuscripts, especially in those from Vienna or from around Vienna, one can find triangular tufts emerging from initials. In the manuscript with Boethius' De consolatione philo- sophiae one can find an initial D with similar drawings; also the waving of the tops of threads are not dissimilar to the results of the Pontifical. ' There are also several similarities in the tuft-forms of the fleu- ronnee, as preserved in several contemporary manuscripts from Vienna, where the figure of eight loops

11) Cf.: ÖNB, Cod. 74, early 151 century; A. Fingernagel-K. Hranitzky-V Pirker-Aurenhammer-M. Roland-F Simader, Mit- teleuropäische Schulen H. Osterreich

- Deutschland - Schweiz, Vienna 2002; it is quoted as an Austrian work (Vienna? ), early 15 century, Cat. 102, ill. 378.

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appear with some rings in between26; elsewhere, the hooked endings - and a personal characteristic of the drawing-master - make for a distinct difference27. Sev- eral elements had persisted for a few decades, until ap- proximately 143028. I therefore wish to leave open the possibility that this is a work of a calligrapher or drawer whose personal development has yet to be defined29.

These flourished elements found their place with lombards and cadels alike; there is no difference in the kinetic of a stroke or in the selection of elements. They pass on to drawings within cadels; the only lombardic initial that has a drawing in the inner field is on fol. 4r, which finds space for the drawing of a face (O[rdo qualiter], ill. 5). This is a sort of a bridge between drawings in lombards and cadels. Not to mention that this face has the very same horizontal eyebrows and rounded chin as Maria Magdalena does in the U initial just two lines below it.

The cadels are black, structured with a quill, providing an equally broad line of ca. 4mm; slightly curved tops end on serifs and oblong lines. The cadels are drawn as a combination of straight and curved lines, of longer and shorter strokes and their compo- sitions often create small - and in terms of function completely useless - pockets, and these small fields offer small new surfaces for drawings. In their general aspect these cadels are formed as rather wide letters (not narrow, as is the usual form in manuscripts of the 14th and early 15`hcenturies) and they somewhat antici- pate the later development3o

26) ÖNB, Cod. 2275; cf.: Fingentagel-Hranitzky-Pirker- Aurenhammer-Roland-Simader. Klosterneuburg (Niederöster- reich) or Vienna, 1400-1405, Cat. 106, ills. 386,388.

21) ÖNB, Cod. 3915; cf.: Fingentagel-Htwtitzlg-Pirker. Attren- hammer-Roland-Simader. Niederösterreich (Vienna, Kloster- neuburg or Wiener Neustadt), ca. 1400, Cat. 93, ill. 362. Ibid.: Heiligenkreuz, Stiftsbibliothek Cod. D2, fig. 60; ibid., Stiftsbib- liothek CSC 2, fig. 59.

28) Cf. ÖNB, Cod. 5433; the initial on fol. 156r is published in: S. Rischpler, Der Illuminator Michael. Codices inanuscripti. Supplementum 1. Purkersdorf 2009, ill. 88.

29) Recent years have seen many fine presentations of both au- thors as manuscripts. For questions related to the Maribor Pon- tifical the following are of significance: A. Haidinger, Studien zur Buchmalerei in Klosterneuburg und Wien vom späten 14. Jahrhundert bis um 1450. Phil. Diss. Wien 1980 (unpublished); V Pirker Aurenhammer, Das Gebetbuch für Herzog Albrecht V. von Österreich (Codices illuminati 3). Graz 2002,36-42; S. Rischpler, Der Illuminator Michael, 22-23 and ill. 88.

30) A. Haidinger-K. -G. Pfdndtner, Das ABC-Lehrbuch für Kaiser Maximilian I. Graz 2004,57; N. Golob, Anmerkungen zu den illuminierten mittelalterlichen Handschriften der Zentralbib- liothek der Wiener Franziskanerprovinz in Graz. In: Katalog der mittelalterlichen Handschriften bis zum Ende des 16. Jahrhun- derts in der Zentralbibliothek der Wiener Franziskanerprovinz in Graz, hg. von F Lackner (Denkschriften der phil. -hist. Klasse 336). Wien 2006,31-32, ill. 29. It is important to mention the cadels with accanthus and other non-figural decoration as executed by Meister Michael: they are of a different regional character, though broad and well formed; cf. Rischpler, Der Illuminator Michael, ills. 111,115.

There are altogether 56 cadels, nearly each of which functions as a frame for a drawing or two. These additional images are made with the same ink as the cadels and text; many of them are finely shaded, which lends a plasticity and depth to the drawing. Some physiog- nomic drawings (human and animal grotesque heads) are heightened with fine strokes of red. The motifs are manifold" and though they have to be considered the work of a single hand, they display differences. In one group would be the outline-drawings with some hatchings and smaller details (like hair or beard, lines on drapery, inner folds in blossoms etc. ), the other group of drawings has obvious grisaille qualities. The shadows are finely executed, and the deep grey tones turn into light ones, giving the impression of a sculptural decoration32. Yet this ink-made grisaille can also be considered as a parallel to the camateu fillings in painted initials. Both groups of drawings within the cadels are interrelated, since the first one represents the early stage in the execution.

The drawings of different forms of leaves are just a variant of leaves in the bodies of painted initials; they twist alternatively to the left and to the right. Leaves and other decorative elements like parchment scrolls (23r) are parallels to contemporary examples of artist- ry and intellectual/visual games, like alphabets made of parchment scrolls. Among these fillers, the drawings and imitating reeds are of impressive quality (ill. 14); it seems that there is a surface with diagonals, made of strong twigs, fastened with another layer of tiny reeds. Shading with a multitude of nuances provides the illusion of three levels.

Fillings in a form of cascades of falling drapery are not a very usual element in initial decoration of that time33. Taken as an element in pictorial repertoire, these folds are just variants of garments - like the endings of kerchiefs or capes; one can find them also in some specific elements of drapery like the knots of

I') In the inner or outer fields of cadels there are the following motifs: stepped pattern (18r, 28r, 2x 147r), geometrical pattern (23r, 38r, 39v, 53v), parquet (42r), reeds (45v), parchment scroll (23r), sharp edged ribbon (31r, 60r), cascades of drapery (32r, 39r, 46r, 147r, 148r), flattened leaf (147v, 148r), leaves, winded in spirals (29r, 38r, 54v, 142r, 146v), symmetrical blossoms, situated in a square field (38r, 41v, 45r, 142r), fish (15r, 22r, 28r, 46r, 71v, 147r), cormorant with a fish (54r), hybrid animal, set between bars (43r), bird's or bird-like profile head (51v, 62r, 147r), bird's head with a hood (142r), head of a hybrid animal with pig's ears and eagles beacon (62r), head of a lion or a cat with protruding tongue (65r), devil's head in profile (48v, 53v), head of a cannibal, devouring a boy (65r), bearded man in profile (45r, 141v), profile of outraged, screaming man (31v, 34r, 40r, 55r, 71v, 147r, 148r), a bust of a young man (119v), profile of a calm man (22r, 39v, 147r), a dwarf, sitting (146v), profile of a woman whose kerchief is transforming into a sprout (142r).

32) M. Krieger, Grisaille als Metapher: zum Entstehen der Peinture en Camaieu im frühen 14. Jahrhundert. (Wiener Kunst- geschichtliche Forschungen 6). Wien 1995,68 ss.

33) So-called Tücheralphabet and draperies below three crowns, depicted in the ABC for Maximilian I are much more complex and complicated structures, cf. fols. 20r, 25v, 26v.

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love of King Wenceslav 34. In principle this is a very simple drawing, a variation of trimming of a garment, albeit finely hatched and shaded. Quite impressive is the double vertical of drapery falling from the vaults of a minuscule M (46r).

The repertoire of animals often includes fish, and of definite quality is the drawing of a water-bird holding a fish under its short feet (54r, ill. 15). Well defined are its pectoral part and its wings, and the drawer captured its keen sight etc. It seems that this is a great cormo- rant35, a bird from the northern hemisphere that is at a first glance similar to the kingfisher often painted in the borders of the King Wenceslav Bible.

Some animal profiles, several of which allude to human characteristics, are on the threshold between reality and fantasy -a bird's head (with a neck ending in a spiralled leaf), sharply looking around and possessing a slightly wry appearance (62r, ill. 16) is an anthropo-zoomorphic variant of an petulant, long- nosed man who is an acute thinker. Similarly, a bird's head with monk's hood (142r, il. 11) also subtly al- ludes to human characteristics and weaknesses. But these two drawings are of an admirable quality; finely shaded, the span of grey tones and the well conceived red accents evoke works of sculpture made of grey limestone with touches of colour (for eyebrows, lips). The same goes for two other drawings: the profile of a lady (whose kerchief mutates into herbal forms and who has a sprout growing into her mouth, 142r, ill. 11) is a good parallel to those consoles and capitals with heads appearing from amidst greenery. A particular achievement is the drawing of a young man's bust within an initial (119v, ill. 4): this warrant a close look at the shadows below his eyebrows, below his chin, in his ear, on the left cheek, as the modelling here is convincing.

These fanciful drawings include yet another element: that of the grotesque, which shows through in a hollow mask, a pig's snout, etc. Two angry looking faces have snouts instead of noses, as seen from below, and one can not overlook the specific trait of a negative character in them (62r, ill. 16). It reminds us of two men at the lower right corner of the so-called Kaufmannsche Kreuzigung, whose appearance evokes a similar feeling36: the psychotic expressions, the som-

34) Comparable are f. i. ends of kerchiefs on the heads of Mary and the female saints, resp. parallel folds on coats etc. Impres- sive insight in the textile fantasies are offered by forms of the knots of love, cf. Book of Judges, ÖNB, Cod. 2760, fol. 18r. Apart from such independent images, quite convincing in the King Wenceslav Bible is also the role of the ribbon in a formally

subordinated context, f. in King Wenceslav, whose right arm is

attached to letter W (on the very same folio); fluttering parts of the ribbon correspond completely to the character of folds on cadels from the Pontifical.

35) Cf.: http: //video. com/videoplay? docid=-1332750643775 413124 "Auge in Auge mit einem Kormoran".

36) G. Schmidt, Zur Kaufmannschen Kreuzigung. In: Malerei der Gotik. Fixpunkte and Ausblicke I, hg. von M. Roland. Graz 2005,119-258, esp. ill. 9.

bre glance, open mouths, the nose seen from below as a short snout etc. are all attributes of negative pro- tagonists. However, this sort of image was in the air at the time - the rich variants of grotesque architectural sculpture etc. have again and again evoked demonic properties37.

Cadels with figural and ornamental drawings were a popular element in manuscripts from at least the mid- 1411, century. Usually they did not surpass the level of scribbling made by a good copyist, florator or notator. In the main, these are witty sparks, sometimes teasing and sometimes poking fun at human vices and short- comings; they transfer the laughter and gossip of those days into visual images; at several instances the wide- open mouths on the faces, growing out of the cadels made me wonder whether they were not some sort of representation of singers from a heavenly (or church) choir. From a technical point of view the little fields next to the cadels offer an excellent opportunity to re- search a new idea, a new form or composition of a detail from nature (here: the cormorant, reeds, drapery), useful for later works. One manuscript that offers some parallels on the grounds of the excellence of the drawings is an Austrian work from around 1400, a collection of epistles38. There is no stylistic or aesthetic concordance between this manuscript and the Maribor Pontifical, though some drawings (animals in cages, bird-like profiles etc. ) offer a similar mode, a kindred attitude toward a marginal image, and even similar compositional principles and conception of free space in the margins39.

There are ten painted initials, eight of which are inhabited and two of which consist of a letter only (ills. 1-10). From a technical point of view it might be interesting to know that the painted initials and adja-

37) It is not necessary to quote sculptural decoration on Prague Cathedral and a number of contemporary and later works of art in broader Central Europe. Cf. J. Homolka, Peter Parler, der Bildhauer. In: Die Parler und der schöne Stil 1350-1400. Eu- ropäische Kunst unter den Luxemburgern III, hg. von A. Leg- ner. Köln 1978, ill. on p. 229,230 etc.; E. Maros!, Fünfzig Jahre Herrschaft Sigismunds in der Kunstgeschichte. In: Sigismund von Luxemburg. Ein Kaiser in Europa, hg. von M. Pauly-F. Reiner. Mainz/Rhein 2006, ill on 258. - As an addition to the multitude of sources for these anomalies (the problem is more knotted than it would be possible to prove at this instance) are richly illustrated cycles in so-called Deutschordensapokalypsen, and also various illustrative explications of Apocalypse, like the wall-painting in the Mary's chapel at Karlßtejn (cf. Part of the composition with the Duke of the Hell - Höllenfürst, with the abundance of grotesque, pig-like and in general fantastic pro- tagonists).

38) Cf. A. Fingernagel-K. Hranitzky-V Pirker-Aurenham- mer-M. Roland-E Simader, Mitteleuropäische Schulen II., ÖNB, Cod. 174, Österreich, ca. 1400, Cat. 38, ills. 207-218, pl. 33; also Graduale from Beerenberg, private coll., fig. 65,65.

39) Similarities in composition like the motif of an elderly man, explaining something to a child and pointing at his mouth, versus the initial with bishop and a kneeling boy, Pontifical, fol. 86r. For the first named example cf. A. Fingernagel-K. Hra- nitzky-V Pirker-Aurenhammer--M. Roland-E Sitnader, Mitte- leuropäische Schulen H, ill. 212.

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cent decoration were finished regardless of secondary decoration, of less important drawings: on fol. 119v (ill. 4) a foliated bar traverses ink drawings of sheaves, emerging from the cadel. Preparatory drawings for painted decoration are also made with plummet, but these have nearly disappeared; the colours are autumn- like, with rich combinations of dark red which turns into brown nuances, there are also instances of pink, blue and green (often in combination with mint) appearing in different casts. There is no yellow, but several types of brown, ranging from chestnut to ochre; an important element is the skin colour, and there is quite a lot of gold.

Burnished gold is used for larger parts of initials, for golden drops at leafstalks, for golden dots etc.; gold leaves are laid on red bole, which can be seen well on the damaged part of the initial 0 (Ordo ad consecrandum abbatissam, fol. 140, ill. 10). The raised warm tonality of the gold, the luminosity, was enhanced also by filigree sprouts drawn in gold ink over coloured backgrounds. Some results are ingenious: behind the bishop and a little boy (86r, ill. 1) are dense foliated spirals on a dark blue field, and the image is that of a rich interior with textile on the walls. St Agnes is painted in front of golden filigree over a black surface (66r, ill. 8); the ornament is painted in a vertical composition and depicts ears of corn°0. The initial, which shows a bishop at prayer, has a dark red background (42r, ill. 6); the elliptic form of the initial is decorated with a frame of four parallel lines, the inner line ending in three-foiled blossoms. A similar elliptic composition yielded a peculiar result in the initial with St. Peter (94v, 111.3); the saint is situated in the centre of a light green field and behind him are parallel ellipses (up to seventeen) in gold ink; the composition gives the impression that he is floating in a materialized light which has emitted him from the undefined depths of heavenly space. Also the rear part of Mary's room (119v, ill. 4) is filled with luminosity; gold ink is used for the greeting ave gr(ati)a plena, seen on a parchment scroll to the left of Gabriel. The basic effect is established by the several levels of gold rays glowing around the heads of the Virgin and Gabriel (the rays around their bodies are horizontal). The dark red colour of Mary's room is imbued with a multitude of rays, extending to all parts. The effect of this is so strong that the halo around Mary's head does not come to full validity: the halo is painted in a combination of dark red and gold, with the iridescence having the function of transforming the halo into a plastic element, while the deepening behind the head is accentuated by a flat trim. This type of halo also adorns the head of St. Peter, but it is concealed by the wreath of rays and thus this initial is defined by three different sources of golden light. St. Agnes' halo has the very

40) As a matter of fact the filigree spouts and leaves are made by the same principles as the decoration behind the bishop and the boy, where their turbulent dynamism gives rise to a different result.

same red-gold iridescence; again, this halo is hardly noticeable in the confluence with the structure of the gold crown41.

Also worthy of special analysis is the illuminator's conception of space that is filled with gold light, since in this case the light is more than a natural-superna- tural phenomenon, it has the connotation of an iconographic element and of a personal explication of the artist's religious vision. But this is not particular to this illuminator alone, as it also occurs with some other artists from the Bohemian circle and their Vienna con- temporaries, such as Heinrich Aurhaym.

The burnished fields are punched; they are decorated with one type, with a small circle that has a dia- meter of hardly more than 1 mm42. In the vertical golden fields, pounces are organized in single or double vertical lines, framed with a tiny straight line43. Three historiated initials are placed on a gold background (St. Agnes, 66r, St. Peter, 94v, Annunciation, 119v), but only the outer segment is ornamented with double lines, and at the crossings there are four pounces. The field behind the canon with the portable altar (57r, ill. 7) is divided in diamonds with pounces in the centre. Also covered with pounces, sometimes densely so, are almost every golden drop at leafstalks, dots and the gold inner fields of scrolls (twisted in medallions). Similar heightening (gold with additional punched decoration) is to be found in many a Bohemian manuscript, and in this respect there is no particular difference between the Maribor Pontifical and - U. - the Missal for Sbinko of Hasenburg44.

The central part of the illumination consists of foliate decoration on margins with some zoomorphic additions and initials with ornamental leaves or images of persons. The dynamism of the foliate sprouts is

31) This form -a circular shield that is convex and has a flat trim - is a detail that, via Italian miniature, influenced Bohemian painting and in the next stage also Viennese illumination of the Ist half of the 15th century Obviously it is an element that had been used in several contexts, as decorative filler in inner fields of initials (reminiscent of Butzenscheiben), in parts of initial structures, not merely as halos around heads of saints. These elements were presented and discussed by Susanne Rischpler and Karl-Georg Pfändtner during the workshop Böhmische Buch- malerei um 1400, Vienna, Institut für Kunstgeschichte, 4. - 6. September 2009. The ornamental initial with decoration of several convex shields and flat trims in the inner part has been painted by Meister Michael; cf. Klosterneuburger Antiphonar, Band III, CCI 67, fol. 164r; it is to be dated in the 1st half of the 1420s. This information as well as the requested illustration of the initial were provided by S. Rischpler, to whom I am most grateful.

41) Cf. M. S. Frinta, Punched Decoration on Late Medieval Panel and Miniature Painting, Part I. Catalogue, Prague 1998, 91, types C2b, Cob.

13) To compare: gold initial U, fol. 4r; background behind the tower - I, fol. 88v; gold background behind the initial of serpentine leaves, I, fol. 92v. The aesthetic concept and the effect given by the gold-blue initial on 92v is close to the initial I from Meister Michael's oeuvre, namely from the Klosterneuburg manuscript, CC] 97, fol. 182v, dated 1429; cf. Rischpler, Der Il- luminator Michael, Ill. 143.

'11) ÖNB, Cod. 1844, dat. 1409.

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not a specific one; one can find a similar sort of floral growth in manuscripts from the mid 14th century on- ward in a rather broad area, and the same holds true for the rhythm composing a well balanced decoration of rich and less foliated parts of sprouts. From the corners of the initial fields grow symmetrical blossoms, leaves or sprouts, usually attached with a shell-like bump, which was a common element in Bohemian manuscripts of that time. The leaves are usually decoratively lacerated, have sharp edges45, and, exceptionally, there are also three-foiled leaves (57r, ill. 7). At several instances the sprouts end in little frilled tendrils (4r below, ill. 5; 57r upper margin, ill. 7) that cling tightly to the stronger sprout. For the most part, these tendrils wave freely, sometimes decorated with a golden dot; they also end in a serpentine, providing a round surface for a gold medallion (82v below, ill. 9,86r up and down, ill. 1,119v below, ill. 4 etc. ) or a face (42r, ill. 6). The flowers are - with the exception of a rather realistic columbine (aquilegia, 57r) - products of fantasy and many similar floral forms are most common in the illumination around 1400. These are flowers with either short and compact stamens or extremely long ones, which resemble spindles or candles. Sev- eral similar flowers adorn (on a large scale) the border decoration in the King Wenceslav Bible. Some blossoms with urn-shaped corolla and small lobes that curl backwards are obviously of the same shape as the blossoms drawn by the Master of St. Paul's Epistles in the Purkart Strnad Bible from Janovic; at least for the part of illumination in the Pontifical, we may presume that it was made either by the Master himself or some- one from his circle47.

Similarities to all of the floral and leafy forms can be found in Bohemian illuminations of the late 140' and of the Pt quarter of the 15" centuries, not to mention the depictions of hybrid animals which adorn so many manuscripts. Parallels with the King Wenceslav Bible are enticing. The hybrids from the Pontifical have been composed in a slightly different anatomy, but have some identical features (like muzzles)48 and the general character offers so many similarities in forms and temperament that I am inclined to speak of a related atelier surrounding. In the margins of the King Wen-

45) Such leaves are not unusual, and even within the King's Wenceslav Bible one can find many resemblances: Regum III (126v, 146r), Regum IV (lr etc. ), Paralipomenon (several folia) etc.

46) Cf. Numeri, 142v, Paralipomenon, 64v ss., Esdre I, 81r ss. itd.

47) U. Jenni-M. Theisen, Die Bibel des Purkart Strnad von Janovic aus der Zagreber Metropolitanbibliothek, Cod. MR 156 (lat. ), Prag um 1385. Codices Manuscripti 48/49 (2004) 13-33, ills. 44-46,48,57,59. In fact, these are not invented blossoms, these are forms of wild-rose fruits, but covered with a rainbow of colours.

48) Ei. Ecclesisticus, fol. 173v: the long-necked dragon and brown hybrid in the Pontifical, fol. 57r; also: Paralipomenon, the body of a blue-gold winged dragon, fol. 163r and the body of blue-brown dragon, fol. 4r.

ceslav Bible are similarly dynamic, aggressive eagles, spreading their extensively long wings, slightly bent at the tops, just like the eagle above the canon in the Pon- tifical (57r, ill. 7)i9. The lion on the lower border of fol. 88v (ill. 2) has a finely shaded body, and the excellent use of heightening in white makes for a very convincing illusion of volume; white spots on his snout and raised eyebrows, which underline his unhappy mood5o, establish a humanlike appearance. Again, the circle of Bohemian art would be an appropriate suggestion for stylistic provenance, not to mention that a strong chest, rounded ears and strong paws are features for many a lion, both in painting as in sculptures'

There are eight historiated initials - four (4r, 42r, 57r, 86r) are set over a coloured square background, outlined in several tones, which gives the impression of a three-dimensional base; since some initials extend to the left and are excentrically positioned, the illusion of yet another space layer is given; when turning the eye toward the image in the centre of the letter, it seems to offering us a view to sacred events through an opened oval window.

Though the fillings in the initial structures vary, they are defined by a strong sense for spiral move- ment; the forms of the lopped off leaves in the letter 0 of Annunciation correspond to the form of the leaves in the cadel with a lady's profile (142r, ill. 11), while the wound ribbon in the initial of St. Peter evokes the decorative garlands of clouds and shells. Dense branches, similar to ferns, fill the letter 0 around the image of a bishop with young boy and are not dissimilar to the filling in the so-called Samson initial in the Purkart Strnad Bibles=, a work of the Master of St. Paul's Epistles; at the same time, the element of a fern- branch is often present in the King Wenceslav Bible, and especially impressive is the similarity to the spiral branches forming the knot of love53.

There is virtually no space around the depicted persons: the altar, in front of which there is a kneeling bishop, the volume of the bishop's chair, of the Vir- gin's room with prayer desk and bookcase - these ob- jects are only attributes of location, indicating where

a9) To compare: Ecclesiasticus, fol. 170v, 174r etc.: black eagles, and dark blue eagle over the head of canon in the Pontifi- cal, fol. 57r.

50) The very same facial expression can be found in the faces of canon, fol. 57r and St. Peter, fol. 94v.

s') Cf. King Wenceslav's Bible: heraldic lion, depicted as the opening of the Josue (Cod. 2759,214r); lion on the east facade of the Old-City-Tower in Prague, ca. 1380: cf. D. Stehlikova, Löwe. In: Karl IV. Kaiser von Gottes Gnaden, Kunst und Repräsenta- tion des Hauses Luxemburg 1310-1437, ed. by J. Fajt. München- Berlin 2006,232-235, ill. 233; the lion on the fresco of Riffian: D. Buran, Die Wandmalereien in Riffian and Sigismund von Luxemburg. Überlegungen zu einer kirchenpolitisch motivierten Ikonographie um 1400. In: Sigismund von Luxemburg, hg. M. Pauly. Mainz/Rhein 2006, ill. on page 310.

52) Jenni-Theisen, Die Bibel des Purkart Strnad von Janovic, ill. 35.

33) Like Numeri, 167r.

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the event is set, rather than elements that establish a proper sense of space.

All persons seem to be slightly disproportioned; their bodies are not overly strong, but their heads and faces, on which expressions are portrayeds', are large and impressive, well modelled with touches of white over a natural skin colour - this is rather classical Bo- hemian modelling with light. Persons are normally seen as far down as their knees; the only person stand- ing upright is the young man dressed in a dark blue outfit (88v, ill. 2) and holding an initial in the form of a tower which contains a young lady locked within, with her guardian at the top (did he want to carry it away? ). He is handsome enough that one can say he is a true document of a knightly and noble youth; his waist is as narrow as that of a wasp, and he is dressed in a fashionable, decoratively trimmed short coat, as many a knight and saint would be. Though there are disproportions (his right hand is too small for his body), one can not deny that his face is well modelled, with a broad and rounded forehead, finely cut nose and a small, round chin, full cheeks and cherry-like small lips: all this is modelled by means of different shades of colours that contribute to the impression of his dreamy, undetermined state of mind, and enhance details like a fine line of his nose and a form of his chin. A red-and-white ribbon binds his hair in a coif- fure of a specific form. This face seems somewhat feminine for a youth who is determined to take away an entire tower, and his face belongs to the type often used for beautiful Virgins. His entire appearance has to be accepted as the result of a full range of aesthetic concepts, and one must remember the softness radiated from the mid 14th century on, which glowed with the same intensity for a surprisingly long time; as well one must remember the wall paintings from the Emmaus monastery or the Gospels of Jan from Opava (Johann von Troppau). The face, the gentle gesture of his hands and the heap of gold curls point toward Bohemian provenance, toward Gabriel in the Martyr- ologium from Gironass, the young John the Evangelist below the cross (Canon image) in Missal for Sbinko of Hasenburg, as well as many other depictions of youths in Bohemian art around 14O0s6. His equivalent in the

54) Similar proportions are evident also on persons well known from the leaves of Bohemian model-book, ca. 1370-1380, today divided between Erlangen and Dessau. D. Kldtnnwin, description of leaves. In: Die Parler und der schöne Stil 1350-1400. Eu- ropäische Kunst unter den Luxemburgern, Bd. III, hg. von A. Legner. Köln 1978,143-144.

55) Martyrologium from Girona, Museu Diocesä de Girona, num. 273, fol. 34v, the Prague illuminator, called the Master of the Book of Jonah; cf. G. Schmidt, Bewegung and Gegenbewe- gung. Die Internationale Gotik versus schöner Stil. In: Karl IV. Kaiser von Gottes Gnaden, Kunst und Repräsentation des Haus- es Luxemburg 1310-1437, ed. by J. Fajt. München-Berlin 2006, 545-546, esp. the passage on formulations of hair (Florentine sculptor - Claus Sluter - Bohemian drawing, all ca. 1400); ill. of the Annunciation from Girona is on p. 547, Cat. nr. 82.

56) I wish to direct attention also to the image of St. John the Evangelist on the initial with the Mystical mill, Bohemian

Maribor Pontifical is the Archangel Gabriel from An- nunciation (ill. 4).

Well formed and imbued with a certain emotional intensity is the face of the bishop who is blessing the little boy, though his arm is too short and the child is also not a perfect image - the illuminator having miscalculated the spatial possibilities (86r, ill. 1). The face of the bishop praying in front of the altar is also excellent (42r, ill. 6): the shading does not conceal his poorly shaved cheeks. The cleric behind him has an equally well modelled face, similar to the face of the youth with the towers'. There is yet another facial type: the canon with a portable altar and St. Peter (57r, 94v, ills. 7,3). Again, their nearly white hair is decoratively curled, their beards are cut short, the eyebrows, which are raised toward the front, lend both of them with a painful, sad or melancholic expression; their cheeks are well rounded and accentuated, and their lips are small and red. This facial type is well-known, and they are both nearly a repetition of the face of the ideal wise old man as presented in the face of Ottokar I. Premysl on the sepulchral monument by Peter Parler in the Prague Cathedral. It is thus no wonder that this image was echoed in many repetitions and variations of elderly saints, especially of St. Peter, who was by iconographic tradition an old man with short white beard". In terms of continuity apropos this Parlerian ideal of an old king, it seems to be interesting enough also to take in to consideration with some representations from the so-called Antwerp Bible of Konrad from Vechta59, not only because of the heightening with white, but because of the similarly broad facial structure and similar section of eyes. The expression of sadness, sorrow and a tormented soul is, in Bohemian illumination, not limited to a short stretch of development (one recalls

Gradual, ca. 1400, Luzern, Zentral- and Landesbibliothek, P. Msc. 19, fol. lr; cf. Karl IV. Kaiser von Gottes Gnaden, 525. Missale for Sbinko of Hasenburg; ONB, Cod. 1844, fol. 149v, Canonic image. In the manuscript, known as The Travels of Sir John Mandeville, London, British Library Add. Ms. 24.189, are several depictions of young men with similar hair dressing, but the anatomy of the persons derives from different concepts of reality. Cf. J. Krdsa, The Travels of Sir John Mandeville. New York 1983, pl. 9- hair of the angel, pl. 20 -a knight at the right etc. Valid comparison offers also St John from the Crossing (ca. 1410-1415), Berlin-Dahlem, cf. Gotik in Böhmen (Karl. M. Swoboda, ed. ). München 1969, ill. 194a.

57) It can be additionally noted that the cuffs on the bishop's sleeve are similar enough to the folds on the drapery of celebrant bishop, as seen in the Missal for Wenceslav from Radeö. This is the work of so-called younger Master of Missal for Wenceslav from Radeö; this was a typical, often repeated motif. Prague, The Chapter Library, P. 5, fol. 85v; cf. G. Schmidt, Fragmente eines böhmischen Antiphonars des frühen 15. Jahrhunderts (ehemals Seitenstetten) and eine Marientod-Initiate der Rosenwald Col- lection. Malerei der Gotik, esp. 341 ss., ill. 12.

18) Gotik in Böhmen, ills. 56,194. 19) Cf. M. Studnickovä, The Bible of Konrad of Vechta: Styli-

stic Change in Bohemian Book Illumination. Manuscripta, 269- 299, vol. 50, No. 2/2006; there are several related images, like Jahel, killing Sisara. Cf. also Gotik in Böhmen, ill. 189; Antwer- pen, Musee Plantin-Moretus, ms. 15.1.1403, pag. 280.

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Albert Kutal's words on the "severe spirit of pre-Hus- site art"60, emphasizing its spiritualization) nor solely to this manuscript61

Comparative material for the images of three female saints, St. Mary Magdalene, St. Agnes and the Virgin of the Annunciation (ills. 5,8,4) is also opu- lent. Splendid modelling of faces with light and the ingenious way in which the tiny face exhibits feeling, is similarly emitted from these images. The Virgin of the Annunciation is painted with utmost care, and at the same time we are aware that her face stands in the long line of Bohemian achievements: her high and broad forehead, small nose, rounded cheeks and twisting long curls of blond hair are very much related to the family of Marian images from the mid 140' century on- ward62. In essence, all three ladies have a very similar appearance and do not differ from the general line in Bohemian imagery of the last third of the 14th century.

Within these three initials the illuminator also found a possibility for depicting a piece of drapery, which offers an interesting detail: Gabriel's colourful man- tle, the triangular end of Mary's coat that - for a rea- son not to be discerned - hangs over the edge of her prayer-desk, the richly folded coat under the hand of St. Agnes, a kerchief of St. Mary Magdalene trimmed with a golden thread63. The other drapery appears in relatively uncomplicated parallel folds64.

To conclude: on the basis of its pictorial elements, the Maribor Pontifical is the work of Bohemian mas- ters and was probably executed around 1400 or slight-

60) A. Kutal, Böhmische gotische Plastik 1350 bis 1450. Prag 1962,112.

61) The list of related manuscripts would be quite long, generally available comparison are the works by the Willehalm- Master; cf. Gotik in Böhmen, ills. 170,172,183,185. Indeed, the faces of Willehalm-Master are differently structured; they have ascetic, thin faces. Cf. also rather later Boskovskä biblia, Oloumuc, SVK (M 111-3), the depiction of Aggeus; K. Stejskal- P. Voit, Iluminovane rukopisy doby husitske. Praha 1991, ill. 40.

62) There are kindred forms even with earlier works, like the Virgin of the Annunciation from the Liber Viaticus of John of Neumarkt (Jan ze Stfedy), Prague, Knihovna Närodniho muzea, XIII A 12, fol. 69v; also the famous Maria panel from Roudnice, Prague, National Gallery, ca. 1385-1390 may be quoted as the finest example of this type of female beauty. Cf. also G. Schmidt, Malerei his 1450. Tafelmalerei - Wandmalerei - Buchmalerei. Gotik in Böhmen, for the comments on artistic character of the region, 167 ss., esp. 193-195.

63) Not only the face, also the forms of kerchief and the jar with ointment is related to the panel painting of three saints (St. Catherine, Mary Magdalene, Margaret) on the Altarpiece from Tfebon (Wittingau), ca. 1385, Prague, National Gallery, cf. Go- tik in Böhmen, ill. 141.

61) In the context of the already mentioned Master of St. Paul's Epistles I wish to emphasise the same type of folds on the vestments of seated bishop, 86r, and those on the robes of sing- ing clerics in the initial, as painted in the Bible of Purkart Strnad

z Janovic; Jenni-Theisen, ill. 57.

ly earlier, as parallel paintings from Prague and related centres from the end of the 14th century show. As a positive contribution, the grisaille drawings within the cadels open new insight into the capacities of master drawers from Bohemian schools; these small inven- tions, located within initial fields are steps toward larger and more complicated works, and the 56 drawings are a sort of a sketch-book in a small, so to speak, intimate size.

Regarding flowers and foliate borders, the contribution of the Master of St. Paul's Epistles appears to be identifiable and quite probable. The entire illumination would not be much labour for one illuminator, neither in terms of quantity nor in terms of the demands of the task since - except for the concepts of luminosity - there are no extravagant novelties.

Three, possibly four, people hunched over the parchment of the Pontifical. The tasks of copying, ru- bricating, drawing, illuminating were carried out by professionals, who may have been working in a well- manned atelier or group; no doubt, they were entirely abreast of developments in illumination and probably of all other progressions in the milieu of the Prague manuscript scene. The perfect result of execution of the Pontifical aside, one can notice a lack of a unifying iconography: we see excellently made pages, we see splendid historiated initials and cadels, but one misses the programmatic red thread which would enhance the image with the magic of the extra thought; after all, it is only the power of materialized light that transforms the image of the saint or event into a moment of tran- scendental value.

Therefore, two thoughts emerge. It is plausible that this Pontifical was made for the market, not in re- sponse to a precise and direct order - in the case of immediate commissioner(s) the presence of his/their coat-of-arms or other individual symbols could be ex- pected. If the circumstances of the free market is ac- ceptable as a thesis, then it is also understandable that several ntbricae were left unwritten and why the illuminator followed his inner impulse, his idea regarding what to depict and how. Certainly, the illuminations of Pontificals did not follow a strict concept since there was no defined sequence of scenes. Therefore it is not surprising that most of initials are in concordance with the ordinations (like St. Peter dressed as a high priest at the beginning of the ordination of clergy etc. ), and quite free is the composition of the young gentleman trying to take away the tower - generally speaking, this would be an image for a Minnesänger collection. It is not conceivable that the illuminator forgot the fact that he was creating a painting in a Pontifical. Most probably, this is his personal foray into rendering an anecdote of his time, expressed in a perfect stylistic language and creating thus a lure for buyer and later readers of the Pontifical.

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ý r, ý: tmcatu ftM-cut'ri'ta MUM aD ftcti 'a mmäcc fri+rntr'bvm: uo or( cxmor«ibUitx kv bxh&im amraiac ýnD'fuucafi, la id'ä. ýnrttnuýlýttitDýt1 atrm ptrm gGiDttS Githl. i. ý td i amta0ncm Cül . lö dm Malin? uýpttiftkw }1Siil. lttl tx l3 0: Jlt1.11JDDmm

I

i . ý.

11.3: Maribor, Nad§kofijski arhiv, Ms. 12, fol. 94v, initial with St Peter

-let I1.4: Maribor, Nadskofijski arhiv, Ms. 12, fol. 119v, initial

with Annunciation

_ýý ý C.

ý°(ft'IllIÜi FIIIl11Dtý

cniiilool[cmffinn fm cre8 iýommmim noftnt

ý ºrctiýrii k12ýiýir n p; o ýfiýe F11ntºIlßfiýß. ý. 7i%6. q. lilY ºHomNW HsW -ýý .

ýýat blr}ýottctýDAtn nntt. tm Gl thtm fiio. nmýYto fný9 dm0: 'f týGt7nýlýtýGttt pr bý ýýýti frthnaýirutAmctýctt86 fýrnbmý fmtliim qtu Iktbthtm trltgtMutt mi'ttt }ýlýxbutin conffttitt`rctd rinntÖt n micnro

uclfcnnla2t AiiA't'10-1'ö2Ac1 . tt äýrtrrkttttrriýrnruuturnrr in ttitilnto ttt na<tnttsAO: tnn ýrtrt<t ctßbrrnttrm pý firttottts rtbvm opts tn[nttt rntnnrn tum-ct, tUtrn; t Orin rrtirttt Ipu11mta týt ntt(c8 otnlo: tnn coirmrn ýmtrr Iu mnt am? ( gmnr rontra, týýttt mm .. µlthrtt[; nrrdtf, mrro"rnc niDt: ct"cpp °Aý

ýýýýýsmý iýrti ýamýenmu-_ýantr nýtaa : um u=ww tuu tui fim confuc" urrötctgthix'dxnmtro ýý.!: alcýad, ivmmýt8mc W6}x- 1'ýiinto oltldhLvOnäfua.

If crninrllatinbnw Gams tUm mnnthv f nir mQS c1t 61cbi4tvumlurF ctfdhuU ptUQtt'Ätbý: ctbdlG3tr m0)c'tý ýitttýtiGB

I1ý1tYd WIlID1C ti Wiiiinürl . tu "

ýnccattr boocc iýcsý " halm'. 8ttiotutri " ý1o2ia pýttt't 4zlto6m

Uncl' ataona WgarU: B qorq (M . GltoihGlrf}xiBQ sjý'llObtB" amt.

ewrouWrogittr-cnv" WM-R_

$CPPLFINENTL'M 2

141 - JANNER 2010

CODICES MAhUSCRIPTI

(r- ir a 1lGUt. 4 örDttctzf ` CriritFfitrilültS*lnfc'Vtlßfd('Ct8

1tYnlsinäýanlr Cicctabý$ tciýt}nlý ýýofmn3 , m1n,: a'fdt U. S Cl'('B uncconfl- �I ýrauuui cricmuw ttit8 Dt caiusg I

at nott NfrnDtt tttaD uuutttaza nta vtuCranB flüt3a[fcDalttu6 " pr¢fta gtttnmittsututcontmttttbtttotte tb

uswmtcrulctnatma }wtum dbt at }nirti arfcratmw"uutm .p ýcpra m. fus ýnu aD ittcEýbtCobý ý rDä O:, tro udufWnl G1d'li lllm Fiüitltl0211 bIAL

pqdßbdwttw Nut8bu6 ro2DanOftrd

mus tflbecodcmetmmC craubt ratchtý q nou dcätont utcrýt [cD graae tuc Dono rott

urqua0 fauäa t ýtt>obonr ttaabti uýcdacMwnitu " týa' zcrcra o: o " ý(Iofiuttnc fttýpluaäouttz; noßi't8 ýi7 ct mc Mu mmrmu unfauoitrta tnd

I

Il. 5: Maribor, Nadgkofijski arhiv, Ms. 12, fol. 4r, initial with St May Magdalene

*6

hiv aa irbtanimim xm irnýmtt9pout ºfrryý. aýa

"? 28. iDrlltltf 111fW `

ý4. öu0ttan

;,, ý f, maefýrnnzB"1kt'C" 'M C}nCthltt' -, T11till ";, Nlnri'OYdf10 -

cnonc8 ttofttas qtu&nmts tmtn ilc. tlouattöo plcttctn ciilDttttu to Wofcqttrnr tttnnubl no(h. l

" pprtlUlOdfC Qul}MC tltt! #MdCliýltt iF 1t1nl'

ýý týmdhtr" p" ýýcniAf iftýtnr, l E`ýýtttS

ýý týt[tazr ttbtD btxu"s" Dutxýcctrottk marcin crct3"mtac$výnbsýsgn. tf: ttta

noý m tcl mn t>3 Alnttrn t: 3nctoz: JLýtlimlittl ttbt C+cm3[ttar atr. lla mm být cotmtt gnaýun: pp, ttttitrttta Mý

. mt9 m ttttr h. tbMýt"ý ixýtttta Ccqý ýhro: nGiins tu. uo: quo rontfvictu mn? nt

U. 6: Maribor, Nadgkofijski arhiv, Ms. 12, fol. 42r, initial

with a bishop in prayer in front of altar

as>Mbrrtur qoc. ittwc. f muamc v= rrfün crtpus caudl"par autgi. tn " fruuulpcäDauatietuÄrü tat "dabau ameda.. yCabmts -

11.7: Maribor, Nad kofijski arhiv, Ms. 12, fol. 57r, canon, holding a portable altar

U. 8: Maribor, Nadgkofijski arhiv, Ms. 12, fol. 66r, initial with St Agnes

SUPPLEMENTUM 2

142

ýfi . 1D(OI11i11Diltu.. lIC111r III }rrrwlc yltril0fkltErarcü

tii3 ItW10I qtt0 f1UD f}Kt8 ý ; nýýlt. iitfltou. aiu "

-}ýý- - +ý -ýýý f

: ýaLxta'ttrl iDduriQ+nllUfuattuupl dunu maw- p8 "1 UDtW utt ow fCmä itto"Qmu: linndcgi7ttr non Qllw_

ý dbbOmatC tttuýtt0 Et DdOfO Ct1tC tttE". tu " tmvb, c) lo. w pxncrfihocrrpnvcx fRfnM fý ýntrnMr+++ n++�n... n Ar ý... f _ -F, ..... rs%µ ... ys+. suYw u f{[N -

ý dn -jUMIb " UlOalýs p: füt! AC t}ýl . ujua GJf la

. ahn ýrmcmn ftct1C m lonßtnn

ottatZinl pcP[llnl J1Cllr ýýtrnlib"

JANNER 2010

CODICES MANUSCRIPTI

owk--.

t}011('1t1 UUg11tt$' ýý.. _.

'r uk tcqu, inur tu too ml lr et

f't, cr4i111$ ma1Ctrt. 7mq1 irpcmr cý ý ý, .

i

_Arrnvrulllaaaudm: ttaq f: ý, t, r ýüBdaartatc(i. tm (lull bq }ä ttßýtlS. 3utf fo ri'6QYtC(f itlf0ilftll Iri0! 1 lD ro ýhmrttc'r J+arýbmuttt8 Vobtfttrat "O txmus "

t) Alcu}lofttt8 Cl'I*u DcttB cýtrifA arraotzbtt9 bu8 p. Orbn'i8 tanta

g><iaam rotmtltlh ttrtýtuqatD mÖto uoauuCÖtgnf mfimv, 1tbf19. iMtu:

w

I1.9: Maribor, Nadskofijski arhiv, Ms. 12, fol. 82v, initial with leafy filling

0. löroitta-1 tm"irbtCCuv I ittcnn trtcbni , 'VitczoUlw hip

-lýýitttCi Bfnecltai*r tt 2Mcg cdi touutct re tysfilut8irt -a cr cpnfttaze2+igncnr. "finen, ^ ý¢ºitnitcý tttQ3 iltuiet. fnt(ii; nüt nt(MZ+idr- nut; ýi

ý$ Omi mn1O tt 1tlýer tztt: a riW 'tF 2i fetti+ýtr- et' gtu tatuttr" cr AD ttli><t ". acpia }x: 10ucar" - Jmen , 01t ý

II. 10: Maribor, Na. ßkofijski arhiv, Ms. 12, fol. 140v: initial with filigran filling

;: i7ýC

110rnr t'Rg ilttPttB

1 . Aý ý** -- - ---_-AkV

'-AdA.. -ALA, "ý--ý, _,. ý till tr ttruur file c aual it

er urt=111utiiltw tont trfpott'mttt ttttcfcquutt; tntorotrfup rt i1rLl'}l1Ct0.

UetIf

tr ucnttr ucuttr fittr . utDt tr- ý% `ýýt tUt : tltquAtttlti ýtpý2DýttttcýttRt rrprtortr OEý(ruujurmuuýj~ uiIll ntfit IýkUA fttlltA it1A}1Ü1r"tftitl'3 W

-- 4*ý-b

ý-. w- ýýýcr

11.11: Maribor, Nadgkofijski arhiv, Ms. 12, fol. 142r: initials

with triangular tuft, bird's head with a hood, lady's profile and a lombardic letter with a hanged profile

f

ý 'mn

tut; dtg gnus w fluouc cru

U. 12: Maribor, Nadgkofijski arhiv, Ms. 12, fol. 120r: lombardic letter with triangular tuft and frilled threads

quý Imm1rn Mn eCfCo Thinrnýtrns ýý

mýi; 1 tiui taýlaua fol _ .. -_s ---_v,

hýýýý1411ýtý c7uii

rýicnno oiiýuýtni It ßnß pzc Ont1t81}d[x

fji,... ,ý

$UPPL. EMENTUM 2

-143 - JXNNER 2010

CODICES MANUSCRIPTI

as }no rnwtc c

'11 (}

ý '-r

tý 5 c

c c.

itzt Gttth m #nß4Ut4It na ummm

11.15: Maribor, Nadskofijski arhiv, Ms. 12, fol. 54r: grisaille drawing of great cormorant

tIß tCtlýti8 g%1212$ fit .... t: ý

-ýý; .. 40--4-

*v 4

*%tbijiýur DM1 foottc }ýiolwGts ab t"'O,

Pe"

11.13: Maribor, Nadgkofijski arhiv, Ms. 12, fol. 39r: drapery filling and frilled threads

finiLvnotokii4in nlnpIt 2121:

Ak .

mttxhs a

f- f+ V-4- 44-4

monfca al \'. ufl Ddb fuG tný Dmmcgi

11.14: Maribor, Nadskofijski arhiv, Ms. 12, fol. 45v: filling in form of rods

.... t.......... ^- ry

b''"

W, r

3rü*dnutu0 t auu nouuzu qu (02

11.16: Maribor, Nadkofijski arhiv, Ms. 12, fol. 62r: cor- rected lombardic letter and a face with a pig's snout

SUPPLEMENTUM 2

- 144 - JÄNNER 2010

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