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MICHIGAN STATE UNIVERSITY LIBRARY MS. 2:
,A LATE-FIFTEENTH CENTURY BOOK OF HOURS

presented by

'Mary Haynes LaPonsey

has been accepted towards fulfillment
of the requirements for

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MICHIGAN STATE UNIVERSITY LIBRARY MS. 8:

A LATE-FIFTEENTH CENTURY BOOK OF HOURS

By

Mary Haynes LaPonsey

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ART

Department of Art

1991

ABSTRACT

MICHIGAN STATE UNIVERSITY LIBRARY MS. 8:

A LATE—FIFTEENTH CENTURY BOOK OF HOURS
By

Mary Haynes LaPonsey

Michigan State University Library Ms. 8. an unpublished
Book of Hours acquired by the Michigan State University
Library in 1963, was thought to be a mid-fifteenth century
French manuscript by an artist of the school of the Master
of the Hours of the Duke of Bedford. Examination of the
manuscript’s style and iconography reveals the influence of
other early-century French masters as well as artists who
collaborated with or were associates of the Bedford Master
and who carried the Bedford traditions into mid- and
late-century workshops. Comparisons are made with the work
of these artists and with several late-century Rouen

manuscripts. Evidence suggests a late-14805 dating.

Copyright by
MARY HAYNES LAPONSEY

1991

In loving memory of three great ladies who

shared their lives and their wisdom with me:

ELIZABETH GROUNDS HAYNES

NETTIE BEYETTE LAPONSEY

MOLLY TEASDALE SMITH

Iv

ACKNOWLEDGMENTS

There are a number of people I would like to thank for
their help and support. The members of my Committee, Susan
Pinto Madigan. webster Smith. and Eldon van Liere have been
especially helpful. I appreciate the co-operation of the
librarians and staff of the Michigan State University Art
Library and Special Collections Library, the British
Library. the Library of the Victoria and Albert Museum. and
the Courtauld Library of London. I am deeply indebted to
the men and women who authored the books that are the basis
of this study.

I appreciate the support and patience of my family and
friends. For all the miles traveled. pictures glued. advice
given. papers sorted. materials copied. innumerable computer
questions answered, books loaned. and hours and hours of
listening. I am especially grateful to my husband, Leonard
LaPonsey, my sister-in-law Gloria Haynes. and my dear

friends. Ellen Gibson, and Shirley and Jerry Hemmye.

II.

III.

CONTENTS

List of Illustrations
INTRODUCTION

STYLE

Figure Style, Hand A
Figure Style. Hand B
The Enlarged Figure
Figural Design
Backgrounds

Ornament

Summary

ICONOGRAPHY

Calendar Pages

Descriptions of the Calendar Pages
Iconography of the Calendar Miniatures
Gospel Sequences

Descriptions of the Gospel Sequences
Iconography of the Gospel Sequences
Prayers to the Virgin

Descriptions of the Prayers to the Virgin

Iconography of the Prayers to the Virgin

vl

ix

ll

13

14

16

El

84

86

86

88

33

38

39

43

46

4'7

49

III.

vH

ICONOGRAPHY (Continued)

Hours of the Virgin

Descriptions of the Hours of the Virgin
Iconography of the Hours of the Virgin
The Penitential Psalms

Description of Introductory Miniature to
Penitential Psalms: David and Goliath

Iconography of Introductory Miniature to
Penitential Psalms: David and Goliath

Short Hours of the Cross
Hours of the Holy Spirit

Description of the Introductory Miniature to
Short Hours of the Cross: Crucifixion

Iconography of the Introductory Miniature to
Hours of the Cross: Crucifixion

Description of the Introductory Miniature to
Hours of the Holy Spirit: Pentecost

Iconography of the Introductory Miniature to
Hours of the Holy Spirit: Pentecost

Office of the Dead

Description of the Introductory Miniature to
Office of the Dead: Jobsgnd His Comforters

Iconography of Introductory Miniature to Office
of the Dead: Job and His Comforters

The Fifteen Joys of the Virgin
Seven Requests of Our Lord

Description of the Introductory Miniature to
Seven Requests of Our Lord: Man of Sorrow;

Iconography of the Introductory Miniature to
Seven Requests of Our Lord: Man of Sorrows

Memorials and Suffrages

50

58

64

76

77

7B

80

81

83

BS

87

89

B9

91

98

92

93

9t.

96

III.

IV.

vlll

ICONOGRAPHY (Continued)
Descriptions of the Memorials and Suffrages

Iconography of the Memorials and Suffrages

CONCLUSION

Notes
References

Illustrations

96

102

103

107

116

118

10.

11.

18.

13.

14.

East

East

East

East

East

East

East

East

East

East

East

East

East

East

LIST OF ILLUSTRATIONS

Lansing. Michigan State University Library,
folio 2. January: Feasting.

Lansing, Michigan State University Library,
folio Ev. February: Sitting by the Fire.

Lansing, Michigan State University Library,
folio 3, March: Pruning.

Lansing, Michigan State University Library:
folio 3v. April: Garden Scene.

Lansing. Michigan State University Library.
folio A. May: Man on Horseback.

Lansing. Michigan State University Library,
folio 4v. June: Harvesting the Hay.

Lansing. Michigan State University Library,

folio 5, July: Reaping the Grain.

Lansing. Michigan State University Library,
folio 5v. August: Threshing.

Lansing. Michigan State University Library,
folio 6. September: Treadind thg Grag .

 

Lansing, Michigan State University Library.
folio 6v, October: Sowing.

Lansing. Michigan State University Library.
folio 7, November: Gathering Acorns.

Lansing. Michigan State University Library,
folio 7v: December: Butchering.

Lansing. Michigan State University Library.

fOIiO 9’ @-

Lansing. Michigan State University Library:

Ix

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

2’

8»

2,

89

E,

B,

8,

8:

E:

2»

8,

2’

B9

89

15.

16.

17.

18.

19.

BO.

21.

22.

23.

84.

85.

E6.

27.

EB.

29.

30.

31.

East

East

East

East

East

East

East

East

East

East

East

East

East

East

East

East

East

Michigan State University
St. Metthee,

Lansing: Library:

folio 13:

Michigan State University Library:

St2 Merk.

Lansing:
fOIIO 15,

Lansing: Michigan State University Library:

folio 16v: Virgin end Child.

Lansing: Michigan State University Library:

folio 20v: Virginget Praxe .

Lansing: Michigan State University Library:

folio 25: Annunciation.

Michigan State University Library:
Visitation.

Lansing:
folio 51:
Lansing: Michigan State University Library:
folio 63: Nativity.

Lansing: Michigan State University Library:
folio 69: Annunciation to the Shegherds.

Michigan State University Library:
Adoration of the_fleg_.

Lansing:
folio 74:

 

Lansing: Michigan State University Library:
folio 79: Presentation et the Temgle.

Lansing: Michigan State University Library:

folio 84: Massacre of the Innocents.

Lansing: Michigan State University Library

 

folio 91: Coronation of theiVirqin.
Lansing: Michigan State University Library
folio 97: David and Golieth.

Lansing: Michigan State University Library
folio 115: Crueifixion.

Lansing: Michigan State University Library
folio 119: Eenteegeg,

Lansing: Michigan State University Library
folio 183: Jgg eng his Qomfgrtere.
Lansing: Michigan State University Library

folio 172v: Men of Sorrows.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

8:

E:

E:

E:

E:

E:

2:

3:

8:

8:

8:

2:

2:

E:

E:

E:

32.

33.

34.

35.

36.

37.

38.

39.

40.

41.

42.

43.

44.

45.

46.

47.

“8.

East

East

East

East

East

East

East

East

East

East

East

East

East

East

East

East

East

-Lansing:

xI

Lansing: Michigan State University
folio 176: Trinity.

Michigan State University

St. Michael.

Lansing:
folio 176v:

Lansing: Michigan State University
folio 177: St. John the Bagtist.

 

Lansing: Michigan State University
folio 177v: St. Christogher.

Lansing: Michigan State University
folio 178v: St. Sebastian.

Lansing: MiChigan State University

folio 180: St, Steghen.

Michigan State University

St. Lawrence.

Lansing:
folio 180v:

Michigan State University
Sts. Cosmas and Damian.

Lansing:
folio 181:

Lansing: Michigan State University
folio 188: St. Nieholas.

Michigan State University

folio 188v: St. Anthony.

Lansing: Michigan State University

folio 183: St. Fiacre.

Lansing: Michigan State University
folio 184: gt, Maurus.

Lansing: Michigan State University

folio 184v: St. Catherine.

Lansing: Michigan State University

folio 185: St. Genevieve.

Lansing: Michigan State University

folio 185v: St. Mergare .

Lansing: Michigan State University

Lansing: Michigan State University
folio 187: St. Merv Megdele .

Library

Library

Library

Library

Library

Library

Library

Library

Library

Library

Library

Library

Library

Library

Library

Library

Library

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

Ms.

8:

8:

E:

2:

8:

8:

E:

8:

9:

8:

P:

8:

E:

E:

8:

49.

50.

51-

52.

53.

54.

55.

x“

East Lansing: Michigan State University Library Ms. 2,
folio 187v: All Saints.

London: British Library Egerton 2019: folio 13:
St. John.

London: British Library Add. Ms. 11865: folio 7:
St. John.

London: British Library Add. Ms. 11865: folio 37v:
Presentation.

London: British Library Add. Ms. 11865: folio 53:
David.

London: British Library Egerton 2045: folio 138:
Easie-

London: British Library Add. Ms. 11865: folio 51:
Pentecost.

London: British Library Add. Ms. 11865: folio 63:
Job.

London: British Library Egerton 2045: folio 106:
Fli ht/Massacre.

London: British Library Egerton 8045: folio 172v:
Crucifixion.

I

INTRODUCTION

The Michigan State University Library Ms. 2 Hours is a
richly illuminated manuscript with over eighty miniatures of
various sizes: illuminated borders: many large and small
initials: and hundreds of illuminated line endings.

On the front end leaf is an inscription of ownership by
one Claude Moyne whose handwriting is identified by H. P.
Kraus: Rare Books and Manuscripts: New York: as being that
of a person who lived during the seventeenth century and may
have been the person responsible for having the book "placed
in its present fine Parisian binding of that period": a
binding of seventeenth-century red morocco leather with gilt
tooled designs (1). Pasted inside the front cover is an
inscription written in 1791 recording the presentation of
the manuscript by Carolus Noetinger: Dean of a monastery of
Stuertzelbronn: in Lorraine: to Gerard Fuhreus (?): Prior of
a monastery in Bavaria (8).

The manuscript is composed of 192 leaves on vellum
written in a Gothic liturgical script using fifteen lines of
text per page. There are nineteen large miniatures each
measuring approximately 100 by 60 millimeters: eighteen

small miniatures of saints approximately 40 millimeters

I

square: twenty-four calendar miniatures approximately 55 by
30 millimeters and: in the borders of five of the most
important miniatures: there are twenty-five roundels
approximately 40 millimeters in diameter: a few smaller.
The book measures 825 by 155 millimeters.

Ms. E is identified by the bookseller as being from the
school of the Master of the Hours of the Duke of Bedford:
Use of Paris: and dated mid-fifteenth century. Cited for
this attribution is the appearance of the rondels or
medallions painted in the margins of five of the major
miniatures: folio 85: Annun 'ati n: folio 97: Qevid and
fioiiegh; folio 115: Cr 'f’x'on; folio 119: P nt t1 and
folio 183: Jgg end hie Comfgrterg. In a more recent
unpublished and undated paper in the Michigan State
University Library Special Collections: John Plummer
attributed the manuscript to "the artist who painted a Book
«of Hours offered by Olschki in 1910: item 40 (inventory no.
29795) present whereabouts unknown." The attribution

dappears to be based on one of two miniatures from the

CJlschki manuscript: a half-length Virgin et Pgeyer or a
W (folios unknown)- A photocow of

‘these folios (from Piegehe XXIV) is included in Plummer’s

tauper. The use is listed as ”Paris? (possibly Angers)" and
(iated ca. 1475. In the chapter on Style: I examine both
OPinions in greater detail and argue an attribution for the

“Bhuscr ipt .

The Michigan State University Library manuscript

contains the following miniatures:

The Calendar:

8

EV

6v

7

7v

The Gospel Sequences:

9

11

13

15

January
February
March
April
May

June
July
August
September
October
November

December

t. 0

MI.

t M

a: 0 ”gr!

Feasting. Aggaries

Sitting by theefire. Pieeee
Pruning. Arie;

ar en ne T r 5
Men on horseback. Qemini
Harv stin h . an r
Reaging the agein. Lee
Threehing. Virgg

Treeding the greeeg Ligre

win . io

 

Gather n corns. ittar‘

u c rin . a ri r

The Prayers to the Virgin:

16v giggin egg Chiig (QQee;£e_1e)
20v Virgin gt Preye: (Q_ie£eme;e§e)
The Hours of the Virgin:
25 15e_finneneie§ien_(with five border roundels:
Mtwmtm
21 theeyignint Virgin in the lemoigt

 

r

'r 'n)

51 Th V' ' t'on

63 The Nagivigy

69 nn n ' ' n o h her

74 T A r ' n h i
79 T Pr n 'on h T m
84 Th a r nn nt

91 The Qgrggetioniof the Viroin

The Peniteniial Psalms:

97 Davie eng fioliegh (with five border

roundels: hri

 

gt Preyer: av'd K’ lin ' ia : nevid with
Qeiiagh’e Heed; Davie Seying on Bethesheee:
v Pr r)

The Short Hours of the Cross:

115 Qregifixion (with five border roundels:

 

BQQDY in the fieggen; Betreye 3 Fiegeii ti n;
t f r P at ; Chr arr 'n h,
9:225.)

The Short Hours of the Holy Spirit:

119 Penteeggg (with five border roundels: nge
WM3WSM
ar M lent Road tg emmeus;

W)
The Office of the Dead:
123 IRE eng Hie Comforgege (with five border
roundels: Three Skulls: 29p wigh Pgmilxj
W21: 12W

Shamans; W9 k vi )

The Fifteen Joys of the Virgin:

Lacks first portion of the text and probably

one miniature

The Seven Requests of Our Lord:

178v

n f rr ws

The Suffrages or Memorials:

176

176v

177

177v

178v

180

180v

181

188

188v

183

184

184v

185

185v

186v

187

187v

Trinigy
St, Mieheei
St. John the fleetiet

 

t hr' t h r

St eba t'an

Aii Seinte

It will be shown that Ms. 2 is an important manuscript

in that

the stylistic and iconographic influences it

contains illustrate the development of fifteenth—century
French illumination from the early to the late years of the
century. These influences extend from the greatest schools
of illumination: the Limbourg circle and the Boucicaut and
Bedford Masters (schools that dominated the early decades of
fifteenth-century Paris) to those mid-century French Masters
who kept the early styles alive well into the late decades
‘when manuscript painting declined at the time of the coming

of the Renaissance in the North in Rouen and Tours.

II

STYLE

Often: as is the case with Ms. 2: very little is known
about a manuscript’s artists: patrons: date: or place of
origin. One method of identification is through an analysis
of style. The present study gleans information about the
(manuscript by comparing stylistic similarities between it
and other manuscripts which have already been identified and
dated.

Establishing similarities entails analyzing the
(manuscript from the general page layout to specific
illustrations: borders: and text. The design of the
tniniature: the ornament: and the painting style are studied
veith special attention given to the representation of the
lwuman figure. Since ornament has its own stylistic
¢:hronology: attention must also be paid to the borders:
frames: initials: and letter endings that surround and
ornament the miniatures.

The aspects of style: then: which serve as the
foundation of this chapter are: 1) the physical and
Emotional attributes of the figure including size and scale:
Illacement on the page: proportion: facial features and
E"Dressions: pose: mood: costume: and the “dramatization" of
figural arrangement: 2) landscapes and interiors in which

t“. figures are placed: 3) painting techniques; and 4)

ornament. These stylistic attributes are compared with
those in similar manuscripts of early- mid- and
late-fifteenth century France.

Stylistic differences in figures: landscape: and
painting techniques make it appparent that two artists
divided the labor of Ms. 8. The work of the principal
artist: Hand A: is seen in all the major miniatures except
felio 178v: flen of Sorroee (fig. 31). The secondary artist:
ldand B: painted the Calendar: the Suffrages or Memorial

poages and the aforementioned folio 172v.

Figure Style: Hand A

In all of Ms. E’s miniatures: the human figure is of
greatest importance and in all instances is central to the
(design. Size and arrangement of the figure dominate the
caage. Hand A uses a believable figure style with figures
tflwat are rounded and graceful and yet appear sturdy and
rwabust. They are characteristically drawn with large heads
own bodies that have narrow shoulders and short waists. The
1¢3wer legs are somewhat shortened; this peculiarity is more
FH'onounced when the figure is positioned to kneel or sit.
Arm movements are limited to bending at the elbow: folding
at the waist: or extending slightly up or down. When these
si"male movements are exceeded: as when Goliath raises his
arm over his head in folio 97 (fig. 27): the raised arm is
the“ disproportionately shortened. Poses are kept simple

“”9 straightforward. No attempt is made to twist bodies or

cross legs as in the Calendar of the British Library HEELS
gf I“: flaeger e: the Qeke of fiedford (1): folios l: a: 1)
(figs. 50: 51: 60). The head of a figure in Ms. 8 will
occasionally be turned too far for comfort in what appears

to be an effort to avoid the use of a profile as with the

kneeling figure in the Adoretign gf the Megi: folio 74 (fig.

23).

The faces of Hand A are oval in shape with plump cheeks
and a warm glow to the skin. They have prominent noses
(drawn straight across the bridge: delicate narrow chins: and
tiny mouths indicated by two lines. Eyes are heavy-lidded
tinder arched brows drawn pencil-thin. The Virgin’s eyes
turn up under the eyelids: as in folios 16v: 80v: 85 etc.
(figs. 17: 18: 19): and she appears to be in a spiritual
trance. Profiles are avoided in the manuscript with the use
(3f only one in the major miniatures: the youngest Magus in
‘folio 74 (fig. 83): and five in the roundels in folios 85:
llth 183 (figs. 19: 28: 30). The faces show little modeling
and a dark line is often needed to outline forms. Coarse
faces are differentiated from spiritual ones by furrowing
tune eyebrows: pinching in the chins: and broadening the
cflweek bones (f. 69: fig. 22). Mature male identities vary
Uvith the color and style of the beard and hair (f. 119; fig.
39). The angels: the Virgin: the youthful John the
Evangelist: and Elizabeth have a similar facial style (ff.
9' 5511 figs. 13: 20). The faces of Goliath and Christ (in

the first roundel) (f. 97: fig. 27) are nearly

IO

interchangeable. Despite this lack of individualization:
characters are recognizable in their various roles and
accomplish their tasks with dignity. They communicate
through glances and gestures and by their proximity to one
and another. The use of the glance is an effective
technique in the telling of the sacred story. It also
enhances the space where the story takes place by making it
"more vivid by the glances that carry through it" (2).

The gentle sway of the figures of the Boucicaut
Master’s Visitat’on: folio 65v: in the Houre m Marshal Jean
ge Boecicaut (1405—08) (3): is missing from the major
«miniatures of Ms. 8 where the stance is noticeably erect:
even stiff (ff. 51: 79: 115: figs. 80: 24: 28).

This artist: Hand A: is unusually consistent in
‘rendering the figure. Even the appearance of the two
twalf-length Madonnas in folios 16v and 20v (figs. 17: 18)
tuhere the distortions are magnified in the close-up: is one
caf dignity and grace. Under the most stressful
¢:ircumstances the figures remain sedate and without strong
emotion.

A figure style similar to that of Hand A in Ms. 2 is
ffiaund in the work of an artist identified by James Farquhar
«ifi»the Arsenal 575 Master: a mid-century artist working as
early as 1440 and as late as 1468 (4). The Arsenal 575
"ESter was a collaborator of the Fastolf Master
(1420-1450”: a follower in the traditions of the Bedford

3'“, Boucicaut Masters (5). He was an artist who was held in

11

high esteem in mid-century France. He worked in Paris and
Rouen and was a third generation follower of the great
Parisian traditions of the early decades of the century.
His figures: like those of Ms. 2, have large heads placed on
small bodies which are shown in similar interior spaces
believably drawn with passable linear perspective. Both
artists create a mood of quiet dignity in which the figures
interact through gestures: tilting of heads: and inclination
of bodies (6). The Arsenal 575 Master’s St. Metthee
miniature: folio l7 (7): corresponds (although the image is
reversed) to the Matthew design of Ms. 8: folio 13 (fig.
15). In both scenes the saint’s chair is placed at an angle
leading into the room where the action is stopped by a large
red drape hanging on the back wall. Round-headed windows
appear above the drape. The face of Matthew is copied by
the Ms. 8 artist who uses the same three-quarter view and
facial expression. Both Matthews are attended by a
blue-winged angel: enlarged in Ms. E: as is the figure of
Matthew: and moved forward on the page. The ornate ceiling:
furniture: and floor designs are eliminated in Ms. a and the
Space is taken up by the figures. The Arsenal 575 Master
<and Hand A of Ms. 2 use the same rounded and full-bodied

'figures with warm: glowing skin.

Figure Style: Hand B
These forms are quite different from Ms. E’s Calendar

and Memorial pages where Hand 8 depicts people other than

12

the laborers of the fields as having slender bodies with
tapered limbs and gaunt faces shadowed with washes of gray.
The eyes of these figures have a characteristic bulge and
hairlines are set high on the forehead; faces have long:
slender noses and wide mouths. The figure style of Hand 8
is similar to that of an artist known as the French Master__
(B). This artist is linked to a collaborator of the Bedford
Master who worked on the Bedford Master’s Salisbury greviagy
(9). He is the artist who ”keeps the [Bedford] shop designs
in use as late as 1465” (10). The French Master’s
distinctive figure style uses a tall: willowy figure with a
small head and eyes that appear to bulge. The curve of the
forehead is exposed where the hair is plucked to about an
inch above the hairline. In a Visitation scene folio 68v:
in a tiny Book of Hours in the British Library: Egerton MS
8045: dated about 1470 (11): the French Master uses a page
design much like that of Ms. 8. He places his figures close
to the picture plane and backs them up with a large
triangular-shaped hill (as in Ms. E’s ff. 51: 69: 97: 115:
figs. 80. 88: E7: 28). The gruff old man of the French
Ifiaster’s Visitation page: folio 68v (11): could be the
‘Feasting figure of Ms. E’s January Calendar page (fig. 1) or
'the old man of February who warms himself by the fire (fig.
£3). There are many other similarities of face and costume
(of Egerton 8045 with those of Ms. 8: the faces of the young
IDavid and Goliath: folio 138v (fig. 54): those of the

soldiers in the Fiight/Massacre scene: folio 106 (fig. 57):

 

13

and those of the Crucifixion scene: folio 178v (fig. 58)

(18).

The Enlarged Figure

Enlargment of the figure is consistent throughout the
manuscript. The full-length figures of the major miniatures
(figs. 13-16: 19-31): the two half-length Madonnas (figs. 17
and 18): and the three-quarter length figures of the
Suffrages and Memorials (figs. 38-49) and border roundels
(figs. 19: 27: 88: 29: 30) all use the close-up view which
fills the page and leaves little room for background. This
technique reflects the then-current trend in manuscript
illumination which was taking place toward the end of the
fifteenth century (13). At the time emphasis was placed on
the human figure to "conform more with the spirit of the
Renaissance" (14) that was taking place at the time in
France. This change was felt especially in Rouen where Jean
Bourdichon: a student and follower of Fouquet (15): was
influential in establishing a new style which was to bring
about a revival in the city making it once again a leading
art center (16). A manuscript that illustrates this is
ldaddeegon: MS 81: c.1485-1500 (17): where figures are
enlarged and many half— and three-quarter length figures are
included. Full page miniatures appear showing half-length
'figures set within a gold frame such as the Jean Bourdichon

(niniature of the Virgin Mefiy Receiving the Annunciatiga:

‘folio V (detached leaf): British Library Add. Ms. 35254:

 

m

mc

ru

14

Hour; gf Henry VIII: c.1500 (18). These miniatures were

treated as small scale paintings (19).

Figural Design

The figures in Ms. 2: except for the Calendar pages
where they ”stalk about" like those of the hegford Houge
(20): are characteristically motionless. Nothing ripples
with these figures: nothing flows. In the major miniatures
a figure may appear to hover or float: or one may raise or
extend an arm: but only three figures indicate real body
movement. These three are constructed of large-based
triangles which fit into solid triangular background forms
that make them extremely stable. Goliath: folio 97 (fig.
27): doesn’t fall from the blow delivered by David: hut
hangs firmly suspended in mid-air. The soldier in the

_e§§egre of the inhgcehte: folio 84 (fig. 25): is frozen in

his stride as is the youngest Magus in the Adoration gf the

3

heel: folio 74 (fig. 23). In the Adoretigh the figure
supposedly walks into the picture: but with his feet
obscured by the kneeling figure in front of him: he becomes
a part of that stable arrangement. By contrast: the same
figural arrangement in related manuscripts in the Walters
Art Museum: 1:). 220: folio 89 (21): and the British Library
‘4dd. Ms. 35311: folio 199 (22): develops a feeling of
rnovement by the step of a foot and the sweep of garments
v‘unning across the foreground area (23).

There is movement in the scenes of Ms. 2: but the

LT

15

movement is not created by the figures. It is the eye of
the viewer which moves from clue to clue: triggering the
action of the narrative. The sacred story is activated anew
by these devices at each viewing. In the Adoretion of the
hegi: folio 74 (fig. 23): the forms of Mary: the Magi: and
the Child fill the picture plane leaving no room for Joseph
or the camels or retainers of the Magi. The space is filled
with the four large figures which bend and nod and point
toward each other. Each frozen figure: by a gesture or
glance: moves the eye on to the next figure enabling us to
read the narrative.

Few animals appear in the miniatures of Ms. 2 and none
appear in the margins. Only those required by the
narrative: as symbols for the person represented or as
needed for the labors and zodiacal signs of the Calendar
pages: are included. The obligatory beasts of the
Evangelists are: like the human figures: drawn large and
close to the picture plane. Here: too: the animal forms
bear resemblance to those in the Bedford Hours. St. Mark’s
lion: folio 15 (fig. 16): partially hidden behind the saint:
has the same humanoid face: broad smile: doughnut-shaped
ear: and shoulder-length mane as the lion of the Bedfgrd
liogre' July Calendar page: folio 7 (1). He sits in

‘the same position and holds his head at the same angle.

16

Backgrounds

In all miniatures except the hen of Sorrows: folio 172v
(fig. 31): and the two half-length Madonnas: folios 16v and
20v (figs. 17: 18): there is either a painted interior or
landscape background. These background paintings reveal the
excellence in depicting landscape demonstrated by the Ms. 2
artist: Hand A. His landscapes not only decorate the
miniature: they are believable scenes with vast distances
which enhance the figures and give them a dramatic:
larger-than-life feeling. The artist uses the perspective
techniques demonstrated in the work of Jean Colombe in the
Trés Riches Heuree gu Que ge Berry: 1416-1485? (24). where
distant forms are blurred by atmospheric haze (as seen in
ff. 95 and 152v).

The ability of Hand A to paint realistic landscapes is
demonstrated in the Vieitation page: folio 51 (fig. 20).
Blue skies: darker overhead: become lighter at the horizon
and warm colors soften and gray into the near distance.
Mountains and castle towers in the far distance are reduced
in size and painted blue with details limited to a darker
blue. Roofs and naturalistic trees are grouped and
overlapped forming diagonals that converge at the horizon at
approximately the correct angle. Closer: middle-ground
buildings are painted gray: with crenelated walls: bulbous
towers: arched windows and doors: and red gable roofs.
Close up: the artist uses a soft mauve-colored path with

small stones that appear to cast shadows while the figures

 

17

on the path sometimes do not. The path appears in all but
two miniatures: folios 9 and 123 (figs. 13: 30): where the
edge of John’s island and the side of Job’s dunghill
substitute for it. This path may be an idea borrowed from
the Boucicaut Master (before 1420) who "introduced a curved
strip of earth or pasture...in the immediate foreground
which sets the action back as if it were taking place on a

raised platform" (25). It appears in the yieitation: folio
65v: and the Eiight intg Egygg: folio 90v: in the figure 01

Marehai Jeah ge Boueicaut (26).

The characteristic soft: yellow-green grassy areas that

 

extend into the distance allow Hand A to use blue-green
trees: strong clothing colors: and dull gray architecture
without losing the sunny environment of the scene. On
nearly every horizon is a skillfully painted castle atop a
blue mountain. Each castle has its shadowed towers:
windows: and walls. Tree forms have trunks: individual limb
systems: and leaf details overpainted in dabs of brown:
green: and gold. Hand A painted realistic rocks and rock
formations as seen in the hegi page: folio 74 (fig. 23): and
the IQDO page: folio 9 (fig. 13): and always buttressed his
figures with a large: triangular hill or building
arrangement. His blue skies sparkle with gold: and all the
grassy areas are decorated with a stemmed-plant design in a
grayish—green.

Hand B (the painter of the Calendar and Suffrages or

Memorial scenes) uses a forest green for the grass and

18

costumes his figures in dark colors resulting in a heavy:
cheerless aspect. The architecture: far less realistically
represented than those of the major miniature pages by Hand

A: are simple patterns of darker blue against the lighter
blue of the sky. Landscapes seem heavy and monotonous with
their round hills: circular trees: and dark colors. The sun
doesn’t shine there as it does in the major miniatures.
Interiors in both the major miniatures and the Calendar
pages have gray stone walls and wooden ceilings: drab
backgrounds that are relieved with a large: brightly-colored

cloth wall-hanging embroidered with gold as in folios 11:
13: 15: 79 (figs. 14: 15: 16: 24). These screens of cloth
act as the hills in the landscapes to buttress the figures

and keep them close to the viewer while at the same time

anaintaining the surface of the page. These hangings may

(derive from the "cloth of honor" of the French kings (27).
'The only interior without a cloth hanging is that of the
Fflaggagrg of the innocents: folio 84 (fig. 25): where Herod:
“”10 is undoubtedly thought to be unworthy of such a symbol:

lflrflesides over the events. In the gedfgrg ngrg’ miniature

(3" lhe Qucnggg QI Eegtggg with he; Qégggn: fit, flung: folio
35'7b (28): a shoulder-high cloth screen is hung across the
‘“iljor miniature and four of the five border vignettes in a
manner similar to Ms. 2. Unlike the cloth partitions of the
Buncicaut Master: folios 38v: 53v (29). which hang straight
“W\d act as a partition creating (implying) believable space

bePyond the screen: the Bedford Master’s drapes (30) sag in

19

the center and appear to limit the spatial cavity in the
foreground as well as the space beyond the screen. The
drapes of Ms. 2: for the earthly rooms: hang straight
against a back wall. In the half-length Maggnng pages:
folios 16v and 20v (figs. 17: 18): celestial space appears
behind the drape and in the exterior scenes of the Nativit :
folio 68 (fig. 21): and the figgggtion of thg_flggi, folio 74
(fig. 23): the drape hangs on the front wall of the shed.

In the major miniature interiors of Ms. 2 by Hand A:
the wall above the head of the figure is broken either with
a round-headed window open to the sky or by a shelf or
cupboard full of colorfully bound books. A writing desk
(lectern): tall-backed chair (throne): altar: or bench
furnishes the rooms. Believable space is created for these
interior scenes by placing furniture and figures at an angle
designed to lead the eye into the room and by inclining the
floors to suggest spatial recession. The floors in all of
the large miniatures and roundels are painted a soft
yellow-green: somewhat on the turquoise side: with a gold
line that traces delicate tile-like circles on the floor.
These fanciful shapes are large in the near ground: smaller:
and drawn more obliquely: toward the back of the room.
Occasionally the design is varied by infilling the circles
with a diagonally-drawn gold line. In the Calendar
interiors by Hand B: the floor design is a much heavier:
dark-green color with a monotonous circle traced thickly and

evenly on the floor. This same floor design in a soft tan

20

color is found in the Elayfgir Hours a Rouen manuscript in
the Victoria and Albert Museum: London (14805?) (31). It is
not consistent throughout the manuscript but this is not
surprising since the Plaxfgir Hggrg is the result of several
different bands (32). The floor tile design is not a common
design: and it was not taken from the ggdfOtd Houng.

A limited number of colors: primarily red: blue: gold:
gray: various greens: brown: soft pink: violet: and mauve:
are used and repeated to balance and unify the compositions.
Fine: gold-texture lines are applied on top of colors: a
technique "in current use" toward the end of the fifteenth
century (33). These lines brighten and add a rich glaze to
the miniatures. Effective use is also made of soft: silky
areas of white that enliven and accent scenes needing relief
from the abundant use of color.

In summary: the human figure dominates the miniatures
of Ms. 2 and the hands of two artists are clearly
recognizable. Their artistic styles are seen to stem from
masterworks of the early decades of the century perpetuated
by the work of known mid-century artists who were followers
of the Bedford style. The Bedford influence is also evident
in the roundels: and in certain interior devices.
Late-century influences are seen in the naturalism of the
landscape: the painting style: the enlargement of the
figure: the half-length portrait: and various interior

designs.

21

Ornament

The style of the borders appears consistent for all the
miniatures with the only variation being the degree of
lavishness which appears to correspond with the importance
of the miniature. Those with the least ornamentation use a
basic design of gold hairspray lines with gold ivy leaves:
gold buds: and various flowers: fruits and berries of pink:
red: blue: violet: and mauve: and leaves of several shades
of green. On the text pages: as well as the Suffrages or
Memorials: the borders are three-quarters (top: bottom: and
outer edge): quite sparse: and without acanthus leaves.

In the Calendar: blue and gold acanthus leaves appear
in the corners and sometimes between the smaller miniatures.
The Calendar borders are full (four borders) but not as
richly decorated as the large miniature pages. The
decoration on the major miniatures pages is full: much more
dense: and especially lavish on the five medallion
miniatures where grapes: strawberries: cherries: various
flowers and leaf designs augment the major motif of the blue
and gold acanthus leaf. 0n the major miniature pages these
decorations appear to have been added in layers rather than
in a continuous or repetitive design around the border.

The everpresent acanthus operate here much as they do
in the Bedford Hours: holding down corners and decorating
the ends of the script frames. They insert themselves from
the corners of the page and emerge from around the edges of

the medallions and from the ends of the baguettes.

med
Vir
gel

97;

be
as
Out.

Of!

22

Sometimes they sprout spontaneously from nowhere. As in the
Bederd Hours: as noted by Eleanor Spencer (34): the
medallions of Ms.2 are formed by interlacing acanthus stems.
Vines and acanthus grow from small plots of grass and from
golden pots of irregular shapes (ff. 11: 15: 25: 63: 69: 91:
97; figs.14: 16: 19: 21: 22: 26: 27). On occasion: other
small geometric ornaments appear in the borders. These may
be circlets of overlapping lines in a rounded wave design:
as in folios 16v: 115 (figs. 17: 28): or one made of four
outward loops. Sometimes these are set on a circular field
of burnished gold (f. 123; fig. 30).

Occasionally foliage will overlap and form spaces which
are filled with stemmed flowers (ff. 11: 119: fig. 14: 29).
Other stems with flowers: grapes: nuts: and pods grow out of
the center of branched acanthus leaves (ff. 15: 20v; fig.
16: 18). On certain miniatures such as the Nativit : folio
63 (fig. 21): stems of the acanthus overlap forming a
mandorla-shaped area which is infilled with pen designs.
This style of border decoration is like that of another
manuscript by the Arsenal 575 Master: Halters Art Museum
w. 220 (35) (ff. 148: 113: and 94). The border decorations
of w. 220: like those of Ms. 2: appear in layers rather than
in a continuous design. The artist of w. 220 was also fond
of using small golden pots in the lower center margin and
lateral margins to support an arrangement of several long
stemmed flowers as in folio 148: St. John the Baptist (36).

Like Ms. 2: the Nalters’ manuscript has connections with the

23

gedfocg ngrg. According to Farquhar: L. M. J. Delaisse

commented upon the "relationship of the borders [of Walters
2203 to the tradition of the Master of the Duke of Bedford"
(37).

The initials of the Ms. 2 are consistent in their
execution. Appearing on all the major miniature pages: the
large initials are decorated with variations on a
three-lobed leaf in blue and red touched with white on a
burnished gold field. Curving tendrils: some plain and
others with a diamond network: support infil of leaves.
Voids in the letter design and in the width of the letter
itself are decorated with blue and white geometric designs
called gentelle. The initials in two of the five roundel or
medallion pages: the Annun 'atio : folio 25 (fig. 19): and
the ngig_page: folio 97 (fig. 27): differ in that the
center of the letter of the Annunciation page is filled with
a pot holding long-stemmed flowers and that of the David
page shows flowers growing from a small plot of green turf.
The red and blue leaf design is used in all but four
baguettes on the major miniature pages. The Nativ't : folio

63 (fig. 21): the giggin_in_figgxgn: folio 20v (fig. 18): and
the gggggntggignj folio 79 (fig. 24): use blue and white

 

flowers. The last two combine the flower design used on two
sides with the leaf design on the third. The Man of
Sgrrgwg: folio 172v (fig. 31): uses a strawberry motif. The
medallion miniatures do not use the baguette.

The design and motifs of the baguettes of Ms. 2’s St.

24

John: folio 9 (fig. 13): relate to those of Arsenal 575

 

(38). The burnished gold of the baguettes and the fields of
the major initials institute "a fundamental category of
color" as the ornament of the goucicaut Hours is described
by Millard Meiss (39). The gold of these areas: together
with the textured high lights of the miniatures and the gold
in the border decorations: creates an immediacy and a
fullness which brings the colors to life in relationships
too subtle to be seen in a color reproduction.

.Hand 8: the artist of folio 172v (fig. 31): Man of
Sorrows: painted a frame of unfaceted jewels around the top
and sides of the miniature: a motif unique in the
manuscript. This miniature is the only one that does not

have a serrated edge around the top of the arched frame.

Summary

Stylistically the borders and ornament of Ms. 2 follow
the designs attributed to the Bedford Master. The ornament
(Of'the manuscript as well as the figure and miniature
(designs relate to mid-century workshops known to have been
(associated with the Bedford Master. Enlarged figures:
‘naturalistic backgroundS: and gold texturing indicate a
late-century manuscript dating that is perhaps too late and
contains too many other influences for the manuscript to be
included in what H. P. Kraus (cited in the Introduction to
this paper) calls the "school of the Master of Hours of the

Duke of Bedford.” John Plummer’s attribution of the

25

manuscript (also cited in the Introduction) to "the artist
who painted a Book of Hours offered by Olschki in 1910: item
40:" does not seem likely in that: although "Olschki: item
40" may reflect the Bedford influence and it may have been
patterned after a manuscript such as Ms. 2: it appears to be
too much of a degenerate nature to have served as its model.
Certainly the Bedford influence and that of other
artists of the Limbourg circle is present: but of equal
interest is the other end of the time line and the
significance of Ms. 2 as a late-century Northern Renaissance
manuscript. The activities of related artists and stylistic
similarities suggest a possible Rouen connection.
Consistency and quality are evident in the manuscript’s

production.

III

ICONOGRAPHY

It is the purpose of this chapter to provide a
description of the iconographic components of the miniature
pages of Ms. 2: to identify the images: and to compare the
iconological similarities between it and other related
manuscripts of the fifteenth and early sixteenth centuries
in order to investigate the influences that affect its

composition.

Calendar Pages (ff. 2-7v)
Unless it has been lost due to damage or theft: a Book
(Df Hours will begin with a Calendar section. The Calendar
typically contains two leaves for each month: the first for
the illustration of the seasonal occupation or labor of the
tnonth: the second for the corresponding sign of the zodiac.
By the fifteenth century a standardized sequence of

(occupations for Books of Hours had evolved:

JANUARY Feasting

FEBRUARY Sitting by the fire
MARCH Pruning

APRIL Garden scene

MAY Hawking or boating

26

27

JUNE The hay harvest

JULY Reaping the corn

AUGUST Threshing

SEPTEMBER Treading the grape'

OCTOBER Ploughing and Sowing

NOVEMBER Gathering acorns for pigs

DECEMBER Killing the pig or baking bread (1)

within these estabished subjects artists were
apparently free to choose how they would depict a particular
labor or zodiacal sign (2).

The Calendar of Ms. 2 follows the standardized sequence
with each labor and sign of the zodiac appearing on the same
page rather than on a separate one. The miniatures appear
on the outer margin with the labor above the zodiacal sign.

All the calendar pictures are seen through an
architectural opening: a door or large window with columns
Inade of gilded wood decorated with geometric designs. Above
the columns is a flattened arch with floral designs and a
‘vine and leaf motif carved into its corners. At the top of
leach of the calendar scenes golden lines stream down from a
large: blue half-circle inside an outer: blue half-circle.
(Solden dots sprinkle confetti-like from above indicating the
lnresence of God in heaven rather than the representation of
sunshine. within this basic format they have numerous

iconographic variants discussed below.

28

Descriptions of the Calendar Pages
January: Man feasting: Aguariug
(The water-carrier): folio 2 (fig. 1)

A young manservant brings food to the lord of the
castle who is seated before a wall-size fireplace in a
low-ceilinged room. He faces into the room: his back to the
fire. A table with a white cloth is set at an angle in
front of him. The walls are gray stone: the floor is
covered with green tile: and a window looks out to a blue
sky. In the zodiacal scene below: Aquarius: the
water-bearer: stands in a stream. A sturdy figure in a loin
cloth: he holds a container in each hand. The landscape is
laid out in a series of triangles: the near bank of the
stream: the stream itself: the hill in the middle ground:
the mountain in the far ground: and the sky in the distance.
The figure with its outstretched arms forms a
counterbalancing triangle overlapping the background forms.
thandscape colors are limited to a single green varied with
[gold overlays or deep brown texture lines: a soft brown: and
Ialue with black or white added. Gold texturing is used to
brighten the grass in the foreground: distant hills are
painted with a blue wash and topped with a castle or a tree.

February: Man wagging himself by the fins: Pigggg
(The Fishes): folio 2v (fig. 2)
A gruff: old man sits on a chest near a roaring fire
protecting his face from the heat with a hand-held fire

screen. At the bottom of the page is the zodiacal sign of

29

the month: Pisces: the fishes. They appear: not in a winter
landscape of February: but in one of summer with green grass
and rippling blue water. The fish color matches the water
and their faces are amusingly human.
March: Man pruning vingsi flgigg
(The Ram): folio 3 (fig. 3)

A necessary labor of the season is the pruning of grape
vines to control their growth and produce larger fruit. The
canes are cut in late winter before the sap starts to run to
minimize bleeding. A large male figure working with a
curved cutting tool stands knee-high in a brown field of
vines. The hill in the distance has the green grass and
fully—leafed trees of summer. The workman wears a red
head-covering and breeches and a short blue tunic and white
hose. Gold cross-hatchings decorate his garments and the
grape vines. The ram at the bottom of the page walks along

a brown path: and: like the figure above him: appears round

and ful l-bodied.

April: Couple in a garden: Taurus
(The Bull): folio 3v (fig. 4)

Lovers holding hands in a trellised rose garden
illustrate the arrival of spring. The elegance of their
(garments: his pleated tunic and her gown tucked up under her
arm to reveal the contrasting undergarment: indicate their
high station in life. The brown path on which they stand is
repeated in the zodiacal scene below where an agitated bull

lashes his tail and lifts his head to confront the

30

landscape.

May: Youn m n on hors ba k: Gemini
(The Twins): folio 4 (fig. 5)

A young man riding a prancing white horse is
accompanied by a page boy who walks the path beside him.
The rider wears a red cap and hip-length tunic: long blue
hose: and boots with spurs. His horse is decked out in a
harness of red and gold. The horse is too large for the
picture and its head: legs: and rump are cut off by the
frame. Nude male and female figures: the sign of the
Twins: hide the lower half of their bodies behind a»
gold-embroidered: blue drape that is set out in a green
field. As in the other scenes: the sky is blue and distant
objects on hillsides are painted in dark blue over light
blue.

June: Man cutting hng anggg
(The Crab): folio 4v (fig. 6)

A peasant: dressed for the heat of summer in a straw
fiat and white shirt and hose: swings a scythe in a field of
.lay that nearly engulfs him. Painted a solid green and
‘temtured with gold: the hay fills the foreground and rises
‘Jp in two haystacks: one on either side. The lower
landscape is planned in ovals as a background for a giant

I’ed crab. A bald hill with a leafless tree gives a feeling

of distance to the scene.

 

31

July: Man harvesting grain; Leo

(The Lion): folio 5 (fig. 7)

with his sickle lying on the ground: a peasant grasps

the golden grain to be bound into a sheaf. He wears a

broad-brimmed hat: white shirt and leg covering for his

mid-summer labor. In the scene below a seated lion

dominates a landscape of green grass: hills: and blue sky.

August: Man flailin r 'n; Virgo

(The Virgin): folio 5v (fig. 8)

The peasant flailing grain steps into the picture from

behind the left side of the frame. The sheaves are stacked

up) along the back wall under a window. The dark brown grain

brightened by the man’s red and blue

and gray wall are
an unidentified virgin saint

Ccastume. In the zodiac below:
Stands in a room with a green-tiled floor: a large blue

dF‘ape with gold decorations: and two round-headed windows

Her figure sways slightly. She wears

high up on the wall.
a red gown with a corner of the skirt held under her arm to

"Qveal the soft: gray-violet garment beneath. She holds the

pa 1m of the martyr and an open book.

September: Man treading grapes: Libra

9)

 

(The Scales): folio 6 (fig.

A single human figure and a minimum of large objects

fi 1 l the scene. A peasant: naked from the hips down: treads

the grapes in a large vat. Behind him are several more

b."“els. The back wall of the room is very dark except for

. window which is open to the blue sky. For the zodiacal

32

scene below: the artist portrays the same female figure and
interior as seen in the August calendar page. The artist
adds a set of balance scales.
October: Man sowing: Scorgio
(The Scorpion): folio 6v (fig. 10)

A peasant stands in the furrows of a ploughed field and
casts seed from a bib-like cloth tied behind his neck.
Holding it out in front of him: he moves across the field.
An open-mouthed bag of seed rests on the ground. His hand
touches the frame on one side of the miniature while the bag
of seed is partially hidden behind the frame on the other.
On the left: behind the field: is a green hill with a brown
top and a large tree; on the right is a blue hill and small
buildings from which columns of smoke rise. In a similar
landscape below: a large creature representing Scorpio lies
stretched out on the grass. The hybrid has a body of a
fish: eight legs: a long: curving tail: and a dog-like head
with a sharp nose and short ears. The artist has painted it
brown with gold highlights. Black lines circle its body
from the back of its neck to the base of its tail.

November: M n h rv tin c rn : 8 it r s
(The Archer): folio 7 (fig. 11)

A gray-bearded old swineherd swings a stick back over
his shoulder to strike the oak trees hard enough to shake
down acorns for his animals. He and his three pigs stand at
the forest’s edge on a path strewn with acorns. Behind him

is a hill and a starry blue sky. Gold textures decorate his

33

clothing and stick: the pigs: and the trees. In the zodiac
below: Sagittarius: the archer: has the torso of a man and
the four legs and body of an animal. The lower body is not
exactly a centaur: half man and half horse: nor a satyr with
the hind quarters of a goat. It appears more like that of a
large brown dog. A stream flows in front of a landscape
typical of those found in this manuscript. The archer leaps
forward: turning to shoot an arrow back over its shoulder.
December: Mgn butchering §_pig; Capricorn
(The Goat): folio 7v (fig. 12)

A young man wearing a white apron over his clothing
dresses out a large white pig which hangs on a wall in front
of him. The zodiacal sign of Capricorn: the goat: rests on
the edge of a stream in the landscape below. Its head and
front quarters are not the domestic variety goat: but rather
those of the mountain Ibex with its great: scimitar—shaped
horns transversely ridged in front. The rest of the
- brown-ringed body ends in a curving tail something like that

of a scorpion.

Iconography of the Calendar Miniatures
It can be shown that the iconography of the labors and
the zodiac of Ms. 2 is very close to that of the Bedforg

Hours (3) and the Belles Heures of the, Duke de Berry (4).

 

The first similarity is in the February pages where all
three miniatures: the Bedford Hours: folio 2 (3): the Belles

ngres: folio 3 (4): and Ms. 2: folio 2v (fig. 2): take

place in a narrow castle room in which a man is seated in
front of a blazing fire in a wall-sized fireplace. In each
of the three scenes the man wears a long robe and a hat with
a cowl to warm the back of his neck. He sits on a bench set
into the room at an angle. There are windows: one or more:
behind and above his head. The three zodiacal miniatures
show two large fish facing in opposite directions.

With the harsh winter over: the March page of Ms. 2:
folio 3 (fig. 3): finds the peasant pruning the vines. The
scene relates to the March laborer of the gsdford Hogss:
folio 3 (3). Both figures wear a blue tunic: red breeches
and red hat: and assume a pose with legs apart: hands
outstretched: and body slightly bent at the waist. Spring
has really arrived in May when: in all three manuscripts: a
male rider rides out on a spirited horse and the Twins of
the zodiac embrace and hide the lower parts of their bodies:
behind a golden shield in the gsgford Houcs: folio 5 (3) and
the Belies Heurss: folio 6 (4): and behind a blue drape in
Ms. 2: folio 4 (fig. 5).

June and July find the peasant harvesting the hay and
the grain. In all three June miniatures: the lone laborer
faces the viewer as he swings a scythe to the right side of
his body. The zodiacal sign is a large crab: red in Ms. 2:
folio 4v (fig. 6): and the Bedforg Hogrs: folio 6 (3): and
brown in the Belles Heures: folio 7 (4). In July the
laborer of the Bedford ngrs: folio 7 (3): and Ms. 2: folio

5 (fig. 7): bends to the right as he cuts the grain.

35

The lion of the zodiac on these pages is seated: his
cape-like mane falls over his shoulders.

All three laborers in August: gsdford Hougs: folio 8
(3): Beiies Heprss: folio 9 (4): and Ms. 2: folio 5v (fig.
8): lift their flails over their heads while bracing
themselves: legs spread apart.

In September the miniatures show a man standing
knee-deep in a large vat of grapes. The figures of the
gsdford Hours: folio 9 (3): and Ms. 2: folio 6 (fig. 9):
grip the sides of the vat: lifting their feet to work the
grapes. The Belles Heures worker of folio 10 (4) treads the
grapes while helping a fellow worker empty a basket of fruit
into the vat.

An examination of the October page of the three
manuscripts reveals startling similarities. In each
manuscript the male figure representing Sowing assumes the
same pose: wears the same garments and hat: and stands in
the same furrow-lined field casting seed from a cloth tied
up behind his neck and held out in front as he walks. A
large bag of seed: round and open-mouthed: rests on the
ground of the Bsiles flegrgs: folio 11 (4): and Ms. 2: folio
6v (fig. 10): and a harrow appears in the Bedford folio 10
(3) and Beligs Hegrss.

In November the swineherds in the Bgdfgrg Hours: folio
11 (3): and Ms. 2: folio 7 (fig. 11): step away from the
trees before knocking down the acorns with their sticks.

The pigs in the background hold identical poses: one holds

its head down: the other looks up. The pose of Sagittarius
is similar in all three manuscripts: but the clothing is
not: in the Bell 5 He res: folio 12 (4): and Ms. 2 the upper
body is unclothed; in the gsdford Hours he wears a dashing
red costume and hat.

The December laborers engage in different aspects of
butchering the pig: the gsdford Hours: folio 12 (3): and
leles Heures: folio 13 (4): workers are engaged in the act
of killing the animal while the Ms. 2 folio 7v (fig. 12)
figure dresses the carcass. Capricornus in the Bedford
figggs and Ms. 2 lounges on a green hillside while the Belles
Heures amimal sits upright.

Throughout the Calendar pages of the Bedford Hours the
skies sparkle with a variety of cloud: star: and rinceaux
designs. On the April page: folio 4 (3): rays stream down
from a golden burst at the top of the miniature. This theme
of heavenly light is repeated in the Ms. 2 Calendar on every
page but November: folio 7 (fig. 11). Sometimes the
streamers are underscored with arcs of blue at the miniature
top. The golden streamers represent a presence in the
heavens from which not only light but grace is bestowed upon
the earth.

. The iconography of the January page reflects a
variation in the manuscripts that is attributable to the
change of fashion from the early decades of the Begfgrd and
Eeiies Heures to the late century realism of Ms. 2. The

symbolic feasting man of January in the Belies Hsurss: folio

37

2 (4): appears as two figures: one old: one young: seated
back to back: each drinking from a cup. He becomes mythical
in the Bgdford Hours: folio 1 (3): where he has one body
with three faces. One face eats: one drinks: the third
faces the viewer. January’s feasting man in Ms. 2: folio 2
(fig. 1): abandons the idea of Janus: the two-faced Roman
deity of portals: and becomes a believable figure of a
gray-bearded older man: cup in hand: waiting for his servant
to put food on the table.

Another slight difference in iconography appears in the
month of April where the Bsdford Hours: folio 4 (3): and the
Belles Heures: folio 5 (4): represent the activity of
springtime as a young man carrying a tree branch while Ms.
2: folio 3v (fig. 4): has a courting scene with lovers in a
rose garden. Once again: the artist of Ms. 2 chooses
reality over symbolism: a consistent choice for an artist
such as himself: who followed the stylistic trend of the
time.

Backgrounds in the miniatures of the manuscripts also
reflect the style of the age in their dissimilarities:
diapered in the leies Hsures: blue with gold rinceaux in
the Bsdforg Haprs: and a naturalistic landscape in the
Michigan State University Library manuscript. The gsiiss
flegrss uses no realistic sky and only a flat greensward on
which to position its figures. The Bsdford Hours introduces
naturalistic land forms and architectural themes but

continues with rinpgaux and stylistic sky patterns of clouds

38

and stars. Ms. 2 backgrounds are three-dimensional
landscapes with distant scenes affected by aerial
perspective.

The iconography of the Calendar pages of Ms. 2 can be
recognized in the Calendar pages of the Beilss Heures and
the aggfgrg floprs: two of the great manuscripts of the early
decades of the fifteenth century. Although the artists of
Ms. 2 interpreted the ideas of the Bedford Master and the
Limbourgs in the light of the late years of the century: the
influence of these artists on the Michigan State University
manuscript is evident. Both the Belles Heurss and the
Bedford Hpurs compare well in iconography with Ms. 2: with

the greater correlation between Ms. 2 and the gsdford Hours,

Gospel Sequences (ff. 9-16)

The Gospel Sequences: represented by portraits of the
Four Evangelists: begin with St. John tbs Evsnggiist: folio
9 (fig. 13): followed by 55. Luke: folio 11 (fig. 14): s3;
flatthsw: folio 13 (fig. 15): and St M rk: folio 15 (fig.
16).

In Books of Hours the Evangelists appear in the order
of their content and are usually accompanied by their
attribute: Matthew: a man: Mark: a lion: Luke: an ox: and
John: an eagle (Ezekiel 1:5 etc.: Revelations 4:6-10).
John: whose opening passages proclaims the godhead of
Christ: "In the beginning was the Word" (John 1:1): often

appears on the Isle of Patmos receiving his apocalyptic

39

vision or in his study occupied with his writing. Luke’s

Gospel continues the Christmas story with the Annunciation
(Luke 1:28-31): and Matthew’s Gospel with the story of the
Magi (Matthew 2:1-12). Mark’s Gospel deals with the time of

Christ after the Resurrection (Mark 16:1-20).

Descriptions of the Gospel Sequences
gt, Jphn tbs Evangslist: folio 9 (fig. 13)

A large: triangular-shaped figure of the seated St.
John on the Island of Patmos dominates the first large
miniature in the manuscript. John is shown as a young man
with long: golden-blond hair: seated with pen in hand and a
book lying open across his knees. Leaning slightly backward
and looking up: he is confronted by two images: from the
left: a large: golden eagle raises its head and shouders
above a row of dwarfed trees and looks apologetically into
the face of the saint. Above: a half-length figure of God
the Father looks down from a red: star-studded arc with
blue-ruffled edges. Both faces are shown three-quarter view
with heavily-lidded eyes: large noses: and mouths indicated
by two short lines. The figures have solid gold haloes.
One wears a tunic of blue under a gold robe: the other a
white tunic under a red cloak. God has a white-beard and
holds a cross-topped: golden orb in his left hand and
blesses with his right.

The composition is geometrical with parallel and

opposing triangles receding into the background. One side

40

forms a rocky wall behind the saint: the other: a blue-green
grassy slope behind the eagle. The space between the two is
filled with a castle in the near background and another on a
high mountain in the far distance. Blue sky is overlaid
with dots of gold: and the trees: rocks: and clothing of the
figures are etched with fine gold lines giving texture and
modeling to the forms. The island rises sharply above the
water: its vertical edges cracked with ‘Y’-shaped marks to
indicate height: and it: along with other landscape
features: appears disproportionately smaller than the
figures. Rock details are outlined on the hills behind the
figure of John.

The miniature is round-headed and framed by a narrow
gold band outlined on both sides with a black line: a
serrated edge trims around the top. From the shoulder of
the arch downward is a baguette over which is painted a
stylized design of red and blue leaves and tendrils. It
runs below the script and connects with the slightly
indented initial decorated in the same manner. The
miniature border is completely filled with decoration
consisting primarily of gold tendrils and ivy leaf designs:
red and blue acanthus leaves: and irregular assortments of
flowers: leaves: nuts: pods and a four-lobed design in gold
with serrated edges. Gold is used primarily: together with
deep blue: red: a soft blue-green: and pink. The Itendrils
curve and loop forming heart and inverted-heart designs:

there are no defined diagonal shapes or tendencies. The

41

initial: very aptly executed: is five lines high and
decorated with stylized leaf forms of red: blue: and white:
set in three panels: two with gold backgrounds and one with
blue.

St. Luke: folio 11 (fig. 14)

Luke and his ox occupy a handsome room with a
green-tiled floor. Behind the figures: hanging on a golden
rod: is a blue drape decorated in gold with a pattern
consisting of an ‘X’ with a circle set in each quadrant. In
the arch of the miniature just above the rod is a bookshelf
flanked by two square doors that open inward. Across the
very top of the arch is a nail-studded ceiling. In front of
the drape on the left is a large: triangular bookstand with
its base hidden beyond the miniature’s frame. The seated
saint and an ox with half-shut eyes and curving horns fill
the center of the miniature close to the picture plane.
Shown in an almost frontal position: Luke wears a bifurcated
brown heard, a grey head covering: and a bright red tunic.
A scroll is draped across his knees and he sharpens his pen
while his ox rests at his side.

The border is similiar to that of the gggp page with
the additional introduction of a thistle-like flower in the
outer border and a small: gold-colored pot on a green patch
of ground in the bottom left corner. The four—line initial
is skillfully designed with two circles and a vertical

containing the stylized leaf and tendril forms and colors of

the John initial.

42

St. Mstthsg: folio 13 (fig. 15)

The figures of Matthew and his attending angel dominate
the interior of a richly-draped castle room. Seated in a
canopied chair: Matthew compares the writing in the book
held by the angel standing in front of him with that of the
scroll draped over his knees. Large: geometric areas of
bright color decorated with gold unify and ornament the
background space. A red cloth embroidered with gold hangs
on the wall beneath two round-headed windows. The color is
repeated in the chair canopy and in Matthew’s hat. The
saint’s extended arm links his figure with that of the
sleepy-eyed angel and the green of his tunic reflects the
color of the floor. Blue is repeated in the angel’s wings:
the chair: and the cloak; white in the angel’s tunic: the
book: the scroll: and in Matthew’s beard. Although the
walls and ceilings of the room are somber: the room is
brightened by light blue sky from the windows and the
brightly colored green floor tile.

The frame of the Magthew miniature encloses the sides
and bottom of the script without an indentation at the
capital. Its leaf design overlaps the gold frame giving a
fretted: decorative effect. The initial is only two lines
high: of red and blue leaf and tendril: and the border
design now includes strawberries and a little patch of green

earth for the growing of acanthus on the outer margin.

43

St. Mark: folio 15 (fig. 16)

Mark: looking a great deal like John with his long
blond hair and youthful face: is seated in an elegant room
similiar to that of Luke. A large cone-topped bookstand on
a round pedestal base rises higher than the head and
upraised arm of the saint as he lifts his hand to the light
to examine the tip of his pen. His beast: a great smiling
lion: rests at his side. A third of the miniature space is
designated as floor area and is covered with green tile.
Above this the wall is hidden by a drape of blue with a
gold: four-leafed floral design. In the arcuated portion of
the miniature the gray wall holds a book—filled cupboard:
its doors open to the room. Mark wears a tunic of blue
under a red robe fastened at the neck. A solid gold halo
encircles his head.

The frame of the miniature and the borders of the page
are similiar to the Matthew page with the addition of a
golden pot with two spouts or handles. In it grow five
red-tipped white flowers. The initial is four lines high
and has three vertical areas. The outer ones are filled
with three circles which contain red and blue stylized leaf

and flower designs.

Iconography of the Gospel Sequences
Ms. 2’s representation of John on Patmos has

similarities with other fifteenth-century manuscripts. One

example is the St. Jghn ths_§vpnggiist miniature of the

44

Bedforg Hours: folio 19 (5). In both miniatures figures are
seated in the center of the page on a narrow section of land
that rises sharply out of the surrounding water. Behind
each figure is a triangular-shaped hill separating it from a
walled city in the distance. In Ms. 2 the clutter of shapes
and figures behind the feverishly occupied saint of the
Bedford Hours is organized into a serene: three-dimensional
landscape where John pauses to look up at God the Father
overhead.

The iconography and composition of the St. John scene
of Ms. 2 has parallels in that of British Library Egerton
2019: folio 13: (fig. 50): (6): a mid-fifteenth century
manuscript with the same figural arrangement and
three-dimensional landscape. The border uses the same
ornament including the vases at the foot of the frame.

A St. John miniature: strikingly similar to Ms. 2:
appears in a late fifteenth-century British Library
manuscript Add. MS. 11865: folio 7 (fig. 51) (7): where the
position of the saint’s body and his facial appearance are
recognizable. There are also similarities in the
manuscript’s style of buildings and architectural details
with those of Ms. 2’s Visitati n: folio 51 (fig. 20). The
artists of both manuscripts show a heavy reliance on black
outlining and use the same organizational techniques of
enlarging figures and simplifying backgrounds although Add.
MS. 11865 is far more detailed. The work of the artist of

Add. MS. 11865 displays characteristics of Fouquet and his

45

followers: especially the Master of the Tilliot Hours in his

“strong sense of the dramatic“ (8): a noticeable trait of
Ms. 2.

There are design similarities between the Ms. 2 sgi
5253: folio 11 (fig. 14): and the beautifully detailed
miniature of ping. folio 15v: in the Hours of Jusna Enri’ggg
(9) by the Arsenal 575 Master. Both figures: with their
doll-like bodies and enlarged heads: sit to one side of

their miniature with hands held together examining their

writing tools. Each is being observed by his attribute: a

very similar ox. The Ms. 2 artist eliminated details of th
Enrfgpg; miniature: the ornate throne: the writing desk: an

the portrait of God the Father in an oriel above a mantle.
To the general design and placement of the figure: the Ms.
artist added the furnshings standardized in the manuscript’
other interiors: a brightly-colored drape decorated with
gold: a bookshelf above the saint’s head: an abbreviated
lectern to one side: and a floor of green tile drawn with
circles of gold. The ox is greatly enlarged and moved to
the front of the miniature filling the space opposite Luke.
Ms. 2’s St. Mstthgg, folio 13 (fig. 15): and §£i_flsph:
folio 15 (fig. 16): are similar to the figures and the page
design of another manuscript by the Arsenal 575 Master: the
manuscript for which he is named (10). The Matggsw page of
Arsenal 575: folio 17 (11): relates to Ms. 2's figure pose:
drape: golden rod: and roundheaded windows while the ass;

miniature: folio 19v (12): has a similar bookshelf and tall

Z

e

d

2

S

46

bookstand.

Another interesting connection exists between Ms. 2:
the figgfprg flogps: and a Rouen Horae: the Piaxfair Hosgs
(13). The ngfogd at, John miniature: folio 19 (5): has
five subsidary miniatures in the borders with one of them
showing John’s martyrdom in a vat of boiling oil. The large
miniature is divided in half with the lower scene on the
island and the upper one in his study. In late
fifteenth-century Rouen manuscripts the Evangelists appear
on a single page divided in four with each saint occupying
one space. An example of this type of miniature is the

gxspg_iist page: folio 13: of the Pla fair Hours: a Rouen

 

manuscript of 1480 (14). The miniature of gggn. bears a
strong resemblance to that of Ms. 2 in the general position
of the figure: the tunic with its vertical folds textured in
golden bands: and: especially: in the form of the eagle
which confronts the saint. The miniature also resembles the
Bedfprg miniature in its border which has two subsidary
miniatures: one depicting the same martyrdom scene complete
with John in a similar pose standing in the vat of boiling

oil.

Prayers to the Virgin (ff. 16v-24v)
At this point in Books of Hours we find the two most
commonly used prayers to the Virgin: stecrp ts and Q
nt m t . These are usually introduced by a picture of

the Virgin and Child or by a Pigts. It is common practice

47

for the second prayer to be unillustrated (15). Ms. 2 uses
two illustrations for the prayers with the Virgin snd Chilg
for the first miniature and the Virgin at Praxsr for the

second.

Descriptions of the Prayers to the Virgin
Virgin ang Chil : folio 16v (fig. 17)

This: the first of two half-length Madonnas: shows the
Virgin: holding the unclothed Child: seated before a cloth
of honor. Above her is a large: red circle flanked on
either side by two pink-robed angels: their tunics bloused
at the waist: their arms folded: and their hands hidden in
the sleeves of their garments. Mary wears a gold crown and
her blonde hair falls long over her shoulders. The Child is
also blond and has a solid gold halo. Behind the Virgin’s
head and above the red cloth: the aureole shades upward from
red to a golden-orange and is topped by a blue ruffle. The
blue is reflected in the angel’s wings and in the cloak that
covers the Virgin’s shoulders and is tucked up at her waist
under the Child. All the faces have prominent noses and
heavily-lidded eyes. The skin is china white with a touch
of color at the lips and little or no modeling except around
the eyes. The features are outlined in black. The head of
the Virgin is disproportionately large while the body under
the huge cloak appears small and stiff. The viewer’s
attention is drawn to her face and to the body of the child

that is encircled: but not covered: by the Virgin’s arms and

48

cloak.

The miniature frame and page border are similar to
previous pages. There are in addition a great many gold
leaves and one circlet of overlapping wavy lines in the
outer middle margin. The initial is four lines high and set
in a golden square. In the corners of the square are four
red circles. The initial is filled with red and blue leaf
and tendril designs.

Virgin st Pra r: folio 20v (fig. 18)

This: the second half-length: close-up view of the
Madonna: portrays her as a vulnerable: sorrowing figure
bending slightly: arms crossed in front of her body: hands
open: fingers pointing outward. Her book rests on a ledge
in front of her: and: on a cloth-covered shelf behind her
kneel two angels with dark blue wings. Their arms are
folded and their hands are covered by their pink gowns.
Behind them: at the same level as Mary’s head: a red drape
hangs curving slightly higher at the edges. Mary’s ~halo
extends outward becoming a magnificent red aureole trimmed
in gold and blue and extending to the very edge of the
miniature. This mass of gold and red thrusts her image even
closer to the viewer. A gold ruffle representing heaven is
overpainted on the surrounding blue: and stars of
crossed-gold lines form rows that radiate outward above her
head.

The red drape and lighter-colored shelf is trimmed with

a rose design of petals around a circle. Mary’s gold gown

49

is decorated in the same fashion. She wears a white wimple
under a blue veil which covers her head and hangs down her
shoulders and back. These same garments are worn by
Elizabeth in the Visitation miniature: folio 51 (fig. 20):
and indicate that the Virgin is older here than she was in
the miniature of the Virgin snd Child: folio 16v (fig. 17).
Here her shoulders are narrowed and she appears smaller and
seems to be weighed down by her garments.

The painting of the face is damaged and has been
partially restored. The nose: detailed in black like the
rest of the features: is much too large and somewhat
distorted: and her other features are not as finely drawn.
The paint appears to be very heavy: perhaps the result of
corrections.

White and blue thistle-like flowers are painted in the
outer and lower border around the miniature and grapes
appear in the border. The initial is four lines high and of

a similiar design as the previous one.

Iconography of the Prayers to the Virgin
Prayers to the Virgin: Obsecro te (I implore thee): and
Q intemgrsts (O matchless one): illustrated by two
half-length Madonnas: precede the Hours of the Virgin and
focus the reader’s attention on Mary: the center of
devotions.
The half-length Madonna as a representation of the

Virgin has been studied before (16). The form is called a

5O

dramatic close-up or half-length narrative and was not
common in Northern Europe until the last half of the
fifteenth-century (17). Erwin Panofsky tells us that the
half-length Madonna was “an innovation of the Byzantine
Middle Ages which invaded Western panel painting through the
intermediary of the Italian Dugento and Trecento. In the
north the type occurs throughout the fourteenth century but
seems to have lost its popularity in the first half of the
fifteenth...and it was chiefly through Roger's [van der
Neydenl personal influence that from the seventh decade of
the fifteenth century: half-length Madonnas became as
frequent in the Lowlands as they had always been in Italy"
(18). According to a discussion by Stephen Ringbom it
wasn’t until the 1480’s that the half-length composition
appeared in the Ghent-Bruges school of illumination and it
was during the later years of the eighties before it became
the “vogue” in book painting (19). witness a contemporary
example in a manuscript in the Qamss . :gs Rothschiid
Qpilgctipg st Nsdgssgpg Mangr: MS 21: (1485-1500) folio 19v
(20): where a similar half-length Madonna illustrates the

r n 'n r .

Hours of the Virgin (ff. 25-96v)
Following the Prayers of the Virgin are the Hours of
the Virgin: a series of short services to be recited at
different times of the day and night. This section of the

book is the heart of Books of Hours and it is from these

51

services that the codices acquire their name. The eight
services (Hours) which make up the Little Office of the
Blessed Virgin Mary share the same names (Matins: Lauds:
Prime: Tierce: Sext: None: Vespers: and Compline) as the
fuller services of the Divine Office which is contained in
the Breviary and is said daily by the clergy. The Little
Office contains psalms: scriptural readings: and
non-scriptural material such as hymns. Texts of the Little
Office for Books of Hours vary according to practices in
different localities. These variations indicate the "use“
for which the manuscript was made (such as that of Paris:
Rome: or Sarum) and aid in the identification of the
manuscript (21).

The miniatures that illustrate the Hours of the Virgin
in Ms. 2 follow the traditional cycle of miniatures found in
French Books of Hours: The A nunciation: The Visit ti n: 1pg
Natixitx: The Annuncistion to the Shephergs: The Agpgsiipg
pinghg Mag : Tbs Prsssntstion in thg lgmple: Ins Flight into
ggxp;_§nd/or the Massacre of gpe Ingopents: and IDS
Qgrgnsgiog of she Virgin (22). There is another cycle of

miniatures that is found in some English and Dutch Books of

 

 

Hours which derives from Psalter illustrations. This
consists of a Passion sequence. Some Books of Hours include
both cycles together. The Passion sequence is usually:
Matins: The Betrsxpi a: Jgdas; Lauds: Christ pefore giiate:
Prime: Th Sc 'n 3 Tierce: Chris; psrrxing the Qrpss;
Sext: lbs Crucifixipg; None: Thg erositiop: Vespers: Lug

52

Enigmbmgnt; Compline: The Resurrgction (23).

Mary appears in all but two of Ms. 2’s Hours of the

Virgin: The Annpnpiation to thg She herds: folio 69 (fig.
24): and Th: Msssapre 91 thg Inngpgnts: folio 84 (fig. 25).

Descriptions of the Hours of the Virgin
Ips_egpuncistipn: folio 25 (fig. 19) (Matins)

This is the first of five miniatures which have
roundels in the borders and which have other changes in
their border design.

Mary kneels behind a prig-gieg on the left while the
angel Gabriel enters on the right. Above her is a cloth of
honor and canopy. Above him: the white-haired:
white-bearded figure of God the Father: orb in hand: appears
at a window before a blue sky. Between the two major
figures is a vase containing white lilies: and above the
vase floats the white Dove of the Holy Spirit.

This interior: as with all interiors in the miniatures:
is a gray-walled castle. The green floor tile is slightly
different in that the circles are larger and filled with
parallel lines of gold and there is a somewhat greater
distance between the tiles. The colors: other than those in
the background: are limited to gold: blue: red: and white:
with white used to accent the important elements of the
painting: the faces and hands: the Dove: the garments of God
and Gabriel: and Mary’s book.

Other than the narrow: black-outlined gold band: there

53

is no frame around this miniature and the script is left
unbordered with no line to separate it from the rest of the
page. The borders are richly decorated with larger floral
and acanthus designs densely crowding into the spaces
between the roundels. This is especially so in the space
between the painting edge and the binding side of the page.
The gold ivy of the previous miniature pages is reduced to
golden dots with two or more protruding lines.

A change has taken place in the golden tendrils which
had only curved round in previous borders as on folios 9:
11: 13: 15: 16v: and 20v. Now for the first time they cross
each other and subsequently break up the space in a diagonal
fashion.

The roundels tell the story of Mary. The scenes are:

ach m n andsca e (before a blue: castle-topped

mountain); Anna and Joachim Emprape (beneath the golden gate
at Jerusalem); Anns in Bsg (while the newborn Mary is cared
for by a servant); (the child) Marx Appsars at the Tempis:
and the asggigg__gj_fls;x_sgg__lgsgpn, The roundels are

executed in the same colors as the large miniatures and are
outlined with two lines of color: gold and blue: gold and
red: gold and brown. Border decorations are attached to
them.

The four-line high initial is set in a golden box and
is filled with six long-stemmed blue flowers growing out of
a pink-pedestaled vase standing on grass. The flowers are

painted in a naturalistic style.

54

lps Visisstion: folio 51 (fig. 20) (Lauds)

Two women: one attended by two angels: meet in the
countryside near a walled city. Elizabeth greets Mary: her
cousin: with a touch and is in turn touched by her in
recognition of the significance of their respective
pregnancies. The Virgin’s exalted position is indicated by
her heavenly attendants as well as her manner of dress: the
high collar of her blue robe forms a regal frame behind her
head and neck: and her long: blonde hair: worn in the
fashion of the virgin saints: falls loosely over her
shoulders. Elizabeth wears a red mantle over a brown dress
with a wide white collar: and on her head is the veil of a
married woman. Each woman has the solid gold halo reserved
for the Virgin and saints of the late Middle Ages.

Mary and the two slightly smaller angels who stand in
prayerful attendance behind her form a triangle which fills
the left side of the painting. Behind them is a tree-edged
hill and a distant mountain with a castle on the top.
Overhead the sky sparkles with gold. Behind Elizabeth is a
walled city with arches and bulbous towers.

The figures in this miniature: as in the others:
dominate a scene held tightly together with the repetition
of shape and color. Even the roofs of some of the castle
buildings are: by repeating the gold of the Virgin’s and the
angels’ gowns: pulled toward the center of the action.

Except in the faces of the foreground figures: there is

a lack of modeling: a flatness of the colors: and a neglect

55

of shadow detail. This is contrasted with the relatively
realistic treatment of trees and bushes and the use of
aerial perspective in the distant hills and sky. The
miniature borders and page decoration return to those seen
on the 1gpg and pgss pages: folios 9 and 11 (figs. 13: 14).
The blue and white initial is four lines high and .contains
red and blue leaf and tendril designs. -

The Nativity: folio 63 (fig. 21) (Prime)

In front of an open-ended shed with a simple gable
roof: four figures kneel around an infant lying upon the
ground. Mary is on the left and Joseph on the right: and
between them and slightly higher on the page kneel two
angels with beads and wings tilting inward. Behind the
Child an avenue passes between the encircling figures to the
far wall of the shed. The wall is made of wattle: a kind of
woven work of sticks intertwined with twigs or branches: a
humble method for the construction of walls: fences: and
roofs. The wattle wall is open along the top where two men
in peasant dress are framed against a landscape of trees and
distant sky.

The figure of Mary is larger than the other figures in
the composition. She neither stands nor kneels: but appears
to float: her body filling the left side of the miniature.
Her cloak spreads out on the ground at the bottom of the
page and the halo behind her head reaches to the shoulder of
the arch of the miniature frame. The near wall of the

stable behind her is hung with a red and gold cloth of honor

56

indicating the presence of a person of very high rank.

On the right: holding a candle with an orange flame:
the bulky figure of Joseph bends low over the Child. Behind
his head is a landscape of open fields with rows of
ball-like trees leading upward to a blue castle on top of a
blue mountain. Background details are few: the colors
reduced to darker blue over lighter blue. Fields are light
green with blue-green details used for trees and to indicate
distance. The sky is lighter at the horizon and softly blue
above. The sky above the stable is darkened with blue
horizontal lines.

Attention is focused on the foreground where the
newborn Child lies on the gray earth. Naked and bald:
unlike folio 16v (fig. 17) where he has a head of blond
hair: he looks up alertly at everyone. Mary and Joseph’s
eyes are mystical: turned upward under almost closed lids:
the angels look at the Child.

The faces and hands of all the figures and the body of
the Child are painted with the same flesh tones modeled with
gray: their lips and cheeks blushed: their features outlined
in black. Garments have solidity and are draped and spread
upon the ground with folds outlined in red and gold with
fine gold cross-hatching.

The gray foreground of the painting is overlaid with
gold: and fine gold lines accent the roof: the shepherds'
staffs: the trees and grass: and the clothing.

The composition is strongly geometric with the six

57

figures set in a receeding triangle with the stable closing
off the top. A cone is formed by the slightly curved
horizontal of the Child’s body and the path leading between
the foreground figures to the shepherds at the top. This:
and the reduction in size of the angel figures: carries the
eye back into the composition while the details of the
encircling figures offset this powerful inward movement.

Red: blue: and gold alternate between the figures and
fill the scene with contrasts. Mary’s blue robe stands out
against the red drape: Joseph wears blue and red: one angel
has red wings: the other blue. The figures appear flat and
motionless: stacked one behind the other receding in space
with their reduction in size. Only the peasants engage in
animated conversation. ‘

The frame around the miniature is filled with realistic
flowers: a blue: four-leafed flower and a white bud with
pink edges. The border decoration is more dense: and at the
base of the page there is a golden pot with five red flowers
with yellow centers and a stem with three golden leaves.
The initial is four lines high and it is similiar to the
next two initials which are all executed by a very sure
hand.

Insswuumsm: folio 6‘? (fig- 88)
(Tierce)

Three shepherds appear in the foreground with their

flocks lined up behind them. Overhead a half—length angel

holding a banderole floats on a deep blue cloud The

58

shepherd nearest the picture plane sits on the left with
feet outstretched across the front of the miniature. He
wears a hooded cloak over a tunic and long hose with boots.
He holds a staff with one hand and shields his eyes from the
vision above with the other. A second shepherd faces him.
Resting on one knee and leaning on his staff: he folds his
arms across his breast warming his hands inside his sleeves.
Tied at the waist of his tunic is a food'pouch. Behind the
seated figure a third shepherd lifts himself to his knees
and points toward the angel in the sky. A small wooden keg
with a spout on the top rests on the path in front of the
men.

By assembling the figures in sitting and kneeling
positions: the artist is able to bring them to the front of
the picture filling the space with their forms and the
bright colors of their garments. Tunics: cloaks: and hose
are red: blue: and dusky blue-gray. Their belt-pouches and
the angel’s banderole are bluish-white. Gold is reserved
for the angel’s gown: the stars: the lines radiating from
the angel: and the texture lines on clothing.

The humble status of the shepherds is established by
their costumes: facial features: and by their body
positions. Chins and beards are pinched and one face is
broad and dull looking. They slouch and lean in an attempt
to make themselves comfortable.

Beyond the shepherds is the familiar green hill to the

right and a castle-topped blue hill to the left. Three

59

naturalistic trees grow on the hill and rows of scrub appear
on the slope. Light blue sky is spangled with gold stars
and rays of gold emmanate from behind the deeper blue cloud
of the angel.

The design of the border is becoming more dense than
previous borders. Acanthus leaves are larger and there are
more red and blue flowers and green leaves among the gold
ivy.

Ihg Aggragipn of ths Msgi: folio 74 (fig. 23) (Sext)

On the left side of the page: in front of an open
stable: Mary: with the Child on her lap: sits before a
brocaded cloth of honor. Golden rays from the Star stream
down upon the Child. The Magi fill the rest of the picture.
A white-haired Caspar kneels before Mary. He wears a long:
sleeveless fur-lined tunic with an opening at the sides
revealing a green undertunic. A short blue cape covers his
shoulders. Behind him stands Balthazar who points toward
the Mother and Child. He is dressed in a blue-gray tunic
with a white collar. On the right: Melchoir: the youngest:
with his back toward us: strides to the rear of the picture.
He wears a short red tunic with a fur collar and blue hose.
The two standing Magi wear crowns and carry golden vessels.
The kneeling figure is without crown: his gift rests upon
the ground.

The Virgin’s high-collared cloak is worn over a golden
dress. The unclcthed Child is bald-headed: as in folio 63

(fig. 21): and sits on Mary’s lap raising one hand in

be

11'

El

60

benediction. Both Mother and Child have solid gold haloes.
The four protagonists nearly fill the space of the
miniature. In the background is a starry sky and the blue
castle-topped mountain. Joseph does not appear in the
scene.

There are only four acanthus designs in the border and
the four line initial is skillfully balanced with only a
slight flattening of the inner circle. There are several
ink smudges on the bottom border decoration.

The Presentation in the Tsmpie: folio 79 (fig. 24) (None)

Above a long pink altar set diagonally into the
picture: Simeon holds the Christ Child who has been brought
to the Temple in Jerusalem to be presented to the Lord. He
is about to be returned to his Mother and reaches out for
her as she: still kneeling in prayer: rests her hands upon
the altar. Behind Mary are Joseph: a youth holding a
lighted candle: and Anna: the prophetess who is shown as an
older woman with her hair covered by a veil. Joseph holds a
basket with the two sacrificial turtle doves required for
the ceremony of the purification of the mother. The lighted
candle held by the youth refers to the procession of candles
traditionally held for this feast day which is called
Candlemas.

A baldachin hangs from the ceiling above the Child: and
on the dark-gray wall behind the altar is a single:
spiral-carved pillar. To the left hangs a blue drape

embroidered in gold: and on the right are two round-headed

61

windows open to a starry sky. These elements form a series
of verticals which add height to a rather crowded
composition. The clothing and the color scheme are
consistent with previous miniatures. The blue cloak Mary
wears over her gold gown is pulled up to cover the back of
her head: the attendants wear red and blue. The undertunic
of St. Simeon is green: and the color is repeated in the
little green basket holding the turtle doves. Gray walls
and green tiled floor repeat the earlier interior colors and
designs. Now the tiles in the floor are drawn with much
more space between the rough circles.

Blue flowers appear in the upper border: and the frame
around the miniature has the same flowers as the Nativity:
folio 63 (fig. 21) except they appear on only two of the
three sides. The initial for this and the next page are
less surely executed and rather shallow in form.

lhe Mas acr of th Inn ent : folio 84 (fig. 25)
(Vespers)

The scene is the throne room of a castle. A large:
surly-faced soldier dressed in armor strides in from the
left. Holding an infant out in front of him: he stabs it
with a large gray sword. His stride carries him to the
middle of the page where the severed head of another child
lies on the floor facing us. Blood spurts profusely from
this head and from a tiny body wrapped in white cloth that
lies between the soldier’s red boots. The mother kneels at

the right in apparent resignation. To the upper right Herod

62

sits upon a throne dressed in robes of ermine and gold and
wearing a crown. He holds a large sword: its tip rests upon
his shoulder: its handle points downward toward the action.
Herod frowns: a slightly pained look crosses his face: but
he gestures for the proceedings to continue. Behind the
advancing figure: two soldiers hold lances that point toward
the infants. while the heads of these men incline toward
the action in the center of the room: their eyes turn upward
toward the king. Behind the king a retainer holding a
scroll points accusingly toward the king. These gestures
and glances clearly indicate Herod as being the one
responsible for the slaughter. Even the body of the child
held in the soldier’s grasp creates a line that directs the
viewer’s eye back toward the king.

This drama is set upon a stage where the action of the
figures circle the center leaving it empty except for the
body of the child. Diagonal lines from the weapons form a
large ‘V’ that converges at the point where the sword enters
the child’s body. Around this 'V’ the area is filled with
the passive figures of the mother at the right and the king
and his attendant at the top. Two infants symbolize the
slaughter of all the Innocents: and Herod: who is directing
the activity himself: establishes his guilt.

The ceiling of the room is beamed and nail-studded and
a round-headed window is cut through a thick wall at the
left. Brown panels resembling tooled leather are set in

carved frames on the gray walls. The low ceiling is

63

overlapped by the head of the retainer who stands at the
king’s side. From the window at the upper left we catch a
glimpse of the blue sky outside.

The decorations on this page seem quite sparse: and the
designs in the frame around the miniature are not well
drawn. There is some smudging of the ink in the upper right
border. The initial is a four-line letter with the gold
behind it slightly smeared.

The Corgngtion of thg yirgin: folio 91 (fig. 26)

(Compline)

A youthful Virgin with one attending angel 'kneels
before God the Father. Two angels bearing her crown hover
above her head. The two main figures fill the foreground of
the picture as the blue clouds of heaven boil up in the
right corner. Carved wood and cushions behind the Virgin
indicate a wide bench awaiting her. The remaining areas are
covered with a blue gold-embroidered cloth of honor which
covers the canopied chair where God sits. He wears a crown
similiar to that of the Virgin: but with a golden
superstructure to indicate the wearer’s supremacy. He
blesses with his right hand while holding a cross-topped orb
in his left. The white hair: beard: and tunic of God are
accented by a great red cloak lined in green. Behind the
floating angels is a star-studded sky ranging in color from
blue to red.

The border displays some rather tortured acanthus

designs that are introduced into the corners where one

64

escapes over the ruled edge. A pedestal vase: its top like
the four petals of a flower and with scallops under the

bowl: appears in the outer border. The frame around the
miniature and the initial contains very tightly controlled

leaf and tendril designs in red: blue: and gold.

Iconography of the Hours of the Virgin

The Annungistion

The first Hour: the Hour of Matins: is illustrated by

Annun i t' n: folio 25 (fig. 19). The Virgin kneels at

.4

her reading desk approached by the angel Gabriel who
announces to her that she will conceive and bear a son whom
she will name Jesus (Luke 1:26-38). The dove of the Holy
Spirit descends upon her from above. A vase of lilies rests
on the floor in the Northern manner rather than in the hand
of the.angel in Italian fashion (24).

An important connection can be shown with Ms. 2 and a
similar Anngnpiatiog page found in Walters Art Gallery
(Baltimore) manuscript w. 251: folio 26: dated late
fifteenth-century (25). As in Ms. 2: the Walter’s
manuscript has five roundels in the border containing four
scenes from the Virgin’s life and one of God the Father.
Four of the five roundels correspond with the positions of
the figures and the interior arrangements of Ms. 2: God ths
thhgr: the Virgin in the ngpie: the Birth of usrx: and the
Marri ' in. In the large miniature the

positions of the figures: the furniture: and the

65

architectural openings are those of Ms. 2 although in the
latter the figures are enlarged and simplified with much of
the background decoration eliminated.

The artist of Halters 251 is an important link between
the masters of the early years of the century and Ms.2.
Eleanor Spencer names the artist of Walters 251 as a member
of the French Master’s t lier: Master of the Brussels
floriogg de Sapience who collaborated with the last of the
Bedford Master’s associates (26).

In another miniature related to Ms. 2: the Annunciagigm
scene in the leles H r s: folio 30 (4): Mary appears in a
similar pose with a slender column separating her from the
archangel. As the Virgin turns to face Gabriel she inclines
her head in the same distinctive manner as in Walters 251.
Millard Meiss discusses the Belles Heures pose: "The
kneeling Virgin turns as she does in a miniature by
Jacquemart in the Duke’s Brussels Bpurs: a book that the
Limbourgs certainly knew" (27).

The enngncigtipg page of Halters 251 is related: as is
Ms. 2: in figure style and interior arrangement to that of
another early fifteenth-century manuscript in the British
Library: Add. Ms. 30899: folio l: which Janet Backhouse
calls "typical of the best Parisian work of the early
fifteenth century....[It is] painted in a style close to
that found in manuscripts produced by the Boucicaut and
Egerton Masters. These illuminators: with the Master of the

Bedford Hours: were leading figures in the Parisian book

66

trade during the first quarter of the fifteenth century"
(28).

In another manuscript: the Hours of Juana Bnrfguez:
folio 89v (29): the Annuncipgion scene and that of Ms. 2 are
nearly identical in the position of the figures: the
depiction of God the Father: the vase of lilies: and even a
golden rod held in the hand of the Enrfguez angel. The
architectural details of the Enrfggez miniature have been
changed in Ms. 2 to a cloth covered canopy: but the rest of
the Ms. 2 design: although simplified: is essentially the
same. The Arsenal 575 Master used the Annunciation
composition: folio 19v from the Seilsrn Hours (30): a Book
of Hours that “appears to date from the second decade of the
fifteenth century: and it too contains ideas for
compositiOns which are found in the miniatures of the
Arsenal 575 Master“ (31).

The angel in an Apnunciatipn scene: folio 30: in a
manuscript by the French Master: Nalters.Art Gallery: w. 252
(32) is perhaps the closest to the pose of the angel of Ms.
2. Their right hands are raised with the index fingers
pointing up and over the angels’ shoulders toward God the
Father who looks through a window in the top right corner.

Igs.Visitstipp

The Hour of Lauds which is said at dawn is illustrated

with the scene of the Visitsiign: folio 51 (fig. 20). The

iconography derives from the Boucicaut Master’s gisitatiop

page: folio 65v: in the Hpgps pf Msrshai gesn gs Boucicggs

67

(33). In both miniatures there are four figures: Mary:
attended by two angels: and Elizabeth. Their poses:
placement on the page: and clothing of the Boucicaut figures
are nearly identical with those of Ms. 2. The women face
each other with their hands extended in greetings. The
angels: smaller in size: stand to the left behind Mary. The
Ms. 2 figures are greatly enlarged leaving little room for
landscape. In both scenes Mary is dressed as a princess:
the regal design of her collar rises up behind her head and
her robe encapsulates her figure keeping her separate from
the rest of the scene. Two heavenly attendants wait upon
her. John Harthan tells us that Mary of the Bpggisgg Hours
has become a princess. "By giving her a train and
attendants the simplicity of the brief Gospel narrative is
replaced by a transcendental meaning" (34).

Tbs Nativit!

The Hour of Prime in Ms. 2 is represented by the
Nagivitx scene: folio 63 (fig. 21). In front of an
open-ended shed: Mary: Joseph: and three angels kneel around
the figure of the newborn Child. To the modern eye a tiny
baby lying naked upon the ground is a shocking
representation of the Nativity. This version: which is
meant to arouse the emotions: became popular in Northern
Europe in the fourteenth and fifteenth centuries. It
replaces the traditional Nstivitx scene which shows Mary
resting on a bed with the Child being cared for by servant

women. This new representation resulted from the writings

68

of St. Bridget whose works contributed a new emotionalism to
the representation of medieval art (35). The scene
contrasts Christ’s heavenly kingship with his humble life on
earth: the backdrop of the cloth of honor with the wattle on
the stable walls; the regal figure of Mary: the angels: and
Joseph adoring the unclothed Child lying on the bare ground;
the shepherds chattering behind the shed wall while the

sacred figures kneel in silence in the foreground. Nativity

 

designs: similar to Ms. 2: that illustrate the desire for
increased naturalism and emotionalism appear in manuscripts
from the early decades of the fifteenth century: the Ifiss
Righes ngres: folio 44v: the Seilern Hours: folio 23: and a
manuscript by the Boucicaut Master: the Chevsiier Hours:
folio 57 (36).

While the Limbourg miniature is basically the same
design as that of Ms. 2: it has a more expansive feeling in
that the shed is pushed off the page to the left leaving the
background open to the ~hills and landscape beyond. The
design of the Beilern Hpurs (37) opens up the scene even
more with the removal of the hill and the flattening out of
the ground. In the Boucicaut miniature the space becomes
intimate. With the shed directly overhead: the back wall
closes in the "room“ and the animals block off the view to
the rear. Even Joseph is pushed outside the low wall
leaving only Mary: the Child: and the angels inside the
enclosure. There is an emotional context in these spatial

relationships which was introduced by the Boucicaut Master:

69

"the great pioneer of naturalism" (38) in that we are made
to “feel the contrast between sheltered intimacy and the
great outdoors” (39). The warmth and intimacy of the
arrangement has been continued in Ms. 2. Although the
figures are moved outside the shed: a feeling of shelter is
maintained by the circling figures and the shed's placement
directly behind the main figures. This: in effect: limits
the openess and leaves only a small space for landscape.
This same Nativity design which conveys the humanism and
emotionalism of the period is repeated over and over again
in late-century manuscripts of Rouen and other areas. The
Nativity of the Pla fair Hours: folio 59v: uses it as do
four other related Rouen manuscripts: Bodleian Library:
Oxford: MS Douce 253: folio 50: Cambridge University
Library: Add. MS. 4099: folio 50; National Library of
Scotland: MS.6131: folio 26: Bodleian Library: Oxford:
MS.Buchanan e 3: folio 29 (40). Three manuscripts in the
Waddesdon Collsption: M55. 9: 10: 12: on folios 87v: 56v:
and 49 respectively: utilize this Nativity design. They are
identified as being from Bruges: Northern France: and from
Rouen (41).

The Annuncistion to the Bhspherds

For the Hour of Tierce the Ms. 2 artist provides the
ennungisiign tg ghg Shephergs on folio 69 (fig. 22). The
figures of three shepherds are brought close to the picture
plane with the nearest shepherd seated in the foreground

stretching his legs across the front of the miniature. A

70

manuscript in the nggesggn Collection: MS 23: folio 62v

(42): has a scene of this subject with its large figures
placed in a similar foreground arrangement. The manuscript
was influenced by Jean Bourdichon of Tours and is dated
early-sixteenth century (43). Another miniature of the same
subject using figures that lie across the front of the page
is folio 68v of the Grandes Heuresigf Anns,of Brittsnv:
Qgsen of Franps (1500-1508) (44).

lug Adorstion of the Msgi

The Hour of Sext: folio 74 (fig. 23): is illustrated by
the scene of the figggstion igf the Magi. In the Michigan
State University Library manuscript the Magi: Mary: and the
Child are shown outside an open-ended shed. The figures are
enlarged: filling the available space and making unnecessary
any of the possible inclusions of other figures such as
Joseph: the ox and the ass: shepherds: the retainers and
animals of the Magi: elaborate landscape or background
architecture.

Significant to the derivation of the miniature design
is the position of the figures and especially that of the
third Magus who: with his back partially turned toward the
viewer: steps into the scene from the right. This figure
design was used by the Arsenal 575 Master for the figggsjigp
miniatures in two manuscripts: Walters Art Gallery: w. 220:
folio B9: and Bibliotthue de l’Arsenal: Ms. 575: folio B6
(45). The iconography for the Adorsgiog scene for these two

manuscripts derives from one used in the British Library

71

manuscript: the Bgeviapy of Jpap spns Peur: Add. Ms. 35311:
folio 199 (46). The Adorstion scene for Ms. 2 follows this

same rather unusual figure arrangement with the third
Magus: his back to the viewer: striding deeper into the
picture. Once again: the influence of the Arsenal 575
Master on our Michigan State University manuscript is
evident.

The work of the Arsenal 575 Master has been traced to
both the Bedford and Boucicaut Masters through his border
design and page layout. “The Arsenal 575 Master was exposed
to the ideas of these two masters in the Fastolf workshop
and he may have become acquainted with the page layout and
border style used in Walters 220 through manuscripts of the
Fastolf Master such as Lat. 13269....The localization of
Walters 220 cannot be ascribed with certainty to either
Rouen or Paris. Its make-up: however: suggests that it was
composed with techniques...that were found in these regions:
as for example: in the circle of illuminators related to the
Fastolf Master. Collectively: this evidence: which supports
the French qualities of script: penwork: borders: and
iconography pointed out by Professor Delaisse: indicates
that the Arsenal 575 Master worked in the Paris/Rouen
region....[HeJ was still associated with models and
techniques to which he had been exposed earlier: models such
as those from the Boucicaut Master: techniques such as page
ruling: initials: and line-endings from the Fastolf

workshop" (47). The Arsenal 575 Master become acquainted

72

with the ideas of these two masters through the Fastolf
Master with whom he collaborated. These artists form an
important connection between the Bedford and Boucicaut
Masters of the first two decades of the fifteenth century
and the manuscripts of late fifteenth-century Rouen which
closely follow the same designs as those of the Michigan
State University Library manuscript. Farquhar describes the
Fastolf Master as an artist who was influenced by the art of
an earlier generation (late fourteenth and early
fifteenth-century) than the Arsenal 575 Master and:
therefore: became somewhat of an “older master" to the more
”modern" Arsenal 575 Master. In this way he "provided a
bridge between the early masters of the century and the
third generation of artists” (48). The Master of the
Breviary of Jean sans Peur is another link with the Bgiigs
Heures as Farquhar tells us that it can be placed "within
the environs of the Limbourg circle" (49).
T Pr tation t th Tem

The Hour of None is depicted with the scene of the
Epgssgtaiipg in the Tgmpie: folio 79 (fig. 24). Acting in
accordance with Mosaic law: Mary and Joseph brought the
Christ Child to the temple in Jerusalem forty days after the
Nativity. The rite was a commemoration of the slaying of
the first-born in Egypt when the Jews were spared (Ex.
13:11-15). The Law required the sacrifice of the first-born
of all living things to the Lord. Children were spared by

the payment of five shekels. The rite of purification of

73

the mother was performed at the same time and it required
the sacrifice of a pair of turtle doves or two young pigeons
(lev. 12). The purification was celebrated by a procession
of candles symbolized in the Presentatign scene by a candle
being held by one or more of the main figures. The turtle
doves to be sacrificed for the Purification are carried by
Joseph or an attendant and Joseph is often seen counting the
five shekels. Simeon is present at the altar fulfilling the
'prophecy of God that he would not die until he beheld the
Messiah (Luke 8:25. 26). A constant in scenes of the
Prgsentgtign is an altar which is set at an angle leading
into the room. The figures are arranged around or to one
side of it.

A miniature of the Presentation (fig.64) in the late
fifteenth-century British Library Add. Ms. 11865. folio 37v
(50), has a similar but more elaborate group of figures.
The forms and positions of the Child, Mary. and Joseph are
related to those of Ms. 2 as are the colors of their
garments and the baldachin which hangs above their heads.
The baldachin of Ms. 8 is somewhat smaller. Late-century
Rouen manuscripts such as Cambridge Univiversity Library.
Add. MS. 4099. folio 60 (51). use the same designs while
enlarging the figures to simplify the compositions as did
the artist of Ms.2.

The floor design of the Ms. 2 miniature of the
Erggentatign is circular as is that of the Ereggntgtign of

the Rouen Plgxfgir Hourg. folio 69 (58). Floors appear as

74

an important area of design in Books of Hours. The inclined
plane of the floor. iconographically significant as
representing the cavity of interior space upon which the
actors of the various religious dramas carry out their
sacred narrative. is carefully executed in complex and
colorful designs in mid- to late-fifteenth century
manuscripts as seen in the British Library Bedford Hours,
folio 888v (53): British Library Add. Ms. 35313. folio 37
(54); Bibliotheque de l’Arsenal, Ms. 575. folio 17 (55);
Boucicaut Hours. folio 31v (56). As are all other time
consuming aspects of finer miniatures, complex tile patterns
are simplified in Ms. E where the artist uses irregular
circles on top of a single undersurface color. These
distinctive circular floor tiles appear in miniatures of the
Plaxfgir Hours in folios 1. a, 9, 13. 36. 69. 74, BO. 139
(57). Although this pattern is not common in manuscripts
following the Bedford style, the pattern appears to be much
used by Rouen manuscripts late in the century: Edinburgh
University Library MS. 306. folio 23; National Library of
Scotland, MS. 6129. folio 98: Bodleian Library Oxford. MS.
Buchanane e 3. folio 29 (58).
The Massacre of thg_lnnocent§

The Massacre of the, lnnoc nt . folio 84. (fig. 85)
illustrates the Hour of Vespers in Ms. 2. Usually an
illustration of the Flight intg Egypt appears here as in
British Library Add. MS 85695. folio 114 (59); British

Library Egerton 1149, folio 99v (60); Bibliothéque de

75

l’Arsenal Ms. 575 folio 9B (61); and Musée Jacquemart-André
ms. 2. folio 65v (62). Northern artists often substituted
the Magsgcre Q: the Innocents (63) or included both on the
same page as in London’s Victoria and Albert Museum. Salting
Collection. folio 1882 (64); and British Library. Yates
Thompson MS 5. folio 59v (65).

The Ms. 8 Masgggrg of the innocent; is a dramatic
scene. Herod. learning that a child was to become "king of
the Jews" and fearing for his own power. decreed that the
infants of Bethlehem were to be killed. The Holy Family.
forewarned by Joseph’s dream. fled to Egypt (Matt. 2:16).

In a Book of Hours in London. British Library. Add. MS
25695. which is related stylistically to the French Master
(66)). we find a Flight scene. folio 119. whose page layout
and border design are similar to those of Ms. 8. Marginal
scenes in this miniature depict a far more active group of
soldiers. and King Herod. although he too sits on a throne
and holds a large gray sword. appears much younger than Ms.
8’s Herod. But a triangular hill backing up the figures and
a curving path in the foreground together with the
miniature’s background. border design. and vignettes strike
a familiar chord. The soldiers wear the same football-like
helmets and tight metal uniforms. The unusual frame around
the miniature. a narrow border of jewels. is like the frame
around the last major miniature of Ms. 2. Man 9f §ogrgws.
folio 172v (fig. 31). This jeweled frame often appears in

panel painting at the end of the fifteenth century as in a

76

work in the Budapest Museum by the Master of the Bartholmaus

Altar(?) entitled the Holy Family (67).

The Qgronation of tha Virgin

The Coronation of tug Virgin. folio 91 (fig. 86). is

 

the subject of the last of the Hours of the Virgin. the Hour
of Compline. Like the two half-length Madonnas of Ms. 2.
the Coronation is purely a devotional subject. The
miniature is very close to the Corogagion miniature of the
Playfair Hours. folio 74v (68). as Mary. on the left. kneels
before the enthroned figure of God the Father on the right.
The position of the their bodies is identical. Two angels
in each scene place the crown on the Virgin’s head while a
third stands behind her to the left. The background of the
Ms. 2 room is spangled with stars and blue clouds boil up in
the corner under the throne. The figures of Ms. E are
larger than those of the Plaxfair Hours leaving little room
for furniture and other details. In the Plaxfair Hours the
third angel plays a harp and the room is an earthly chamber

with a landscape beyond an arched doorway.

The Penitential Psalms (ff. 97-114v)

The seven Penitential Psalms are a standard feature in
most Books of Hours. An incident from the life of King
David. the traditional author of the Penitential Psalms. is
the favorite subject to introduce this section. In Books of
Hours of the first half of the fifteenth century. David is

shown as an old man kneeling in penitence before God (69).

77

In the latter half of the century. a new theme of David and

Bathsheba became popular. especially in France (70).

Description of Introductory Miniature to Penitential
Psalms: David nd 601' th. folio 97 (fig. 27)

The stone from David’s sling has reached its mark and
the huge body of Goliath falls backward filling most of the
space of the 2a! a page. This is the second of five major
pages having roundels in the margin. Dressed in a
magnificant suit of golden armor topped with a blue doublet
and skirt. Goliath’s body creates a large triangle in the
left side of the painting. This triangular form is repeated
by that of a hill edged by a line of dark green trees
directly behind the falling body. Blood streams down from
the wound on his forehead tracing a line parallel to edge of
the painting while behind him on the right is the young
David. his sling still swinging in this moment of victory.
Beyond the boy is a soft. green landscape fading to the
customary blue. castle-topped mountain and starry sky.
Goliath’s giant sword remains strapped to his side and his
shield lies on the ground in the path before him. The blade
of the sword crosses with the line of the body accenting its
painful angle. The horizontals of the shield and the dark
green bushes behind the figure give stability to the page.

David wears the costume of a shepherd. a red tunic over
blue breeches and white hose with a pouch belt tied about

the waist. Goliath’s armour is exceedingly form fitting.

78

without bulk. as if it were painted on his body.

The first of the five roundels on the an19 page. folio
97 (fig. 87) begins in the upper left corner with a portrait
of Christ against a background of violet with gold stars. a
cruciform halo behind his head. He wears a bifurcated beard
and his long brown hair falls behind his shoulders. In the
second roundel. in a landscape similiar to the large
miniature. David kills Goliath by plunging the giant's sword
into his side. In the third scene David stands before the
city gates carrying Goliath’s sword and his severed head.
In the fourth roundel King David peers out of his castle
window at Bathsheba who sits on the edge of a steam. her
dress rolled up over her knees. The last roundel shows
David. now an old man. at prayer inside a castle room with
his harp next to him; a window is open to a landscape with
distant castle on a mountain top.

The border is rich with natural flowers. tiny
red-petaled flowers. strawberries. grapes. and red and blue
stylized acanthus leaves with their tendrils painted in blue
and crossing each other on the right border. Strong lines
issue from a vase at the bottom border. and the four-line

high initial is filled with six white. thistle-like flowers.

Iconography of Introductory Miniature to Penitential
Psalms: David ang Ecliath

The anig ang figliath page. folio 97 (fig. 87). marks

the beginning of the Penitential Psalms. The story of David

79

is told in Ms. E’s miniature and roundels. David. the
shepherd boy and the son of Jesse. was chosen by Samuel to
be the successor to King Saul. After David killed Goliath.
the champion of the Philistines. the Israelites went on to
defeat their army (I Sam. 17:38-51). The Ms. E miniature
captures the moment Goliath falls to the ground from a blow
to the forehead by a stone from David’s sling.

The border roundels begin with a portrait of Christ
which refers to David’s prefiguration of Christ as well to
his being Christ’s ancestor (Isa. 11:1-3). The roundels
continue with scenes from David’s life: Davig Drawing
figliath’s Sword (before cutting off the Philistine's head).

David nging on Bathsheba (as she bathes). and anig_a1_
Prayer.

The appearance of David spying on Bathsheba is
significant in the dating of Ms. E. The theme is based on
the Biblical account of David taking the beautiful Bathsheba
for his mistress after he had observed her in her bath.
Later. by sending her soldier-husband to his certain death
at the forefront of a fierce battle. he was able to marry
her (II Sam. 11:2-17). Manuscripts from the first half of
the fifteenth century typically used the theme of David at
Praxgr as seen in manuscripts such as the Paris.
Bibliotheque Mazarine. ms. 569. folio 83. David pejoraa_gga
gang (71). David is shown praying before an impressively
rendered figure of God the Father in a gold robe and

triple—tiered crown. The theme of David spying on Bathsheba

80

in her bath did not appear until the last half of the
fifteenth century (78). It is seen in such manuscripts as
British Library. Add. MS. 81835. folio 78v. by the French
Master (73) where we see David spying on Bathsheba as she
bathes. She is attended by her ladies in waiting when she
is handed a note by the king’s messenger. In British
Library Add. MS 11865. folio 53 (fig. 65). four Davids watch
three Bathshebas in various activities (74). This is a
miniature similar to Ms. 8 with its gray castle walls.
arches. windows. and architectural details.

In a manuscript mentioned before in connection with Ms.
8. a tiny Book of Hours by the French Master. British
Library. Egerton MS 8045 (75). the Day a page. folio 138v
(fig.66). provides similarities in the costumes of the
soldiers and the young David (76). Other related images are
those of the dying Goliath. architectural forms. and floor

designs.

Short Hours of the Cross (ff. 115-118v)
Hours of the Holy Spirit (ff. 119-188v)

The Short Hours of the Cross and the Hours of the Holy
Spirit consist of a hymn. antiphon. and prayer. They are
brief in length and are introduced in Ms. 8 by a miniature
of the Crugifixign for the Hours of the Cross and one of the
Panteggat for the Hours of the Holy Spirit. These Hours
usually appear after the Hours of the Virgin but they may

appear alternately with them in which case they are called

81

"mixed Hours” (77).

Description of the Introductory Miniature to the Short
Hours of the Cross: Crucifixion. folio 115 (fig. 88)

Centered. and nearly as high as the painting itself. a
single Cross upon which the figure of Christ hangs bleeding.
is wedged into the path in the foreground. It rises to the
sky above the heads of the people at either side. The Cross
and the figure on it dominate the scene. and. as in the
other miniatures from this manuscript. figures nearly fill
the picture space. 0n the left side of the miniature (to
Christ’s right). the Virgin Mary. John the Evangelist. Mary
Magdalen. and Mary Cleopas. half-sister of the Virgin. crowd
in so closely that the figure of Christ overlaps the robes
of the holy women. Conversely. on the other side of the
miniature. a clearly defined space separates Christ from the
Roman officer and his soldiers who are pushed back behind a
line created by the vertically-held flagstaff.

The painting is geometrical: bisected by the Cross. the
upper part of the scene is a large triangle formed by
Christ’s arms reaching upward to the crossbar. The heads of
the onlookers are grouped to repeat (the diagonals of this
triangle and the group of holy persons is emphasized by the
green hill edged with dark green trees behind them. Beyond
the figures. the remaining space in the background triangle

is filled with the blue. castle-topped mountain beneath a

starry sky.

82

Christ is alive and endures great suffering. He closes
his eyes and clenches his teeth as blood streams down his
arms and chest. under his loin cloth. and down his legs to
the very base of the Cross. Blood appears on his forehead
from the crown of golden thorns. and rays of light stream
from behind his head. In the holy group to the left. Mary
stands in a prayerful pose. her head covered with her cloak.
while Mary Magdalen points with an open hand toward the
figure on the Cross. Standing at the front of his troop on
the right is an officer dressed in armor similar to that of
Goliath. Holding a black sword in one hand. he points
toward the crucified figure with the other. The soldiers
behind him hold their lances upright and the flagbearer’s
banner swirls about its staff in a familiar manner.

The roundels in the margin begin with the Agony in thg
§arden-showing a profile view of Christ at prayer in a green
landscape. The second roundel portrays the Arcggt of
Christ. As the soldiers crowd around. Christ receives the
kiss from Judas as he holds the severed ear of the High
Priest's servant who has fallen in front of him. Simon
Peter stands at the rear. sword in hand. In the third
roundel of the Flagellation. Christ is shown facing outward.
tied to a column while a man on either side beats him with a
rod. The fourth roundel depicts Christ crowned with thorns.
hands bound. standing before Pontius Pilate. One of a group
of soldiers standing behind him grasps Christ by his

shoulder as a servant pours water over Pilate’s hands. In

83

the last roundel Christ. surrounded by soldiers and followed
by the Virgin Mary and St. Veronica. bends under the weight
of the Cross on the road to Calvary. The figures in the
roundels are shown three-quarter length except for the egggy
in the Garden which is shown half-length. The interiors all
use the gray castle walls and green tiled floor of the
miniatures; the landscapes are the distant blue mountain and
castle.

The initial contains a rather awkward swirling of
stylized leaves and tendrils instead of naturalistic
flowers. The border does not seem as filled with acanthus
leaves and flowers as the previous borders. The tendrils do
cross each other. but this does not seem as prominent as in

previous pages.

Iconography of the Introductory Miniature to the
Hours of the Cross: Crucifixion

The Crucifix'o . with scenes from the Passion of
Christ. folio 115 (fig. 8B). is the third of the five major
miniatures with roundels; it introduces the Short Hours of
the Cross (folios 115-118v). The Crugijixign consists of a
single Cross placed high on the page with figures standing
at either side.

The Ms. 8 Crggifixign and that of the Bedfo d Hou .
folio 840 (78). have design similarities. The figures that
stand below the Cross are arranged in the same manner with

the holy women and St.John on the right and the soldiers on

84

the left. In both miniatures there is a distinctive space
between the Cross and the figures. The Bedford figures
strain to look up at Christ while the Ms. 8 figures which
are twice their size barely need to lift their heads. The
area above the Ms. 8 figures is filled with a triangular
green hill and a soft blue background but also with a great
number of banners and lances held by soldiers. Shadowy
hills and sky exist in the Bedford miniature. but the
banners and lances do not. These additions are taken
perhaps from the TrEs Riches Heures where similar banners
fly across the whole manuscript background. Although the
lgea Riches Heures’ Crucifixion miniature. folio 158v (79).
was completed by Jean Colombe (1485-89?). the miniature’s
plan was believed to have been laid out by the Limbourgs
(BO). FaCing the Crgcifixion miniature is folio 153 (81).
the anth of Chrigg. which was completed by the Limbourgs.
It shows a more sparing use of the same banners and lances.
Like Ms. 8. the Limbourg Qaath of Chri§£,has vignettes in
the margins. It appears to be the only miniature by the
Limbourgs in the Trés Bichas Hagges with related subsidiary
border miniatures.

In Ms. 8 the instruments of the Passion which appear
in other Crugifixigg scenes. nails. crown of thorns. sponge.
lance. scourge. and pillar. have been eliminated. There is
only the column to which Christ was tied and a glimpse of
whips in the hands of the soldiers. Roundels of Ms. 8 are

very close to compositions of the major miniature scenes of

85

the same subject in the Belles Heures. The head of Christ
in the Ms. 8 roundel appears in the upper left corner of
Bellgs Hagres Agony in thg Bargan. folio 183 (4); the
placement and poses of the figures of the Ms. 8 BgtLayal_
roundel correspond with the Belles Heures Betrayal scene.
folio 183v (4); the roundel of the Ms. 8 Flagallatiog and
the Flagellatlgn of the Belles Heurea. folio 138 (4). both
place Christ in the center with a major figure to either
side. The closest similarities are found between Ballg_
Heurea’ Pilatg washing his hands. folio 13B (4) and Ms. 8’s
roundel of the same subject. The positions of the figures.
the pitcher. the basin. indeed the whole composition
indicates that these miniatures are related. In order to
accommodate the limited space of the Ms. 8 roundel. the

servant was moved to the background.

Description of the Introductory Miniature to Short Hours
of the Holy Spirit: The Pe t cost. folio 119 (fig. 89)
The Descent of the Holy Ghost (Acts 8:1-4). is the

subject of the fourth miniature with roundels in its
borders. In the center of the room the kneeling Virgin is
surrounded by the twelve Apostles who are arranged in two
rows on either side of her. Descending from above. the Dove
of the Holy Spirit emits golden rays and flames which stream
down upon their heads. Each figure wears a solid gold halo
and presents a prayerful attitude in response to the

miraculous occasion. Simon Peter appears on the Virgin’s

86

right. his white hair and beard are trimmed short as they
were in the second roundel of the Qrgclfixion. folio 115
(fig. 88). The other Apostles wear simple tunics. clasp
their hands together. and kneel on both knees. Peter alone
wears a tunic of gold covered by a red cloak. appears to
kneel on one knee. and holds his hands open. palms outward.
John is on the Virgin’s left. recognizable by his beardless
face and long. golden hair. The position of the Virgin is
emphasized by Apostles wearing tunics of soft purple on
either side of her. Interest is created by alternating
Apostles having brown hair and bifurcated beards with those
having white hair and pointed beards. The composition is
pulled together by repeating the floor color in a green
tunic in the back row where another garment echoes the blue
of Mary’s mantle.

Mary. now an older woman. wears a dress of gold with a
white collar like that of Elizabeth in the Vigltatign. folio
51 (fig. 80). In the traditional manner. a long. blue
mantle covers her hair and falls to the floor. one side
spreading out in front of her. the other caught up by her
hands. An unusually dark background appears behind the
Dove.

In the roundels are: the Bgva of the Holy Bglglt shown

against a background of gold floral design on dark blue; the

Resgrrectlgg at thg 10mg. Christ’s appearance to the
soldiers; Ngli mg taggara. Christ appearing to Mary Magdalen

who kneels with hands crossed before her breast in front of

87

a wattle fence; The gourgay to Bmmaua showing the meeting

between Christ and the two Apostles. Cleopas and Peter. in
front of a walled city; and. in the fifth roundel. gag
Baptism of Chriat in the river Jordan by John the Baptist.
As with the other four miniatures with roundels. this
miniature is bordered only by a black-outlined gold band.
and the script is not set off from the border by any line.
The initial is filled with stylized vines and leaves. and
the tendrils make strongly crossed diagonals in the lower

and side borders.

Iconography of the Introductory Miniature to the Hours
of the Holy Spirit: The Pentecgat

The scene of the Pent cost. folio 119 (fig. 89).
introduces the Short Hours of the Holy Spirit (ff.
119~188v). The twelve Apostles (Matthais took the place of
Judas) kneel with Mary before a darkened apse. After the
Ascension of Christ the Apostles gathered in a room in
Jerusalem where the Holy Spirit descended upon them in
tongues of fire. (Acts 8:1-4). The occasion marks the birth
of the Church. and Mary. who “personifies the Church" (88).
is usually shown in the center of the group. Several
slightly different versions of the Pentecost are to be seen
in the manuscripts of this period. The Pgntagggt of the
Ballgs Hagrgg. folio 84 (4). takes place in a building with
an ”ecclesiastical form” (83) rather than a private

dwelling. The Apostles crowd into spaces on either side of

88

a central area with a raised apse where the Virgin sits. A
Boucicaut workshop Pentecost. Oxford. Bodleian Library.
Douce 80. folio 187 (84). arranges the figures in similar
positions but seats them all in handsome chairs. The
figures of the Pentecost of Pierpont Morgan Library. M96.
folio 64v (85). circle the Virgin while Peter and John kneel
in front of her. The mid-fifteenth century manuscript.
British Library Egerton Ms 8019. folio 135 (86). shows the
Virgin seated on a raised dais holding an open book. Around
her are the eleven Apostles. behind her is the apse of a
church with an open window through which the Dove of the
Holy Spirit descends. This miniature has five roundels in
the border depicting the story of creation and scenes of the
sacraments of Baptism and Penance.

The Mary of Ms. 8 appears in the Pentecost scene. folio
51 (fig. 55). of British Library manuscript Add. MS. 11865
(87). The Apostles appear in a more complex design with
figures arranged both inside and outside the room and a
Baptism scene in the lower border.

All of these miniatures use the same general figure
grouping with Mary in the center. her hands pressed together
or folded in front of her. In some scenes she holds a book.
The Apostles group around her and either sit. stand. or
kneel. The interiors appear to be a church rather than the
room mentioned in the Bible. Border vignettes picture the

sacraments of the Church.

89

Office of the Dead (ff. 183-170v)

The Office of the Dead is one of the longer sections in
Books of Hours and there appears to be a wide choice of
subjects for the miniature that introduces it (88). It is
one of the most important sections for it reflects the
fascination of the subjects of "death. doom. and disaster"
which was prevelant at this time (89). Subjects having to
do with funeral rites and mourners. processions to the
graveyard. interment. illustrations of the dying as well as
Biblical subjects such as the Raising of Lazarus. and Job on
his dunghill are common subjects. Job was chosen because
passages from the Book of Job appear in the Office of the
Dead (90). A miniature of ggb and his Cgmfgrters introduces

the Office of the Dead in Ms. 8.

Description of the Introductory Miniature to the Office
of the Dead: ng and His Bomfgrtgrg. folio 183 (fig. 30)
In this. the last of the five major miniatures with
roundels. Job sits on a huge. brown dungheap which is
elegantly textured with fine gold lines. Job fills the
foreground of the picture. his back close to the left frame.
his legs extending the full width of the miniature. A crowd
of his friends fill the upper right side and a half~length
figure of God the Father is suspended in an aurole in the
heavens above. Crowned and haloed. God holds an orb in one
hand and blesses with the other. Job wears only a tattered

loin cloth while the others are dressed in robes and hats of

90

red. gold. purple. and blue. Job’s hands are folded in
prayer as his well-dressed friends lecture and mock him.
Behind Job is a row of dark green shrubs and appearing above
them is the roof of a house. The roof is red. edged in gold
and has two very small windows that look out over the scene
below. Beyond the house and above a distant blue building
on a hilltop. the sky is blue and starry.

The roundels depict the following ideas: Igg_tr ns encg
of life on garth (three skulls separated by three bones form
a triangle on a red background outlined in blue); Ihe wealth
of Job (Job with his wife and six children in a richly
decorated house); The gestructign of Jobgamhogse and the
agath of big ghildren (a pillar of his house topples under
the stress of the hurricane as five of his children sit
around a table); Job on the gung hgag (hearing of the loss
of his animals); Job 5 r e a n.

This is another richly decorated border filled with
green and gold vines. pink and blue flowers. red berries.
and gold and green pods. Filling every empty space are
golden dots with three lines that swirl outward ending in
circlets. Blue and gold acanthus leaves curve around the
roundels. in places becoming part of their borders. A green
hill at the bottom border provides a place for two tall
stems to grow. one supporting green and gold leaves and blue
flowers. the other. green and gold ferns and red berries.
Between the three roundels on the outside border are two

golden circles overlaid with blue and pink geometric designs

91

and circlets. Both of these circles are bisected by
diagonals of green vines which form quadripartite sections
in the border. their angles repeat those of the two stems at
the bottom of the page.

The initial is strongly designed and has much depth.
It overlaps its gold background and is filled with a
stylized leaf design with an unusual loop around the body of

the initial.

Iconography of Introductory Miniature to the
Office of the Dead: Job and Hi§ Comfortgga,

The story of Job. portrayed on folio 183 (fig. 30).
introduces the Office of the Dead (ff. 183-170v). Job.
confronted by his friends. sits on his dungheap. his legs
stretching across the lower front of the page. The painting
illustrates the story of a man who retained his faith while
being tested by suffering (Book of Job). His house was
destroyed and his children were killed by‘a terrible storm;
his livestock and servants died and he was afflicted with a
disease that covered his body with boils; he was derided by
his wife and friends and beaten by Satan. He survived all
of his trials and lived to prosper. The theme attests to
the ultimate salvation of the faithful. Its inclusion aids
in the dating of Ms. 8 as it is a theme that did not make an
appearance until the end of the fifteenth century (91). It
can be seen in manuscripts such waddasdon MS 13. folio 104v

(98). and British Library Add. MS 11865. folio 63 (fig. 68)

92

(93). and Yates Thompson 5. folio 75v (94). These
miniatures bear close comparisons with Ms. 8. Job.
white-haired. white-bearded. and wearing only a tattered
loin cloth. sits at the front of the miniature while the
other figures. dressed in garments and hats of Ms. 8. take
similar positions. The dunghill behind Job is the same
triangular shape in all the scenes. but the backgrounds
differ. Ms. 8 has a landscape with God the Father in the
heavens while the other miniatures have various

architectural motifs.

The Fifteen Joys of the Virgin (ff. 171-178)

The Fifteen Joys of the Virgin follow the Office of the
Dead and “restore the element of gladness“ to the manuscript
(95). This text is introduced with a miniature of the
Virgin holding the Child. and the prayers are usually
written in a vernacular language rather than in Latin (96).
The Fifteen Joys of the Virgin of Ms. 8 is written in
French. It is not marked by a miniature and the first

portion of text is missing.

Seven Requests of Our Lord (ff. 178v-175v)

The Seven Requests of Our Lord is considered one of the
"secondary“ texts according to the basic classification of
the contents of Books of Hours which was established by the
Abbe Leroquais in 1987 (97). The "essential“ texts being:

the Calendar. the Little Office or Hours of the Virgin. the

93

Penitential Psalms. the Litany (which was usually not
illustrated). the Office of the Dead. and the Memorials and
Suffrages. Other secondary texts are: the Gospel Sequences.
two special prayers to the Virgin. Obsecro te and Q
intemerata. and a number of shorter alternative Offices. the
Hours of the Cross. of the Holy Spirit. and (less often) of
the Holy Trinity. the Fifteen Joys of the Virgin. and the
Seven Request of Our Lord. Other "accessory" texts could be
included in a Book of Hours (98). In Ms. 8 The Seven
Request of Our Lord is introduced by a miniature of the flag

of Sorrowa.

Description of the Introductory Miniature to the Seven
Requests of Our Lord: Man of Sorrowg. folio 178v (fig. 31)
The full-length figure of Christ suspended in a blue
sky is surrounded by an aurole of dark blue overlaid with
golden rays. Two full-length angels less than his shoulder
height and dressed in gowns of gold hold 'his robe open to
display his wounds. Above. two half-length angels in dark
blue clouds adore him. Christ’s robe is red. his loin cloth
is white. and on his head is the crown of thorns. Bloody
scratches cover his forehead and body and his eyes are cast
downward. The bonds have begun to fall away from his bands
which are crossed before him; he holds the palm of the
martyr. the Christian symbol of victory over death.
This painting differs from all the others in that its

frame. except for the lower edge. is decorated with

94

unfaceted jewels. A heavy outer border of strawberries and
leaves frames the sides of the miniature and the script'
beneath. The border design is similiar to the early
miniature pages in that it has no crossing tendrils to form
the beginning of diagonals. The border decorations are
somewhat sparse. and the initial is decorated in the

stylized leaf and tendril pattern.

Iconography of the Introductory Miniature to the
Seven Requests of Our Lord: Mag_gf Sorrow;

The final large miniature of the manuscript. lmagg
Pistatis. Man of Sorrowa. folio 178v (fig. 31). introduces
the Seven Requests of Our Lord (ff. 178v-175v). "This image
was intended to invoke the full impact of the suffering and
sacrifice of Christ. the subject of the following devotions"
(99). ’Examples of the Man of Sorrow; can be found in both
early and late fifteenth-century manuscripts such as the
figurafof Iaabglla Stuart. Duchgaa of Brittany. (c.1417-1418)
ms. 68. folio 199 (100) and the Tres Rich 5 He r s. folio 75
(c.1411-16 and 1485-90) (101). The latter. a late-century
example. is one of the first of the miniatures in the
Limbourg manuscript to be decorated by Jean Colombe seventy
years after the deaths of the original artists (108).
Colombe was a follower of Jean Fouquet of Tours. "A clear
line of descent runs from Fouquet to the generation of
Colombe. Bourdichon. and the Master of the Tilliot Hours.

all of whom were probably in some degree his pupils" (103).

95

Although the style of the earlier Fitzwilliam manuscript
with its swaying figure. flowing robes. and rinceaux
background differs from that of the later Tréa Riches
Heures’ Man of Sorrowg. the pose of the figure closely
resembles that of another Tres Riches Heures’ miniature. the
Bagurragtlon. folio 188v (104). In both of these miniatures
Christ gestures with his right arm and looks down as if he
were speaking to someone. Although the Ms. 8 figure of
Christ and that of Colombe’s Man of Sorrongappear to be of
the same period. they are dissimilar in body style.
coloration. and background treatment. There are. however.
strong similarities in the appearance and demeanor of the
figures as well as the shape of the face. the design of the
beard. and the style of the crown of thorns with its
placement just at the hairline. The most striking
similarity is in the attitude of the figure. In both
miniatures. Christ. facing outward. holds his hands crossed
at the wrists. turns his head slightly to his right. and
looks downward.

The facial features and body style of the Ms. 8 Man of
Bgrrgws resembles the ngclflxlgn figure of Christ in a
National Gallery of Victoria. Australia manuscript. the
Hharncllffa Hours. MS Felton 1078/3. by the French Master.
folio 73 (105). The crown of thorns. the halo. the folds of
the garments and especially the figure style and face of
Christ is recognizably the same. The resemblance of the

French Master’s work and the illustrations of the Calendar

96

pages of Ms. 8 has already been noted (106). Margaret
Manion. in discussing the French Master. dates the height of
his career as c.1475-1480 and states that "his style. as
well as drawing on Parisian traditions. especially those of
the Bedford Master’s telier. was also markedly influenced
by Jean Fouquet and the school of Tours" (107). 'In both
manuscripts. the head of Christ turns to his right and the
eyes look downward away from the viewer. The pose is both

distinctive and expressive.

Memorials and Suffrages (ff. 176-188)

The Memorials and Suffrages are short devotions to the
saints. They usually begin with the Trinity and continue
with prayers to the Virgin. St. Michael. St. John the
Baptist. the Apostles. and a series of saints revered
locally or universally. The number of inclusions may vary

from as few as six to as many as a hundred or more (108).

Descriptions of the Memorials and Suffrages
Ihg Trinity. folio 176 (fig. 38)

Two half-length male figures. one young the other old.
share a common robe and hold an open book between them; a
dove rests upon their shoulders. Christ on the left bleeds
from a crown of thorns and from his hand; God the Father on
the right holds an orb; the Dove of the Holy Spirit raises
its wings. The figures are arranged in front of a circular

field of blue with golden rays emanating from behind.

97

Bl, Mlchae . folio 176v (fig. 33)
According to the book of Revelations (18:7-9). Michael

and his angels waged war upon and defeated the dragon. Here
Michael wears a suit of armor and is armed with a sword. He
wears a pair of red wings. Heaven is portrayed as a green
and blue-green landscape.

John the Bagtla . folio 177 (fig. 34)

The saint appears in a tunic of animal skins and a red
robe. He stands in a wilderness of tall deciduous trees
rather than a desert wilderness. He holds a book upon which
rests a Lamb. the A nus Dei. which is derived from the time
when John referred to Jesus as the Lamb of God (John 1:36).
The Lamb holds a staff topped with a crucifix and banner. a
symbol of victory over death.

Bt.Ch;lstogher. folio 177v (fig. 35)

According to the Golden Legend. Christopher. the huge
man from Canaan. sought to serve the most powerful person in
the land and was guided by a hermit to carry the poor and
weak across a great river. Here he finds himself between
the riverbanks bearing the Christ Child. ‘the weight of the
world upon his shoulders’. while the hermit holds a lamp on
the shore behind them.

St. Begaatian. folio 178v (fig. 36)

The legend of St. Sebastian places him in the third
century as an officer in the Roman army who. upon having
declared himself a Christian. was shot with arrows and left

for dead. He survived the ordeal and was able to return to

98

reaffirm his faith and subsequently be killed by the
emperor’s soldiers. Here he is shown in a landscape clothed
in a white loin cloth and tied to a tree. Two archers aim
their arrows at his body which is already pierced by five
arrows.

St. Bteghan. folio 180 (fig. 37)

St. Stephen was one of the seven deacons appointed by
the Apostles and was the first Christian martyr. He was
stoned to death after delivering a sermon (Acts 7:8-56) in
which be accused the legislative council in Jerusalem of
having murdered Jesus. He wears a deacon’s garment called a
dalmatic. He holds stones. his attribute. and a martyr’s
palm.

St. Lawregge. folio 180v (fig. 38)

St. Lawrence died in Rome in 858 shortly after the
martyrdom of Pope Sixtus 11. When the Pope was arrested. he
told St.Lawrence. who had charge of the treasures of the
church. to give the treasure to the poor- This he did. and
when ordered to turn the treasure over to the Roman high
official he said that the poor were the treasures of the
Church. He was. subsequently. condemned to death by being
roasted on a gridiron. He. like St. Stephen. wears the
deacon’s dalmatic and carries a martyr’s palm.

B55, Qoamas and Damian. folio 181 (fig. 39)

These early Christian martyrs were twin brothers who

were physicians. They ministered to the sick without

charge. Here they hold a jar of ointment in their hands and

99

wear the garments of the physician: long. dark red gowns
trimmed and lined in fur and on their heads a round. red
cap. They survived several attempts on their lives under
the persecution of the Roman Emperor Diocletian until they
were finally beheaded in northern Syria.
St. Nicholas (as blsggg with three youths in tub).
folio 188 (fig. 40)

These three children were miraculously restored to life
by St.Nicholas after having been murdered by a wicked inn
keeper. They appear naked and in a tub where their bodies
were being preserved.

St. Anthony (Abbot). folio 188v (fig. 41)

He was born in the third century A.D. and is believed
to have been the founder of monasticism. After the death of
his parents. St. Anthony gave away all of his possessions
and become a hermit in the desert of Egypt. He is shown
here in a forest wearing the brown robes of a monk and
holding a bell. He is accompanied by a boar.

Bt. Flacge. folio 183 (fig. 48)

He was the patron saint of horticulturalists and
appears holding a book and a spade. He wears the dalmatic
and his hair is tonsured.

Bt. Maurgs. folio 184 (fig. 43)

Sts. Maurus and Placidus were sons of patrician Roman
families who were sent as children to St. Benedict to be
educated. They became closely attached to the saint. As

missionaries. Placidus went to Sicily and Maurus to France.

100

Here St. Maurus is shown dressed in black. holding a book
and a crosier.
B5, Qatherlng. folio 184v (fig. 44)

She is shown with the sword of her execution. a
martyr’s palm and the broken wheel symbolizing the four
wheels studded with iron spikes that. according to the
Golden Legend. the Emperor Maxentius employed in her torture
because she refused his advances. A thunderbolt shattered
the wheels of torture before they could harm her.

Bt. Genevieve. folio 185 (fig. 45)

She is shown dressed as a nun holding a book and a
candle which a demon attempts to blow out while an angel
protects the flame. As the patron saint of Paris. she had
the gift of prophecy and traveled the dark roads to the city
to warn the people of attack by invaders. Her candle which
lighted her way was constantly blown out only to be
miraculously rekindled.

gt. Margaret (of Antioch). folio 185v (fig. 46)

Margaret refused to marry the prefect of Antioch
because she was a Christian virgin and was. consequently.
thrown into a dungeon where Satan appeared to her as a
dragon and swallowed her. At the time she was holding a
cross in her hand and it caused the dragon to burst open and
release Margaret unharmed. She was later beheaded. She
became the patron saint of women in labor who wanted to be
safely delivered in childtirth as she was delivered from the

belly of the dragon. Her attribute is the dragon. She

IOI

appears here in an interior before a brocaded blue drape.
She holds a small cross. and her three-quarter length figure
rises out of the back of an animal which lies on the floor.
The creature has the head and body of a lion with a
snake-like striped tail. Part of her red robe protudes from
its mouth.

Bt, Avia (Hadwlg). folio 186v (fig. 47)

She was the Duchess of Silesia who devoted her life to
the alleviation of the suffering of others and was prominent
in the founding of religious houses. She appears at the
window of a castle being given Communion by the Virgin Mary.
She wears a red tunic and her head is uncovered. She wears
a halo. A similiarly attired figure without a halo stands
behind the Virgin. There is a landscape in the background.

Bt. Magy Ma dalene. folio 187 (fig. 48)

In western art it is Mary Magdalene. the repentent
sinner. who washed Christ’s feet with her tears. dried them
with her hair. and annointed them with precious ointment
(Luke 7:36). She is shown here in an interior holding her
attribute. the jar of ointment. and a book. Usually she
wears a red cloak as she does here.

All Salnts. folio 187v (fig. 49)

Three recognizable figures appear in front of a large
group of male. half-length saints. They are St. Stephen
with the stone on his head. St. Lawrence with his grid. and
St. Denis. a bishop and martyr of the third century. who was

said to have been beheaded in Paris by orders of the Roman

102

prefect. and who then rose to his feet and carried his
severed head to the place where he was buried. This place
was later to be known as the Mount of Martyrs or Montmartre.
He appears wearing his bishop’s robes and carrying his

severed head.

Iconography of the Memorials and Suffrages

The iconography of the Memorials and Suffrages of Ms. 8
corresponds with other manuscripts of the period. Generally
the miniatures are a standard representation of the saints.
No obscure or unfamiliar saint appears to signify anything
unusual or individual about the book.

The figures all appear in a three-quarter length pose
with simplified interiors or landscape backgrounds and are
identified by their attribute or the situation in which they

are depicted.

Unfinished pages
188v A blank page. ruled. and with border

189-198v Blank pages. ruled

IV

CONCLUSION

From the masters of what Millard Meiss called "the two
best workshops in Paris during the first twenty years of the
fifteenth century”. come the traditional patterns for the
miniatures and borders of Michigan State University Library
Ms. 8. Figure and miniature designs also relate to
mid-century masters. the Arsenal 575 Master and the Fastolf
Master and late-century French Master. all known to have
been associated with the Bedford workshop.

The manuscript cannot be dated from the early decades
of the century because it contains elements that do not
appear in Books of Hours until some sixty or more years
later. A mid-to late-1480s dating of Ms. 8 allows for such
late-century influences as: 1) late-century figure style:
solid. rounded figures. portrait-like Madonnas. kneeling.
seated. and three-quarter length close-ups. domination of
the page by the enlarged figure; 8) color: aerial
perspective in the blue landscapes. gold texturing
overlaying flat color; 4) perspective: naturalistic
landscapes. geometricity and stability of the miniature.
believable interior space; 5) themes: Bathsheba on the David

page. and Job on his dunghill.

103

104

Masters of the first two decades of the century and the
workshop that produced Ms. 8 appear to be connected through
mid-century artists who collaborated with and inherited the
patterns of the early masters. The patterns were kept alive
in these workshops. not only by the workshop masters
themselves but by assistants whose work continued into the
late years of the century. This is not to say that the
Arsenal 575 Master. the Fastolf or French Masters worked on
the Michigan State University Library manuscript. Rather it
must be as Marrow and dewit stated of a similar manuscript
attribution. "There can be no suggestion that these Hours
were made in [the Master’s] workshop. but they might have
been painted by an assistant who had acquired his skill from
that inspiring Master and. having left him. could not
maintain the live tradition but simply retained certain
habits" (1). Ms. 8 shows the influence. if not the genius.
of these masters.

Economy is an important aspect of manuscripts of this
type. The miniatures of Ms. 8 are abbreviations of complex
patterns used in earlier more expensive manuscripts by
artists of superior ability. Figures and objects of Ms. 8
are limited in number. simplified. and enlarged to obviate
the need for finely detailed backgrounds. In the 14805 when
hand-made books were competing with printed books.
money-saving measures were necessary for manuscripts in the
mid-range market for which Ms. 8 was produced. These

economies did not result in the Michigan State University

105

Library manuscript becoming. as one writer put it. a
careless product; on the contrary. Ms. 8 is very carefully
executed. a manuscript of high consistency and quality.
Consistency denotes an attitude toward standards and an
atelier under tight control: "The degree of uniformity
depended on the amount of control exercised by the person in
charge” (8). Late-century style as well as economy appears
to be a motivation for the larger figures. The then-current
trend toward monumentality is seen in the portrait-like
miniatures of the Madonna pages.

There are more borders in the manuscript than there are
miniatures which indicates that the borders were produced
first. with the borders more in the early style. one is
tempted to suggest that the miniatures could have been added
at a much later date and perhaps originated in a location
different from that of the borders.

A significant aspect of the manuscript is that it
closely follows the patterns of the Calendar miniatures of
the Ballgg and Bedford Hogrs. the borders of the Bedfgrd
Bogrg. and the miniature design and iconography of the
mid-century collaborators of the Bedford Master who had
direct access to the earlier models. It is possible that
the miniatures of Ms. 8 may have been influential in the
continuance of these styles.

Similarities between Ms. 8 and numbers of late-century
Rouen manuscripts and the knowledge that Bedford

collaborators and associates worked in Rouen. invite

106

consideration of a possible Paris-Rouen connection for Ms.
8. The use of particular patterns in both Paris and Rouen
show the proliferation of these models and the influence of
late-century ideas on what had become a staple industry.

The monumentality and stability of Ms. 8’s figures
place them in the mainstream of Renaissance influence which
was transforming the art of France in the last half of the
fifteenth century. There is no great newness about the Ms.
8 Horae and its figures lack the individuality and quality
of fine painting. but the emphasis is placed on the human
figure and the viewer is a spectator of events portrayed by
the figure. Each roundel with portrait-like half-length
figures and the kneeling. sitting. and close-up figures of
the major miniatures are quite at home with early
sixteenth-century manuscripts.

The Book of Hours is a most instructive institution and
our manuscript is a very fine example of the changes taking

place in the world of the fifteenth century.

END NOTES

I

INTRODUCTION

H. P. Kraus. Unpublished Typescript. Michigan State
University Library. Special Collections.

The inscription reads: Hoc manuscriptum Pignus amoris
et Gratitudinis. consurat amicus F. Carolus de
Notinger. resignatus abbas Monasterii B. M. Virginis de
Freistroff. decanus Vallis B. M. V. vulgo de
Sturtzelbrunn. ordinis Cisterciensis. amico suo Gerardo
Fuzreo?. Pro tempore Priore et Professori Monasterii B.
M. V. de Campo Principum in Bavaria. Anno 1791.
Gemeute regi. flero. nobile. Vniterroque Populo
Aristoratico gallicoruo. Epuli Supro nominato cis
.?.enum. for Villa Zurtzel. diticone Bavaria. Ex
libris f. Claudii Moyne.

I

STYLE

London. British Library Add. MS. 18850. Houga of tha
Ma ter of the Duke of Bedf rd. c.1483. See E. P.
Spencer. "The Master of the Duke of Bedford: the

Bedford Hours.” Burllngton Magaalna. CVII. 1965:
495-508. J. Backhouse. "A Reappraisal of the Bedford

Hours." ritish Library Journal. VIII (Spring. 1981)
47-69. E. P. Spencer. "The Master of the Duke of
Bedford: the Salisbury Breviary." urlin ton Ma 'ne
CVIII (1966) 607-618. E. P. Spencer. Ina Sobieski
Hours. a Mangacrigt in tha Royal Ligrary in Windsor
Castle. London: Roxburgher Club. 1977. Illustrations
of the Bedford Calendar pages are available from the
British Museum Shop in the form of postal cards.

 

Millard Meiss. French Painting in thaaIime of ggan de

Berry: The Bogcigaut Master (London and New York:
Phaidon. 1968) 19.

107

5.

6.

10.

11.

12.

13.

14.

15.

16.

17.

108

Paris. Musée Jacquemart-Andre. ms.8. Hour; of Marshal

Jean ga Bguclcaut. 1405-08. See Meiss. Boucicaut
Master. Chapters I and V; and E. Panofsky. Early

Ngthgrlangish Painting (New York: Harper & Row. 1953)
1:53-61. Illustrated in Meiss. Plate 30.
J. D. Farquhar. Qreation and Imitation: Thalwork of a

Flfteenth-Centgry Manuscrigt Illuminator (Fort
Lauderdale: Nova/NYIT University Press. 1976) 187.189.

lgid.. 138.

lbld.. 36. for a style description of Arsenal 575.
Illustrated in Farquhar. Plate 1.

E. P. Spencer. "Dom Louis de Busco’s Psalter." in
Batherings in Honor of Dorothy Ming; (Baltimore: The
Halters Art Gallery. 1974) 887-840.

Spencer. "Salisbury Breviary." 607-618.

Ibid.. 618.

 

London. The British Library. Egerton MS 8045. c.1470.
f.68v. Visitation. Illustrated in J. Backhouse. Books
of Hogrs (London: The British Library. 1985) 87.

There are also similar designs of architecture.
woodwork. and floors. See f.138v. fig. 63.

For examples of this trend see British Library Harley
MS 8877. folio 44v. Christ garryino thg Cross.

end of the 15th century (illustrated in Backhouse.
Bogks of Houcg. 46); MS 83. folio 185. Job on thg
Dung-hill. early sixteenth-century. (illustrated in L.
M. J. Delaisse. J. Marrow. & J. de Wit. The Jame; A. da
Rothachild Collaction at Nagdesdon Manor: Illuminated
Manuscrigta (Fribourg. Switzerland: for The National
Trust. 1977) 509; MS 13. folio 104v. Job on the

Dun hill. late fifteenth-century (illustrated in

Uaddegdon. 881).
assessm- 862 -

J. Backhouse. The lllgmlgatag Mangagrlgt (Oxford.
England: Phaidon. 1979) 77.

W: 868-

lblg.. p. 460. Other manuscripts of this trend are

Nagdegdgn MS 84 (1510). folio 48v. Vlfiitatlgflj and
MS 85. (1510) folio 14. Anngnciatlgn. (in Baddesdon.

 

18.

19.

80.

81.

ea.

83.

a“.

85.

86.

87.

88.

89.

30.

31.

109

589. 553 respectively).

Illustrated in J. Backhouse. (Kren. Evans. and
Backhouse). "French Manuscript Illumination.
1450-1530." Renaissance Paintino in Manuagrlgts (New
York: Hudson Hills Press. 1983) 166.

Backhouse. Illuminated Manuscr' t. 74.

C. D. Cuttler. Ngrthern Painting (New York: Holt.
Rinehart and Winston. Inc.. 1968) 34.

Baltimore. Walters Art Museum. N. 880. f.89. Adoration
gf the Magi. Illustrated in Farquhar. Creation and
Imitation. 89.

The Breviary of Jaan gang Peur. British Library Add.Ms.
35311. f.199. Adoration of the Magi. Illustrated in

Farquhar. Plates 84 and 85. M. Meiss. Erench Painting
in thaaTimaaof Jean de Berry: The Limbourgs and their
Contamooraries (New York: Pierpont Morgan Library and
George Brazillier. 1974). 1:838-837. M. Meiss. Ina
Breviary of Jean sans Peur and tha Limbourgs (London:
Oxford University Press for the British Academy. 1971)
1-19.

 

For a discussion of iconographical relationships
between Ms. 8 and these manuscripts see Chapter 3.
“0-42 I

Tres Riches Heures du Duc de err . Musee Conde.
Chantilly. France 1416-1485? J. Longnon. R. Cazelles.

EQEvTCEE Riche Heures du Duc de Berry (London: Thames
and Hudson. 1969).

J. Harthan. Booka of Hourg and Thair Ownars (London:
Thames and Hudson. 1977). 78.

Illustrated in M. Meiss. Bouc'caut M t r. Plates 30.
35.

Panofsky. arl N ther nd sh P intin . 1:61.

Illustrated in Backhouse. Illgminated Manuagfilg . 68.
Illustrated in Meiss. Boucicaut Easter. Plates 83. 31.

Illustrated in Meiss. The Limboargs. vol. 8. Plate 777.

The Playfair Hogrg. Victoria and Albert Museum. VLA.
L.475-1918. (14805?). R. The Playfair ngrs (london:

The Victoria and Albert Museum. 1984). For a
further discussion of iconographical similarities see

38.

33.

34.

35.

36.

37.

38.

39.

8.

3.

8e

9.

110

Chapter III. 44.
Ibid.. 76.
M. M. Manion. V. F. Vines. Medieval and Renaissance

Illuminated Manuscripts in Australian Collactiona
(Melbourne: Thames and Hudson. 1984). 199.

 

Spencer. "The Bedford Hours.” 498. Illustrated in
Backhouse. "A Reappraisal of the Bedford Hours." 51.

Farquhar. Creation and Imitation. 101 and Plates 14.
12’ 130

Illustrated in Farquhar. Plate 11.

Ibide’ 101.

 

Illustrated in Farquhar. Plate 4.

Meiss. Boucicaut Master. 15.

III

ICONOGRAPHY

Harthan. 84.

Ibid.

 

Bedford Hours Calendar miniatures available from the
British Museum Shop in the form of postal cards.

New York. The Cloisters Collection of the Metropolitan

Museum of Art. The Belles Haurea pf Jean. Duke of
Berr . 1405-1408/9. M. Meiss and E. H. Beatson. The

Bellas Heures of Jean Duke of Barry (New York: George
Braziller. 1974). Illustration listed by folio number.
Illustrated in Backhouse. Books of Hours. 17.

Ibig.. 51. London. British Library Egerton 8019. f.
13. St. John. British Library photograph.

Ibid.. 73. 75. London. British Library Add. Ms. 11865.
British Library photograph.

lpld.. Backhouse. 73.

Hours of Juan Enrf'u 2. Madrid. Biblioteca de Palacio.
Farquhar. 33-40. 103-118. Plate 45.

10.

11.

18.

13.

14.

15.

16.

17.

18.

19.

80.

81.

88.

83.

84.

85.

86.

87.

88.

89.

30.

31.

111

Farquhar. Qreationaand Imitation. 33.

Paris. Bibliotheque de l’Arsenal. Ms. 575. Illustrated
in Farquhar.

Ibid.. Plate 8.

For stylistic similarities
with Ms.8. see Chapter II. 18. note 30.

Illustrated in Natson. 89.
Harthan. 86.
S. Ringbom. Icon to Narrativa: Tha Riaa of tha_Dramatic

Close-up in Fiftaanth Century Devotional Painting
(Turku: Abo Akademi Abo. 1965).

 

lpig.. 5. 93.

Panofsky. 1:897.

Ringbom. 100-101.

Illustrated in wadde don. 454.
Backhouse. Book; of Houga. 31.
Harthan. 88.

lgig. 86. 88.

121$) 64.

Baltimore. Walters Art Gallery. H.851. f.86.

Anngnciatlgn. Spencer. Gatherings in Honor of Dorothy

 

Brussels. Bibliothbque Royale MS.IV.III. Master of the
Brussels Horlpge dg Bapienca. Ibig.. 837.

Meiss. Frangh Palntigg,..The Limpoargs. 1:30.

London. The British Library. Add.Ms. 30899 f. 1.
Annpnciatlp . Backhouse. Booka gf Houra. 16. 18.
Illustrated on 81.

Farquhar. 48. Plates 86. 87.

London. Count Seilern Collection. The S lern H urs.
Illustrated in Farquhar. 48-49. Plate 86.

1218-9 “7-

38.

33.

34.

35.

36.

37.

38.

39.

40.

41.

48.

43.

44..

45.

46.

47.

48.

49.

50.

51.

112

Baltimore. Walters Art Gallery. W.858. f.30.
Annunciation. Illustrated in Spencer. Gatheringa in

Hgnor of Dorothy Minar. 835. Plate 3.

Illustrated in Meiss. FrenchaEaintino...The Boucicaut
Master. Plate 30.

 

Harthan. 78.

Panofsky. 1:46. 377 note 3; and Meiss. Eganch Painting

eeeThe Lifflbourgfig 1:195.

Illustrated in: Longnon. TrES Riches Heuras. 40; Meiss.
Eganch Paintino...The Limbourgs. Plate 687; and for
London. British Library Add. Ms. 16997. Chevalier
Hours. f.57. Nativity see Backhouse. Bogka of Houra.
88.

A "manuscript which is related to the Limbourgs as much
in style as in compositions...." Farquhar. 46.

Panofsky. 1:61.
1.1232” 59-

Illustrated in Watson. The Pla fair Hour . 85. 87. 89.
33 respectively.

Illustrated in Waddesdon. MS. 9. 181; Ms. 10. 815;
MS. 12’ 2470

Ibid.. illustrated 503.

Ibide’ 515.

Paris. Bibliothéque Nationale. ms. lat. 9474 f. 68v.
Annunciation tg tha Shepherds. Illustrated in Harthan.
138.

Illustrated in Farquhar. Plates 88. 84.

lg;_,. 45 and Plate 85.

Jam” 102-103.

191g,. 85.

iii—d.” 46-

London. The British Library. Add. MS. 11865. f. 37v.
Eggaggtatigp. British Library photograph.

Illustrated in Watson. 83.

113

58. Ibid.. illustrated 98.
53. Illustrated in Backhouse. Booka of Houra. 7.

54. Ibid.. illustrated 88.

 

55. Illustrated in Farquhar. Plate 1.

56. Illustrated in Meiss. French Painting...Boucicagt
Master. Plate 16.

57. Illustrated in Watson. 81. 88. 87. 89. 93. 98. 100.
101.

58. Illustrated in Watson. 65. 59. 33 respectively.

59. Illustrated in Backhouse. Books of Houra. 38.

 

60. lgig,. illustrated 39.

61. Illustrated in Farquhar. Plate 68.

68. Illustrated in Harthan. 78.

63. Manion and Vines. 806.

64. Illustrated in Harthan. 186.

65. Illustrated in Backhouse. Books of Houra. 40.

66. Ibid.. 38. 38.

 

67. Ringbom. 1984. Plate 47.

 

68. Illustrated in Watson. 100-

70. Backhouse. Book; of prrs. 58.

71. Calkins. 1983. 861. attributed to Leroquais and
Delaisse. Bibliotheque Mazarine. ms. 569. f. 83

illustrated in Meiss. Frengh Paigting,..Tha Bpugicagt
Maater. Plate 869.

73. Illustrated in Backhouse. "French Manuscript
Illumination 1450-1530." in Renaissance Paintino in

Mangscripts. 149.

74. London. The British Library. Add. Ms. 11865. f. 53.
Bavig and Bathaheba. British Library photograph.

75.

76.

77.

78.

79.

BO.

81.

88.

83.

84.

85.

86.

B7.

88.

89.

90.

91.

98.

93.

94.

95.

96.

97.

9B.

114

This master was discussed in Chapter II. p. 8.

London. The British Library. Egerton MS 8045. f. 138v.
Qavid. British Library photograph.

Harthan. 17.

Bedford Brucifixion. illustrated in Spencer. "The
Master of the Duke of Bedford: The Bedford Hours." 499.

Illustrated in Longnon. Lag TraaRiches Heures du Duc

ge Berry. 114.
Ibid.

Ibid.. 115.

Panofsky. 1:145.

Meiss. figanch Paintino...The Limbour s. 84.
Illustrated in Meiss. Th Boucica t Mast r. fig. 330.
Illustrated in Manion and Vines. 818. fig.830.
Illustrated in Backhouse. ngaa,of Houra. 51.

London. The British Library. Add. Ms. 11865. f. 51.
Pentacost. British Library photograph.

Harthan. 30-31.

Backhouse. ngaa of Houna. 51.

Harthan. 89.

Calkins. Illuminated Books pf gha Middla Agea, 873.
Illustrated in Waddesdon. 881.

London. The British Library. Add. Ms. 11865. f. 63. Job
ang his Qomforters. British Library photograph.

Illustrated in Backhouse. Renaissange Painting in
was. 176-

Harthan. 18.

 

Ibid., 31-
Ibige’ 1‘9-

121:“, 1".

99.

100.

101.

108.

103.

104.

105.

106.

107.

108.

115

Calkins. Illum'nated Books f the Middle A es. 861.

Fitzwilliam Museum. Cambridge. ms.68. f.199.
Illustrated in Harthan. 115.

Illustrated in Longnon. 75.
Her than a 63 g 65‘-

Backhouse. “French Manuscript Illumination 1450-1530."
Renaissange Painting in Manuscri ts. 150.

Illustrated in Longnon. Trés Riches Hegras. 187.
Illustrated in Manion and Vines. 189. Plate 41.

For a stylistic comparison in Ms.8. see Chapter II.
18.

Manion and Vines. 197.

Harthan. 18.

IV

CONCLUSION

Waddesdon. 887.

Farquhar. 48.

REFERENCES

Backhouse. 3. 1979. The Illuminateg Manusgript. Oxford:

Phaidon Press Limited.

. 1988. "A Reappraisal of the Bedford Hours.”
British Library Journal. 8:47-69.

. 1983. "French Manuscript Illumination. 1450-1530.“
Renaissance Paintino in Manuscripts: Treasures from tha
Britiah Library. ed. T.Kren. New York: Hudson Hills
Press.

. 1985. Book; of Hours. London: The British Library
Reference Division Publications.

Calkins. Robert. 1983. Illuminated Books of tha Middla,Aoaa.
Ithaca. New York: Cornell University Press.

Cuttler. Charles. 1968. Northarn Paintino. New York: Holt.
Rinehart and Winston. Inc.

Delaisse. L. M. J.. J. Marrow. J. de Wit. 1977. The James

A. daaRothschild Collection at Waddesdon Manor:

Illuminated Manuscripts. London and Fribourg:
Published for the National Trust by Office du Livre.

 

Farquhar. J. D. 1976. Creation app Imitation: Tha Work ofla
Fiftaanth-Captury Manuscript Illuminator. Fort
Lauderdale. Florida: Nova/NYIT University Press.

Harthan. John. 1977. Books of Hggra. London: Thames and
Hudson.

Longnon. Jean. and Raymond Cazelles. 1969. Bes Tres Richaa
Heures du Duc da Berry. London: Thames and Hudson.

 

Manion. Margaret. and Vera F. Vines. 1984. Medieval and
Renaissance llumin ed Man scri ts in Austral’an
Qollectlons. Melbourne. London. New York: Thames and
Hudson.

116

117

Meiss. Millard. 1968. Franch Paintino in the Tima of Jaan da

Berry: Tha Boucicaut Master. National Gallery of Art
Kress Foundation Studies in the History of Art. nr. 3.

London: Phaidon Press Ltd.

. 1974. French Paintino in tha;Tima of Jaan da

Berry: The Limbourgs and thair Contemporaries. New
York: George Braziller and the Pierpont Morgan Library.

Meiss. Millard. and Elizabeth H. Beatson. 1974. The Belles
Heures of Jean. Duke of Berry. New York: George
Braziller.

Panofsky. Erwin. 1953. Early Netherlandish Painting. 8 vols.
Cambridge: Harvard University Press.

Ringbom. Sixten. 1965. Icon to Narrative: The Riga of tha

Dramatic Close-up in Eifteenth Century Devotional
Painting. Turku: Abo Akademi Abo.

 

Spencer. Eleanor. 1965. "The Master of the Duke of Bedford:
The Bedford Hours." The Burlin ton Ma azin . No. 751.
8:495-508.

. 1974. "Dom Louis de Busco’s Psalter." in
Gatheringa;in Hgnor of Dorothy Mina_. McCracken.
Randall. and Randall. eds. Baltimore: The Walters Art
Gallery.

Watson. Rowan. 1984. The Playfair Hours. London: Victoria
and Albert Museum.

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