So here we are at the end, with all the sections of the manuscript now posted, and this last chance to reflect. What simple questions may not yet have been asked or answered? What open questions remain for future scholars to ponder, or further studies to publish? Who has come to the exhibition, and who has come to the blog, and what do we all take away? Read more »
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Above: Details of illuminations from Folio 211v, Folio 215r, and Folio 223v from the Belles Heures of Jean de France, duc de Berry, 1405–1408/9. Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416). French; Made in Paris. Ink, tempera, and gold leaf on vellum; 9 3/8 x 6 5/8 in. (23.8 x 16.8 cm). The Metropolitan Museum of Art, New York, The Cloisters Collection, 1954 (54.1.1).
We have come to the final section of the Belles Heures manuscript, mainly a small selection of masses. This is a section that sneaks up on you in interest. It first presents as a traditional element—with most of its text in two columns of black ink—but then inserts a few pages in picture-book format. Like the section dedicated to the Penitential Psalms (Folio 66r through Folio 72r), this one starts out with a series of small quarter-page illuminations, but finishes with magnificently accomplished full-page pictures. Finally, it isn’t fully traditional; not all books of hours contain masses, and their inclusion here leads us into interesting questions about Jean de Berry’s use of his prayerbook. Read more »
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Above: Details of illuminations from Folio 191v, Folio 193r, and Folio 194r from the Belles Heures of Jean de France, duc de Berry, 1405–1408/9. Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416). French; Made in Paris. Ink, tempera, and gold leaf on vellum; 9 3/8 x 6 5/8 in. (23.8 x 16.8 cm). The Metropolitan Museum of Art, New York, The Cloisters Collection, 1954 (54.1.1).
A self-contained quire of two bifolia, eight pages, presents the story of two hermit saints, Paul and Anthony. This is the last of the full-scale added picture cycles in the manuscript, but it is unlikely to have been the last one to be completed. Compositions in this section are conceived for narrative impact, and their layouts support that purpose rather than spatial coherence. Great and crazy stories are here—scenes you never imagined. Read more »
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Above: Details of illuminations from Folio 162v, Folio 165v, and Folio 179r from the Belles Heures of Jean de France, duc de Berry, 1405–1408/9. Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416). French; Made in Paris. Ink, tempera, and gold leaf on vellum; 9 3/8 x 6 5/8 in. (23.8 x 16.8 cm). The Metropolitan Museum of Art, New York, The Cloisters Collection, 1954 (54.1.1).
Last week I introduced the section of the manuscript with the Suffrages of the Saints—short prayers or memorials to individuals found in many books of hours. As this section can be personalized for the patron in many ways—most simply, in the number and choice of saints included, as well as in the number accorded decoration—it is one place we can look to sense the personality of the patron and artists involved. This week I want to pick out a few more of the individual saints in the Belles Heures, and raise a question that has concerned me for some time: Is this an unusually violent manuscript? Let’s begin by looking at the most violent among the Suffrages. Read more »
