[email protected]

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    <dc:title>Emphasis on kneeling Poet in MS F</dc:title>
    <cnt:chars>&lt;p&gt;The kneeling poet found in the &lt;i style="font-style: italic; "&gt;Prologue &lt;/i&gt;of MS F stands in stark contrast to scenes of Machaut  greeting the allegorical figures while working or standing regally beneath a tree in MS A (&lt;a href="http://gallica.bnf.fr/ark:/12148/btv1b84490444/f15.image" style="text-decoration: underline; "&gt;MS A Dr&lt;/a&gt; and &lt;a href="http://gallica.bnf.fr/ark:/12148/btv1b84490444/f17.image" style="text-decoration: underline; "&gt;MS A Er&lt;/a&gt;). This emphasis in MS A on the poet's work continues into the &lt;span lang="FR" style="font-style: italic; "&gt;Fonteinne amoureuse &lt;/span&gt;&lt;span lang="FR"&gt;(s&lt;/span&gt;ee &lt;a href="http://gallica.bnf.fr/ark:/12148/btv1b84490444/f329.image"&gt;MS A 154r&lt;/a&gt;, &lt;a href="http://gallica.bnf.fr/ark:/12148/btv1b84490444/f332.image"&gt;MS A 155v&lt;/a&gt;, &lt;a href="http://gallica.bnf.fr/ark:/12148/btv1b6000795k/f189.image"&gt;&lt;span about="urn:uuid:515e273c-724d-4437-8831-9da798ba32db" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;MS E 83r&lt;/span&gt;&lt;/a&gt;) while &lt;a href="http://gallica.bnf.fr/ark:/12148/btv1b60007997/f246.image"&gt;MS F 199v&lt;/a&gt; does not have such an author portrait. &lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;div&gt;It is interesting to note that even though &lt;span about="urn:uuid:47eb75bb-c525-4597-9234-891fcda76dee" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact" style="background-color: transparent; "&gt;MS E 83r&lt;/span&gt; shows this poet writing he is still kneeling in the opening of the &lt;i&gt;Prologue&lt;/i&gt;. &lt;/div&gt;&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;Might be good to address these issues with regards to how manuscripts both support and subjugate traditional views of patronage. Additional insight may be found in work of &lt;span about="urn:uuid:a6ab18bd-e061-4d00-972c-0ae1b469223f" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Earp&lt;/span&gt;, &lt;span about="urn:uuid:a44075f6-1f3a-4ccc-a1a5-b34174eeeb5a" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;McGrady&lt;/span&gt;, and &lt;span about="urn:uuid:ba59ebb8-682d-4dee-b9f5-8a8622b5bf47" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Wilkens&lt;/span&gt;.&lt;/div&gt;</cnt:chars>
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    <cnt:chars>&lt;p&gt;Several other manuscripts that correspond to the same piece of text as the miniature on fol. 1r. &lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;i style="font-style: italic; "&gt;Comment Nature, voulant ordendroit plus que onques mais reveler et faire essaucier les biens et honneurs qui sont en Amours... &lt;/i&gt;(&lt;span about="urn:uuid:bb1e50cf-a40a-49ae-b18d-519a0918d136" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Earp, 145-147.&lt;/span&gt;)&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;ul&gt;&lt;li&gt;&lt;a href="•	http://gallica.bnf.fr/ark:/12148/btv1b84490444/f17.image" style="text-decoration: underline; "&gt;&lt;span about="urn:uuid:40efbf03-e677-48c2-aa07-ef6205170396" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;MS. A fol. Er&lt;/span&gt;&lt;/a&gt;&lt;/li&gt;&lt;ul&gt;&lt;li&gt;Note that this miniature is out of order because the text is out of order beginning wit &lt;i style="font-style: italic; "&gt;Comment Amours..&lt;/i&gt;&lt;/li&gt;&lt;/ul&gt;&lt;li&gt;



&lt;span about="urn:uuid:62295ca0-3bc7-4eeb-ab78-267892f4c3ba" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;MS.
Pm fol. 1r&lt;/span&gt; (unfortunately not available online)&lt;/li&gt;&lt;li&gt;&lt;span about="urn:uuid:6cb6eda5-8736-4b98-b505-c5c9979eccf7" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;MS. E fol. 1r&lt;/span&gt; (left hand
scene showing “Comment Nature…”) &lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;</cnt:chars>
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    <dc:title>Comparison of MS E and F</dc:title>
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    <oa:exact>MS. A fol. Er</oa:exact>
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    <dc:title>New Annotation on BNF f. fr. 22545 fol. 1 v.</dc:title>
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    <cnt:chars>&lt;p&gt;The symmetrical mirror images of the two Machauts reflects (hah) the symmetry of the allegory at work in the Prologue. This conditions the reader to see the correspondence between Nature and her three children and Love and his three children. The figure of Love is probably the most easily recognizable, although he appears later in the text than Nature. But even a person unfamiliar with the narrative will begin reading aware that the God of Love makes an appearance and perhaps already collate this narrative with texts such as the Romance of the Rose.&lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;</cnt:chars>
    <dc:title>New Annotation on BNF f. fr. 9221 fol. 1 r.</dc:title>
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    <dc:title>BNF f. fr. 22545 fol. 1 v.</dc:title>
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    <cnt:chars>&lt;p&gt;MS E (c. 1390)&lt;/p&gt;&lt;div&gt;Created after Machaut's death, owned by Jean, Duc de Berry&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;</cnt:chars>
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    <cnt:chars>&lt;p&gt;On pg 129, &lt;span about="urn:uuid:5ec108a0-665a-4f81-b256-70cf3ec4ea41" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Avril&lt;/span&gt; describes that the armoires in the background of the miniature illustrates that the book's commissioner/owner was of lesser mobility. &lt;/p&gt;</cnt:chars>
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    <dc:title>New Annotation on BNF f. fr. 9221 fol. 1 r.</dc:title>
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    <oa:exact>Earp, 145-147</oa:exact>
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    <oa:exact>Machaut's</oa:exact>
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    <dc:title>New Annotation on BNF f. fr. 9221 fol. 1 r.</dc:title>
    <cnt:chars>&lt;p&gt;Rubrication: &lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;Line 1: Com(men)t amo(ur)s a oy Nat(ur)e vie(n)t a guill(aum)e de&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;Line 2: machaut. Et lui [li?] amaine .iii. de les e(n)fa(n)s.&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;Line 3: Cest as(avoir). doulx pe(n)ser. plaisa(n)ce &amp;amp; espa(ran)ce po(ur) lui [li?]&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;Line 4: do(n)ner matere a faire ce q(ue) Nat(ur)e lui [li?] a echigie [ecargie?].&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;English Translation from Palmer:&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;[How Love, hearing Nature, comes to Guillaume de Machaut leading three of her (his?) children, and these are Sweet Thought, Pleasure, and Hope, in order to provide him the material to carry out what Nature has charged him with.]&lt;/div&gt;</cnt:chars>
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    <oa:motivatedBy rdf:resource="http://www.w3.org/ns/oa#commenting"/>
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    <oa:exact>Earp</oa:exact>
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    <oa:exact>Earp, 145-147.</oa:exact>
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    <rdf:type rdf:resource="http://www.w3.org/2011/content#ContentAsText"/>
    <cnt:chars>&lt;circle fill='rgba(15, 108, 214, 0.6)'  stroke='rgba(3, 75, 158, 0.7)' stroke-width='2' cx='1681.18333599' cy='1486.73006063' r='7' /&gt;</cnt:chars>
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    <oa:exact>Avril</oa:exact>
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  <rdf:Description rdf:about="urn:uuid:40637b1e-31c8-485a-b719-4623a06aad98">
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    <dc:title>New Annotation on BNF f. fr. 22545 fol. 1 r.</dc:title>
    <cnt:chars>&lt;br/&gt;</cnt:chars>
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  <rdf:Description rdf:about="urn:uuid:bc6be6e9-c8fe-42ac-8a3c-2d78b674fa01">
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    <cnt:chars>&lt;br/&gt;</cnt:chars>
    <dc:title>Comparison of MS Pm and F (Comment Nature)</dc:title>
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    <oa:exact>Earp</oa:exact>
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    <oa:exact>Earp</oa:exact>
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    <oa:exact>Earp</oa:exact>
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    <dc:title>New Annotation on BNF f. fr. 9221 fol. 1 r.</dc:title>
    <cnt:chars>&lt;br/&gt;</cnt:chars>
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    <cnt:chars>&lt;p&gt;Rubrication:&lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;Line 1: Comment nature voulant orendroit plus q(ue) onq(ue)s mais [mes?] reveler et faire exaucier les b(ie)ns et honneurs qui so(n)t en amo(ur)s&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;Line 2: vient a guillaume de machaut . Et liu [li?] ordene et encharge a faire sur ce nouveaux dis amoureux. Et liu [li?] baille po(ur) liu [li?] &lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;Line 3: (con)seillier &amp;amp; adviser [aidier] a ce faire iii [trois] de ses enffa(n)s. cest as(avoir) sens. retoriq(ue). musique. Et lui [li] dist [dit] par ceste maniere.&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;English translation from Palmer:&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;[How Nature, wishing more than ever before to make known and exalted the goods and honors pertaining to Love, comes to Guillaume de Machaut, ordering and charging him herein to compose new poems about love, entrusting to him, for counsel and aid in this enterprise, three of her children, to be specific Meaning, Rhetoric, and Music. And she speaks to him thus:]&lt;/div&gt;</cnt:chars>
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    <dc:title>New Annotation on BNF f. fr. 9221 fol. 1 r.</dc:title>
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    <oa:exact>Machaut</oa:exact>
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    <dc:title>Bibliography for MS F</dc:title>
    <cnt:chars>&lt;div&gt;&lt;span about="urn:uuid:d5b4964b-52e0-4eaa-a7c8-557e534ab3bb" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Avril&lt;/span&gt;, Francoise, “Les Manuscrits Eluminés
de Guillaume de Machaut.” In &lt;i style="font-style: italic; "&gt;Guillaume de
Machaut: Po&lt;/i&gt;&lt;i&gt;&lt;span style="font-style: italic; "&gt;è&lt;/span&gt;&lt;span style='font-size:12.0pt;
font-family:Cambria;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"?? ??";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA'&gt;te
et Compositeur, Colloque-Table Ronde&lt;/span&gt;&lt;/i&gt;&lt;span style="font-size: 12pt; font-family: Cambria; "&gt;, 117-132.
Paris: Klincksieck, 1982.&lt;/span&gt;&lt;/div&gt;



&lt;div&gt;&amp;lt;br/&amp;gt;&lt;/div&gt;&lt;div&gt;&lt;span about="urn:uuid:8c12b1b1-a85d-4b2c-ab76-903b59ea39f3" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Earp&lt;/span&gt;, Lawrence. &lt;i style="font-style: italic; "&gt;Guillaume De Machaut: A Guide to Research.&lt;/i&gt; New York: Garland Pub. 1995.&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;span about="urn:uuid:f3da9380-4083-4712-899c-c22efc441ad1" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Earp&lt;/span&gt;, Lawrence. "Machaut's Role in the Production of Manuscripts of His Work." Journal for the American Muscological Society 42.3 (1989): 461-503. &lt;/div&gt;
&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;span about="urn:uuid:48895b6e-3c6d-4692-a95a-ae02602eeb5a" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Machaut&lt;/span&gt;, Guillaume de. &lt;i style="font-style: italic; "&gt;The Prologue &amp;amp; Four Love Poems&lt;/i&gt;. Kalamazoo, MI: Medieval Institute Publication, 2010. &lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;span about="urn:uuid:bf3c0e06-f74f-4165-b8cb-18309f2bc485" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;McGrady&lt;/span&gt;, Deborah. "Guillaume de Machaut." In &lt;i&gt;The Cambridge Campanion to Medieval French Literature&lt;/i&gt;, edited by Simon Gaunt and Sarah Kay, 109-122. Cambridge: Cambridge University Press, 2008.&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;span about="urn:uuid:8ce76257-c10f-42e9-88c4-451da06cbffc" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Saenger&lt;/span&gt;, Paul. "Reading in the Later Middle Ages." In &lt;i&gt;A History of Reading in the West. &lt;/i&gt;Eds. Guglielmo Cavallo and Roger Chartier, trans. Lydia G. Cochrane (Oxford 1999): 120-31. &lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;div&gt;&lt;span style="text-indent: -0.25in; "&gt;&lt;br/&gt;&lt;span about="urn:uuid:69caeb5e-bc9e-4f3f-8041-d9625a1edda2" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Wilkens&lt;/span&gt;, Nigel. “A Pattern of Patronage:&lt;/span&gt;&lt;span style="text-indent: -0.25in; "&gt;  &lt;/span&gt;&lt;span style="text-indent: -0.25in; "&gt;Machaut, Froissart and the Houses of
Luxembourg and Bohemia in the Fourteenth Century.” &lt;/span&gt;&lt;i style="text-indent: -0.25in; "&gt;French studies &lt;/i&gt;&lt;span style="text-indent: -0.25in; "&gt;37
(1983): 257 – 284 (collab).&lt;/span&gt;&lt;div&gt;&lt;p class="MsoNoSpacing" style="margin-left:.5in;text-indent:-.25in;mso-list:l0 level1 lfo1"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;</cnt:chars>
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    <dc:title>Comparison of MS E and F</dc:title>
    <rdf:type rdf:resource="http://purl.org/dc/dcmitype/Text"/>
    <cnt:chars>&lt;p&gt;There is a distinct similarity between the content of these two miniatures with the poet represented kneeling before the allegorical figures. There are distinct stylistic differences which illustrate the different hands who are responsable for the work see &lt;span about="urn:uuid:3961f666-8d82-481a-b32b-794bfc69cb68" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Earp&lt;/span&gt; and &lt;span about="urn:uuid:67eeeb26-3ce9-4948-8ee0-c29615d4869d" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Avril&lt;/span&gt; for more information. &lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;Another major difference is that the images in MS F have been divided into five discrete scenes while those in MS F are represented as two halves of one large image at the top of the page. This seems to have been a decision highly informed by codicological characteristics since hace discrete scenes within the three columns of text would require miniature to either interpret the text or sacrifice size and readability. &lt;/div&gt;</cnt:chars>
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    <cnt:chars>&lt;p&gt;Image of the poet before Nature.&lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;</cnt:chars>
    <rdf:type rdf:resource="http://purl.org/dc/dcmitype/Text"/>
    <dc:title>New Annotation on BNF f. fr. 9221 fol. 1 r.</dc:title>
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    <dc:title>BNF f. fr. 22545 fol. 1 r.</dc:title>
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    <cnt:chars>&lt;p&gt;See Lawrence &lt;span about="urn:uuid:75ab4cb6-1e83-465f-8c6c-49f0569b1e36" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Earp&lt;/span&gt;, &lt;i style="font-style: italic; "&gt;Guillaume de Machaut: A Guide to Research&lt;/i&gt;, 90-92. &lt;i style="font-style: italic; "&gt; &lt;/i&gt;&lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;MS F, along with MS G, is
part of a two-volume collection of Machaut's complete works illuminated with
148 miniatures by Remiet. There are conflicting dates associated with this manuscript.
Many studies suggest the book was the last manuscript made under Machaut's
supervision while François Avril place it within the 1390s based on art
historical evidence. MS F specifically contains the &lt;i&gt;Prologue, Vergier, Jugement Behaigne, Jugement Navarre, Remede, Lyon,
Alerion, Confort, Fonteinne, Harpe, Voir Dit Marquerite, Rose, &lt;/i&gt;and &lt;i&gt;Vesci les biens. &lt;/i&gt;&lt;/div&gt;</cnt:chars>
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    <cnt:chars>&lt;p&gt;These miniatures are very different with MS A representing the scenes in settings associated with the poet, namely the study and the garden. While in MS F the scene takes place against a decorative background. &lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;The representation of the poet is also very different between the the two miniatures. See annotation on 'emphasis on kneeling poet in MS F.'&lt;/div&gt;</cnt:chars>
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    <cnt:chars>&lt;p&gt;Several other manuscripts that correspond to the first miniature on fol. 1v. &lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;i style="font-style: italic; "&gt;Comment Guillaume de Machau respont a Nature... &lt;/i&gt;(&lt;span about="urn:uuid:e40e642f-edc9-49bb-9c70-3a67c84cce68" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;Earp, 145-147&lt;/span&gt;.)&lt;/div&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;&lt;ul&gt;&lt;li&gt;&lt;a href="•	http://gallica.bnf.fr/ark:/12148/btv1b84490444/f15.image" style="text-decoration: underline; "&gt;&lt;span about="urn:uuid:1ea39f5c-b8dd-4ce9-994f-4fd44d2c9485" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;MS.A fol. Dr&lt;/span&gt;&lt;/a&gt;
&lt;/li&gt;&lt;li&gt;



MS.
Pm fol. Fol. 1v (unfortunately no digital copy)&lt;/li&gt;&lt;li&gt;&lt;span about="urn:uuid:f83ba2af-48f9-4e4c-8a01-9adf01f6d120" class="atb-editor-textannotation" property="http://www.w3.org/ns/oa#exact"&gt;MS. E fol. 1r&lt;/span&gt; (right hand
scene showing “Comment Amours…”)&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;</cnt:chars>
    <dc:title>Corresponding Miniatures for fol. 1 v. </dc:title>
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    <oa:exact>Avril</oa:exact>
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    <dc:title>BNF f. fr. 9221 fol. 1 r.</dc:title>
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    <oa:exact>MS. E fol. 1r</oa:exact>
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    <dc:title>BNF f. fr. 9221 fol. 1 r.</dc:title>
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    <dc:title>Comparison of MS A and F</dc:title>
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    <dc:title>BNF f. fr. 22545 fol. 1 v.</dc:title>
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    <cnt:chars>&lt;p&gt;Third figure from the left (Sens) wears a large crown that has been partly obfuscated by the dark shade used to color the windows. Perhaps this was a mistake by an over-enthusiastic painter after the gold leaf had already been applied, OR perhaps giving one of Nature's children a larger crown than either her sisters or Nature herself seemed out of keeping with the allegorical hierarchy. Covering the crown may have been intentional, but this would then seem like a waste of gold leaf, but in a very expensive manuscript such as E, it may have been less of a loss.&lt;/p&gt;&lt;div&gt;&lt;br/&gt;&lt;/div&gt;&lt;div&gt;None of these figures seem immediately recognizable apart from the text. Nature wears a sort of matronly hat. Meaning and Rhetoric appear as two young aristocratic women. Music does hold a sort of tambourine. &lt;/div&gt;</cnt:chars>
    <dc:title>New Annotation on BNF f. fr. 9221 fol. 1 r.</dc:title>
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