‎CAVIGLIOLI FRANCOIS ET FRANCELET MARC.‎
‎MASTER.‎

‎Sisterbook of Master Geert?s House, Deventer The Lives and Spirituality of the Sisters, c. 1390?c. 1460‎

‎, Brepols - Harvey Miller, 2025 Hardcover, Pages: 352 pages,Size:156 x 234 mm, Illustrations:1 b/w, 3 col., Language(s):English. ISBN 9782503602509.‎

‎The Sisterbook of Master Geert?s House contains the lives of sixty-four Sisters of the Common Life who died between 1398 and 1456. Founded as an alms-house for destitute women in 1374, by the end of the fourteenth century Master Geert?s House had become a home for women desiring to live a life of humility and penitence, as well as in community of goods without vows. The Sisterbook was likely written sometime between 1460 and 1470, at a time when the religious fervour that had characterized the earlier Sisters had begun to wane. It was to incite the readers and hearers of the Sisterbook, which would have been read in the refectory during mealtimes, to imitate the earlier Sisters who are portrayed as outstanding examples of godliness and Sisters of the Common Life. The opening sentence of the Sisterbook succinctly sums up the author?s reason for writing it: ?Here begin some edifying points about our earlier Sisters whose lives it behoves us to have before our eyes at all times, for in their ways they were truly like a candle on a candlestick?, and who, by implication, could still illumine the way for her own generation of Sisters. The first foundation of Sisters of the Common Life, Master Geert?s House became the ?mother? house of numerous other houses in the Low Countries and Germany directly as well as indirectly and served as an inspiration for others. This book provides a study of the Sisterbook and its significance in the Devotio Moderna and late medieval female religiosity, while the accompanying translation introduces this important source to an English audience. TABLE OF CONTENTS Introduction The Sisterbook of Master Geert?s House, One of a ?Family? of Five The Sister Community in Master Geert?s House and Its Daily Routine The History of the House of Master Geert The Sisters. A Prosopographical Overview The Mistress, and Other Offices The Founding of New Sister Houses and the Reformation of Others Profectus virtutum (Progress in the Virtues), the Guiding Principle in the Sisters? Lives and Spirituality The Sisterbook of Master Geert?s House: Its Composition and Sources The Sisterbook: Genre and Resemblance to Other Sisterbooks The Bible and Christian Authors Cited in the Sisterbook Dirk de Man?s Edition of the Sisterbook and the Present Translation The Sisterbook of Master Geert?s House, Deventer. The Lives and Spirituality of the Sisters Appendix 1. List of Mothers/Mistresses and Priest?Rectors of Master Geert?s House Appendix 2. Sisters Mentioned in the Sisterbook that Do Not Have their Own Vita Bibliography Index of Biblical Texts Index of Names and Places Subject Index‎

‎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

‎Masterly Hand. Interdisciplinary Research on the Late-Medieval Sculptor(s) Master of Elsloo in an International Perspective Proceedings of the Conference held at the Royal Institute for Cultural Heritage in Brussels on 20-21 October 2011. a Masterly Hand. Interdisciplinary Research on the Late-Medieval Sculptor(s) Master of Elsloo in an International Perspective‎

‎, brepols, 2014 softcover, 345 pages ., 230 x 290 mm Languages: English, French, Dutch. ISBN 9782930054193.‎

‎In 1940 the art historian J.J.M. Timmers introduced the name 'Master of Elsloo' to describe the anonymous creator of a late-Gothic wooden statue of St Anne with the Virgin and Child in St Augustine?s Church in Elsloo, a town in Limburg in the present-day Netherlands. In the following decades many other stylistically-related statues came to be associated with the St Anne. As a result, the Master of Elsloo?s oeuvre grew to include at least two-hundred works. Until recently, studies of these sculptures and their maker(s) have been almost exclusively stylistic in approach. Yet the works of the ?Master of Elsloo? evoke many questions that require thorough investigation. Questions about the identity of the woodcarver or, more likely, the woodcarvers grouped under the sobriquet of ?Master of Elsloo?, their artistic roots, their period and place of activity, and the organisation of their work in the workshop or shops. The major interdisciplinary research project carried out in 2010-2011 by the Royal Institute for Cultural Heritage in Brussels together with partners from Belgium and other countries was intended to shed new light on this sizeable group of statues and their makers. This time stylistic study was augmented by extensive examination of the materials and techniques employed with particular emphasis on workbench marks and the remains of any original polychromy. Also extremely important was the dendrochronological analysis of a large number of sculptures, which led to surprising results regarding the origin of the wood and the relationship between the works. A number of complementary studies help to situate the ?Master of Elsloo? more accurately in ?his? historical and artistic context. The results of all these studies were presented as papers at the colloquium organised by the Royal Institute for Cultural Heritage on 20 and 21 October 2011. A Masterly Hand. Interdisciplinary Research on the Late-Medieval Sculptor(s) Master of Elsloo in an International Perspective brings together the project?s findings, to which are added an inventory of works associated with the ?Master of Elsloo? and the results of new archival research. de herkomst van de Sint Anna re dreen in de parochiekerk nte Elsloo, Door Gerard Venner‎

‎The true Masonic chart, or hieroglyphic monitor; containing the emblems explained in the degrees of Entwere Apprentice, Fellew-Craft, Master Mason, Mark Master, Past Master, Most Excellent Master, Royal Arch, Royal Master, and Select Master: designed, and duly arranged, agreeably to the lectures bey R. W. Jeremy L, Cross, G. L. In which are added, illustrations chargessongs&c. Second edition.‎

‎ 1820 New Haven, John C. Gray printer, engravings by companion A. Doolittle, 1820. Petit in-8° de 14+13-196 pages, orné dun frontispce et dun portrait et de 44 planches hors texte, dont un nouveau frontispice et une seconde page de titre gravée. Cartonnage bradel muet couvert en toile brune (reliure moderne).‎

‎Flemish Primitives I. The Master of Flemalle and Rogier van der Weyden Groups.‎

‎, Brepols Publishers, 1996 hardback 308 pages ., incl. 67 colour ill. and 174 halftones, 210 x 297 mm, English Catalogue of Early Netherlandish Painting: Royal Museums of Fine Arts of Belgium (CENP 1) . ISBN 9782503505015.‎

‎This catalogue includes paintings by the Master of Flemalle and Rogier van der Weyden Groups, now in the Royal Museums of Fine Arts of Belgium in Brussels, as well as thourough analyses and colour reproductions. The publication of the first in a five-volume scholarly catalogue of the 15th-century southern Netherlandish paintings in the Royal Museums of Fine Arts of Belgium in Brussels is a long awaited event. The museums' rich collection of Flemish Primitives boasts paintings by Rogier van der Weyden, Gerard David, Petrus Christus, Dirk Bouts, Hans Memling and Hieronymus Bosch. It also includes several important works by artists with provisional names from the schools of Tournai, Bruges and Brussels, such as the Master of Flemalle, the Master of the St Lucy Legend and the Master of the Life of Joseph. This multi-volume English-language catalogue will include approximately 100 paintings. Each work is the subject of a thourough analysis covering technical, historical, iconographical and stylistic aspects. The catalogue contains colour reproductions of each painting as well as other visual documentation from laboratory investigations (infrared reflectograms, ultra-violet fluorescence photographs; X-radiographs, macro photographs), photographs of related works and diagrams of the original frames. The wealth of documentation presented in this volumes makes it an indispensable reference for both scholars and amateurs interested in 15th-century painting. ‎