THE TILLIOT HOURS: COMPARISONS AND RELATIONSHIPS

JANET BACKHOUSE

THE provision of a new catalogue for the Yates Thompson manuscripts now in the British Library, taking into consideration the many advances in scholarship which have taken place since the collector himself issued his original catalogues at the beginning of the century, was among the major ambitions which Derek Turner did not live to fulfil.^ The forty-six manuscripts which the collector's widow bequeathed to the nation in 1941, together with the half-dozen volumes already in the department, represent a period of some six centuries and come from all over Europe, offering an unusual opportunity for a survey ofthe present state of knowledge over a very wide spectrum. The accumulation of notes and descriptions which Derek left will of course be utilized in the catalogue when it eventually appears. One ofthe latest ofthe manuscripts is the Tilliot Hours (Yates Thompson MS. 5), written and illuminated in Renaissance France and acquired for the collection via the Spitzer sale in 1895.^ This manuscript (pi. VI, fig.i ) is a particular favourite of mine and one which I frequently talked over informally with Derek, whose own tastes (except in Flemish manuscripts) tended towards material of a much earlier period. It exemplifies a recent change of fashion in scholarly interest and a class of illuminated book about which current knowledge is expanding with a striking rapidity. My aim in this article is to put forward in accessible form a number of recently recognized comparisons and relation- ships, most of which have come to light in the wake ofthe British Library's loan exhibition of Renaissance illuminated books staged at the J. Paul Getty Museum in California in the autumn of 1983. Although the Tilliot Hours is of superb quality, it represents a period which was until very recently completely out of fashion with twentieth-century scholars, who tended to regard manuscripts made during the century after the invention of printing as the last decadent manifestations of a dying art. Derek himself described its miniatures some twenty years ago as 'careful and painstaking [but] . . . devoid of real life or originality, being examples of the survival of illumination after it had ceased to be an independent form of artistic expression'.^ It is only within the last decade that serious interest in the period has been rekindled, and the British Library exhibition, 'Renaissance Painting in Manuscripts*, made a major contribution to its rehabilitation.''" The exhibition opened in Malibu in October 1983 and was subsequently shown at the Pierpont Morgan Library

211 Eig. I. David and Goliath, (below) David annointed by the prophet Samuel. Tilliot Hours. Yates Thompson MS. 5, fol. 99^ in New York and in the Library's own galleries in Bloomsbury. A great part ofthe credit for this very successful exercise, from its informal inception over a cup of coffee with Thomas Kren to its triumphant opening more than two years later, was due to Derek personally though he deliberately left the limelight to his colleagues. The Tilliot Hours was among seven outstanding French manuscripts sent to the United States and held its own alongside the work of Fouquet, Colombe, Bourdichon, and

212 Fig. 2. David dispatching Uriah as his messenger. Heineman Hours. Pierpont Morgan Library, H.8, fol.

Perreal.^ At the Pierpont Morgan Library the display was enlarged to include closely related manuscripts from the host collection. On that occasion I personally had a unique opportunity to compare the Tilliot Hours in detail with the superb 'Great Book of Hours of Henry VIIT, now in the Heineman Collection (MS. 8),^ which is beyond question the masterpiece ofthe group to which both manuscripts belong (figs. 2, 3). I also had it side by side with the splendid Tours missal (M.495; fig. 8) associated with the Lallemant family of Bourges and recently attributed to the same artist.^ The two Books of Hours form part of an increasingly substantial group of works lately

213 Eig. 3. St Jerome in the desert. Heineman Hours. Pierpont Morgan Library, H.8, fol. 170 associated with the name of Jean Poyet of Tours, a contemporary of Jean Bourdichon. Poyet, first mentioned in 1483 and recorded as working for Anne of Brittany in 1497, enjoyed a great reputation in his own time and was apparently particularly admired for his grasp of perspective.^ However, no work is as yet clearly identified with him by documentary evidence. A list of manuscripts sharing a specific style has simply been brought together under his name^ and the quality ofthe best of these is certainly such that their artist must be ranked with the foremost painters ofthe day. A descent from Fouquet is abundantly—and predictably—clear. There is a strong resemblance to the work of Bourdichon, particularly in the facial types, though the Tilliot artist's landscapes are

214 superior and his colours, on the whole, richer and more intense. There are also signs ofthe influence of Colombe, who was based not at Tours but at Bourges. The lack of any documentary mention of Poyet after 1500 makes unqualified acceptance of his connection with the manuscripts difficult to sustain, as some of them seem more at home in the sixteenth than the fifteenth century. However, as Bourdichon continued to work well into the reign of Francis I, and as he and the anonymous illuminator of the Tilliot and Heineman Hours seem stylistically to represent the same generation, it is not impossible that continued investigation will one day uncover additional information extending Poyet's career into the sixteenth century. The relationships between the manuscripts on the 'Poyet' list vary in degree. No one would dispute that a number of different hands must be involved within the group and, as with Bourdichon and Colombe, it is likely that this obviously popular and successful master worked with pupils or assistants. Direct comparison leaves no doubt that one hand appears in the Tilliot and Heineman Hours and that this is the hand of a master. Unfortunately, neither book was made for an identified patron. The lavish scale ofthe Heineman Hours suggests an original owner of the very highest class, and tradition has even associated it with the Emperor Charles V and Henry VIII of England. ^^ There is no decisive evidence of date and the text is written out in a standard French bastard book-hand ofthe period around 1500. The Tilliot Hours, though less elaborate and physically smaller, is of equal quality. Its text is in a more distinctive type of script, a slightly Gothicized form of roman which is most closely matched in the service books made for Rene II of Lorraine about 1493,^^ though other examples are by no means uncommon. ^^ The two-tier design of its miniature pages is consistent with a date in the last decade ofthe fifteenth century, having been fashionable over a considerable period. ^^ Two further manuscripts in the style do offer fairly specific evidence of date. These are the two splendid presentation copies of Pierre Louis de Valtan's commentary on the Apostles* Creed, one owned by Charles VIII of France, who died in 1498,^'*^ and the other (fig. 4) by Isabella of Castile, to whom its author presented it during a diplomatic mission in 1500.^^ The hand of these two books is probably that of the author himself. The miniatures of the Apostles, though inevitably less complex than the illustrations in the Hours, are extremely close in style and execution and can be almost exactly paralleled by Evangelist miniatures in the two liturgical manuscripts. A further Book of Hours, now divided between several collections including the British Library, contains several more miniatures by the 'Poyet* hand and provides a direct link with Bourges. ^^ This manuscript (fig. 5) was designed for a member ofthe Lallemant family, probably Jean Lallemant the Elder, who was mayor of Bourges in 1500 and died in ^533' He was concerned in the building ofthe celebrated Hotel Lallemant and a number of personal elements appear in the iconography of both the building and the manuscript. Jean the Elder used a straightforward version of the family arms, recorded in what was probably his own copy of the statutes and register of the society of La Table Ronde de Bourges, which he helped to found in i486 (fig. 6).^*^ These arms occur throughout the Lallemant Hours and are also to be found in a Roman de la Rose in Leningrad*^ and in a

215 Vniitn fiiiTmrn. Qcwm vmiriiiim maim

4. St Peter. Pierre Louis de Valtan's Commentary on the Apostles' Creed. Sold from the collection of Henry Huth in 1919

Boethius dated 1497 and now in Paris. ^^ The two secular books do not appear to belong to the 'Poyet' group, but the Hours cannot be far removed in date from the Boethius and it seems that Jean the Elder was artistically active around the turn of the century. His brother, Jean Lallemant the Younger (d. 1548), was later to become even more noted a bibliophile, but his manuscripts are identified by a highly personal iconography and by the inclusion of livery colours rather than by arms.^° Similar colours, part black and part

216 •- ... - ^^v

Fig. 5. David rebuked by the prophet Nathan. Hours of Jean Lallemant the Elder. Add. MS. 39641, fol. 3^

striped in dark red and pale grey, are used on the scroll which carries his name below his personal arms in the register of La Table Ronde (fig. 7).^^ These three Books of Hours, together with the two Creeds, form a nucleus to which other manuscripts can be related. ^^ One major subgroup has already been suggested by John Plummer.^^ A manuscript that is hard to reconcile with the others is the Tours missal in New York which bears the arms ofthe Lallemants (fig. 8).^The armorial bearings are the same as those which appear in the Hours of Jean the Elder. Although the book is ofthe

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13 the " -—< t^J c u cd 4-1 B 4-1 ji G E u Lall ( 1—n H— c 0 1 o Vi B u 5. The Nativity. Missal bearing the Lallcmant arms. Pierpont Morgan Library, M.495, fol. 8 use of Tours, special prominence is given in it to St William of Bourges. It is suggested that it was intended for the Guillaume Lallemant who, according to his own notes elsewhere,^^ was a dignitary of both cathedrals at least as early as 1493. He was apparently a brother of the two Jeans, and the rather nebulous records of the family suggest that another brother, Etienne, was also a canon of both Tours and Bourges. ^"^ However, the date of c. 1495 currently proposed for this book seems uncomfortably early if it is really to be attributed to the 'Poyet' hand. The artist certainly employs facial types close to those seen within the group and his use of colour is closely related, but the overall efFect ofthe miniatures is noticeably different from that of the miniatures in the Hours and Creeds. The complex compositions, details of their execution, and even the ornament of the architectural frames all seem to point to new and immediate Italian influence. If this is really the hand of the main group, then it must be substantially later in date. A more realistic alternative is to assign it to a pupil. Further study ofthe artist employed to supply lesser miniatures in the missal may shed some light on the problem. Named the Master of Spencer 6 in honour of an especially splendid Book of Hours in the New York Public Library,^"^ this illuminator is thought to have worked largely at Bourges and to have been influenced by Jean Colombe. His career affords one reasonably secure date, for he painted miniatures into an Hours printed in 1497.^^ His output can now be expanded to include a very attractive Book of Hours in the British Library, Harley MS. 2969.^^ This contains fourteen large miniatures (fig. 9) and a number of minor ones and is painted in deep rich colours, extensively heightened with gold and very reminiscent ofthe 'Poyet' technique. The Hours is of Roman use and the presence ofa sequence of commemorations of saints specifically connected with Le Mans has obscured its true destination. Blank leaves at the end ofthe book are filled with records relating to the family of Seigne (or Saigne) of Blere and their decendants, the Vasselin family. Blere is slightly south-east of Tours, on the main road to Bourges. The first entry notes the marriage of Guillaume de Seigne, treasurer of the artillery, to Claudine, daughter of Florimond Fortier, who is also described there as a treasurer.^^ The couple were married at Blere on 8 August 1508. Guillaume de Seigne was later to find himself, by virtue of his office, charged with organizing the construction and transport ofthe tents and pavilions required for the French contingent at the Field ofthe Cloth of Gold. ^^ The first son ofthe marriage, christened Jean, was born on 8 November 1514. The second, who arrived on 7 September 1516, was named after his godfather, Galiot de Genouillac, Francis Vs Master of Artillery. Although the manuscript is not specifically dated, it is clear that it passed quickly into the hands of Guillaume and Claudine, for their initials are to be seen on the frames of several of the miniatures.^^ It is possible that it was a marriage gift in 1508. It is also possible that it was made at some time between 1508 and the birth ofthe first child in 1514, and that the Office of Conception ofthe Virgin, with its miniature of Joachim and Anna meeting at the Golden Gate (fol. 33) reflects anxiety at the long delay. The record ofthe marriage and the note ofthe birth ofthe child, although written by the same hand, were quite clearly not entered on the same occasion. The miniatures do seem, by comparison

220 Fig. g. The Annunciation to the Shepherds. Hours of Guillaume de Seigne. Harley MS. 2969, fol. 64 with other works by the same artist, to represent a fairly late stage in the career of the Master of Spencer 6. The main hand of the Lallemant Missal in New York does appear elsewhere and the context is of some interest for the general development of book painting in early sixteenth-century France. A sequence of miniatures in a delicate little Book of Hours (Add. MS. 31315) that came to tbe British Museum in 1898 as part ofthe bequest of Baron Ferdinand Rothschild is clearly by this artist (pi. VII). Other miniatures in the same book are attributable to the Master of Claude of France (fig. 10).^^ The script of this manuscript is a fine italic, closely paralleled in an Epistles in the Victoria and Albert Museum, where it is associated with an illuminator ofthe 1520s Hours Workshop.-'*^ A very similar script may

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Fig. 10. David and Bathsheba. Hours from the Rothschild Bequest. Add. MS. 35315, fol. 52 also be seen in the Hours of Jean Lallemant the Younger in the Walters Art Gallery in Baltimore.^^ Both these manuscripts are to be dated nearer 1520 than 1500, and it seems reasonable to place the Rothschild example around 1510-15, tbe date commonly assigned to work ofthe Master of Claude of France. The various collaborations suggest a direct line of descent from the Toyet' group to the 1520s Workshop, via tbe Master of Claude of France. This raises once more the question ofthe location ofthe 1520s Workshop, which has been shown to connect with the work of Geofroy Tory, himself originally a native of Bourges. ^^ Current opinion hovers uneasily between Paris and Tours, but it may be that Bourges should be considered as a possible home for it! Be that as it may, it does seem that

222 the principal hand ofthe Lallemant Missal in New York is not the main hand ofthe Toyet' group, and its association with the Master of Spencer 6 and with the Master of Claude of France suggests a date in the first decade of the sixteenth century. This artist produces much 'busier* compositions than the main hand and his colours are more sombre. A comparison between his two miniatures reproduced here (pi. VII, fig. io) and the Nativities of the Tilliot and Heineman Hours^"^ makes the point. In 1904 Paul Durrieu put forward Jean Poyet of Tours as a possible artist for the magnificent Passion triptych at Loches, which is dated 1485.^^ I have yet to feel convinced about this attribution, though others have followed Durrieu's lead. However, the leading book painters of late fifteenth- and early sixteenth-century France can often be shown

Fig. II. Cain and Abel. British Museum, Department of Prints and Drawings (1874-6-13-1:18) 223 Fig. 12. The Sacrifice of Isaac. British Museum, Department of Prints and Drawings (1874-6-13-539) from written records to have produced works other than illuminated manuscripts, though almost all examples have now disappeared. We are told that Poyet himself collaborated on the decorations for Anne of Brittany's state entry into Tours in 1491.^^ The Tilliot and Heineman Hours do seem closely related to a series of tinted drawings of scenes from the Old Testament. Two of these, depicting Cain and Abel and the Sacrifice of Isaac respectively (figs. 11, 12), are in the British Museum and were lent for display alongside the Tilliot Hours in Bloomsbury in 1984.'*^ Two more, the Coronation of David and Elisha cursing his tormentors (figs. 13, 14), were at one time in the Ten Cate collection in

224 Fig. /J. The Coronation of David(.^). Formerly in the Ten Cate Collection, Rotterdam

Rotterdam.'^^ A fifth, showing Joseph sold into slavery by his brothers (fig. 15), is in the Boymans van Beuningen Museum, also in Rotterdam."^-^ The two London sheets and the coronation drawing are lettered 'g', 'd\ and 'f in what appears to be a roughly contemporary hand. The purpose of the drawings is unclear. If they were meant for the guidance of miniature painters, their 'portrait' format indicates full-page treatment. Two Old Testament subjects occur among the full-page miniatures in the Heineman Hours, where David dispatching Uriah on his fatal mission precedes the Penitential Psalms (fig. 2) and Job with his friends is placed before the Office of the Dead.''"^ The drawings and the 225 Fig. 14. Elisha cursing his tormentors. Formerly in the Ten Cate Collection, Rotterdam

miniatures in this particular volume, which measures approximately 22 x 14 cm, are virtually identical in format. The Job subject appears again in the Tilliot Hours,'^and David confronting Goliath is used there for the Penitential Psalms (fig. r). A less common David scene, showing the king rebuked by the prophet Nathan, is included in the Hours of Jean Lallemant the Elder (fig. 5). None ofthe incidents depicted in the drawings, save possibly the Coronation, could readily be adapted for use in a Book of Hours or any other liturgical context. A straightforward biblical setting would be more appropriate if they are to be connected with manuscript painting. They may of course be sketches for work in some quite different medium such as engraving. The Joseph was once ascribed to Lucas

226 S- ^S- Joseph sold into slavery. Boymans van Beuningen Museum, Rotterdam van Leyden and it is not hard to see how this error arose, though costume details suggest that the drawings antedate the work of the northern master."^^^ Stylistically the drawings and 'Poyet' miniatures have much in common, particularly in their treatment of landscape features. In the Heineman Hours especially, our artist produces sweeping naturalistic panoramas which bear comparison with those of Fouquet. The miniature of St Jerome in the wilderness provides a good example (fig. 3). Tall slender trees with sketchy foliage are a favourite feature in both media. The steep and fissured rocky slopes supporting Cain and Abel (fig. 11) and Elisha (fig. 14) are paralleled both in the Heineman Jerome and in the Tilliot David and Goliath (fig. i). The distant city

227 beyond Abraham and Isaac (fig. 12) is very hke the one which the Tilliot Magi are leaving (pi. VI), and their attendant camel train retraces its steps behind Joseph (fig. 15). Relationships between figures in the drawings are numerous and parallels can readily be found in the manuscripts. The designer of all these pictures had a strong dramatic sense and did not always give precedence to the most obvious aspect of his subject. In the Tilhot Hours the main miniature space and the smaller area below the text panel are used for appropriately related scenes. However, the Adoration ofthe Magi is relegated to the lower margin while prominence is given to their journey (pi. VI), and the Fhght into Egypt is overshadowed by the Massacre ofthe Innocents."^ Similarly the climbing figures of Abraham and Isaac are dominated by the two attendants and their ass, left waiting at the foot ofthe slope (fig. 12), and the tormentors on whom Elisha's curse is about to fall (in the shape of two bears, lurking under the rocks) are proportioned to fill up almost half the page, while the prophet himself is relegated to the distance (fig. 14). It will not have escaped notice that virtually all the manuscripts so far gathered together in the name of Jean Poyet are personal prayer-books of one sort or another. Nicole Reynaud noted the same restriction when assessing the work of Georges Trubert.''^^ A small group of secular books may be related to our group, though certainly more than a single hand is involved and I would not at present claim that they include any work directly attributable to the master hand found in the TilUot and Heineman Hours. One such manuscript, which seems to be dated before 1498 because Charles VIII is the last king named in its list of rulers, was sold through Sotheby's in 1982'^ and was interestingly enough there ascribed to Bourges, largely because of a very tentative suggestion put forward long ago by Jean Porcher.'^^ Another, which would clearly repay close study, is a lavishly decorated copy ofthe French translation ofthe Chronicle of Martinus Polonus, now MS. Thott 430 in the Royal Library in Copenhagen.^° This manuscript includes a number of dramatically rendered scenes in which many details, including figures, can be^ related to the Toyet' style. French book painting ofthe late fifteenth and early sixteenth centuries is still far from having received its full due of scholarship. Public as well as private collections contain major treasures which have never been studied and evaluated, while almost every major sale of manuscripts produces some item to add to the general picture. Both the major Books of Hours discussed here have come into public collections from private hands only within the last fifty years, and individual bibliophiles continue to be fascinated by the lively and colourful work that attracted major private patronage in France almost five hundred years ago. But in this area the scholarly fashion has changed very fast. As recently as ten years ago the author ofthe description of Georges Trubert's at that time anonymous miniatures in a Book of Hours at Waddesdon Manor, then cautiously assigned to Paris, could write: 'Unfortunately the little material that has been published on French illumination of r. 1500, and the even smaller amount of serious research on this period, offer little hope of identifying [the artist] at this stage.'^^ This statement was out of date almost as soon as it was printed. We may now hope that, by the time the new catalogue

228 ofthe Yates Thompson manuscripts appears, so many more pieces ofthe puzzle will have been identified that the entry for the Tilliot Hours will provide a vehicle for a major advance in our knowledge of the outstanding group of works within which it belongs. Whether or not the claims put forward on behalf of Jean Poyet will have been substantiated remains to be seen. Circumstantial evidence connecting the manuscripts of the 'Poyet' group with Bourges as strongly as with Tours seems to be accumulating at a startling rate. But whatever the outcome of future research, there is no doubt that Henry Yates Thompson chose well when he acquired the Tilliot Hours.

1 On a persona] level Derek had an additional 8 J. W. Bradley, A Dictionary of Miniaturists, interest in the collection because, as a Harrovian, Illumwators, Calligraphers and Copyists (London, he had daily come across the name of Yates 1895), vol. iii, pp. 93-4; Grete Ring, A Century Thompson in connection with the impressive of French Painting, 1400-1500 (London, 1949), Art School buildings donated by the collector to p. 246. his old school. One of his own earliest publica- 9 The Last Flowering., p. 87. tions was devoted to Yates Thompson MS. 40, 10 The tradition of Henry's ownership can be the twelfth-century Psalter from Camaldoli traced back to the early eighteenth century and is (1962). commemorated by the inclusion of the king's 2 For previous discussion of this manuscript see arms on clasps supplied later in the century. It Janet Backhouse, 'A Book of Hours by a Con- was then thought to have been a gift from temporary of Jean Bourdichon: A Preliminary Charles V. Later opinion suggested Francis I as a Note on British Library, Yates Thompson MS. more likely donor. See Description of the Great 5' in J. P. Trapp (ed.). Manuscripts m the Fifty Book of Hours, pp. 12-16, 18, etc. But none of Years after the Invention of Printi?ig (London, these suggestions has been substantiated. 1983}, pp. 45-9 and pis. i-j-zz; id., 'Tilliot 11 The scribe ofthe Rene II manuscripts bas been Hours', in T. Kren (ed.), Renaissance Painting in identified as Francis Elzine, to whom payments Manuscripts (New York, 1983), pp. 175-80. were made for them in 1492-3. See Nicole 3 Reproductions from Illuminated Manuscripts., ser. Reynaud, 'Georges Trubert, enlumineur du Roi V (London, British Museum, 1965), no. xlix. Rene et de Rene II de Lorraine', Revue de FArt, 4 See n. 2 above. xxv (1977), pp. 55-6. He was still active in 1501. 5 The seven French books were nos. 19-25 in the Yates Thompson himself recognized a family exhibition. They included a single leaf from relationship between his Book of Hours and the Fouquet's Hours of Etienne Chevalier (Add. Rene volumes. This extends to details of the MS. 37421), a Boethius by Colombe (Harley miniatures, particularly their architectural set- MSS. 4335-9), leaves from Bourdichon's major tings, as well as to the script. Hours associated with the name of Henry VII 12 Wbat may well be the Tilliot scribe himself (Add. MS. 35254 T, U, and V), and Pierre Sala's appears in another Book of Hours ofthe 'Poyet' 'Emblesmes et devises d'amour' with a portrait group, MS. 1558 in the Bibliotheque Municipale of the author attributed to Perreal (Stowe MS. at Lyons, see C. Perrat, 'Un Livre d'Heures 955)- de Marie, reine de France, et d'Henri VIII 6 The Dannie and Hettie Heineman Collection (New d'Angleterre' in H. Joly (ed.). Documents paUo- York, Pierpont Morgan Library, 1978), p. 27; [J. graphiques, typographiques, iconographiques de la Baer and Co.], Description of the Great Book of Bibliotheque de Lyon (Lyon, 1926); and A. Blum Hours of Henry VIII Illuminated hy Jean Bour- and P. Lauer, La miniature franqaise aux xv^ et dichon of Tours ([Frankfurt am Main], 1923); xvi*^ siecles (Paris, 1930), p. 98, pis. 85-6. I have J. Plummer and G. Clark (compilers). The Last not had an opportunity to see this manuscript for Flowering: French Painting in Manuscripts^ myself. However, it is worth drawing attention to 1420-1^JO, exhibition catalogue (New York, the fact that the miniature and prayers for St Pierpont Morgan Library, 1982), no. 113. Jerome (fois. 7^-8, reproduced by Perrat) are 7 The Last Flowering, no. 112. apparently an addition, reminiscent in style of

229 the work ofthe Master of Claude of France. The among the manuscripts listed by Plummer {The connection ofthe manuscript with Mary Tudor, Last Flowering, p. 87), the Hours formerly in the second wife of Louis XII, and with her brother, hands of H. P. Kraus {Monumenta Godicum Mam Henry VIII, to whom she gave it in 1530, seems Scriptorum (New York, 1974), no. 41), with its unquestionable. This suggests that the Jerome unusual circular miniatures and cut out pages miniature is likely to date from before Mary's seems to me more likely to be sixteenth than return to England in April 1515. I have failed to fifteenth century. Circular miniatures came into establish whether Louis XII ever signed himself vogue in the second decade of the century and in a manner approximating to the abbreviated were particularly used by Godefroy Ie Batave in 'Orleans' signature on fol. 18^' (also reproduced work undertaken for Francis I and Louise of by Perrat) before he succeeded to the throne in Savoy (see Myra Orth, 'The Magdalen Shrine of 1498. This would have implications for the La Sainte-Baume in 1516: a Series of Miniatures dating of the manuscript. by Godefroy le Batave', Gazette des Beaux-Arts 13 Fouquet favoured this arrangement and it was (December 1981), pp. 201-14). Mrs Orth has also adopted with enthusiasm by Colombe. reminded me ofa Book of Hours sold at Christie's, 14 Add. MS. 35320. See Blum and Lauer, op. cit., 27 November 1985, lot 235, in which the minia- pp. 96-7, pi. 83; Manuscnpls in the Fifty Years tures are circular and which is dated 1527. It is after the Invention of Printing, pi. 17, and Renais- written in a fine italic script; the Kraus book is in sance Painting in Manuscripts., fig. 2y. roman. 15 Sotheby's sale-catalogue, 10 July 1919, lot 7656, 23 The Last Flowering, p. 89. reproduced in colour. 24 Ibid., no. 112; Pierpont Morgan Library, M.495. 16 Paul Chenu, 'Sur un essai de reconstitution d'un 25 Princeton, University Library, Garrett MS. 31. manuscrit aux armes de Lallemant (de Bourges), The inscription is given in full in S. De Ricci and x\'^' siecle, et sur ses rapports avec un manuscrit W. J. Wilson, Gensus of Medieval and Renaissance de la Consolation de Boece', Monuments et Manuscripts in the United States and Ganada Aiemoires de la Fondation Pint., xli (1946), pp. (New York, 1935), vol. i, p. 870. 103-22. 26 G. Thaumas de la Thaumassiere, Histoire de 17 Harley MS. 5301; see Bernard Jarry, 'Les statuts Berry (Bourges, 1871), vol. iv, pp. 409-13. de la Table Ronde dc Bourges', Cahiers 27 The Last Flowering, no. 95a. d^ircheologie et d^Histoire du Berry, xxix (1972), 28 A vellum book by Guillaume Eustace, now Mead PP- 18-33. 4683 in the Huntington Library. Plummer [The 18 A. dc Laborde, Les principaux manuscrits a Last Flowering, p. 74) also mentions an Hours in pemtures conserves dans Hancienne Bibliotheque Paris, Bibliotheque Nationale, MS. nouv. acq. Imperiale Publique de Saint-Petershourg (Paris, lat. 3116 (J. Porcher, Manuscrits a peintures offerts Societe fran^aise de reproductions de manuscrits a la Bibliotheque Nationale par le Gomte Guy du a peintures, 1938), pp. 183-5, P^s. lxxxiii-lxxxv. Boisrouvray (Paris, ig6i), no. 27), which is in part 19 Chenu, op. cit., pis. \\,x\\\ Renaissance Painting in by the Master of Spencer 6. Porcher drew Manuscripts, figs. 2of g. attention to its relationship with the work of 20 For the Books of Hours of Jean the Younger, see Colombe and assigned it to the region of Bourges. Myra Orth, 'Two Books of Hours for Jean It is worth noting that it includes a calendar with Lallemant \^Q ]QMWQ\ Journal ofthe Walters Art full-page labours of the months (see Sotheby's Gallery, xxxviii (1980), pp. 70-93. sale-catalogues, 19 December 1929, lot 742, and 21 The colours in the Hours and on tapestries cited 26 October 1948, lot 422, for additional repro- by Myra Orth (ibid., p. 79) are definitely red and ductions) which are ofa type similar to those once white as opposed to the more muted shades of part of the Hours of Jean Lallemant the Elder red-brown and grey in the register, and I do not (Chenu, op. cit., figs. 7, 9). The development of think the latter due simply to the discoloration of such an elaborate calendar scheme in the Bourges pigments. Possibly Jean the Younger made some area was very likely due to Colombe's own adaptations later in his career. The colours contact with the 'Tres Riches Heures', which he assigned to Jean the Elder in the register are part was employed to complete during the mid 1480s. black and part half blue and half dark red. 29 The connection of this book with the Master of 22 It is unwise to comment too confidently on Spencer 6 was recognized by Francois Avril, who manuscripts which one has never seen. However, kindly communicated it to me in April 1987.

230 30 Florimond Fortier is recorded as 'Tresorier de 4c Department of Prints and Drawings, inventory l'extraordinaire de l'artillerie' about 1518, see F. nos. i873-6-i3-538and 539.1 am very grateful to de Vaux de Foletier, Caltot de Genuoillac, Maitre my colleague John Rowlands for drawing these to de rArtillerie de France (Paris, 1925), p. 187. my attention. 31 See J. G. Russell, The Field ofthe Gloth of Gold 41 D. Hannema, Catalogue ofthe H. E. Ten Gate (London, 1969), p. 25. Gollection (Rotterdam, 1955), no. 219a, b, pis. 32 See Janet Backhouse, Books of Hours (London, 88-9. For the Coronation of David, see also 1985), pl- 57- Sotheby's sale-catalogue, 7 July 1966, lot 94. 33 The Master of Claude of France was christened 42 I am very grateful to H. T. Colenbrander for only some twelve years ago by Charles Sterling, telling me of the whereabouts of this drawing. in his monograph of that name (New York, 1975). 43 Description ofthe Great Book of Hours of Henry Since then a number of manuscripts have been VIII, pl. 30. recognized as reflecting the same style, but no one 44 Renaissance Painting in Manuscripts, fig. 2}d. has yet undertaken a study to isolate the main 45 The standing figure on the extreme right of the hand. Until very recently almost all this Master's Coronation drawing (fig. 13) seems more at home manuscripts were Books of Hours, including in the late fifteenth than the sixteenth century, Paris, Bibliotheque de TArsenal, MS. 291, in and probably inspired the suggestion that the which is a solitary miniature of David and picture represents the coronation of Charles Bathsheba virtually identical with that repro- VIII, put forward by Messrs Sotheby's. duced here as fig. 10 (see H. Martin and P. Lauer, 46 J. B. Trapp (ed.). Manuscripts in the Fifty Years Les principaux manuscrits a peintures de la Biblio- after the Invention of Printing, pl. 20. theque de rArsenal a Paris (Paris, Societe fran- 47 Op. cit., n. II above. 9aise de reproductions de manuscrits a peintures, 48 Sotheby's sale-catalogue, 22 June 1982, lot 52, a 1929), p. 64, pl. Ixxxviii). To these may now be copy of the Gouvernement des Princes which added two manuscripts on a more ambitious includes some independent landscape paintings, scale, the volume of Gospel extracts in the reproduced in colour. Houghton Library at Harvard (Roger Wieck, 49 In discussion ofa manuscript in the Boisrouvray Late Medieval and Renaissance Illuminated collection, op. cit., n. 28 above, pp. 141-2. Manuscripts ij^o~i^2^ in the Houghton Library 50 I am extremely grateful to Erik Petersen for his (Cambridge, Mass., 1983), no. 21; id., 'French prompt and generous response to my appeal for Illuminated Manuscripts in the Houghton details of this manuscript, which first came to Library: Recent Discoveries and Attributions', my notice as an illustration in Jan Svanberg, Harvard Library Bulletin., xxxi (1983), p. 97, fig. Aledeltida byggmdstare (Stockholm, 1983). It is 10) and a very large Bible Historiale at Corpus fully described in C. Bruun, Aarsberetninger og Christi College, Oxford (J. J. G. Alexander and meddelelser fra det store Kongelige Bibliothek E. Temple, Illuminated Manuscripts in Oxford (Copenhagen, 1890), pp. 220-6. Reproductions, College Libraries (Oxford, 1985), no. 796). Many especially that of the miniature of the death of ofthe manuscripts of this group contain superb Mahomet on fol. 139, suggest that this manu- naturalistically painted floral borders and panels script shares an artist with an Hours in the and an investigation of these, including their Houghton Library (see Wieck, Late Medieval and relationship with the carefully contrived flora of Renaissance Manuscripts, no. 20 and id., 'French the Hours of Anne of Brittany, might be profit- Illuminated Manuscripts . . .', p. 197 and fig. 9; able. both works cited in full n. ;^;^ above). The 34 Reproduced by Myra Orth, 'Two Books of Hours translator responsible for the Copenhagen text, for Jean Lallemant le Jeune', fig. 9. Sebastian Mamerot, was a member ofthe house- 35 Ibid., figs. 4, 6, 8. hold of Louis de Laval, one of the principal 36 Myra Orth, 'Geofroy Tory et Penluminurc: Deux patrons of Jean Colombe. Iivres d'heures de la collection Dohcny', Revue de 51 L. M. J. Delaisse, J. Marrow, and J. de Wit, The PArt, 1 (1980), pp. 70-92. James A. de Rothschild Collection at Waddesdon 37 Renaissance Painting in Manuscripts, figs. 23a, b. Manor: Illuminated Manuscripts (Fribourg, 38 Ring, op. cit., no. 147, pi. 95; The Last Flowering, 1977)1 P- 462. The manuscript concerned, no. 21, p. 87. featured prominently in Reynaud, op. cit., n. 11 39 Ibid., p. 246. above, while the catalogue was still in the press.

231