Henry gave me a wonderful lecture yesterday. You gave us a brief glimpse of what you described as a cut and paste.
So I'm going to talk a little about paste printing glue, I suppose,
and Martin is going to reveal a little bit of printing in this wonderful manuscript.
And there it is. This is the Bosnian prayer book.
And what you can see is a maiden.
With long flowing hair, wearing clothes of a lay woman and holding in her outstretched left hand foliage or floral sprig.
The figure is actually printed on paper and comes from, we must assume, a single sheet or an early printed book as yet unidentified,
and the figure has been cut out and glued onto the lower margin of this leaf.
As you can see, the maiden is standing on a ground which is a green field with coloured flowers,
and you will already have seen some images showing absolutely identical grounds.
Elsewhere. The contexts would seem to suggest that the maiden was intended to be identified with the impassioned soul, the bride of God,
and seems to be associated with a speech in a Latin Easter play in which the bride addresses the risen Christ as her bridegroom.
This is one of three little printed figures in this prayer book,
and they all seem to date from somewhere between about the middle of the 1490s and 1520.
The maiden colours you can see has been coloured in in yellow, flesh, colour and red.
And has a band row behind her. Martin I wonder whether we might move to the second set of images.
Folio 217 recto. Now here we move from a maiden to two lions.
They again are printed on paper, in black ink. They too, probably come from.
A single sheet or a printed book, and once more we have not been able to identify the source.
The lion on the left. Would be described in heraldic terms, I think, as being patterned to the sinister.
That is to say, it's walking and it is.
It has one paw raised. Three on the ground.
Three and it's head is looking forward.
And in this case, it is facing. Towards the right.
The lion on the right. I will.
Looks as though it just hasn't as well. However, I think.
This might be a problem with the glue because I think actually he is supposed to be rampant.
If one looks at his feet there, that is the classic pose of a rampant line.
I suspect you may have imbibed too well of since Edmund Hall's hospitality last night and showing signs of keeling over this morning.
The Lions, as you can see, are coloured in a sort of light yellow wash, and they too are on the ground of green with coloured flowers.
The Lions are illustrating a prayer for the Sunday after Easter, and it has been suggested that they should be seen as symbols of the resurrection.
The right hand line has always also been suggested that the right hand line is to be identified with
the line in the Coat of Arms of Tillman above a published data mentioned yesterday and this morning,
Provost of Madigan from 1478 to 1497, and that this may provide evidence that he had an association with the production of this manuscript.
Perhaps just by way of a very brief conclusion.
From the printed side, I tried to say a little about. The acquisition of this book by the Bodleian.
We know sadly almost as little about that as we do about the the ident where these printed items came from.
The book seems to have been acquired at a sale at Sotheby's in London in 1887.
The sale catalogue is one of William Price, but when one looks inside, it offers only the first part of the catalogue and the lot five,
three, five, which is this item was this item has that rather enigmatic.
Titled The Property of a Gentleman. Be nice to know who the gentleman was.
And the Bodleian paid £8 for each and I think very, very nice purchase.
The auction catalogue seems to have been annotated specifically by the then bodiless librarian
AWP Nicholson and it seems to me very clear that Nicholson was keen We should have this.
Most recently, these printed items have been catalogued, as Henriques mentioned yesterday by Professor Palmer in the audience and Tuneable catalogue.
And. Further information about them.
Maybe sort their. And I think that probably Henrico concludes what I would like to say about these two of these three printed items,
and we would be delighted to know if anybody else in the audience can throw further light on them.