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Jacques Jumeau-Lafond
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Nathan, collection "Le gout de la vie", 1988. Format 15x24 cm, reliure editeur sous jaquette illustree, 125 pages. Tres bon etat.
Reference : 19185
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5 book(s) with the same title
Moral grundet paa Nytte- eller Lykkeprincippet. Oversat og indledet ved G. Brandes. - [THE STARTING POINT FOR THE WELFARE STATE]
Kjøbenhavn (Copenhagen), Gyldendal, 1872. 8vo. Contemporary brown half cloth with gilt lettering to spine. Capitals worn and wear along edges. Internally a bit of light scattered brownspotting, but overall very nice. With numerous pencil-underlinings as well as pencil-markings, and -annotations, the latter in Høffding's hand (the underlinings possibly in Brandt's). With the ownership signature of Harald Høffding to front free end-paper and with a later presentation-inscription from Frithiof Brandt (signed F. B.) underneath. Recent ownership signature in pencil to foot of front free end-paper (1973). (2), VIII, 85, (1) pp.
Scarce first edition of the first Danish translation of Mill’s seminal “Utilitarianism”, translated by the great Georg Brandes and with the most excellent provenance, namely that of the founder of the welfare principle, which laid the groundwork for the welfare state as we know it today, Harald Høffding, with his numerous handwritten notes, annotations, and markings, and later given to someone by Høffding’s pupil, the important Danish philosopher Frithiof Brandt. Mill’s “Utilitarianism” constitutes a classic within the field of moral and political thought and is considered ""the most influential philosophical articulation of a liberal humanistic morality that was produced in the nineteenth century."" (Encycl. Of Philosophy). Originally published as a series of three separate articles in 1861, it was collected and printed as a single work under the canonical title in 1863. This publication is now considered the classic exposition and defense of Utilitarianism in ethics, a revolution within moral philosophy. The work was translated into Danish by the immensely influential literary critic Georg Brandes, by many considered the greatest intellectual of his time. Brandes played a key role in introducing especially German and British thought to Scandinavia, most notably the works by such thinkers as Darwin and Nietzsche. He is also the first to translate Mill’s works and make them accessible to a Scandinavian readership. His translation of “Utilitarianism” appeared in 1872 and was responsible for spreading the utilitarian philosophy to a wider audience in the North, indirectly - through Høffding - contributing to the formation of the welfare state that the Scandinavian countries are so famous for. It was through the reading of primarily Mill and Bentham that Harald Høffding came to develop his welfare principle, a principle that he is the first in the world to work out, and the principle upon which the modern welfare state is founded. He is primarily inspired by Mill’s Utilitarianism, but comes to largely replace the conceptions of utility and happiness using instead the welfare principle as a specification of the yardstick that must be used to evaluate actions. “The object of the welfare-principle is not the individual or momentary inclination, rather the lasting vital necessities of the human race, and therefore it places the point of judgment at the effects of an action.” (Thyrring Andersen, p. 105). “In the abandonment of the Christian ethics, positivism had to try to give the grounds for a morality which does not seek refuge with a divine authority. The contribution of Harald Høffding lies in a continuation of the utilitarianism in Jeremy Bentham and John Stuart Mills, whose normative theories on ethics claim that the correct ethically is the one that compared to the other options produces the greatest amount of positive values. And that means that the ethical values of an action depend on its ability to increase the amount of happiness. The principle of utility is formulated this way: The greatest possible happiness for the greatest possible number of people. Among the problems in this ethics are how different forms of values can be compared, which yardstick they can be measured by, and how a just and/or fair distribution of boons can be based.” (Thyrring Andersen, p. 104). Høffding had his starting point in Utilitarianism, but he transcended the more narrow principle of happiness. His welfare principle does not identify the supreme good with the happiness of the individual, “but considers the utmost purpose of being as the appearance of men of sterling characters, who have a feeling of happiness in working for the common good. … a decisive precondition of this was the commandment concerning charity in the Gospels and the historical development of this in Christianity.” (Thyrring Andersen, p. 109). Georg Brandes was the leading intellectual of his time in Denmark and must be credited with bringing European thought to Scandinavia, not only through his incredibly popular and famous lectures, but also through his own writings and not least through his translations of the most important works of the period into Danish. In Denmark, Brandes was synonymous with “the modern breakthrough” and therefore, for most, also the symbol of democracy and what we today would call welfare-thinking. At a closer look, however, Brandes was also in many ways an anti-democrat and so influenced by the thoughts of Darwin and especially Nietzsche that his views came to be very much opposed to those of a society based on a welfare principle that Høffding came to develop. “[I]t was Høffding who was the first in the world to work out a welfare-principle, namely in his “Etik” (Ethics) in 1887. Today, Høffding is not widely known, but in his lifetime and up to the 1950ties he was an internationally famous philosopher, whose works were translated into many languages and who was several times nominated for the Nobel Prize.” (Andersen, A.T.: The Dialogic and Religious Theme of Welfare in Harald Høffding…, p. 104). His great work ""Etik"", in which he developed the welfare-principle, constitutes an ethical system. Here, Høffding discusses the principal questions in order to develop a scientific ethics, or a moral science if one will, analyzes the ethical principles that are expressed in ethical assessments, and on the basis hereof develops an individualistic and a social ethic that was way ahead of its time, but which found great resonance within the reading public. The book had an enormous impact. It appeared five times in Høffding’s life-time, sold extremely well, and was quickly translated into German and French – “Denmark had gotten its first internationally known and acknowledged philosopher, several decades before Kierkegaard had his breakthrough on the international scene.” (Koch, Dansk filosofi i positivisments tidsalder, p. 41 – translated from Danish). “Høffding became a mentor to many – not least because of the humanity that marks this book [i.e. Ethics] and because of the well-balanced treatment it gives of the social and political questions of the time, of the relationship between the sexes and between church and state, just to mention a few of the “important life conditions” it deals with. Students in personal crisis contacted him, and people in difficult circumstances wrote to him for advice. Not least because of his ethical view, he came to appear as the old, wise man of the nation… His influence in the neighboring countries was also great. For instance, his ethical considerations in the years around 1900 came to play a significant role for the young Swedish social democrats and for their conception of a coming welfare state.” (Koch, Dansk filosofi i positivisments tidsalder, p. 60 – translated from Danish). The opposing views of the two intellectual giants of late 19th century Denmark would develop into a public feud that is now known as “the great debate”, an acrimonious exchange between the two concerning the writings of Friedrich Nietzsche (running from August 1889 to April 1890). “The significance of the dispute is due largely to the fact that it constitutes the earliest public interpretation and evaluation of Nietzsche’s philosophy.” (William Banks: “The Great Debate”: Nietzsche, Culture, and the Scandinavian Welfare Society”, 2024, p. 133). The feud was begun by Brandes after having read Høffding’s “Ethics” from 1887, where he presented his welfare principle for the first time, a welfare principle he had developed under the influence of Mill’s Utilitarianism that Brandes had translated an published 15 years earlier. Brandes, ultimately, wholeheartedly joins the views of Nietzsche and dissociates himself not only from the welfare principle of Høffding, but also from the ideal of Utilitarianism. Frithiof Brandt (1892–1968) was a student and follower of Høffding. He succeeded Høffding as professor in philosophy and held the chair of professor of philosophy and psychology at the University of Copenhagen from 1922 to 1958. During his lifetime, Brandt was a significant figure in Danish philosophy and psychology, most notably with his works on Kierkegaard, and especially in Danish cultural life. “Harald Høffding, the Danish philosopher and historian of philosophy, was born in Copenhagen and lived there throughout his life. From 1883 to 1915 he was professor of philosophy at the University of Copenhagen. Høffding received a degree in divinity in 1865, but he had already decided not to take orders. A study of Søren Kierkegaard's works, and especially of his views on Christianity, had led to an intense religious crisis ending in a radical break with Christianity. Høffding sought in philosophy a new personal orientation and gradually developed into an extraordinarily many-sided liberal humanist. His philosophical development was influenced during a stay in Paris (1868–1869) by the study of French and English positivism… his activity as a scholar ranged over every branch of philosophy, including psychology. His works display a vast knowledge, a keen eye for essentials, and a critically balanced judgment. They were translated into many languages and widely used as textbooks. By the turn of the twentieth century Høffding's reputation was worldwide and he knew personally many leading thinkers. He was the outstanding Danish philosopher of his day, and in 1914 the Royal Danish Academy of Sciences and Letters assigned him the honorary residence of Gammel Carlsberg, where he lived to the end of his life. The residence later passed to the physicist Niels Bohr, a younger friend of Høffding.” (Frithiof Brandt, Encyclopaedia of Philosophy). “The Danish philosopher Harald Høffding was the first in the world to work out a welfare-principle. He expressed a dialogic and democratic standpoint, a fellowship and an ideal concerning equality, and consequently a distinct philosophical basis for the realization of the formation of the welfare state.” (Andersen, A.T.: The Dialogic and Religious Theme of Welfare in Harald Høffding…, p. (103).).
"VITTORE, PIETRO (or Piero) (Lat. PETRUS VICTORIUS). [ARISTOTELES - ARISTOTLE].
Reference : 62508
(1610)
Commentarii, in primum librum Aristotelis de Arte Poetarum. Positis singulas declarationes Graecis auctoris. Iisdemque ad verbum Latine expressis. Acessit rerum et verborum memorabiblium index locupletissimus. - [THE GREATEST EDITION OF ARISTOTLE'S POETICS]
Florence, In officina Iuntaru, Barnardi Filiorum, 1560. Small folio. 18th century full vellum with gilt labels to spine. Wear to capitals and small worm tracts towrad opper hinges. Corners a bit bumped. A very nice and sturdy binding. Marbled edges. Some browspotting throughout. Small wormholes to blank margin of final leaf, far from affecting imprint. Woodcut vignette to title-page and to verso of colophon-leaf. (10), 308, (12) ff.
The rare first edition of Vittore's main work, his great edition, translation, and commentary on Aristotle's Poetics, which is arguably the most important and influential commentary on the work ever published, profoundly shaping our understanding and interpretation of Aristotelian literary theory. Petrus Victorius (or Piero/ Pietro Vittore/Vettore) (1499-1584) is not only the “first great editor of the Poetics” (McMahon), he is also considered ""the greatest Greek scholar of Italy"" (Whibley), “the leading Italian scholar of his time” (Encycl. Britt.), “the last great figure [from that period] in the domain of Greek studies” (Willamowitz), and “the foremost representative of classical scholarship in [Italy] during the sixteenth century, which, for Italy at least, may well be called the “saeculum Victorianum”.” (Sandys). His magnum opus and without doubt most influential work is his edition with commentary of Aristotle’s Poetics, which is of seminal importance in several respects. It is crucial to our understanding of Aristotle’s great work, shaping the way that all later scholars have read it. The understanding of Aristotle’s work on poetry came to define the way that we have understood literature and fiction ever since the Renaissance, and Victorius is the leading interpreter. ““From the sixteenth century to Romanticism, European literary theory used the term marvel or wonder (It. meraviglia, ammirabile, Fr. merveille, Sp. maravilla) to designate everything that was on the conceptual margins of the poetics of probability and imitation. The discovery and complete reception of Aristotle’s Poetics between the fifteenth and sixteenth centuries resulted in the dissemination of an idea of poetry as the imitation of the actions of men, whose main part was the plot, or the structuring of actions ordered according to the laws of necessity, credibility and probability. This formed the basis of Neo-Aristotelian poetics, which determined the ways of thinking about literature and fiction for more than four centuries.” (Vega p. 280). Especially the idea of “wonder” in Aristotle’s Poetics came to be one of the founding ideas of modern literary theory. And especially here, Victurius’ reading is groundbreaking, playing a central part in the reception and understanding of the work over the centuries to come. “A single editorial decision in just one passage (and what is more, in a complex, fragmentary, unfinished text like the Poetics) affects the entire work…” (Vega, p. 284). “The text of the Poetics that can be read in the editions and translations of the sixteenth century and a large part of the seventeenth (with one exception, as we shall see [NB. This exception is Victorius] ) does not include the term alogon in the passage that deals with wonder. It does not appear in the first Greek edition, the famous Aldine princeps of 1508, or in the Latin translations of the end of the fifteenth century" it is not in the edition and translation by Alexander Paccius or Pazzi, the one most widely read in the sixteenth century, neither does it appear in the edition with commentary by Francesco Robortello, nor in Vincenzo Maggi’s Enarrationes, nor in the vernacular commentaries of Ludovico Castelvetro and Alessandro Piccolomini. What is more, a detailed revision of the history of the text reveals that no manuscript of the Poetics and no direct or indirect testimonies (not even in the Arabic branch of its transmission) have ever included the term alogon.” (Vega, p. 282). It is Victorius, who is solely responsible for the reading that is generally accepted today as well. “The moment when the idea of irrationality [alogon] appears for the first time in Aristotle’s text can be identified without hesitation as 1560, which is the date when the edition, translation and commentary on the Poetics by the philologist and Hellenist Pier Vettori, or Victorius, was printed on the presses of Giunti in Florence. Vettori is the one who first edits alogon, even though no testimony provides him with this reading, and he does so fully aware of his choice and its implications” (Vega, pp. 287-89). “The success of Victorius’ reading, while not immediate, was extraordinary.” (Vega, p. 287) Antonio Viperano accepts the reading “alogon”, with all it involves (De poetica libri tres), Ricciboni adapts it in his edition of Aristotle’s Poetics, Tasso embraces it (Discorsi dell’arte poetica, Discorsi del poema eroico), and it is implicit in Alonso López Pinciano’s Philosophia Antigua Poetica. Vossius in 17th century Germany makes abundant glosses on alogon in his books on poetics, and the commentators and translators of the “Poetics” in France preferred Victorius’ reading in every case. “Victorius’ conjecture seems to have convinced all editors and commentators, who reproduce it without question in every case.” (Vega, p. 289). The influence of Victorius’ interpretation of Aristotelian literary theory that he presented in his magnum opus (i.e. the present work) was not limited to the use of specific words that changed the reception history of Aristotle’s Poetics. His entire view of poetry through an interpretation of Aristotle was highly original and came to define the way we understand literature in general. Victorius was one of the first to put forth the belief that heroic poetry should present a Platonic idea of perfect virtue, contributing to the centuries long doctrine of the perfect hero as perfect exemplar, and he was one of the first to revive Aristotle’s idea of purgation from tragedy (still widespread today) and to also understand the existence of a purgation from poetry. “He viewed poetry as a moderator of minds “By reading poetry men “become moderate in temper and their turbid motions are extinguished.” Poems “purge our minds of blemish and spot”. Vettori realized that Aristotle’s reference to catharsis should be applied to tragedy alone, but he added that similar purgations could be achieved by other kinds of poetry, effective, however on other passions than pity and fear and with the aid of other instruments.” (Hathaway pp. 292-93). Apart from his overall interpretation of Aristotle’s literary theory and his groundbreaking reading of the most central passages of the Poetics, Victorius was also the first to determine that the Aristotelian text that has come down to us is not complete. “Victorius was the first to see that the treatise now known as the Poetics is only the surviving portion of a larger work.” (Bywater, p. XX). “during his lifetime five medals were struck in his [i.e. Victorius’] honour, and his portrait was painted by Titian… His fame was not limited to his own land, or his own time. His scrupulous care and unwearied industry are lauded by Turnebus, who declines to be compared with him, even for a moment the epiteths doctissiums, optimus, and fidelissimus are applied to him by the younger and the greater of the two Scaligers, while Muretus calls him eruditorum coryphaeus and similar eulogies might be quoted from Justus Lipsius,.. Dacius, … and Graevius. He is described as having climbed the “hill of virtue”, and taken his place on its summit between Cicero and Aristotle. In his funeral oration, Salviati says of him, in the personification of Italia: “Now no more shall distant peoples cross the snows of the Alps to see Victorius, or men of mark arrive from every land to hear him or princes hold converse with him. Now no more shall the works of scholars in all parts of the world be sent here for his approval or youth learn wisdom from his lips.” (Sandys, pp. 139-40). “[N]o one, said a contemporary of his in a funerary laudatio, ‘left Aristotle in a cleaner state (purgatior)’.” (Baldi). _____________________________________________ Adams: 1905 Brunet V: 1179 Graesse I: 213 (”édition excellente quant à la critique” and noting that some copies bear the dates 1563 and 1564). Sandys: A History of Classical Scholarship Vol. II, 2003, pp. 135-140. Hathaway, Baxter: The Age of Criticism: The Late Renaissance in Italy. Cornell University Press, 1962. A.Philip McMahon: On the Second Book of Aristotle's Poetics and the Source of Theophrastus' Definition of Tragedy Author(s). In: Harvard Studies in Classical Philology, 1917, Vol. 28 (1917), pp. 1-46. Christopher Rowe: Petrus Victorius and Aristotle’s Eudemian Ethics, Cambridge University Press online, 2025. Vega, Maria José: Wonder and the Irrational. The Invention of Aristotle’s Poetics in the Sixteenth Century. In: Nous, Polis, Nomos... (Berlin, Academia Verlag, 2016). Baldi: Il greco a Firenze e Pier Vettori (1499–1585), (Alessandria, 2014), 117.
Danicorum Monumentorum Libri Sex: E spissis antiquitatum tenebris et in Dania ac Norvegia extantibus ruderibus eruti + Regum Daniae Series duplex et Limitum inter Daniam & Sveciam Descriptio. Ex vetustissimo Legum Scanicarum Literis Runicis in membran... - [THE FOUNDATION OF RUNOLOGY]
Hafnia, Joachim Moltke, 1643 + Melchior Martzan, 1642. Folio (290 x 200 mm). In contemporary full calf with four raise bands and embossed super ex-libris (C. H. Helwerskov (1655 - 1733), Danish landowner and supreme court judge) to front- and back-board. Rebacked and back-board with repair. Annotations to pasted down front end-paper and front free end-paper. Closed tear to leaf B2. A very nice, clean and wide margined copy printed on heavy paper. Engraved title-page (by Simon de Pas). (24), 526, (16) pp. + large folded woodcut plate (the Golden Horn). Large woodcuts in the text + (12), 36 pp. The text is in two columns, in Latin and runes. Captions and some runic letters printed in red.
A very nice wide margined copy printed on good paper of the scarce first editions of both of Worm's famous masterpieces on runes - 1) ""Danicorum Monumentorum"" being Worm's runic magnum opus, which not only constitutes the first written study of runestones and the first scientific analysis of them, but also one of the only surviving sources for depictions of numerous runestones and inscriptions from Denmark, many of which are now lost"" 2) ""Regum Daniae"", which contains the highly important reproduction of The Law of Scania in runes as well as in Latin translation with commentaries. The ""Danicorum Monumentorum"", with its numerous woodcut renderings of monuments with rune-inscriptions - including the world-famous folded plate of the Golden Horn, which had been found only five year previously, and which is now lost - is arguably the most significant work on runes ever written, founding the study of runes and runic monuments. Most of the woodcuts were done after drawings by the Norwegian student Jonas Skonvig"" they are now of monumental importance to the study of runes and runic monuments, not only because they appeared here for the first time in print, but also because many of the monuments are now lost and these illustrations are the only surviving remains that we have. Ole Worm (Olaus Wormius) (1588-1655) was a famous Danish polymath, who was widely travelled and who had studied at a range of different European universities. Like many of the great intellectuals of the Early Modern era, Worm's primary occupation was as a physician, for which he gained wide renown. He later became court doctor to King Christian IV of Denmark. In 1621, Worm had become professor of physics, but already the year before, in 1620, had he begun the famous collection that would become one of the greatest cabinets of curiosites in Europe (and one of the first museums) and which would earn him the position as the first great systematic collector (within natural history) in Scandinavia. It was his then newly begun collection that enabled him, as professor of physics, to introduce demonstrative subject teaching at the university, as something completely new. He continued building and adding to his magnificent collection, now known as ""Museum Wormianum"", throughout the rest of his life. Worm's fascination for antiquarian subjects not only resulted in his famous ""Museum Wormianum"", but also in a deep fascination with early Scandinavian and runic literature and the history and meaning of runestones. These monuments found throughout Scandinavia, were carved with runic inscriptions and set in place from about the fourth to the twelfth centuries. In most cases, they are burial headstones, presumably for heroes and warriors.Worm published works on the runic calendar, translations of runic texts and explications of folklore associated with the runestone histories. By far his most extensive and important work was the ""Danicorum Monumentorum"", which was the first serious attempt at scientifically analyzing and recording all 144 then known runestone sites in Denmark. With the King's blessing and support, Worm contacted bishops all over the country who were instructed to provide details and drawings of the barrows, stone circles and carved inscriptions in their regions.Many of the monuments recorded in this splendid work have since disappeared. Some of them appeared in the fire of Copenhagen, to which they were brought at the request of Worm himself. The book thus contains highly valuable data about missing sites in Scandinavian archaeology and is an invaluable source to anyone studying runes and runic monuments. Included in the work are Worm's three earlier, small treatises on runes, here collected for the first time and set into a systematic an scientific context, among them his 1641 treatise on the Golden Horn. For Danes, the Golden Horns, discovered on 1639 and 1734 respectively, with their amazing, complicated, and tragic story, constitute the Scandinavian equivalent to the Egyptian pyramids and have been the object of the same kind of fascination here in the North, causing a wealth of fantastical interpretations, both historical, literary, mystical, linguistic, and artistic. The two golden horns constitute the greatest National treasure that we have. They are both from abound 400 AD and are thought to have been a pair. A span of almost 100 years elapsed between the finding of the first horn and the finding of the second. Both findings are now a fundamental part of Danish heritage. In 1802 the horns were stolen, and the story of this theft constitutes the greatest Danish detective story of all times. The thief was eventually caught, but it turned out that he had melted both of the horns and used the gold for other purposes.Before the horns were stolen, a copy of the horns was made and shipped to the King of Italy, but the cast which was used to make this copy was destroyed, before news had reached the kingdom of Denmark that the copies made from the cast were lost on their way to Italy, in a shipwreck. Worm's work constitutes not only the earliest description of the seminal first horn, but also the most important source that we now have to the knowledge of the horn. It is on the basis of the description and depiction in the present work that the later copies of the first horn were made. Both horns were found in Gallehus near Møgeltønder, the first in 1639, by Kirsten Svendsdatter, the second in 1734, by Jerk (Erik) Lassen.Kirsten Svendsdatter made her discovery on a small path near her house, initially thinking that she had stumbled upon a root. When she returned to the same place the following week, she dug up the alleged root with a stick, and took it for an old hunting horn. She brought it back home and began polishing it. During the polishing of it, a small piece broke off, which she brought to a goldsmith in Tønder. It turned out that the horn was made of pure gold, and rumors of Kirsten's find quickly spread. The horn was eventually brought to the King, Christian IV, and Kirsten was given a reward corresponding to the gold value of the horn. The king gave the horn to his son, who had a lid made for it so that he could use it as a drinking horn. An excavation of the site where the horn was found was begun immediately after, but nothing more was found - that is until 95 years later when Jerk Larsen was digging clay on his grounds - merely 25 paces from where Kirsten had found the first horn. The year was now 1734. The horn that Larsen found was a bit smaller in size and was lacking the tip, but it still weighed 3,666 kg. As opposed to the first horn, this second horn had a runic inscription. After the horn had been authenticated, it was sent to King Christian VI, where it was placed in a glass case in the royal art chamber, together with the first horn. Before being placed here, a copy was made of both horns. These copies were lost in a ship wreck, however, and the casts had already been destroyed. In the fatal year of 1802, the gold smith and counterfeiter Niels Heldenreich broke in to the royal art chamber and stole the horns. By the time the culprit was discovered, the horns were irrevocably lost - Heldenreich had melted them and used the gold to make other things, such as jewellery. A pair of ear rings that are still preserved are thought to have been made with gold from the horns, but this is all that we have left of the original horns. New horns were produced on the basis of the descriptions and engraved illustrations that were made after the finding of the horns. And thus, the plate used in the present works constitute our main source of knowledge of the appearance of the first horn. ""The longest of the golden horns was found in 1639 and described by Ole Worm in the book 'De Aureo Cornu', 1641 (a treatise which is also included in his greater ""Danicorum Monumentorum""). The German professor at Soro Academy Hendrich Ernst, disagreed with Worm’s interpretation of the horn. Ernst believed that the horn came from Svantevits temple on Rügen, while Worm interpreted it as a war trumpet from the time of Frode Fredegods, decorated with pictures, calling for virtue and good morals. Worm immediately sent his book to Prince Christian and the scholars at home and abroad. You can see in his letters, that not only did the horn make an impression, but also the letter and the interpretation. In that same year there were such lively discussions on the horn among the scholars of Königsberg, now Kaliningrad!In 1643 Worm reiterated the description of the golden horn in his great work on Danish runic inscriptions, 'Monumenta Danica'. In 1644, his descriptions of the horn reached for scholars and libraries in Schleswig, Königsberg, London, Rome, Venice and Padua. Several learned men wrote poems for him, and the golden horn was mentioned in an Italian manus. Map Cartoonist Johannes Meyer placed the finds on several of his map of South Jutland. When the Swedish commander Torstensson attacked Jutland in 1643, Peter Winstrup wrote a long poem in Latin addressed to the bishop of Scania (which at that time still belonged to Denmark), the poem was called 'Cornicen Danicus'. It was immediately translated into Danish, entitled 'The Danish Horn Blower'. He interpreted the horn and its images as an warning of war, and his interpretations were very hostile to the Swedish. Paul Egard and Enevold Nielssen Randulf were among some of the other scholars who interpreted the Golden Horn In the 1640s. They were both deans in Holstein, and had a more Christian interpretation of the horn.All these works were illustrated with copies of Worms depictions of the horn. The Golden Horn remained known throughout the 1600s, both in terms of interpretations of the horn and designs. The found of the short golden horn in 1734 renewed the interest of the meaning of the horns."" (National Museum of Denmark). Thesuarus: 727 & 733Biblioteca Danica III, 23
[LIVRE DHEURES FLAMAND A L'USAGE D'UTRECHT . En latin, manuscrit enluminé sur parchemin / FLAMISH BOOK OF HOURS FOR THE USE OF UTRECHT. In Latin, illuminated manuscript on parchment.]
SLND [Pays-Bas ou Belgique, circa 1470-1480]. 1470 1 vol in-12° (186 x 135 mm) manuscrit de [110] ff. de parchemin rédigé à lencre sur réglures tracées à lencre pâle de: [1] f. bl.), [6] ff. Note manuscrite de mariage à l'encre brune sur la 1ére contre-garde datée 1590. (calendrier calligraphié à l'encre brune et rouge sur 32 lignes avec lettrines enluminées), [102] ff. avec texte calligraphié sur 20 lignes, textualis formata ; 14 miniatures pleine page, 22 vignettes enluminés (Péricopes, Obsecro te, O intemerata et suffrages), initiales champies peintes dorées à la feuille avec entrelacs de fleurs trilobées en leur centre (sur six lignes), initiales champies dorées à la feuille (sur deux lignes) parfois avec antennes filigranées et fleuries, initiales dorées ou filigranées dans le texte, encadrements sur fonds criblé doré avec feuilles dacanthe bleues et oranges et petite végétation simple aux couleurs vives, bouts de lignes à lencre rouge et bleue avec un écu doré au milieu (litanies), rubriques, [1] f. bl. (rares salissures, traces dusage ou de frottements, corps douvrage demeuré frais et avec des coloris très vifs). Plein veau à entrelacs d'époque Renaissance avec vestiges de cires colorées et médaillon central (XVIe s.), dos à 5 nerfs orné, plats à riche décors dentrelacs dans encadrement de filets avec frise de feuillages et oiseaux, trace de cire blanche, bleue et rouge dans les entrelacs, roulette sur les coupes, tranches dorées, écoinçons et fermoirs de laiton. (restaurations au dos, petites usures ou défauts dusage)
Somptueux livre dheures à lusage dUtrecht produit à Bruges vers 1470-1480, manuscrit illustré de 36 peintures polychromes dont 14 à pleine page et 22 miniatures et orné de frises dans les marges et de nombreuses lettrines, miniatures identifiées de la main de lartiste « "le Maître du livre de la chasse de Philippe de Clèves". Livre de liturgique destiné aux fidèles catholiques laïcs, le livre d'heures permettait de suivre la liturgie des Heures. Il se distingue du bréviaire ou psautier qui était réservé aux clercs. Fruit dun long développement initié au XIVe siècle pour rendre la liturgie accessible aux laïcs, sa production brille de mille feux au XVe siècle. Les artistes rivalisent dinvention pour orner de leur main ces précieux volumes de dévotion privée. Les frères de Limbourg et Les Très Riches Heures du duc de Berry, Simon Bening et le Livre dheures de Hennessy, Jean Fouquet et les Heures dÉtienne Chevalier, mais aussi une myriade de maîtres encore anonymes à limage du Maître de Bedford, en marquent les grands jalons jusquà lirruption de limprimerie qui en standardise la production. En complément de ce recueil de prières liées aux heures de la journée, le livre d'heures comporte le plus souvent un calendrier pour suivre l'évolution de la liturgie tout au long de l'année, et parfois des psaumes, les évangiles et des offices particuliers. Au moyen âge, avant lavènement de limprimerie, en raison du prix très élevé des manuscrits et de leur faible diffusion, Il est souvent le seul livre possédé par les familles qui parfois y notent leur état civil : mariage, naissances, décès. Cest le cas de notre livre dheures qui porte sur le premier contre plat cette émouvante inscription à lencre brune : « Ce dernier jour de septembre 1590, nous [Nom effacé : Claude Le Paige] lieutenant des gardes de son altesse de Bar Le Duc dune part et Alix de la Taxe dautre part avons épousée en face de la sainte église Catholique au lieu de Mircourt ». Avec sous les signatures lindication « Age 36 ans » et « Agée de 17 ans » et en dessous : « il mourut le 9 mai de lan 1610. Elle mourut le 14 septembre en lan 1622 » Notre manuscrit est entièrement rédigé en latin sur 108 feuillets recto verso. Il débute par les 12 pages du Calendrier à lusage de Rome/Utrecht : Variantes : 19 mars : Landoaldi pbri, 31 mars : Valerie v., 17 avril : Rufi mr., 7 mai : Gaudencii mr ( Godehardus ?), 14 mai : Corone Virginis, 21 mai : Valentis mr., 5 juillet: Donati mr. , 12 juillet: cleti pp., 5 sept. : Saturnini mr (rien à cette date dans CoKL), 12 sept. : Ypoliti, 12 oct. : Marvelli mr., 20 oct. : Asterius mr., 6 nov. : Winnoci abb.. - ff. 7r-9v : Péricopes évangéliques - ff. 11r-14v : Heures de la Croix - ff. 15r-18 : Heures du Saint Esprit - ff. 18r-20 : Missa Beate Marie - ff. 21-23 : Obsecro te et O Intemerata - ff.24-31 : Suffrages (Sainte Trinité, Saint Jean-Baptiste, Saint Pierre, Saint Paul, Saint Jean, Saint André, Saint Laurent, Saint Jacob, Saint Martin, Saint Nicolas, Sainte Catherine, Sainte Agathe, Sainte Barbara, Sainte Marguerite, Sainte Marie-Madeleine, Sainte Anne) - ff. 33r-69v : Heures de la Vierge à lusage de Rome : 33r : Matines 43r: Laudes 50r: Prime (antienne «Assumpta es », capitule « Que est ista » ) f.53r: Tierce f.56r: Sexte - f.59r: None (antienne «Pulchra es » et capitule « In plateis sicut ») f.62r: Vêpres 67r: Complies. - ff. 71r-74v : Officium beate Marie quod dicitur per totum adventum - ff. 76r- 81 : Psaumes pénitentiels - ff. 82-85v : Litanie et pétitions - ff. 87r-108v : Office des morts à lusage de Rome (suivant le relevé de Knud Ottosen, ordre des réponds : 14, 72, 24, 46, 32, 57, 68, 28, 40). Ce livre dheure fait partie dun corpus de dix manuscrits attribués à lartiste « "le Maître du livre de la chasse de Philippe de Clèves" ("the Master of Philip of Cleves's Livre de la chasse"), actif aux Pays Bas de Des détails de plusieurs miniatures ont permis au chercheur du CNRS Anno Wijsman, auteur dun corpus sur cet artiste, de lidentifier par comparaison avec les autres manuscrits : Tête du Christ sur la miniature de la trinité, profil de David en prière Les éléments floraux des frises sont très similaires à d'autres livres d'heures de la région de Bruges produits à cette époque, notamment le graphisme et les couleurs des feuilles d'Acanthe. Liste des miniatures à pleine page : - f.10v : Crucifixion avec la Vierge et saint Jean ; à larrière-plan un paysage de bosquets. - f.14v : Pentecôte dans le Cénacle. La Vierge est entourée des apôtres dans un édifice aux arcades ouverte laissant apercevoir lenceinte dun domaine. - f.17v : Nativité et adoration des anges. La Vierge tient lenfant Jésus devant deux anges agenouillés, dans un édifice gothique à colonnes et aux fenêtres en ogive. - f.31v : Annonciation. La chambre de la Vierge est de teintes orange et vert ; Gabriel porte une longue cape rouge. - f.41v : Visitation. La Vierge et Elisabeth se rencontrent sur le seuil dune chaumière devant une imposante bâtisse lacustre à toit pointu et chien-assis, flanquée dune tour médiévale à toiture bleue, avec pont-levis à larrière. Une entrée par leau est visible derrière la Vierge. - f.47v : Nativité. Lenfant jésus dans son ovale dor est encadré par Marie, Joseph et lange au second plan, ses ailes déployées, dans une sorte de seuil entre intérieur et extérieur dun bâtiment aux fenêtres à croisées. - f.50v : Annonciation aux bergers. Devant un paysage alternant diverses saisons avec à larrière-plan un château médiéval, deux bergers au milieu de leurs moutons reçoivent les rayons du message solaire. - f.53v. : Adoration des Mages. Deux des trois rois mages sont debout, un autre agenouillé. - f.56v. Présentation au Temple. La Vierge est accompagnée de Joseph et dune servante. - f.59v. : Massacre des Innocents. Hérode est représenté debout ordonnant de son sceptre à un soldat, à droite, dabattre son épée sur un nouveau-né couché nu sur le sol ; au loin, une scène montre un soldat tuant le bébé quune femme porte dans ses bras.- f.64v : Fuite en Égypte. La Vierge avec lenfant est sur un âne, précédés par Joseph ; au loin une colonne dont la statue se brise est placée au milieu dun paysage de bosquets. - f.68v. : Assomption de la Vierge. La Vierge au ciel, agenouillée devant le Père, le Christ et lEsprit Saint, reçoit son couronnement dans un écrin flamboyant or et rouge bordé dazur. - f.73v. : Le Roi David. Agenouillé en prière au premier plan, sa harpe et sa couronne posées par terre, il reçoit les rayons divins ; à larrière-plan, un paysage darbres et de montagnes est complété sur la gauche par un château médiéval. - f.84v : Résurrection de Lazare. Jésus debout parmi plusieurs personnages sur un fond de monastère gothique. Les initiales enluminées sont particulièrement soignées ainsi que les frises composées de fleurs diverses dont des feuilles dacanthe et des coquelicots. Les 24 miniatures des saints sont dune grande finesse, avec force de détails à limage du petit diable ailé représenté sur la première, derrière St Jean. Source iconographique précieuse historiquement, les décors, premiers et arrières plans des grandes peintures sont tout aussi finement exécutées, figurant villes, châteaux, habitations et des personnages du moyen âge. Son élégante reliure dépoque renaissance est légèrement postérieure. Cependant le corps douvrage, avec ses larges marges, semble ne pas avoir été rogné et il est possible quelle ait remplacé une première reliure fragile, comme du velours. Provenance : Claude Le Paige (circa 1552-1610), marié à Alix de La Taxe en 1590 à Mircourt [Mirecourt, commune française de Loraine] (inscription sur le premier contre plat transcrite plus haut). Il était le fils de Gérard Le Paige et Isabeau Hardy. Il fut anobli à la prière de l'Electeur de Cologne, par lettres de Charles duc de Lorraine, données à Nancy le 23 novembre 1585, pour services militaires rendus. ( Porte d'azur, à deux pigeons affrontés d'argent, membrés et becqués de gueules, posés sur un montjoye d'or, & surmontés d'une croisette de même, & pour cimier un lion naissant d'argent, tenant de sa patte droite une épée d'armes emmanchée d'or). Cette famille est originaire de la ville d'Angers. Son aïeul, Eustache-Alexandre Le Paige, qui était né dans cette ville, et se disait issu d'une famille noble, revenant des guerres d'Italie où il avait servi le roi en qualité de capitaine, sous le commandement du seigneur de la Trémoille, en passant à Basincourt, duché de Bar, épousa en 1500, Isabeau de La Chaussée. Il fixa sa demeure au dit Basincourt, où il est inhumé en la paroisse dudit lieu (Nobiliaire ou armorial général de la Lorraine et du Barrois Par Ambroise Pelletier, p. 474). Ex-libris manuscrit du XVI e siècle au contre plat inférieur : « François Bey ». Ouvrage dans un exceptionnel état de conservation, très frais plus dun demi-millénaire après sa production. Biblio : « Hanno Wijsman, Luxury Bound. Illustrated Manuscript Production and Noble and Princely Book Ownership in the Burgundian Netherlands (1400-1550), (Burgundica, xvi), Turnhout (Brepols), 2010, p.357, 580-581 » ; "Miniatures flamandes 1404-1482, Bernard Bousmanne et Thierry Delcourt, 2012". 1 vol. 12mo (186 x 135 mm) manuscript of [110] ff. of parchment written in ink on rules drawn in pale ink of: [1] f. bl.), [6] ff. handwritten marriage note in brown ink on 1st counterguard dated 1590. (calendar calligraphied in brown and red ink on 32 lines with illuminated initials), [102] ff. with calligraphy on 20 lines, textualis formata ; 14 full-page miniatures, 22 illuminated vignettes (Pericopes, Obsecro te, O intemerata and suffrages), gilt painted champie initials with interlacing three-lobed flowers in their center (on six lines), gilt champie initials (on two lines) sometimes with filigree and flowery antennae, gilded or watermarked initials in the text, frames on gilded cribbed background with blue and orange acanthus leaves and small simple vegetation in bright colors, line ends in red and blue ink with a gilded shield in the middle (litanies), rubrics, [1] f. bl. (rare soiling, traces of use or rubbing, body of the book still fresh and with very vivid colors). Full calf with Renaissance interlacing with vestiges of colored wax and central medallion (XVIth c.), spine with 5 ornate nerves, boards with rich interlacing decorations in a framing of fillets with frieze of foliage and birds, trace of white, blue and red wax in the interlacing, roulette on the edges, gilt edges, spandrels and brass clasps, ; restorations to the spine (minor wear or defects of use). Sumptuous book of hours for use in Utrecht produced in Bruges around 1470-1480, manuscript illustrated with 36 polychrome paintings including 14 full-page and 22 miniatures and decorated with friezes in the margins and numerous initials, miniatures identified by the hand of the artist "the Master of Philip of Cleves's Livre de la chasse". A liturgical book intended for the lay Catholic faithful, the Book of Hours allowed them to follow the Liturgy of the Hours. It differs from the breviary or psalter which was reserved for clerics. The result of a long development initiated in the 14th century to make the liturgy accessible to the laity, its production shines with a thousand lights in the 15th century. Artists competed with each other to decorate these precious volumes of private devotion with their own hands. The Limbourg brothers and the Très Riches Heures of the Duke of Berry, Simon Bening and the Hennessy Book of Hours, Jean Fouquet and the Hours of Étienne Chevalier, as well as a myriad of still anonymous masters such as the Master of Bedford, marked the major milestones until the advent of printing, which standardized their production. In addition to this collection of prayers linked to the hours of the day, the book of hours most often includes a calendar to follow the evolution of the liturgy throughout the year, and sometimes psalms, gospels and particular offices. In the Middle Ages, before the advent of printing, because of the very high price of manuscripts and their poor distribution, it was often the only book owned by families who sometimes noted their civil status: marriage, births, deaths. This is the case of our time book which bears on the first counter plate this moving inscription in brown ink: "This last day of September 1590, we ... [Name erased: Claude Le Paige] lieutenant of the guards of his highness of Bar Le Duc on the one hand and Alix de la Taxe on the other hand have married in front of the holy Catholic church at the place of Mircourt". With under the signatures the indication "Age 36 years" and "Aged 17 years" and underneath: "he died on May 9 of the year 1610. She died on September 14 in the year 1622". Our manuscript is entirely written in Latin on 108 double-sided sheets. It begins with the 12 pages of the Calendar for the use of Rome/Utrecht: Variants: March 19: Landoaldi pbri, March 31: Valerie v., April 17: Rufi mr., May 7: Gaudencii mr. ( Godehardus ?), May 14: Corone Virginis, May 21: Valentis mr., July 5: Donati mr. July 12: cleti pp., Sept. 5: Saturnini mr. (nothing at this date in CoKL), Sept. 12: Ypoliti, Oct. 12: Marvelli mr., Oct. 20: Asterius mr., Nov. 6: Winnoci abb. - ff. 7r-9v : Evangelical pericopes - ff. 11r-14v : Hours of the Cross - ff. 15r-18 : Hours of the Holy Spirit - ff. 18r-20 : Missa Beate Marie - ff. 21-23 : Obsecro te and O Intemerata - ff.24-31 ff. 24-31 : Suffrages (Holy Trinity, St. John the Baptist, St. Peter, St. Paul, St. John, St. Andrew, St. Lawrence, St. Jacob, St. Martin, St. Nicholas, St. Catherine, St. Agatha, St. Barbara, St. Margaret, St. Mary Magdalene, St. Anne) - ff. 33r-69v : Hours of the Blessed Virgin according to the usage of Rome : 33r : Matins - 43r : Lauds - 50r : Prime (antiphon " Assumpta es ", capitulum " Que est ista ") - f.53 r: Tierce - f.56r: Sexte - f.59r: None (antiphon "Pulchra es" and capitula "In plateis sicut") - f.62r: Vespers - 67r: Compline. - ff. 71r-74v: Officium beate Marie quod dicitur per totum adventum - ff. 76r- 81: Penitential psalms - ff. 82-85v: Litany and petitions - ff. 87r-108v: Office of the dead according to the usage of Rome (according to Knud Ottosen, order of the answers: 14, 72, 24, 46, 32, 57, 68, 28, 40) This book of hours is part of a corpus of ten manuscripts attributed to the artist "the Master of Philip of Cleves's Book of the Hunt", active in the Netherlands from 1470 to 1490. Details of several miniatures allowed CNRS researcher Anno Wijsman, author of a corpus on this artist, to identify it by comparison with other manuscripts: Head of Christ on the miniature of the trinity, profile of David in prayer The floral elements of the friezes are very similar to other books of hours from the Bruges region produced at this time, notably the graphics and colors of the Acanthus leaves. List of full-page miniatures: - f.10v : Crucifixion with the Virgin and Saint John; in the background a landscape of groves. - f.14v : Pentecost in the Upper Room. The Virgin is surrounded by the apostles in a building with open arches, showing the enclosure of an estate. - f.17v: Nativity and adoration of the angels. The Virgin is holding the baby Jesus in front of two kneeling angels, in a gothic building with columns and ogival windows. - f.31v: Annunciation. The Virgin's room is colored orange and green; Gabriel wears a long red cloak. - f.41v: Visitation. The Virgin and Elisabeth meet on the threshold of a thatched cottage in front of an imposing lacustrian building with a pointed roof and a dormer window, flanked by a medieval tower with a blue roof and a drawbridge at the back. An entrance through the water is visible behind the Virgin. - f.47v: Nativity. The infant Jesus in his golden oval is framed by Mary, Joseph and the angel in the background, his wings spread, in a sort of threshold between the interior and exterior of a building with cross windows. - f.50v: Annunciation to the shepherds. In front of a landscape alternating between different seasons, with a medieval castle in the background, two shepherds in the midst of their sheep are receiving the rays of the solar message. - f.53v. Adoration of the Magi. Two of the three wise men are standing, another is kneeling. - f.56v. Presentation in the Temple. The Virgin is accompanied by Joseph and a servant girl. - f.59v. Massacre of the Innocents. Herod is depicted standing and ordering a soldier on the right with his sceptre to strike down his sword on a newborn child lying naked on the ground; in the distance, a scene shows a soldier killing the baby a woman is carrying in her arms. f.64v: Flight into Egypt. The Virgin with the child is on a donkey, preceded by Joseph; in the distance a column whose statue is breaking is placed in the middle of a landscape of groves. - f.68v. Assumption of the Virgin. The Virgin in heaven, kneeling before the Father, Christ and the Holy Spirit, receives her coronation in a flamboyant gold and red box bordered with azure. - f.73v. King David. Kneeling in prayer in the foreground, his harp and crown on the ground, he receives the divine rays; in the background, a landscape of trees and mountains is completed on the left by a medieval castle. - f.84v: Resurrection of Lazarus. Jesus stands among several figures against the background of a Gothic monastery. The illuminated initials are particularly well done, as are the friezes composed of various flowers including acanthus leaves and poppies. The 24 miniatures of the saints are of great finesse, with many details such as the small winged devil represented on the first one, behind St John. Historically valuable iconographic source, the backgrounds, foregrounds and backgrounds of the large paintings are equally finely executed, depicting cities, castles, homes and characters of the Middle Ages. Its elegant Renaissance binding is slightly later. However, the body of the book, with its wide margins, seems not to have been trimmed and it is possible that it replaced a first fragile binding, like velvet. Provenance : Claude Le PAIGE (circa 1552-1610), married to Alix de La Taxe in 1590 in Mircourt [Mirecourt, French commune of Loraine] (inscription on the back of the first cover transcribed above). He was the son of Gérard Le PAIGE and Isabeau HARDY. He was ennobled at the request of the Elector of Cologne, by letters from Charles Duke of Lorraine, given to Nancy on November 23, 1585, for military services rendered. (Door Azure, 2 doves affrontee Argent, membered and beaked Gules, set on a montjoye Or, & surmounted by a crosslet of the same, & for crest a newborn lion Argent, holding from its right paw a sword of arms hilted in gold). This family is from the city of Angers. His grandfather, Eustache-Alexandre Le Paige, who was born in this city, and said he came from a noble family, returning from the Italian wars where he had served the king as a captain, under the command of the lord de la Trémoille, passing through Basincourt, duchy of Bar, married in 1500, Isabeau de La Chaussée. He fixed his residence at the said Basincourt, where he is buried (Nobiliary or armorial general of Lorraine and Barrois By Ambroise Pelletier, p. 474). Handwritten ex-libris from the 16th century on the lower cover : François Bey. Work in an exceptional state of conservation, very fresh more than half a millennium after its production. Biblio : « Hanno Wijsman, Luxury Bound. Illustrated Manuscript Production and Noble and Princely Book Ownership in the Burgundian Netherlands (1400-1550), (Burgundica, xvi), Turnhout (Brepols), 2010, p.357, 580-581 » ; "Miniatures flamandes 1404-1482, Bernard Bousmanne et Thierry Delcourt, 2012".
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Visualizing Justice in Burgundian Prose Romance. Text and Image in Manuscripts of the Wavrin Master (1450s-1460s)
, Brepols, 2020 Hardback, 389 pages, Size:178 x 254 mm, Illustrations:140 col., Language: English. ISBN 9782503586335.
Summary This is the first monograph devoted to manuscripts illuminated by the mid-fifteenth-century artist known as the Wavrin Master, so-called after his chief patron, Jean de Wavrin, chronicler and councillor at the court of Philip the Good of Burgundy. Specializing in the production of pseudo-historical prose romances featuring the putative ancestors of actual Burgundian families, the artist was an attentive interpreter of these texts which were designed to commemorate the chivalric feats of past heroes and to foster their emulation by noble readers of the day. Integral to these heroes' deeds is the notion of justice, their worth being measured by their ability to remedy criminal acts such as adultery, murder, rape, and usurpation. In a corpus of 10 paper manuscripts containing the texts of 15 romances and over 650 watercolour miniatures, the stylized, expressive images of the Wavrin Master bring out with particular clarity the lessons in justice which these works offered their contemporary audience, many of whom, from the Burgundian dukes downwards, would have been responsible for upholding the law in their territories. Chapters are devoted to issues such as the nature of just war and how it is linked to good rulership; what forms of legal redress the heroines of these tales are able to obtain with or without the help of a male champion; and what responses are available in law to a spouse betrayed by an adulterous partner. The book will be of interest to scholars of medieval art, literature, legal and cultural history, and gender studies. TABLE OF CONTENTS List of figures Foreword and acknowledgements Introduction This chapter sets out the rationale for the monograph. First, it situates its approach to study of the works of the Wavrin Master in relation to past and current scholarship in the field of Burgundian manuscript illlumination. Second, it explains and briefly illustrates the methodology it adopts, this being the analysis of the interplay between text and image in manuscripts of these prose romances, from the particular perspective of how this interplay inflects the issues of justice that are raised in the narrative. Third, it outlines in detail the precise research questions that will be addressed in the monograph and explicates the order of the chapters, justifying which texts have been selected from the corpus for detailed treatment. Chapter 1: Artist, Corpus, Patrons, Court This chapter provides a detailed context for analysis of the manuscripts in the Wavrin Master corpus by outlining who the artist was, what his body of work consisted of, who his chief patrons were, what books they held in their libraries, and how these texts contributed to the wider ideological project of legitimising the Burgundian polity as a personal union between the lord and his subjects, particularly during the reigns of the third and fourth dukes, Philip the Good and Charles the Bold. It thus sees these romances as forming part of a "literature of statecraft" teaching princely virtues, especially on matters of justice, alongside moralising works such as mirrors for princes, military treatises, and the many different types of historiographical texts that found favour at the Burgundian court. Chapter 2: Justice, Warfare, and Rulership in Florimont, the Seigneurs de Gavre and Saladin This chapter focuses on three texts whose presentation of the hero's military exploits can be read as a demonstration of medieval just war theory in action and of the link between just war and just rulership. It argues that the first two tales, Florimont and the Seigneurs de Gavre, can be seen as paradigmatic of the Wavrin Master's corpus in depicting an unequivocally exemplary hero as a just warrior and later ruler pitted against a series of antagonists whose illegitimate wars destroy their credibility as governors of their lands. By contrast, the third text, Saladin, is much more ambivalent in its portrayal of a hero whose undoubted status as a model of just conduct in war is fatally undermined by his reasons for going to war in the first place, being chiefly motivated by an insatiable desire for conquest, a lesson which may well have had a particular pertinence for Charles the Bold whose territorial ambitions far outstripped those of all three of his ducal predecessors. Translating these texts' often abstract ideas about just war and just rulership into the realm of the visual, the Wavrin Master plays with the extent to which the hero as a chivalric leader can be contrasted with his opponents in terms of both his appearance and his physical domination of space as a way of underlining the rightfulness or wrongfulness of the military causes he espouses. Chapter 3: Poor Judgements: Righting Wrongs against Women in G rard de Nevers, the Fille du comte de Pontieu, and Florence de Rome This chapter examines three romances that deal with the righting of wrongs perpetrated by men against women and the ways in which these female victims of injustice find legal redress. In the first of these texts, G rard de Nevers, justice for the wronged heroine is obtained by the male figure who had endangered her in the first place, as he fights a series of judicial duels to clear her name. Nevertheless, the heroine herself is not simply a passive receiver of this justice but herself has to use the workings of the law in order to regain her rightful place in society, in particular through her eloquence in pleading in court. The doubly wronged heroine of the second text, the Fille du comte de Pontieu, victim of a gang-rape and of her own father's punishment of her for having supposedly dishonoured her family, gains legal redress through her own efforts, pardoning the father who had wronged her but also making him swear a solemn oath never to reproach her again for her misfortune. Finally, in Florence de Rome, the heroine is abducted by her brother-in-law and subjected to multiple attempts at rape but eventually attains justice through herself exercising judgement over her transgressors. In his treatment of these women in relation to justice, the Wavrin Master places particular emphasis on representing scenes of crimes so as to establish the heroine's innocence and the different forms of judicial process by which she regains her honour and status. Valorising women in relation to justice through their demonstration of eloquence as well as through their capacity to make just judgements, these romances play their part in legitimising the role that high-status women such as the duchesses in particular were playing de facto in the good governance of the Burgundian polity. Chapter 4: Domestic Betrayals: Adultery and the Problem of Lawful Response in the Chastellain de Coucy and the Comte d'Artois This chapter, which deals with two romances that focus on the question of adultery, seeks to correct a scholarly misconception about the prevalence of extramarital relationships in Burgundian chivalric literature being a reflection of the licence that members of the male elite, particularly Philip the Good himself, allowed themselves in their own adulterous relations. It argues that, in fact, rather than celebrating extramarital love, the Chastellain de Coucy and the Comte d'Artois are concerned to teach their noble readers, both male and female, about the dangers of adultery. In particular, the way in which the domestic betrayals within these romances are treated textually and visually rejects the idea of adultery as an ennobling passion (as found in the Tristan legend, for example) and instead examines the lawful or unlawful response on the part of the betrayed spouse to the fact of their betrayal, thus addressing the wider social and legal repercussions of such extramarital passions. In his treatment of these two texts, the Wavrin Master draws on multiple pictorial traditions and runs a gamut of emotions from the courtly to the bathetic and from the erotic to the tragic in order to show that adultery, as an act of private domestic betrayal, can only lead to further forms of injustice. Conclusion: Text, Image, Ideology, Justice This chapter summarises the case made for seeing the Wavrin Master as a highly original interpreter of an unusually homogeneous body of works, ones in which the interplay of text and image is integral to the way that its lessons in statecraft, particularly on the issue of justice, would have been received at the court of Burgundy by both a male and a female audience. Appendix 1: Corpus of manuscripts Bibliography Index
