Walters Ms. W.199, Gossouin of Metz, Image du Monde Table of chapter headings Prologues Creation, seven liberal arts, and firmament On partition of the earth Natural phenomena Epilogue Image du Monde Principal cataloger Randall, Lilian M.C. Cataloger Valle, Chiara Editor Herbert, Lynley Copy editor Dibble, Charles Contributor Emery, Doug Contributor Herbold, Rebekah Contributor Noel, William Contributor Schuele, Allyson Contributor Tabritha, Ariel Contributor Toth, Michael B. Contributor Valle, Chiara Contributor Wiegand, Kimber Conservator Owen, Linda The Walters Art Museum

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 This manuscript, which is dated in a colophon to 1489, is one of the three known fifteenth-century copies of a rare vernacular cosmography originally composed in verse under the title "Image du Monde" (The Mirror of the World) in Lorraine dialect ca. 1245-46. The manuscript provides descriptions of the seven liberal arts along with astronomical theories, especially about the earth, the creatures that inhabit it, and its movements within the universe. Each one of the liberal arts is illustrated with a small miniature in grisaille, and extraordinary geometric astronomical diagrams recur throughout the book. The importance of W.199 is both textual and pictorial. Illuminated by followers of Willem Vrelant, active in Bruges 1454-1481, the manuscript reveals affinity of format and content with a 1464 copy of the Mirror of the World made in Bruges (London, British Library, Royal 19 A.IX). Baltimore The Walters Art Museum W.199 The primary language in this manuscript is French. The secondary language of this manuscript is Latin. 3r - 134r Image du Monde Chi commenche la table des Rubrices de ce present volume appelle le miroir du monde. Text in French: diagrams inscribed in French and Latin Scriptum Anno Domine incarnationis. 14.89. 20 februarii. 3r - 5v Table of chapter headings Chi commenche la table des Rubrices de ce present volume appelle le miroir du monde. et primes Prologue declarant a qui ce volume appartient 6r - 7r Prologues Considerant que paroles sont Fol. 6r-v: Prologues of the translator: the first prologue declares that the book is a French translation entitled "ymage du monde" from the Latin text commissioned in 1245 by John, duke of Berry and Auvergne; fol. 6v explains that the organization of the text was accomplished in Bruges in 1464 ("MCCCC.lxiiii" with the second and last "C" erased, giving as apparent date "MCC.lxiiii") 7v - 46v Creation, seven liberal arts, and firmament Chi commence le liure appelle le miroir du monde. 47r - 93r On partition of the earth Fol. 46v: Chi commenche la seconde partie de che present liure Et declaire comment la terre est devisee et quelle part elle poeut estre habitee. Puis que la terre est tant petite 93v - 134r Natural phenomena Fol. 93r: Chi fine la seconde partie de che present liure. Et chi commenche la tierche partie de che present volume qui chy apres sinsieult. En ceste tierche et derreniere partie 134r - 134r Epilogue The epilogue explains that the volume was commissioned by John, duke of Berry and Auvergne in 1245; reference to "Iehan clerc librarien" in Bruges, credited with organizing this edition in 1444 (probably scribal error for date 1464 written on fol. 6v); prayers for physical and spiritual benefits for the readers or auditors

Well-selected and prepared heavy parchment, with stained and grimed margins

 Foliation: iii+136+iii27.9 21.3 18.3 12.3 Paper flyleaves; crimson silk used as pastedown and glued to the first and last flyleaves of the manuscript

Quires 1-16: 8 (fols. 3-130); Quire 17: 4 (fols. 131-134) Signatures in arabic numerals appear occasionally on lower right of page; in paler brown ink than that of text; see fols. 35r-38r for a complete, although rare, set Catchwords frequently extant beginning on fol. 26v; appearing on page high at center or just right of center; in paler brown ink than that of text Original foliation at head-edge of page; in roman numerals beginning after calendar on fol. 6r of modern penciled foliation

 Ruled in purple ink Litera batarda One blue (2 lines) and one red initial (3 lines) mark the beginning of each prologue Sixteen miniatures (ranging from 6-17 lines) in quadrangular frames mark the divisions of the text Diagrams (6-10 lines) throughout; red or blue initials (3-6 lines) mark the major divisions of the text One full-page miniature; five diagrams (6-18 lines); red or blue initials (3-4 lines) mark the major divisions of the text One full-page illumination; 11 smaller figural miniatures in grisaille; 27 polychrome scientific diagrams; blue or red initials (2-6 lines) mark the major and minor divisions of the text; rubrics in red, text in dark brown ink Cleric teaching four clerics First prologue Small miniature, 12 lines God with armillary sphere Power of God Small miniature, 12 lines God the Father with compass Why God created the world Small miniature, 12 lines Creation of Eve Man created in God's image Small miniature, 7 lines Cleric teaching four clerics Grammar Small miniature, 11 lines Discussion between clerics Logic Small miniature, 10 lines King addressing three clerics Rhetoric Small miniature, 11 lines Cleric counting Arithmetic Small miniature, 9 lines Cleric seated at table set with compass, dividers, and geometric shapes Geometry Small miniature, 9 lines Cleric playing bells Music Small miniature, 9 lines Cleric with sextant, addressing four clerics Astronomy Small miniature, 9 lines The earth and the spheres of the four elements Comment la terre se tient droit au fin milieu du monde Diagram, 10 lines Roundness of the earth: men walking around circumference Comment la terre se tient droit au fin milieu du monde Diagram, 17 lines Roundness of the earth: distance traveled by stones cast to the center of the earth Comment la terre se tient droit su fin milieu du monde Diagram, 9 lines Roundness of the earth: distance traveled by stones cast to the center of the earth Comment la terre se tient droit au fin milieu du monde Diagram, 10 lines Roundness of the earth: distance traveled by stones cast to the center of the earth Quelle la reondesse de la terre est Diagrams, 10 lines (top) and 7 lines (bottom) Roundess of the earth created by God Pour quoy dieu fist le monde reond Diagram, 9 lines Three diagrams of the division of the earth Chi commence la seconde partie de che present liure et declaire comment la terre est devisee et quelle part elle poeut estre habitee Diagrams, 6 lines (top) and 9 lines (bottom)

Corners of top panel inscribed: "la pomme fendue en quatre quartie[r]s"; at the center of the folio, the diagram at the right reads: "la droite ligne de midi"

 Division of the earth Chi commence la seconde partie de che present liure et declaire comment la terre est devisee et quelle part elle poeut estre habitee Diagrams, 9 lines (top) and 6 lines (bottom)

Top left diagram inscribed top center clockwise: "paradis / terrestre / terre / Midis / Occident / Mars / Septentrion"; the diagram below has the corners above inscribed: "Ori / ant," and the corners below: "Occi / dant"

 Diagrams of the division of the earth Apres soit chascune partie tournee vers son nom en terre Diagrams, 6 lines (top) and 8 lines (bottom)

The diagram at the top left has inscriptions from center top clockwise: "Orians / Mars / Occidant"; the diagram below has a blue top half of the earth labeled: "Ayse le grant" at the center and "Oriant" below at the left; the lower half of the earth is divided into red and pink quadrants, respectively labeled: "Septentr[i]on" and "Midi"

 Diagram of the division of the earth Laultre partie si est Europe. Diagram, 8 lines

The top half of the diagram is inscribed: "Oriant / Ayse la grant / Midi"; pink and red quadrants below are respectively inscribed: "Europe / Anfrique"

 Spheres of the planets Car il auroit plustost fait son cours Diagram, 10 lines

From the innermost band out, the concentric circles are inscribed: "terre / yane / airs / feus / pur air / planetes"

 Spheres of the planets Du tour du firmament et des etoilles Diagram, 11 lines

Circles inscribed from the innermost out: "Terra / Mercurius / Venus / Sol / Mars / Jupiter / Saturnus"

 Spheres of the planets Du tour du firmament et des estoilles Diagram, 10 lines

Inscribed from the innermost circle out: "Terra / Mars / Luna / Mercurius / Jupiter / Venus / Sol / Saturnus"

 The sun, the moon, and the shadow of the earth Chi declaire comment le iour et la nuit viennent Diagrams, 14 lines (top) and 7 lines (bottom)

Basic components are a gold sun at top left labeled "Sol", a white area, a small earth labeled "Terra", and a black band of cast shadow. The three shadows are inscribed (from top down): "umbre engreant / umbre omn? / umbre angrossissant"

 The sun, phases of the moon, and the shadow of the earth Comment la lune rechoipt diversement sa clarte et lumiere poeut chascun veour y chi Diagrams, 18 lines Two diagrams each shows a pair of suns labeled "Sol," a small grey earth labeled "terra" and two black bands labeled "luna" Lunar eclipse Comment les eclipses de la lune adviennent Diagram, 9 lines Label "Sol" in the margin outside the diagram; "Luna" and "Ter/ra" are written to the left of the representation of the eclipse Solar eclipse Del eclipse du so.l.e.i.l. Diagram, 9 lines Upper gray orb labeled "Terre," smaller silver moon below on black band labeled "Umbre engrellant" Solar eclipse at the time of the Crucifixion Del eclipse qui advint a la mort de nostre seigneur Diagram, 9 lines Spheres of the firmament, Christ enthroned, and Evangelist symbols Chi parle du celestiel paradis Full-page miniature Concentric spheres of the universe labeled from the center to the top: "Terre," "Yaue," "Air," "Feus," "Luna," "Mercurius," "Venus," "Sol," "Mars," "Jupiter," "Saturnus," "Firmamentum," "Celum nonu[m]," "Celum cristallinum," "Celum imperium"; names of the Evangelists are inscribed on the scrolls held by the symbols

Bound in Paris by León Gruel in the late nineteenth-early twentieth century with red morocco. Foliate motifs in blind on sides and spine. On the spine in blind: "Le miroire / Du Monde" "M.S. 1489" at tail-edge above binder's name "GRUEL"; crimson silk ribbon marker.

 Dated February 20, 1489 CE Bruges Made in Bruges, dated "14.89. 20. februarii" in colophon on fol. 134r Unknown private collection, Paris, 1894 Léon Gruel and Edmond Engelmann collection, Paris, late nineteenth to early twentieth century; their bookplate on inside upper board, inscribed "No. 76" Henry Walters, Baltimore, acquired from Gruel between 1900 and 1931 Walters Art Museum, 1931, by Henry Walters' bequest Relevant Works Delisle, Léopold. Recherches sur la librairie de Charles V. Vol. 2. Paris: H. Champion, 1907; p. 302, cat. no. 141. De Ricci, S. and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935; p. 845, cat. no. 504. Francis, Winthrop Nelson. The Books of Vices and Virtues. EETS. London: Early English Text Society, 1942; p. xx (ref. to 504, de Ricci number). Miner, Dorothy. Illuminated Books of the Middle Ages and Renaissance: An Exhibition Held at the Baltimore Museum of Art. Exhibition Catalogue. Baltimore: Trustees of the Walters Art Gallery, 1949; cat. no. 134. Meyers, Bernard Samuel. Encyclopedia of the Art World, vol. 10. New York: McGraw-Hill, 1959; p. cxi. Destombes, Marcel. Mappemondes A.D. 1200-1500. Monumenta cartographica vetustoris aevi A.D. 1. Amsterdam: N. Israel, 1964; p. 143: 46.1. McCulloch, F. "L'éale et la centicore: Deux bêtes fabuleuses." In Mélanges offerts à René Crozet. Edited by P. Gallais and Y.-J Riou. Vol. 2. Poitiers: Société d'études médiévales, 1965; p. 1168 (n. 4). Diringer, David. The Illuminated Book: Its History and Production. London: Faber and Faber, 1967; p. 454 (pl. vii-35b). Bowles, Edmund A. "A Checklist of Musical Instruments in Fifteenth-Century Illuminated Manuscripts at the Walters Art Gallery." Quarterly Journal of the Muisc Library Association 32, no. 4 (1976): 719-726; pp. 720-722, 724. Evans, Michael. "Allegorical Women and Practical Men: The Iconography of the Artes Reconsidered." In Medieval Women. Edited by Derek Baker. Oxford: Basil Blackwell, 1978; pp. 315, 318 (n. 76). Howard, Donald R. Writers and Pilgrims: Medieval Pilgrimage Narratives and Their Posterity. Berkeley: University of California Press, 1980; frontispiece illustration (f. 42). National Endowment for the Humanities. Annual Report. Washington D.C., 1984; p. 6 (illus. of f. 94v). Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, pt. 2. Baltimore: Johns Hopkins University Press, 1997; pp. 438-447, cat. no. 283. Nevins, Teresa. "Image du Monde." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy. Turnhout: Brepols, 2002; pp. 324-325, cat. no. 91. Newman, Paul B. Growing Up in the Middle Ages. Jefferson, NC: McFarland and Company, 2007; pp. 116 (fig. 27), 131 (as fig. 27). Roux, Brigitte. Mondes en miniatures: L'iconographie du Livre du trésor de Brunetto Latini. Paris: Libraire Droz, 2009; p. 266. 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