| Country | Location, Library | Manuscripts |
|---|---|---|
| Germany | Überlingen, Leopold-Sophien-Bibliothek | 1 |
| Austria | St. Paul in Kärnten, Stiftsbibliothek St. Paul im Lavanttal | 1 |
| Country | Location, Library | Manuscripts |
|---|---|---|
| France | Paris, Bibliothèque nationale de France | 1 |
| United States of America | Cleveland, The Cleveland Museum of Art | 1 |
| Russia | St. Petersburg, National Library of Russia | 1 |
Number of manuscripts: 8
Trogen, Kantonsbibliothek Appenzell Ausserrhoden, CM Ms. 4
Parchment · 202 ff. · 17.5 x 12.5 cm · Paris · beginning of the 15th century
The design concept of this manuscript, both the text and the execution, typify the Parisian 'Horae' tradition of the early 15th century ("Boucicaut-Meister"). The top-level organizational elements in the book's decorative program are seven pages decorated with miniatures; multi-line colorful initials mark the secondary textual divisions. The extremely squared illustrations on the decorated pages include scenes with figures enclosed on three sides by staffs entwined by tendrils with decorative gold, red and blue thorny leaves which completely fill the broad parchment margin.
Trogen, Kantonsbibliothek Appenzell Ausserrhoden, CM Ms. 5
Parchment · 191 ff. · 15 x 11 cm · France · first half of the 15th century
The layperson who commissioned this Book of Hours is not known by name, but left definite personal traces on the book: he had a full page portrait miniature of himself painted on Fol. 11r, kneeling and accompanied by a coat of arms. The presence of such a prominent portrait of the benefactor indicates considerable ambition on the part of the book's commissioner, who was probably a member of the merchant class. In addition, the portrait was painted by a more talented artist than the other miniatures in the manuscript, which are made in the style of woodcuts. The book of hours could have been intended for use in eastern France. Stylistically, the work displays a provincial character.
Trogen, Kantonsbibliothek Appenzell Ausserrhoden, CM Ms. 6
Parchment · 212 ff. · 18.5 x 13 cm · Northern France (Paris?) · middle of the 15th century
This Book of Hours is patterned after the liturgical format of the Parisian 'Horae'. It differs, however, in its richer, yet qualitatively narrower range of illustrations: each of the Gospel selections is accompanied by a portrait of its author, and the Marian Office by a complete cycle illustrating the childhood of Jesus. The artist's indirect reception of the originals by the well known Paris illuminator, via a series of intermediate steps, displays numerous misunderstandings or intentional revisions. To the modern eye, accustomed to modern aesthetic norms, the shallow fields, bold juxtaposition of colors, and extremely foreshortened perspective used in these illustrations come across as expressive and inventive. The commissioner of the work is unknown.
Trogen, Kantonsbibliothek Appenzell Ausserrhoden, CM Ms. 7
Parchment · 108 ff. · 18 x 13 cm · Lille · about 1500
The origin of this manuscript in the northern French-Flemish border region can be determined from its liturgical features, its leather binding with stamped designs and the inscription "Robiers Plovrins" as well as by a comparison with stylistically similar manuscripts. Another Book of Hours illustrated by the same artist is held at Claremont near Berkeley, California (USA). This exemplar is a somewhat cruder imitation of the style of scribe and book illustrator Jean Markant, who was quite popular around 1500 in Lille. The commissioner of this volume is unknown.
Trogen, Kantonsbibliothek Appenzell Ausserrhoden, CM Ms. 8
Parchment · 104 ff. · 14 x 7 cm · Paris · second quarter of the 16th century
This Book of Hours with a tall, narrow format is a true pocket book, and the framing of the miniatures with architectural elements, crowned volutes, putti, and garlands displays a definite Renaissance influence. The book is illustrated with 16 full-page illuminations and 21 smaller, simpler miniatures by a different artist. One of the full-page illustrations shows the coat of arms of the person who commissioned the book: he was a certain Michel de Champrond (d. August 1, 1539), Lord of Ollé, Advisor and Paymaster of the King. This would indicate that a well-to-do personage, not of noble birth, but part of the court circle, had an elaborate, richly decorated and partially customized prayer book made by a middle quality manuscript workshop as late as the 1530s, when printed Books of Hours were already widely available.
Trogen, Kantonsbibliothek Appenzell Ausserrhoden, CM Ms. 9
Parchment · 31 ff. · 20.5 x 16 cm · Flanders · second quarter of the 16th century
This highly unusual textual object contains three pastiches of cut-out colored initials and twelve Flemish miniatures from the second half of the 16th century, glued to newer parchment pages and outlined during the 19th century, such that the composite images are presented as if they were painted on a single, matted page. The miniatures were taken from a personal prayer book that belonged to Anne of Cleves (1515-1557).
Trogen, Kantonsbibliothek Appenzell Ausserrhoden, CM Ms. 13
Paper · 107 ff. · 30 x 21 cm · about 1530-1540
Manuscript on paper setting forth moral and social wrongdoings by means of illustrations of biblical, ancient and medieval stories as well as of contemporary works about manners and social customs. In the lower third of each page is a proverb in rhyme calling to mind the Christian virtue that forms a counterpoint to the moral wrong.
Trogen, Kantonsbibliothek Appenzell Ausserrhoden, Ms. 1
Paper · 459 ff. · 20.0 x 16.0 cm · Speicher · 1625/26
Chronicle of Appenzell by Bartholomäus Anhorn (1566-1640, 1623-1626 parish priest in Speicher AR, 1626-1640 parish priest in Gais AR). The manuscript describes events from the history of the undivided canton of Appenzell and of the canton of Appenzell Ausserrhoden (Outer Rhodes), created in 1597, with special emphasis on the Reformation and the Counter-Reformation.