Medieval manuscripts, their makers

Medieval manuscripts, their makers and users : a special issue of viator in horor of Richard and Mary Rouse

Turnhout : Brepols, 2011, 321 p.

ISBN 978-2-503-53894-5

M 235

Résumé éditeur :

The patronage, making, preservation, and use of medieval manuscripts across cultures and across the centuries: essays by eminent scholars in the field of manuscript studies.

The essays in this collection pertain to art history, medieval Latin culture both ecclesiastic and legal, the history of vernacular literatures, and the devotional practices of the laity. They reflect the patronage of authors and manuscript painters, from the royal through the monastic to the urban middle class, and they trace the sometimes astonishing afterlife of manuscripts. The subject matter of these studies ranges chronologically from late antiquity to the later Middle Ages, adding the emergent medievalism of the eighteenth and nineteenth centuries. Its geographic breadth extends through the major Western cultures and literatures, from England to Italy, Germany, and France. Its wide range in time and space reflects the lifetime of manuscript research, teaching, and collecting by its honorees, Richard and Mary Rouse.

A particular emphasis distinguishes this volume from other such collections: its stress on the use, and usefulness, of medieval manuscripts in the teaching of most historical disciplines in Western culture, from the broad undergraduate survey (of art, literature, history) to the specialized graduate seminar. In the last half century, public colleges and universities have increasingly appreciated the pedagogical opportunities inherent in building, through gift and purchase, collections of medieval manuscripts, formerly thought to be the province only of wealthy private schools. No similar collection of manuscript studies exhibits so clearly the role of medieval manuscripts in teaching.

The specialist authors represented in this volume have displayed, over the whole of their careers, an ability to combine the highest caliber of research with an eagerness to make their subject accessible to others through teaching and writing and public lectures. The essays offer the results of new and sometimes technical research, set forth in a manner intelligible not only to the expert but to the interested amateur.

Table des matières :


  • Keith Busby, “Text and Image in the Getty Tristan, Los Angeles, J. Paul Getty Museum, MS Ludwig XV, 5”
  • Anne D. Hedeman, “Laurent de Premierfait and the Visualization of Antiquity”
  • Susan L’Engle, “The Pro-active Reader: Learning to Learn the Law”
  • Elizabeth Morrison, “Linking Ancient Troy and Medieval France: Illuminations of an Early Copy of the Roman de Troie


  • François Avril, “Jean le Noir et Saint-Martin-des-Champs”
  • François Dolbeau, “La bibliothèque des Dominicains de Bâle au XVe siècle: fragment inédit d’un catalogue alphabétique”
  • Bonnie Effros, “Writing History from Manuscript and Artifact: Building an Object-Based Narrative of the Middle Ages in Eighteenth- and Nineteenth-Century France”
  • Stacey Graham, “The Transmission of North African Texts to Europe in Late Antiquity”
  • Laura Light, “Non-biblical Texts in Thirteenth-Century Bibles”
  • Patricia Stirnemann, “Private Libraries Privately Made”


  • A. I. Doyle, “William Darker: the Work of an English Carthusian Scribe”
  • Ralph Hanna, “Dan Michel of Northgate and His Books”
  • Anne Hudson, “Books and Their Survival: the Case of English Manuscripts of Wyclif’s Latin Works”
  • Margaret Lamont,  “‘Genealogical’ History and the English Roll”


  • Carrie E. Beneš,  “Noble & Most Ancient: Catalogues of City Foundation in Fourteenth-Century Italy”
  • Peter Kidd, “UCLA Rouse MS 32: The Provenance of a Dismembered Italian Illuminated Book of Hours Illuminated by the Master of the Brussels Initials”


  • Sandra Hindman, “The Richard and Mary Rouse Collection of Medieval Manuscripts at the University of California, Los Angeles”
  • Bibliography of Richard H. Rouse and Mary A. Rouse


Axes de recherches :

  • Équipe 1 – Histoire de l’art : formes, dynamiques, interprétation

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