Index
Antonius Sanderus
12
Antwerp
7, 9, 83
Apocalypse, English
44n4, 81, 89, 118
Arnold of Rummen/Oreye
biography
10n34, 11 and n43
castle at Rummen
11, 12, 90, 91
commissioner of manuscripts
2, 94, 107
connections to Sint-Truiden and Liège
12, 68, 71, 73, 84, 90, 94
financial difficulties
11, 12
genealogy
11
heraldry
10n35, 13–15, 90.
Appendix 1
.
loss of County of Loon
12, 94
loss of the Winter Missal
12–15, 91, 94
marriage
10 and ns34, 36; 11; 14; 74
political aspirations
1, 8, 11, 12, 90
portraits
13, 14, 40, 48, 49 and n20, 50, 53–57, 94
relations with Louis of Male
9–13, 15
social position
94
Arnold V of Loon and Chiny, Count
11
Artist 1
collaboration between Artists 1 and 2
27, 39, 43, 93
decoration of borders
ball-and-squiggle corkscrews
59
fish faces. see Inventory 5
.
flame motif
32, 57, 76, 124
fluttering, curviliear forms
30, 32, 67
human faces. see Inventory 5
.
loose corkscrews
33, 41, 53
rosettes
31, 59, 87
humor
30, 32, 33, 59, 64, 65, 67
iconography of two-line initials
31, 32.
Tables 3 and 4
.
oeuvre in 10 A14
30
stylistic sources in Tournai and Ghent
30, 84, 89, 94
visual puns
31
Artist 2/3
Appendix 3.
aesthetic of reaching
33, 36, 38 and n49, 66, 67
cycles of flourishing
34, 35 and n41, 36.
Appendix 3
.
decoration of borders
33
Artist 2’s compared to Artist 3’s
41
loose corkscrews (Artist 3)
41, 53, 66
nested pairs
38, 41
foliate and floral types
33, 35
tense, wiry corkscrews (Artist 2)
33, 35, 66, 88
humor, lack of
33, 41, 43, 67, 68
iconography of two-line initials
34, 38, 41.
Tables 3 and 4
.
incompletion of work
38
palette
33
rosettes
33, 79, 108
stylistic sources in Sint-Truiden
77, 94
symmetry
35, 38, 66, 67, 93
tension
38
Artist 4
aesthetic of reaching, absence of
42
completes Artist 2’s incomplettions
38, 42, 43, 47
corkscrews
42
emotionalism
42, 43
follows and assists Artist 3
38, 42, 43, 84
humor
43
iconography of two-line initials
42.
Tables 3 and 4.
sparse style
35n41, 38n49, 41, 43, 66
stylistic kinship to Artist 3
43 and n56
tension, lack of
38n49
Baldwin IX, Count of Flanders
8
Baron van Westreenen
13
Barthes, Roland
45
Bartholomeus van Holten
13
bas-de-page
15, 21, 51–53, 59 and n58, 76, 80, 83
Battle of Crécy
9
beauty
Aquinas’s definition of
3
Classical vs. political notions of
3
Black Death/Plague
1, 9, 10, 68, 76n5, 87, 91, 92, 94
Bohemia(n)
11n49, 28, 45, 58, 66, 67, 82 and n30, 86, 89
Bohun, Bohun family
13n60, 28n17, 45, 50 and n25, 51 and n25, 65n87, 81n28, 82, 91
Brabant, Brabantine
10; 11 and n39; 85 and ns1, 2; 86; 11 and n39; 13–15; 68; 69; 72; 73; 85; 86; 90; 94
brass(es)
75, 77, 81, 87n13, 88, 113.
Appendix 4
.
Bruges
1n1, 6, 8 and n21, 9, 58, 70n15, 73
Bruges Master
89
Brussels
2; 12; 28; 29; 49; 73; 75; 85 and ns2, 3; 86; 89
Cathedral of St. Lambert
61
Charles IV, Emperor
11, 12n50
Chiny, County of
11 and n42, 12, 14n66, 56n42.
Appendix 1
.
Clementines
61
Cologne
choir screens
55n39, 86
site of production
85, 86, 89
style/iconography
25, 31, 44, 46, 49, 52, 57, 67, 75 and n3, 76, 79 and n21, 80, 89n25
relations to Rummen-group artists, manuscripts, patrons
17, 57 and n48, 58, 68, 75, 77, 80, 82, 84, 85, 89, 93
other
78, 79n22
colophon(s)
date of
7
demise of County of Loon and
1
description of
6
first colophon
7, 8, 27 and n3, 30
indicates Ghent as place of production
68, 87, 89
written by Laurence the Priest
7, 30, 38, 66, 83
flourishing of
7 and ns16 and 17; 8, 30
second colophon
7, 8, 12, 20n17, 63
written perhaps by Artist 4
66, 84
mentions Arnold of Rummen
2, 68, 94, 95
transcription and translation of colophons
6 and n12, 7
columbines
1, 2, 51, 52 and n31, 89
connoisseurship of Morelli, Roger de Piles
5
Corpus Christi
1, 2, 59, 60, 61 and n67, 62, 93, 94
Cortenberghe
11
costume and hairstyle
chaperon
29
cornettes
55
cote
14, 29, 40, 53, 55
cote hardie
29, 40, 53
dorlott
40
pouleines
29 and n23, 40
surcot
40
Dampierre Master
6n11
Diederik of Heinsberg
11
Dominican/Dominicans
61
duplex/puzzle initial
78, 80, 82
Edward III, King of England
9
Eeklo
14n65
Elisabeth of Hungary
70 and n17, 71, 94, 104
Elisabeth of Lierde
connections to Elisabeth of Hungary
71, 94
connections to Ghent
2, 68, 73, 90, 94
death of
12–14, 68
family
10 and n36
genealogy
10n33
heraldry
13, 14 and n65, 15.
see Appendix 1.
importance to patronage
94
marriages
10 and ns34, 36, 11, 74, 84, 90, 91, 94
portraits of
29, 40, 48, 49 and n20, 50, 53–57, 65
properties
10, 11, 91
relations with Louis of Male
2, 10, 11, 15
social position
94
Engelbert of the Marck, Bishop of Liège
11, 12
eucharisma
2, 26, 93, 94
Eutychia
63 and n83
flagellants
76n5
Gallican elements
71, 72
Gelasian elements
71 and ns19, 22; 72
Ghent illumination
first period, c. 1270–1295
87–89
second period, c. 1310–1335
87–89
Ghent Master
5n8, 6n11, 89
Gilles Li Muisis
76n5
Godfried of Dalenbroek
11
Golden Legend
63 and n 80, 83n32
gorgon(s)
as metaphysical/theological statement
45, 64, 67
English Apocalypses and Flemish brasses as possible sources
77, 81
in initials of 10 A 14
1, 36, 44, 45, 47, 52, 64, 65, 67, 75
in Ms Egerton 3277
81n28
in Speculum 2
80, 81
in Stockholm Bible
89, 90
linking figures
45
markers for Ghent
2, 77, 81, 89, 90 and n29
term coined by Baltrusaitis
44n4.
Appendix 6
.
used by Artist of Loppem-Bruges Antiphonal
75, 81
grisaille
22, 24, 34, 36, 40, 42, 59, 82
Guiard of Laon, Bishop of Cambrai
61
hatching
22, 34, 78
Hugh of St.-Cher, Prior Provincial of the Dominicans
61
Hundred Years’ War
1, 9, 10
hyperspectral imaging/examination
13 and n61, 14
Hypnos
31
initials
one-line
22 and n3
three or more lines
23, 24, 59, 80 and n24
two-line
4, 5, 16, 21, 22–25, 30, 31, 32 and ns30, 32, 33, 34, 36, 38–40, 41 and n55, 42, 43, 48, 66, 79, 82, 86, 88, 93, 94.
Appendix 3
.
International Gothic Style
40, 49, 82 and n29, 83, 91
Italianate, Italianism(s)
2, 3, 37, 40, 41, 44n2, 49, 50, 51, 52n32, 57, 67, 76, 83, 85, 89 and n27, 94
Jacobus de Voragine
63ns79, 80
Jaquet Maci/Jacobus Mathey
3n3, 88 and n20, 90
James of Artevelde
1, 9 and n31, 10
James of Troyes
61
Jan van Eyck
49, 51 and n26, 89
Jean de Vignay
63
Jean Pucelle
46 and n12, 54, 82, 88n20, 89, 90n28
Jehan de Grise
8, 76
Johanna of Brabant
11, 86
Johanna of Loon
11, 47n13
Johannes van Myrle, Provost
77, 78 and n14, 80 and n25, 81, 87, 88
John of Arkel, Bishop of Liège
8, 12
John of Cambrai
61
John of Gaunt
9
John of Lausanne
61
John XXII, Pope
61
Juliana of Mont Cornillon
61 and n67
Laurence the Priest
7, 27 and n3, 29 and n22, 30, 38, 42, 66, 67, 83, 93, 94
Limburg
11, 13, 47n14
Loon, County/Countship of
1, 8, 11 and ns42, 46, 12, 14n66, 56n42, 90, 94.
Appendix 1
.
Louis I of Nevers, Count
9n27, 10, 94
Louis II of Nevers, Count
9 and n27, 10
Louis IV of Loon and Chiny, Count
11
Louis of Male, Count of Flanders
Cartulary of
10n34
character of
1, 9
genealogy, marriage, and kinship
10, 12, 13, 15, 68, 89
heraldry
2, 10, 13, 15
ownership of the Winter Missal and other Rummen-group manuscripts
1, 9, 10, 12–15, 94
relations with Arnold of Rummen and Elisabeth of Lierde
10, 11 and n37, 12, 13, 15, 86
relations with Ghent
9, 10, 68
Appendix 1
manuscripts, East Anglian
33, 44 and n2, 52n31
Margaret of Brabant
13, 15, 86.
Appendix 1
.
Margaret of Male
9, 51
marginalia
6, 32, 38, 47, 76ns 5, 6, 77, 80, 81, 85n3
Martinus de Venne
78
Master of the Ghent Ceremonial
76n6, 89, 90 and n28
methods, inductive and deductive
6
Mérode Altarpiece
50 and n23, 54
Mosan
25, 49, 69, 72, 85, 89
Motivengeschichte
34
Musal
12
musical instruments
50 and ns24, 25
nomenclature of artists, difficulties with
28n11, 29n17
Oreye, arms of
13, 14 and n66, 47 and n13, 56n42.
Appendix 1
.
panel painting
Flemish
3, 34, 46, 49, 50, 51 and n26, 52n31, 53, 54 and n38, 58n52, 66, 68
Italian
54 and n38, 63
Paolo Veneziano
63
penwork flourishers and flourishing
regional styles
Ghent
77, 88
northern Netherlands
3 and n3, 88
Paris
3 and n3, 88
Sint-Truiden
77–80
criteria for identifying artists
5 and n8
possibilities of flourishing
1, 3, 4, 24, 38, 93, 94
relationship to brush painting
4, 5
significance of in the study of manuscripts
3, 4
Perweis
14n65.
Appendix 1
.
Philippe Gaudence Emmanuel de Francquen
12
Philip of Alsace, Count of Flanders
8
Philip the Bold, Duke of Burgundy
9, 10
Philip the Good, Duke of Burgundy
12, 89
Philip VI, King of France
9
Philippa of Hainault, Queen
9
Pierart dou Tielt
8, 28, 63n81, 76 and n6, 85, 90 and n28
Pleshey Castle, Essex
65n87, 91
production, models of
5, 6
Quaetbeecke
7, 11, 12
Rhine/Rhineland/Rhenish
3 and n3, 25, 28, 31, 50, 52n32, 79, 85, 86 and n6
Robert of Bethune, Count of Flanders
9n27
Robert of Turotte, Bishop of Liège
61
Robert van Craenwyck, Abbot of Abbey of Sint-Truiden
78 and ns15, 16, 79n22, 87, 88
Rummen-group manuscripts and artists
1 and n1, 5n8, 6, 10n35, 50, 57, 58, 71, 75, 78, 80, 81n28, 84, 86, 89.
Appendix 3
.
shingling technique
49, 50, 65, 66
Simon of Mirabello
1, 10 and n33, 12n52, 14n65, 73, 94
Sint-Truiden, Abbey of
20 n11, 72n30, 77, 78, 86n6
Somerghem
10n34, 14n65.
Appendix 1
.
St. Agatha
63 and ns83, 84
St. Lucy
63 and ns79, 80
St. Thomas Aquinas
3 and n5, 61 and n71, 62
stained glass
55n39, 75n3
Stokkem
11
ten Walle, palace of
10, 11, 91
terminal complex(es)
Appendix 3.
Artist 1’s
7n17, 30–33, 77
Artist 2’s
33
extensions
33
in Cycles 1–5
35, 36.
Appendix 3
.
in his manuscripts from Sint-Truiden
79
symmetries
33
definition and description of
22, 25, 35
lower margin
24, 25, 31, 33, 53
site of flourishing
25, 93
site of visual puns on heads, faces
31, 32, 77
trimming of
18
upper margin
7n17, 24, 30, 33
with corkscrews
30
Textualis formata
20
Textualis quadrata
20
Tournai
8, 9, 25, 28 and n17, 30, 67, 75–77, 84
transmedial migration/adoption
5, 25, 88
Trier
49
tronie(s)
34, 94
Urban IV, Pope
2, 61
wall painting
75 and ns3, 4; 85
Wenceslas of Bohemia, Duke of Brabant
11, 14, 68, 73, 85, 86, 94
Willem de Dycka
78, 87
William of Oreye
11
wool trade
9
Ypres
8 and n21, 9, 90