http://makingrenmanuscripts.exhibits.library.upenn.edu/files/original/181dc4d6443f2bac7a9828b45dd8e2dc.png 800484e434267d23bf5302c441553179 http://makingrenmanuscripts.exhibits.library.upenn.edu/files/original/6e38499c5eb0d863ae405541bdb7b89a.png a0e79cc119cc89aa3782a04bf2f74fd7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 5. Showcasing Salvation; Devotion by Design Subject The topic of the resource Devotion by Design Description An account of the resource The immense popularity of the Book of Hours, which allowed late medieval laypersons to recite prayers and meditate upon images to their hearts’ content, stemmed from their almost infinite capacity for personalization. Though many were purchased off the shelf and passed down generation to generation, they were also frequently commissioned as bespoke products to mark a marriage, promotion, or ennoblement. Core sections of the book—the Calendar, Hours of the Virgin, and Office of the Dead—could contain small variations particular to a region, the so-called “Use.” Specific prayers in the vernacular could be added. The increasing prevalence of possessors’ likenesses mirrored the broadening appeal of portraiture more generally. These images, which show devotees in the act of prayer, present models of the sorts of visionary experiences that effective Books of Hours were meant to provoke. Simultaneously, the presence of heraldry, complemented by mottoes and emblems, became more frequent as coats of arms, previously the preserve of high nobles, were increasingly adopted by lower-ranking individuals. By the end of the fifteenth century, Books of Hours were being printed across Europe, though not as widely as is sometimes assumed. As the examples shown here attest, the infinite variability of the hand-produced Book of Hours accommodated all manner of personal devotional preferences, far outstripping what was possible in print. Though they were still vehicles for traditional piety, these intensely personal objects were a harbinger of the more direct approach to salvation that would soon be championed by the Protestant reformers. Creator An entity primarily responsible for making the resource Dr. Nicholas Herman Source A related resource from which the described resource is derived Making the Renaissance Manuscript; Discoveries From Philadelphia Libraries Language A language of the resource English Type The nature or genre of the resource Exhibition Catalogue Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Book of Hours, Use of Paris (Susanna Hours) Description An account of the resource The Susanna Hours is so-named on account of its unusual cycle of thirteen large miniatures narrating the story of Susanna and the Elders, adapted from chapter 13 of the apocryphal Book of Daniel. Each of the miniatures is accompanied by a set of five rhyming AABBA verses in French, consisting of unique paraphrased translations of the biblical text. The basic compositions of these images derive from metalcut border illustrations designed by the Master of the Très Petites Heures of Anne of Brittany for the Parisian printers Simon Vostre and Philippe Pigouchet around 1497. The section dedicated to suffrages are mostly dedicated to female saints. The style of the illuminations is close to that of the so-called Master of Petrarch’s Triumphs (act. ca. 1499–ca. 1514) and suggests that the book was produced in Paris between about 1505 and 1520. Creator An entity primarily responsible for making the resource Illuminator: workshop of the Master of Petrarch’s Triumphs Date A point or period of time associated with an event in the lifecycle of the resource ca. 1505–20 Format The file format, physical medium, or dimensions of the resource Manuscript on parchment, 138 fols. Identifier An unambiguous reference to the resource within a given context Philadelphia Museum of Art, 1945.65.9 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris, France