Disponibilidad de biomasa para metanización

While some images were added because they represented new objects of devotion that an owner wanted to possess, others were added because their predecessors had worn out. For example, the users of the Gouda

24 Thomas Kren, “The Trivulzio Hours and the Interurban Network of Luxury Book Production in the Burgundian Netherlands,” in Conference in Celebration of Anne Korteweg’s 65th Birthday (The Hague, Koninklijke Bibliotheek: unpublished, 2007).

Missal (HKB, Ms. 135 H 45, introduced above) gave it a new Crucifixion miniature (fig. 124).25 _{This is the image that the priest would kiss during}

the performance of the mass, so it is not surprising that the original one in this book wore out around 1500, prompting the owners to replace it. The replacement leaf, now fol. 101 (with the image on the verso) is a singleton that has been made expressly for a missal, which are larger than books for personal devotion. It is possible that the ateliers existed specifically to replace worn-out canon pages for missals.

Fig. 125 Masters of Otto van Moerdrecht, Crucifixion miniature inserted as a canon image in a missal copied in Delft. Heidelberg, Universitätsbibliothek, Ms. Trübner 21, fol. 96v-97r. Image © Heidelberg, Universitätsbibliothek, all rights reserved.

One such source for canon pages was the so-called Master(s) of Otto van Moerdrecht.26 _{Their name comes from one of their earliest known}

patrons. Otto van Moerdrecht, canon of Utrecht Cathedral, presented a copy of a theological work, the Postilla in Prophetas by Nicolaus de Lyra,

25 Crucifixion and beginning of the canon, with a printed initial. The Hague, Koninklijke Bibliotheek, Ms. 135 H 45, fol. 101v-102r. http://manuscripts.kb.nl/ zoom/BYVANCKB%3Amimi_135h45%3A101v_102r

26 For an overview of these artists’ works, see van Bergen, De Meesters van Otto van Moerdrecht.

to the monastery of Nieuwlicht near Utrecht in 1424. This manuscript has distinctive painted decoration (which has been attributed to the Master of Otto van Moerdrecht) that reappears in books of hours, missals, and prestigious commissions for the next five decades. A single person could not have accomplished the large output of works in this style, so the “Master” of Otto van Moerdrecht has become the “Masters.” Saskia van Bergen has deduced that a number of artists working in a related style painted the miniatures in this rather substantial group of manuscripts, largely based on templates and models. Moreover, Hanns Peter Neuheuser has identified a number of large Crucifixion images that these artists have produced, which were destined for missals.27

These include one miniature preserved in a missal (the winter part) that had been copied in Delft (Heidelberg, UB, Ms. Trübner 21; fig. 125).

This disparity between decoration styles on either side of the gutter in Trübner 21 reveals that miniature came from a different source than the text.28 _{The text pages are decorated in a Delft style from the 1440s,}

with sprigs of green leaves running along a linear armature, whereas the decoration around the miniature has blue, yellow and orange leaves, as well as marginal angels that comment mournfully on the main image. One finds these little angels most often in manuscripts illuminated in Utrecht, which is where Otto van Moerdrecht lived and where he hired his eponymous master. However, the text pages were decorated and presumably copied in Delft. Feasts in red in the calendar include “Augustini patris nostri sollempne festum” (August 28), which suggests that it was made at an Augustinian convent. The manuscript was most likely copied by the sisters at the convent of St. Agnes in Delft, who had an active manuscript atelier in the mid-fifteenth century, and who are known to have copied and decorated other manuscripts in Latin, including the Fagel Missal, which they made for their own use in 1459–60.

Although the missal was made in Delft, it was adapted for a convent in Amsterdam: that of the convent of St. Mary Magdalene.29 _Their

27 Neuheuser, “Die Kanonblätter aus der Schule des Moerdrecht-Meisters,” pp. 187–214.

28 Wilfried Werner, ed. Cimelia Heidelbergensia: 30 illuminierte Handschriften der Universitätsbibliothek Heidelberg (Wiesbaden: Reichert, 1975), , pp. 25–26.

29 Marian Schilder, ed. Amsterdamse Kloosters in de Middeleeuwen (Amsterdam: Vossiuspers AUP, 1997), cat. 38, p. 185.

note of ownership survives on the inner cover: “Istud missale hiemale pertinet sanctimonialibus sancte Marie Magdalene in aemstelredam.” This had originally been a convent of Franciscan women, but they reformed, an act that always assumes moving toward a more highly controlled enclosure and a more stringent set of rules. In this case, they became a convent of Canonesses Regular, who followed the rule of St. Augustine; whereas Franciscan sisters largely used the vernacular in their devotional books, Canonesses used Latin. Their reform therefore meant re-education, and with it, a new set of authoritative books. They received some of these books from established Augustinian convents. The Utrecht calendar already had a red entry for “Augustini patris nostri sollempne festum” (August 28), but the Translation of St. Mary Magdalene was added to the calendar for March 9 to make the book appropriate for its new home in Amsterdam. The convent in Delft may have sent the manuscript to their newly-reformed sisters in Amsterdam. An examination of the binding (brown leather, blind stamped, over boards) indicates it may be from the fifteenth century, and perhaps the book’s second binding. At any rate, the book must have been rebound when it entered the convent in Amsterdam. Perhaps these changes were necessary to turn the manuscript from a bedraggled hand-me-down into a semi-bespoke luxurious gift. Several structural adjustments, which were made in the fifteenth century, required rebinding. I assess these below.

The full-page miniature—the Crucifixion folio—does not look as worn as the facing text folio, with the Te igitur incipit. That folio is worn from handling, and from moisture stains that may have resulted from being sprinkled with holy water. I propose that the Masters of Otto van Moerdrecht may have created this Crucifixion miniature in order to replace one that had been severely worn, and that the original image would have had wear matching that of the facing text folio. As the manuscript may not have been made expressly for the sisters in Amsterdam, but only adapted later for their use, it is possible that the book received a new Crucifixion miniature at the time it was given to the newly reformed canonesses. Thus, when the sisters in Amsterdam received their new missal, it might have been refreshed with a new miniature, one that hadn’t yet been kissed and manhandled.

The first folio is a singleton sewn and glued to the beginning of the book; it consists of original parchment, with original ruling, but was harvested from elsewhere in the book. It has an enormous hole in the center, which is why the scribe avoided writing on it in the first instance. It provided, nonetheless, the physical support for a new dedication page, inscribed some time in the fifteenth century and mounted at the beginning of the book. It now bears testimony to a promise: the owners of the book have agreed to say masses for the members of a family every week. It reads:

In primis servetur memoria Benefactorum dominus huius. Tem tenemur omni hebdomador ad quatuor missas scilitet inprimis ad tres pro magistro Johanne AEmilij et pro Elizabetha et Lobbrecht AEmilij duabus sororibus eius ad placitum legentis et ad unam missam pro Elisabetha Grebber et parentibus suis etiam ad placitum segmentis. Item senietur memoria ter in hebdomada cut collecta pro defunctis scilicet secunda quarta et sexta feria inprimis pro Juniore Jacobo Nicolai. Item sub eadem memoria pro Maria et Aleyde Johannis Godulphi et parentibus earum. Item pro Symone Jacobi et Katherina Nicolai uxore eius. Item pro Velsen Gerardi begutte benefactricis.

Of primary importance, this [book] is to preserve the memory of its benefactors. The first three are held every week for four masses scilitet for Master Johan Emilij and two sisters Elizabeth and Lobbrecht Emilij his plea to the reader and one mass for Elizabeth Grebber and their parents to the right segments. Also senietur memory collected three times a week just for the dead, especially for the youngest, James, Nicholas, of course, Wednesdays and Fridays. Again, Mary and Aleyde of John Godulphi and under the same memory for their parents. Also for Simon James and Katherine Nicholas, his wife. Also for Velsen Gerard begutte benefactricis.

These benefactors have turned a used book into a tool for their memory and salvation. It is likely that the sheet was inscribed and attached to the book when it went to Amsterdam. The sisters there, who had previously been Franciscans, were now Augustinians, and therefore were required to function in Latin and to perform the daily offices. Their status as Augustinians made them more attractive to benefactors, who often considered the Latin prayers of more highly controlled Augustinians to have greater effect than those of more loosely controlled Franciscans.

Fig. 126 Masters of Otto van Moerdrecht, Crucifixion miniature inserted as a canon image in a missal copied in Hulsbergen (near Hattem). Enschede, Rijksmuseum Twenthe, inv. no. 381, fol. 125v-126r (photography James H. Marrow, Princeton University). Image © Rijksmuseum Twenthe, Enschede, CC BY 4.0.

Whether the Masters of Otto van Moerdrecht made the miniature for the book when it was new or to replace a worn-out one, it is clear that they were supplying loose canon pages for missals and did quite a swift trade in them. They apparently made one for the Brothers of the Common Life of St. Jerome (Hiëronymusberg) in Hulsbergen (near Hattem) in 1457 (now Enschede, RMT, inv. no. 381; fig. 126). According to a note on the first folio of that manuscript, the brothers made the manuscript for the Tertiaries of St. Agnes in Amersfoort in 1457.30 _The

manuscript contains penwork initials with pen-flourishes in a style

30 Enschede, RMT, inv. no. 381, fol.1r: “Missale hoc pertinet conventui sororum domus sancte agnetis amersfordie. Scriptum in congregacione fratrum montis sancti Jheronimi prope hattem per manus Gherardi Amstel de arnem presbitri fratris eiusdem congregacionis. Procuratum cura et sollicitudine domini Augustini de varen de mechlinia. iiii rectoris et confessoris sororum domus sancte Agnetis prefate anno domini m° cccc° lvii. Cuius anima requiescat in pace Amen.”

associated with the Brothers of the Common Life of St. Jerome. Such penwork appears, for example, on the Te igitur page across from the Crucifixion. In their penwork the brothers reveal no ability to depict the human figure, but only to make iterative abstract designs. For that reason, they relied on professional artists outside the monastery to provide the Crucifixion, the centerpiece of the missal. The Moerdrecht Masters supplied the miniature with a painted border. As with several examples I have analyzed above, here the brothers were not content to leave the painted decoration as is, clashing with their own penwork across the gutter. Their solution was to add some more penwork to the margins of the Crucifixion miniature. This made at least some show to integrate it visually, and at the same time it served a purpose: the ornate cruciform designs they added to the bottom and side margins gave the priest a target for his kiss during the ritual osculation of the image.