No less than for the work of panel painters, color is a key tool for identifying and an insight into the production of an Laudable also is the fact that sizes have generally been respected in the layout of the photos, and when this was not possible, a scale-ratio has at least been indicated. , Vienna) which Mme Thoss co- authored with Professor Otto Pàcht.įrom the standpoint of its presentation, the exhibition catalogue has the excellent quality of providing at least one reproduction of a sample folio for each manuscript in the show, thereby proving to be a useful visual aide-mémoire, as well as being really for the reader who did not travel to Especially welcome are the color plates which so often lack in manuscript studies. , Leipzig), enterprise persued in an form, and brought to conclusion in two sets of volumes (one of text, one of published in 19 (Franzo- sische Schule. The exhibition catalogue here under review, in a generally successful fashion, condensed, for the benefit of a larger public, a selection of the manuscript studies published in 1935, 19 by Hermann Julius Hermann (Die west-europàischen Handschrif- ten und Inkunabeln der Gotik und der. It crowned the long enterprise of systematically describing, and this in an exemplary manner, the Library's collection of French illuminated manuscripts. In a field which not only attracts an number of students but equally a larger share of the public's attention, the was a most welcomed event. The volumes of the Osterreichischen National- bibl., which often stem from princely were acquired in large part through by the Hapsburgs. It needs not be emphasized that among outstanding collections of French Gothic and Renaissance manuscripts, the Austrian Library ranks as one of the most Its treasures include, for example, the single most important holding of illuminated French prayer books outside of France. FRENCH GOTHIC AND RENAISSANCE ILLUMINATED MANUSCRIPTS IN VIENNA (*)
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