These three splendid full-page miniatures
probably belonged to a Book of Hours which has
since been dismantled. Books of Hours were
used in private devotions and provided lay
people with the opportunity to follow a shorter
version of the prayers recited in the monasteries.
By imitating the activity of the religious, men and
women hoped to aid their own salvation. The
three main scenes depicted were all common in
this type of manuscript. The annunciation of the
birth of Christ to the shepherds is often found at
beginning of Terce, part of the Hours of the
Virgin. The flight into Egypt is usually depicted at
the start of Vespers. King David and his harp
frequently make an appearance at the start of the
Penitential Psalms as he is traditionally believed
to be their author. One of the most remarkable
features of these examples is the fact that the
borders around the main images are fully
illustrated with narrative scenes. They are also
created using full colour not single tones. This
was relatively unusual and is a measure of the
care lavished upon them. Some of the subsidiary
scenes depict actual Biblical events such as the
massacre of the innocents. Others are more
fanciful such as the band of peasants dancing
beneath the annunciation to the shepherds. They
were intended to delight the owner and provide a
visual explanation of the accompanying text.
Although illuminated manuscripts were originally
produced in monasteries, by the late fifteenth
century specialised workshops fulfilled the same
function. This period has been termed the
‘golden age’ of illumination. By this date the art
was closely related to panel painting and the
same artists often worked in both media. The
figure of the godhead in the David illumination,
for example, finds parallel in works by figures
such as Hans Memling and Van Eyck. The style
therefore suggests that they were created in
northern Europe, possibly in a workshop in
France or Flanders. The detailed landscapes and
city views are particularly exquisite and recall
these traditions. There was a vibrant export trade
in these works which were sought after
commodities in the leading European courts.
Illuminated manuscripts were the preserve of
those with ample disposable income, partly
because their production was so time-
consuming. In contrast to printed alternatives the
materials were also costly. The use of gold leaf
on the framing devices confirms this. It has been
deliberately placed over layers of red pigment so
that it glows with an intense warmth. This type of
gilding required immense skill and its secrets
were closely guarded. Contemporary guild
regulations stipulate that only the most qualified
painters were allowed to practice it. The lively
detail of the figures make these pages a visual
feast and a window onto the religiosity of the
late middle ages. (AM)
