Chantilly, Musée Condé, 726

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General information

Folios334
1 frontend papers
1 backend papers
LanguageFrench - Italian localisation or influence
Approx. date?1266 to 1300
Date notes'nothing in the Chantilly manuscript suggests that it was made in anything but a single campaign. And like the uniform script style and ornament, a small motif of crowns appears throughout the manuscript. The crowns are different from those in the Conradin Bible, but similar to those in other Angevin manuscripts, and point to a project carried out during the reign of Charles I.' (Corrie 2004, 291). 'Una sola copia [dell'Histoire ancienne] di origine italiana è datata unanimemente alla fine del XIII secolo: il ms. Chantilly, Musée Conde, 726; questo è il più antico testimone di tutta la tradizione in cui all' Histoire ancienne si trovano agganciati i Faits des Romains con omissione della XI sezione.' (Palmeri 2004, 228)
Place(s) of productionSouthern Italy
Painter 1 (f. 1-98 and f. 175) has been identified with the Conradin Bible atelier in southern Italy; painter 2 (ff. 108-157 and ff. 188-273) is likely to have been trained in Bologna. Presence of Bolognese ornamental elements 'is consistent with the apparent stylistic development of that atelier [...] these painters, while working in southern Italy, most likely at Naples, had become familiar with the work of Bolognese painters whose style began to dominate manuscript illumination throughout Italy in the second half of the thirteenth century, much as the Bolognese script style had spread beginning in the time of Frederick II' (Corrie 2004, 38). Alessandra Perriccioli Saggese has suggested that the MS was produced in a workshop in Emilia before being brought to Naples (Perriccioli Saggese 2010, 19-30).
First words of second recto folio[f. 2r] ste contree (et) seriens en autre
First words of last recto folio[f. 334r] ??...?? auant il
Incipit[f. 1r] Quant diex ot fait leciel (et) laterre (et) lesa / igues douces
Explicit[f. 334v] ??...?? (illegible from digitisation)

Related MS

Association suggested by similar use of gold dots and drapery (Oltrogge 1989, 39-41) and head types and palette (Corrie 2004, 242-243).
from the same atelierWalters Art Museum, Baltimore (City in United States of America) - 152

'Le miniature di questo manoscritto sarebbero riconducibili al medesimo progetto iconografico rilevabile nel ms. Chantilly Musée Condé, 726' (Palermi 2004, 239)
Similar programme of illustrationsBiblioteca Nazionale Marciana, Venice (City in Italy) - francese Z II

Material

Material:vellum
Watermark:na
Condition:Several lacunae suggest that illustrations have been removed from the manuscript. The decoration is also damaged in places [f. 109r].

Structure

Collation:

Difficult to suggest a collation given the multiple lacunae.

Quire structure:Ms. appears to be made up of quaternions, although many quire marks have been cut during re-binding, and there are multiple lacunae e.g. (in the Histoire ancienne text segment) between: ff. 13 and 14, ff.14 and 15, ff. 15 and 16, ff. 19 and 20, ff. 23 and 24, ff. 26 and 27, ff. 27 and 28, ff, 29 and 30, ff. 30 and 31, ff. 42 and 43, ff, 46 and 47, ff. 79 and 80, ff. 101 and 102.
Quire marks:
Catchwords:
Catchword disposition:verso of the final leaf of the quire, lower right-hand corner, framed

Physical description

General illustration:Two artists have been identified by Oltrogge 1989, 41. Artist 1 (ff. 1-98 and f. 175); artist 2 (ff. 108-157 and ff. 188-273). Artist 1 has been identified with the Conradin bible atelier. Artist 2 has been identified with the Bolognese illuminator of c.1270, known as the Master of 1285 (Oltrogge 1989, 41 and Corrie 2004, 230-49) Notes from Oltrogge 1989, 41: Artist 1 shows a preference for compact figure types with large broad heads complete with powerful, crudely modelled faces. Colours are accentuated by broad black / brown strokes, with the background alternating between blue and dusky pink. Artist 2 prefers gold and blue backgrounds; the figures are compact with smaller heads. The architecture of artist 1 shows pointed roofs and towers; that of artist 2 mainly flat domes and towers with flat roofs. Diverse use of colours including wine red, orange, light blue, pink, purple, yellow and bright green. Black and brown are restricted to hair and contours.
General decoration:Several folios contain heraldry (now badly damaged) [e.g. ff. 1r and 109r], indicating that the MS was the result of an individual commission. Chapters are introduced by rubrication and decorated initials, 2-3 lines tall, in alternating red and blue ink.
Evidence of readership:See maniculum f. 65ra.
Foliations description:The MS bears modern foliation in Arabic numerals; traces of original foliation (in Roman numerals) can also be see. The loss of folios in the first half of the MS is indicated by the discrepancy between the original and modern foliations (e.g. modern f. 175 was originally f. cc.).

Mise en page

Description 1Text in 2 columns. Sections of verse (see folio segment sequences relating to this MS) are presented in paragraphs, but with the punctus sometimes used to indicate the end of verse lines.
Page sampled
LayoutProse
Page dimensions353 x 258 (mm)
Justification263x193 (mm)
Columns2
21mm between columns
Lines44
RubricationRubrication used for chapter headings
Writing above top line?False
Sample page layout:

Hand(s)

Level of Execution:Libraria
ScriptSouthern textualis (rotunda libraria)
Folio rangeFrom 1r to 108v
Date?1266 to 1300
Scribe description:Attributed to that of the Conradin Bible [Walters Art Museum ms. 152] (Oltrogge 1989, 41)
Notes

Level of Execution:Formata
Scriptlittera textualis
Folio rangeFrom 109r to 334v
Date?1266 to 1300
Scribe description:Compared to Bolognese painter of c. 1270 (Oltrogge 1989, 41) Bolognese style (Corrie 2005)
Notes

Provenance

DescriptionHeraldic devices (f. 109r) show a silver lion on a red field and gold lilies on a blue field, the latter identified with the Angevins of Naples. (Oltrogge 1989, 39-41 and Corrie 2004, 239). Oltrogge 1989, 41 suggested that the MS may have been produced for 1294 wedding of Philip, prince of Taranto, fourth son of Charles II, and Thamar, daughter of the despot of Epiros. Other unions have been suggested as likely contexts for the commission of the MS, including 1267 wedding of Beatrice, daughter of Charles I, with Philip of Courtenay, and the 1271 wedding of Philip, son of Charles I, with Isabelle of Villehardouin, process of Achaea (Corrie 2004, 241).
Date?1275 to 1300
PlaceSouthern Italy (Cultural area in {unspecified})
OwnershipAngevins, of Naples, House of Anjou, Naples