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Title

Beatus of San Andrés de Arroyo

Generic classification
Manuscripts and illuminations
Date
ca. 1220
Century
First half of the 13th c.
Cultural context / style
Romanesque
Dimensions
17,32 x 12 in
Material
Parchment, Ink
Technique
Illumination
Iconography / Theme
Apocalipsis
Provenance
Monastery of Santa María and San Andrés (San Andrés de Arroyo, Palencia, Spain)
Current location
National Library of France (Paris, France)
Inventory Number in Current Collection
NAL 2290
Inscriptions / Marks

Conventus Sancti Andree de R.

Object history

The Beatus of San Andrés de Arroyo was made around 1220 for the Monastery of Santa María y San Andrés (San Andrés de Arroyo, Palencia), something that has been deduced from the inscription on folio 167r: "Conventus Sancti Andree de R". It is believed that it may have been made in the scriptorium of the Monastery of San Pedro de Cardeña due to the similarities it has with the Beato de San Pedro de Cardeña -dispersed among the National Archaeological Museum of Madrid, the Diocesan Museum of Gerona, the Heredia-Spínola Collection of Madrid and the Metropolitan Museum of Art in New York.

It is not known who commissioned the manuscript, but it is possible that it was a donation from Ferdinand III (1199-1252) to the monastery. Thus, the volume was in the monastery from the first third of the 13th century. However, as a consequence of the disentailment of Mendizábal, the beato left the Monastery of Santa María y San Andrés in 1836 (Yarza, 1998). Some pages of the manuscript were torn out and sold separately. Recently one of these folios has been located in the collection of Bernard H. Breslauer in New York. However, the bulk of the beato is now in the National Library of France, who bought it in 1882 from Mr. Toca, who lived at number 2, rue du Faubourg Poissonnière (Paris).

Description

The Beato de San Andrés consists of 167 folios. It has 69 illuminations of different sizes, some of them full-page, such as folios 13r and 13v-14r. Some folios were torn out. In its illuminations the ornamentation in gold, silver and lapis lazuli stands out. The different social strata are represented: peasants, artisans, clerics, knights and kings (Miranda, 1998).

Locations
* The relative location of dealers, antique shops, art galleries, and collectors leads us to the places where they were based or had one of their main headquarters. However, this does not always indicate that every artwork that passed through their hands was physically located there. In the case of antique dealers and art merchants, their business often extended across multiple territories; sometimes they would purchase items at their origin and send them directly to clients. Similarly, some collectors owned multiple residences, sometimes in different countries, where they housed their collections. It is often difficult to determine exactly where a specific piece was kept during its time in their possession. Consequently, the main location of the dealer or collector is indicated. These factors should be considered when interpreting the map. Refer to the object's history in each case.
Bibliography
  • AVRIL, François; ANIEL, Jean-Pierre; MENTRÉ, Mireille; SAULNIER, Alix y ZALUSKA, Yolanda (1982): Manuscrits enluminés de la Péninsule Ibérique, Bibliothèque Nationale, París.
  • MIRANDA, Carlos (1998): "Estudio iconográfico", en Beato de Liébana. Códice del Monasterio Cisterciense de San Andrés de Arroyo , Moleiro, Barcelona.
  • YARZA LUACES, Joaquín (1998): Beato de Liébana. Manuscritos iluminados, M. Moleiro Editor, Barcelona.
Citation:

Isabel Escalera Fernández, "Beatus of San Andrés de Arroyo" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/323