![]() I’ve noted before that these portfolios almost always contain only text pages, not miniatures, because they were assembled as paleographical specimens. 48 in the new portfolio is something particularly special. My Simmons students reconstructed and studied FOL.48 in 2016 using Omeka, before Fragmentarium was up and running their work can be found here. 30 to the Fragmentarium reconstructions of those manuscripts, projects undertaken by my students at the Simmons School of Library and Information Science over the past few years. I’ve now shared images of particular leaves with scholars working on those manuscripts (as detailed here) and have added the new Beauvais Missal leaf to my own website and to my Fragmentarium-based reconstruction. The images arrived by mail a few days ago and I eagerly opened the thumbdrive and began looking through the scans. It had been his uncle’s wish that his collection not be hidden away but be used for scholarship and teaching, and I am exceedingly grateful for his generosity. I spoke with the owner several times by phone, and he was quite happy to share images with me and other fragmentologists. 15 in the box), but an entirely unknown “Fifty Original Leaves” set! Fifty “new” leaves to examine, to add to the corpus of Ege leaves, to contribute to burgeoning scholarship on these manuscripts. Not only a previously-unknown Beauvais Missal leaf (no. His uncle had purchased it in the 1970s from dealer Bruce Ferrini, but its location since then had been unknown. 1, long declared missing and never-before studied. Given the state of his uncle’s home (left), it’s somewhat of a miracle that the box was recovered at all! He was writing with very exciting news in cleaning out his recently-deceased uncle’s home, he had found a box in a basement closet with a label reading “Fifty Original Leaves from Medieval Manuscripts” and Otto Ege’s name inside. Until now.Ī few weeks ago, I was contacted by a gentleman from Ohio who had found my name and email address after searching online for information about Otto Ege. ![]() Of the original forty, only twenty-eight have been found. Leaf 1 in one portfolio, for example, always comes from the same manuscript as Leaf 1 in every other portfolio of that name. Each portfolio contains fifty leaves, one from each of the same group of fifty manuscripts. Today, I’m revisiting that manuscript to show you what she looked like.Īs many of you will know by now, Ege and his wife Louise assembled forty “Fifty Original Leaves” (FOL) portfolios in the late 1940s (Louise continued the project after Otto’s death in 1951). Margaret, patron of pregnant women, suggesting that it had been made for a woman. The manuscript included a lengthy versified Life of St. I demonstrated how the contents of that manuscript identified it as having been made for the liturgical use of Châlons-sur-Marne (now Châlons-en-Champagne), near Reims in Northeast France, in the Champagne-Ardenne region. The Flight into Egypt, Walters Art Museum, MS W.188, f.112rīack in 2014, I wrote about a lovely Book of Hours from late-fifteenth-century France that was dismembered by Otto Ege in the 1940s and whose leaves became number 48 in his “Fifty Original Leaves from Medieval Manuscripts” portfolios.
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