The earliest known French bookstamp, and a new addition to the library of a colorful bibliophile: Jacques Thiboust of Bourges

Fifty-two discoveries from the BiblioPhilly project, No. 6/52


Georges Chastellain, c. 1402/1410–1475, L’outré d’amour pour amour morte, Philadelphia, The Rosenbach Museum and Library, MS 443/21, fol. 1r, with miniature showing The author dreaming

While being attentive to the circumstances surrounding the genesis and production of a Medieval or Renaissance manuscript is often our primary concern as scholars, sometimes the subsequent destiny of an item can be equally engaging, if not more so! This is especially the case when the attested later owner of the book is A) relatively close in date to the production of the manuscript and thus valuable as a witness to the early diffusion of a particular text, and B) known to have owned other books and documented for having had a particular focus to their bibliophilism. Today we will examine a manuscript which, though notable for its textual content and illustrations, is of further interest due to its rich early ownership history, which has never before been remarked upon.

This short, rhymed work in French by the Burgundian chronicler and poet Georges Chastellain (c. 1402/1410–1475) is entitled L’outré d’amour pour amour morte, which can be rendered in English as something resembling “The Lover’s Lament over the Death of his Love” (see here for the digitized version of the modern critical edition).[1] The manuscript is housed at The Rosenbach Library and Museum as MS 443/21. The author, Chastellain, was a prominent figure at the Burgundian court, serving dukes Phillip the Good and Charles the Bold with distinction. L’outré d’amour, written in 214 octosyllabic octets, is an example of a Roman à clef, a narrative describing actual events presented as a fictional account using altered names. This is a later name for the genre, but this type of work was popular in mid-fifteenth-century Franco-Burgundian culture, where a fractious political situation sometimes made the overt enunciation of one’s privately-held views problematic.

The Rosenbach manuscript, which is missing four stanzas between folios 7 and 8, was likely produced in Western France in the 1460s or 1470s, judging by the style of the bâtarde script and the four unframed miniatures (four more spaces for miniatures remain blank); it may well date from Chastellain’s lifetime. Ours is at least the seventh known manuscript copy of the text to be identified, and it can be added to the five exemplars listed in the Archives de littérature du moyen âge (none of which is currently fully digitized), and a copy at the Bibliothèque de l’Arsenal with eleven miniatures that has very recently been digitized. Chastellain’s text became quite popular in the early sixteenth century, as it was included in the earliest printed anthology of Middle French poetic texts, the Jardin de plaisance et fleur de rethoricquefirst issued by the Parisian printer Antoine Vérard in 1502 and re-printed no fewer than eight times before 1528.

  
The Rosenbach Museum and Library, MS 443/21, fol. 1r and Georges Chastellain, L’Oultré d’amours pour amour morte, Paris, Bibliothèque de l’Arsenal, Ms 5118, fol. 1r (253 x 174 mm versus 203 x 143 mm in size)

Given the popularity of this text in Renaissance France, the manuscript in question is especially notable on account of its subsequent presence in an important library some fifty years after its creation, when it was well on its way to becoming a classic. The Rosenbach manuscript was in fact once owned by Jacques Thiboust (1492–1555), a noted humanist book collector in early-sixteenth-century France.[2] Thiboust trained as a jurist and remained deeply devoted to the region around his native Bourges, in the Berry. He served as a notary and secretary to King Francis I and his sister Marguerite de Valois in an illustrious career that brought him into contact with a wide range of poets and chroniclers. He is best known for being at the center of a literary circle of friends in Bourges in the 1520s, 30s, and 40s, which brought together local clerics, merchants, scholars, and physicians, but also such luminaries as statesman Guillaume Bochetel, the archbishop of Bourges Jacques Leroy, the poet and translator of classical texts François Habert, and the eminent poet Clément Marot. Thiboust’s renown was such that already at the age of 24 he was the subject of a portrait, currently untraced, by the leading French court artist of the time, Jean Clouet. A number of personal manuscripts in Thiboust’s own hand survive, recording his land holdings surrounding his manor at Quantilly, near Bourges (Bourges, Archives départementales du Cher, G 61 and E 108; Paris, BnF, MS fr. 32954). A fascinating Friendship Book or Liber amicorum that belonged to Thiboust (Paris, BnF, MS fr. 1667) contains numerous odes and poems to Thiboust’s many friends.

We know the precise details of Thiboust’s acquisition of the Rosenbach manuscript on account of an autograph inscription he wrote on the inside front cover, in a fine bâtarde script. It reads:  “C’est au Seigneur de Quantilly M. Jacques Thiboust, notaire et secrétaire du Roy et esleu en Berry. Et le luy a donné sire Jehan Jaupitre son frère. En mars 1535.” (“This belongs to the lord of Quantilly Mr. Jacques Thiboust, notary and secretary to the King, and elected in Berry. And it was given to him by his brother Jean Jaupitre, in March 1535”). Jaupitre appears to have been Thiboust’s wife Jeanne de la Font’s half brother; the manuscript thus exemplifies the type of infra-familial gift of a book that was becoming so popular in Renaissance France. “Des livres de M. Jacques Thiboust” (“From the books of M. Jacques Thiboust”) is additionally written on lower pastedown, and the date of “mars 1535” is repeated on recto of first flyleaf.  The title of the work, “Cy commance le livre de l’outré d’amour pour amour morte,” has also been added in upper margin of folio 1r. Like other books that belonged to Thiboust, this manuscript has his name all over it!

  
The Rosenbach Museum and Library, MS 443/21, upper pastedown, with inscription by Jacques Thiboust, and lower pastedown, with additional inscription

As if that weren’t definite evidence enough to establish ownership, the manuscript bears Thiboust’s unique, ink-stamped ownership mark on the verso of the front flyleaf and the verso of folio 37.[3] The bookstamp displays Thiboust’s arms. These are, in French heraldic terms: “écartelé au 1 et 4 d’argent à la face de sable, chargé de trois glands d’or accompagné de trois feuilles de chêne de sinople, deux en chef, une en pointe; au 2e d’argent à une anille de moulin de sable [Dumoulin] ; au 3e d’or à deux perroquets adossés de sinople [Rusticat]; et sur le tout d’azur à une étoile-comète d’or [Villemer]. Hand-painted variations of the arms occur in other books owned by Thiboust, including his Paris Liber Amicorum (Paris, BnF, MS fr. 1667) and a manuscript register now in the Bibliothèque municipale of Bourges (Ms 373, fol. 3v). Above and below the square armorial stamp are the mottoes, in Latin and French respectively, “Lex et Regio” and “Qui voit s’esbat,” which can be translated “Law and Region,” or “Law and Land;” and “He who sees frolicks, relaxes, or amuses oneself.”). The latter is in fact an anagram of Thiboust’s first and last names (switching I for J and a V for a U), devised by the noted poet Clément Marot.[4] For good measure, the French motto has been recopied in pen below the stamp on folio 37 verso, and signed, again, by Thiboust himself.

http://openn.library.upenn.edu/Data/0028/ms_443_021/data/web/6089_0003_web.jpg  
The Rosenbach Museum and Library, MS 443/21, flyleaf i verso and fol. 37v, showing the armorial bookstamp, motto, and signature of Jacques Thiboust

Thiboust’s serially reproducible woodcut ownership mark is the earliest of its kind to be used in France, though other, earlier examples survive from German-speaking regions. The stamp itself is interesting for its rather cutting-edge design: based on its curling, strapwork ornament, I would date it well into the 1520s, not 1518–1520 as Arthur Rau had assumed (see footnote 3). It is found in other fifteenth-century manuscripts Thiboust owned (for example a copy of Alain Chartier’s L’espérence ou consolation des trois vertus now in the Morgan Library & Museum), in contemporary printed books (a copy of Le couronnement du roi François [Paris, 1520] held at Yale University Library), and in significantly older items, including this twelfth-century version of Josephus’s Antiquities, now in the Bibliothèque nationale de France (ms. lat. 15427), which he gifted to his friend Bochetel. A particularly good example occurs in an example of the anonymous La voie d’enfer et de paradis, Les Enluminures, TM 775, where the stamp’s presence on the first page of this imperfect copy proves that it had already lost its first few leaves by the time it came into Thiboust’s hands (see the excellent Les Enluminures description and additional photos here).


La voie d’enfer et de paradis, Bourges, c. 1460. Les Enluminures, TM 775,  verso of final flyleaf-fol. 1r, an example of another mid-fifteenth-century French manuscript with Jacques Thiboust’s bookstamp and inscription

A final—though conjectural—piece of evidence that might help localize our manuscript even more precisely within Thiboust’s ownership is its potential inclusion within a list of contents of Thiboust’s library found in his Liber Amicorum mentioned above (Paris, BnF, MS fr. 1667). On folio 156r of this album, within what seems to be a list of literary works from which Thiboust drew excerpts, appears (six lines up from the bottom) an entry that can be read as “Le couspré d’Amour,” (?) perhaps a misspelling of “Le l’oustré d’Amour”? The item above it is “La voye du Paradis,” which seems to be identifiable with the manuscript of La voie d’enfer et de paradis, mentioned and illustrated above (Les Enluminures, TM 775). The roman numerals in the right margin of the list, which are not continuous, are puzzling. Could these allude to the year in which Thiboust received the works, in which case the “XXXV” (35) for the mysterious “Le couspré d’Amour” would accord with the 1535 year recorded in the Philadelphia manuscript? Regardless of whether this link can be made definitely, the Philadelphia manuscript remains a previously unnoticed addition to Thiboust’s library, and further confirms this humanist bibliophile’s interest in the creation of a French literary canon through the collection of manuscript exemplars, even at a time when this text was widely available in print.


Paris, BnF, MS fr. 1667, fols. 155v-156r



[1] For L’outré d’amour, see Lemaire, Jacques, “L’Oultré d’Amour de George Chastelain: un exemple ancien de construction en abyme,” Revue romane 11 (1976): 306-316.

[2] For Jacques Thiboust, see Boyer, Hippolite, Un ménage littéraire en Berry au XVIe siècle, Jacques Thiboust et Jeanne de La Font (Bourges: Impr. et Lithographie de Ve. Jollet-Souchois, 1859; Omont, H., “Un Nouveau Manuscrit de Jacques Thiboust de Bourges,” Revue d’Histoire Littéraire de La France 4, no. 1 (1897): pp. 92–97; and Le Clech-Charton, S., “Jacques Thiboust, notaire et secrétaire du roi et familier de Marguerite de Navarre: amitiés littéraires dans le Berry du ‘Beau seizième siècle’,” Cahiers d ‘Archéologie et d’Histoire du Berry 96 (March 1989), pp. 17-28; other books owned by Thiboust are discussed in Le Clech-Charton 1989.

[3] For Thiboust’s stamped bookplate, perhaps the earliest of its kind to be used in France, see Rau, Arthur, “The Earliest Extant French Armorial Ex-libris,” The Book Collector (Fall 1961), pp. 331-332.

[4] See Boyer, Un ménage littéraire, p. 58.

The identification of a Spanish patron for a neglected Book of Hours

Fifty-two discoveries from the BiblioPhilly project, No. 3/52

http://openn.library.upenn.edu/Data/0007/lehigh_codex_019/data/web/6689_0012_web.jpg
Book of Hours, Use of Rome, Bethlehem, PA, Lehigh University, Linderman Library, Codex 19, fol. 3r

Lehigh University’s small but excellent collection of Medieval and Renaissance manuscripts deserves to be better known–and soon will be thanks to the Bibliotheca Philadelphiensis digitization project! Only the first sixteen of the university’s manuscripts to be acquired were described (and briefly at that) in Seymour de Ricci’s Census of medieval and renaissance manuscripts in the United States and Canada (1935–1940); later acquisitions were not listed in the supplement to the census published in 1962. In 1970, the young John C. Hirsh (now a professor of English at Georgetown University), who received his doctorate from Lehigh that very year, organized an exhibition of the manuscripts and published a short guidebook to them, which was the first attempt at a complete checklist: Western Manuscripts of the Twelfth through the Sixteenth Centuries in Lehigh University Libraries: A Guide to the Exhibition.

The 1970 exhibition provided some new information about Lehigh’s manuscripts, but nothing like a comprehensive catalog, and there remains much research to be done on this collection. A case in point is Lehigh Codex 19, a Book of Hours of the Use of Rome described by Hirsh as a “15th-century manuscript on vellum, written in France.” A closer examination of the manuscript in fact reveals that it was produced in Flanders for export to Spain, a phenomenon that was quite widespread in the fifteenth and early-sixteenth centuries (and another example of which may be the famous Collins Hours at the Philadelphia Museum of Art).[1]

To begin with, the coat-of-arms visible on fol. 3r, nestled amidst a charming “Ghent-Bruges”-style border more typical of Flanders in the early sixteenth century, is identifiable as that of the Ayala family of Toledo, Spain: Argent, two wolves passant sable in pale, a bordure gules charged with eight saltires or (in Spanish, “En campo de plata, dos lobos de sable, uno sobre otro; bordura de gules, con ocho aspas de oro”). The Ayala de Toldeo family was prominent in royal affairs in Spain around the turn of the sixteenth century, having been awarded the Duchy of Fuensalida by Henry IV of Castile in 1470.[2] While the book contains no further information as to the exact original owner of the book, an examination of the Ayala dynasty allows us to posit a number of potential candidates, either among the sons and daughters of Pedro López de Ayala II, whose death in 1486 probably occurred before the book was made, or among the children of Alfonso de Silva y Ayala, perhaps Pedro López de Ayala IV, who died in 1537. [edit: As Peter Kidd rightly points out in a comment below, the Obsecro te and O intemerata prayers, as well as the prayer of Saint Augustine, contain feminine forms, confirming that the book’s first intended recipient was a woman. This makes the most likely owner Leonor de Ayala, about whom little is known, or perhaps one of her sisters or her niece, Maria de Silva Ayala.]

 


Family tree drawn from Juan Ramon Palencia Herrejón, “Elementos Simbólicos de Poder de la Nobleza urbana en Castilla: los Ayala de Toledo al final del Medievo,” En la España medieval 18 (1995): 177 (article pp. 163–180)

The imposing Ayala residence in Toledo, the Palacio de Fuensalida, survives today as the headquarters of the presidency of Castilla-La Mancha. The building’s interior and facade are emblazoned with the coat-of-arms found in our Book of Hours.

https://upload.wikimedia.org/wikipedia/commons/9/9e/Palacio_de_Fuensalida._Toledo.jpg   Palacio de Fuensalida 000.jpg
Exterior facade and interior courtyard of the Palacio de Fuensalida, Toledo, Spain

Other evidence of our manuscript’s intended use and eventual presence in Spain abounds. The manuscript contains Castilian rubrics for a series of fifteen unusual prayers that appear to be associated with Giles of Rome (lived ca. 1243–1316; fols. 109r-181v), and an inquisition verification inscription on fol. 181v, dated to 1573.

http://openn.library.upenn.edu/Data/0007/lehigh_codex_019/data/web/6689_0224_web.jpg   http://openn.library.upenn.edu/Data/0007/lehigh_codex_019/data/web/6689_0369_web.jpg
Lehigh University, Linderman Library, Codex 19, fols. 190r and 181v

By coincidence, another manuscripts preserved in the region, at The Rosenbach Library and Museum, also contains a (previously identified) coat-of-arms of this same family. Rosenbach MS 482/2, a Spanish translation of De regimine principum produced around the year 1500, includes the Ayala de Toldeo arms in the bottom right hand corner of folio 18r. Interestingly, this treatise on the conduct of princes was originally written by Giles of Rome, the author to whom some of the prayers in the Lehigh Book of Hours seem to be connected. Might there be an Ayala family preference at play here?

http://openn.library.upenn.edu/Data/0028/ms_482_002/data/web/6279_0040_web.jpg
De regimine principum, The Rosenbach Library and Museum, MS 482/2, fol. 18r, with detail of Ayala coat-of-arms below compared to that in Lehigh Codex 19

  


[1] For this phenomenon see Javier Docampo Capilla, “Horas Scriptas / Horas de Enprenta: Producción y Comercio de Libros de Horas En La Península Ibérica,” in Del Autor Al Lector: El Comercio y Distribución Del Libro Medieval y Moderno, ed. Manuel José Pedraza Gracia, Carlos Yolanda San Román, and Nicolás Bas Martín (Zaragoza: Prensas de la Universidad de Zaragoza, 2017), 15–36; and idem, “La importación de manuscritos iluminados y su influencia en la miniatura de la Península Ibérica: 1470-1570,” in La miniatura medieval en la Península Ibérica, ed. Joaquin Yarza Luaces (Murcia: Nausicaa, 2007), 255–311.

[2] For this family, see Juan Ramon Palencia Herrejón, “Elementos Simbólicos de Poder de la Nobleza urbana en Castilla: los Ayala de Toledo al final del Medievo,” En la España medieval 18 (1995): 163–180; and idem, Los Ayala de Toledo: desarrollo e instrumentos de poder de un linaje nobiliario en el siglo XV (Toledo: Concejalía de Cultura, 1996).

An unpublished, autograph booklet by Jean Lemaire de Belges, presented to the Queen of France on New Year’s day 1512

Fifty-two discoveries from the BiblioPhilly project, No. 1/52

  
Lemaire de Belges, Jean, 1473-1524 – Pronosticque historial de la félicité future de l’an mil cincq cens et douze, Philadelphia, The Rosenbach Museum and Library, MS 232/11, fols. 1v-2r

Our series begins auspiciously with a long-lost royal prognostication on the good fortune of the year to come, the Pronosticque historial de la félicité future de l’an mil cincq cens et douze, or, translated roughly into English, the Exemplified foretelling of the future joy of the year fifteen-hundred-and-twelve. This sixteen-folio manuscript, written and signed by the important Walloon poet and historiographer Jean Lemaire de Belges (c. 1473–c. 1525), is an autograph copy produced for the Queen of France, Anne of Brittany (1477–1514). The text is otherwise unknown, and its rediscovery in the collections of The Rosenbach Museum and Library makes for an important addition to the author’s corpus while providing new information about the literary leanings of its famed recipient. Anne, to whom the work is dedicated, was an extraordinary political leader and a great patroness of the arts. She has the distinction of being the only French sovereign to have been twice crowned, first as the wife of King Charles VIII and then, after his sudden death in 1498, as the consort of Charles’ successor and second cousin once removed, Louis XII.

https://gallica.bnf.fr/ark:/12148/btv1b550093038/f11.highresGrandes Heures d’Anne de Bretagne (Great Hours of Anne of Brittany), Paris, Bibliothèque nationale de France, ms lat. 9474, portrait of Anne in prayer, fol. 3r

Philadelphia in fact preserves numerous manuscript artifacts related to Anne and her husbands: the Free Library of Philadelphia houses the beautiful February, June, August, and September calendar pages from a grand Book of Hours made by the court painter Jean Bourdichon for Louis XII in 1498, while a single leaf fragment with a miniature of the Lamentation by Jean Poyer includes, on its reverse side, an inscription identified by Roger Wieck as possibly being in Anne’s own hand.[1] The FLP also houses a manuscript with an unusual binding decorated with the ermine tail, one of Anne’s emblems, and a (previously unnoticed) fragment from the once-impressive choirbooks commissioned by Anne and Louis,[2] bearing their initials and emblems. Anne’s library has been the subject of some excellent recent scholarship,[3] and this new find helps to enrich our knowledge even further.

As mentioned above, the present manuscript is the sole surviving exemplar of an unpublished text apparently unknown to specialists. Its most detailed prior mention occurs in the Report of the Royal Commission on Historical Manuscripts of 1876, when it was in the collection of Evelyn Philip Shirley (1812-1882) of Ettington Hall, Warwickshire (where, incidentally, scenes from the 1963 film The Haunting were filmed). It was presumably Shirley who brought the manuscript to the British Museum to have it inspected by Keeper of Manuscripts John Holmes (1800-1854), whose handwritten notes are found in the front flyleaves of the manuscript. Previously, it had been in the collection of Walter Henry Bracebridge (d. 1832). It is not immediately clear how the manuscript ended up with A.S.W. Rosenbach in Philadelphia. Despite being present in prominent collections, the book has escaped mention in the voluminous literature dedicated to Lemaire de Belges, being noted briefly only in Paul Oskar Kristeller’s Iter Italicum. As such, I am currently at work on a critical edition of the short text, to be published in the not-too-distant future.

But what does this unusual text actually say? As a prominent court poet, Lemaire de Belges was renowned for creating “poésies de circonstance” or short works intended to address a particular situation. In this case, he addressed the auspicious numerological circumstances of the year 1512. The first page opening includes the queen’s Castilian motto “NON MUDERA” inherited from her Spanish mother (and also seen below, on the right, in the most splendid book she owned, the Grandes Heures d’Anne de Bretagne), as well as the year in Roman numerals. These inscriptions are contained in two red banderoles, which frame a star-like emblem with a cypher containing the letters of ANNA BONA (good Anne/good year).

  
MS 232/11, fol. 1v and Grandes Heures d’Anne de Bretagne (Great Hours of Anne of Brittany), Paris, Bibliothèque nationale de France, ms lat. 9474, emblem of Anne of Brittany on final flyleaf, fol. 238r

The book’s prologue consists of a pompous justification as to why a historian like Lemaire de Belges ought to engage in prognostication, traditionally the realm of soothsayers and astrologists. The first main section of the text (fols. 5v-8r) consists of examples from ancient and modern history demonstrating the universality and preeminence of the number twelve (“universalité et preeminence du nombre de douze”). The second section (fols. 8v-10v) draws parallel examples of duodecimal supremacy from the sacred scriptures. A conclusion (fols. 11r-15v) draws together both strands while explaining the palindrome-like pun, visualized in the opening emblem, of ANNA BONA (“good Anne”) being a pseudo-anagram of BON AN (“good year,” in French). A helpful colophon (fol. 15v, see image below) tells us that the short text was written in Paris at the beginning of January, 1512. It is subscribed by a large rendition of Lemaire de Belges’ personal motto, “De peu assez,” (In little, enough), in sputtering red ink. Finally, the text is accompanied by a rhyming “double virelay” (fols. 16r-16v), also unpublished, consisting of two twelve-line stanzas, signed by the author at its conclusion (fol. 16v):

6541_0043_web   6541_0045_web
MS 232/11, collophon (fol. 15v) and signature of Lemaire (fol. 16v)

Lemaire de Belges and his contemporaries were fond of word play, complex rhymes, and clever layouts. In fact, another manuscript in Philadelphia, quite damaged and certainly not an autograph copy by its author, contains a similarly virtuoso device in praise of Queen Anne. The University of Pennsylvania’s partial copy of Le vray-disant, advocate des dames (UPenn Ms. Codex 956), written in the same years by Lemaire de Belges’ contemporary Jean Marot, includes a “Ballade de la Paragonne des Dames” in which the letters at the start of each line spell the Queen’s name and title: ANNE DE BRETAIGNE, ROYNE DE FRANCE. This kind of acrostic device was especially popular with the French rhétoriqueurs of the early sixteenth century. Can you spot this example of word-play in the images below?

Medieval & Renaissance Manuscripts Collection: Ms. Codex 956 - Marot, Jean, 1463-1523 - [La vray-disant, advocate des dames]   Medieval & Renaissance Manuscripts Collection: Ms. Codex 956 - Marot, Jean, 1463-1523 - [La vray-disant, advocate des dames]
Marot, Jean, 1463-1523 – [La vray-disant, advocate des dames], Philadelphia, UPenn Ms. Codex 956, fols. 9r-9v


[1] See Roger S. Wieck, “The Artist Jean Poyet and His Oeuvre,” in The Hours of Henry VIII: A Renaissance Masterpiece by Jean Poyet, ed. Roger S. Wieck, William M. Voelkle, and K. Michelle Hearne (New York: George Braziller, 2000), 27–29.

[2] For an otherwise comprehensive list of known fragments, see Christopher De Hamel, Gilding the Lilly: A Hundred Medieval and Illuminated Manuscripts in the Lilly Library (Bloomington: Lilly Library, 2010), no.83, 183.

[3] Cynthia J. Brown, ed., The Cultural and Political Legacy of Anne de Bretagne: Negotiating Convention in Books and Documents (Cambridge: D.S. Brewer, 2010); Cynthia J. Brown, The Queen’s Library: Image-Making at the Court of Anne of Brittany, 1477-1514 (Philadelphia: University of Pennsylvania Press, 2010).