Map.gif

40 ANNUNCIATION Book of Hours, Latin Paris?, c.1510-20 Parchment, 14.5 x 9.0 cm 125 leaves State Library of Victoria, *096/R66 Ho, fol. 23v			In many Books of Hours, especially those from Northern Europe, the Annunciation introduces at matins, a series of scenes that mark the beginning of each hour. In this scene set within Mary's bridal chamber, the bed refers to the Holy Spirit's entrance and their royal wedding or espousal. The heavy, twisted and ornamental columns framing the miniature clearly show the interest in classical architecture during the Renaissance.

54. ST LUKE Book of Hours, Latin and French Bourges, c.1480 Parchment, 17.0 x 9.0 cm 115 leaves State Library of New South Wales, Mitchell 1/7c, fol. 11r			Each of the four extracts from the Gospels in this book of hours is introduced by a portrait of the appropriate evangelist. In this miniature St Luke is shown at work in his study in the company of his symbol the ox. Depicted on the wall behind him is the Annunciation, the subject of his text. This manuscript was illuminated by an assistant of Jean Colombe, who was the head of a productive workshop in Bourges in the late 15th century.

43
ANNUNCIATION TO THE SHEPHERDS

Maître François, Book of Hours, Latin and French

Paris, c.1475

Parchment, 17.8 x 12.5 cm 116 leaves

National Gallery of Victoria, MS Felton 1072-3, fol. 37v

This Book of Hours is a superb example of the work of Maître François who succeeded the Master Jean Rolin as the head of a flourishing workshop in Paris in the late 15th century. The main miniature presents the Annunciation to the Shepherds as a joyous pastorale with only the angels in the sky and the rapt attention of the shepherds, who gaze heavenwards, indicating the spiritual significance of the scene. The playful spirit of the border scenes also complement the pastoral theme of the main miniature. In the lower margin, two young women relax in the security of a fenced enclosure, which they share with a flock of sheep. This protected environment is in contrast to the state of a young woman in the lower left hand border who is being persecuted by an aggressive admirer. Above this couple a wolf makes off with a sheep, a humorous comment on the predatory nature of the scene in the wood.

47. PENTECOST Book of Hours Latin Besançon 1555, Parchment 19.5 x 13.5 cm 254 leaves Alexander Turnbull Library, National Library of New Zealand /Te Puna Mãtauranga o Aotearoa, MSR-07, fol. 91v			In many representations of the Descent of the Holy Spirit, Mary figures prominently. This is because as 'Mater Ecclesiae' (Mother of the Church) she stands for the believing Christian community. In this 16th century miniature, Mary is the focal point. The rich blue of her cloak, her position in the centre of the group and the fact that she is larger in scale than those around her, underline her symbolic importance. As tongues of fire come to rest on the heads of the assembled apostles, and the dove of the Holy Spirit hovers over the room where the group is gathered in Jerusalem, the Church which is to continue Christ's saving mission on earth is born. Mary, persevering in prayer with the apostles, signifies that Church and its indissoluble links with the God incarnate.

44. ADORATION
OF THE MAGI

Book of Hours, Latin and French

North-eastern France, second half of 15th century

Parchment, 17.6 x 12.5 cm 150 leaves

National Library of Australia, Clifford Collection MS 1097/5, fol. 51r

The visit of the Magi or wise men from the east to see the new-born Christ is related in Matthew 2. 1-12. In the late Middle Ages, the Adoration of the Magi was a familiar theme in art, often providing the opportunity for the opulent display of the trappings of contemporary kingship. The scene regularly appears at the hour of sext as part of the infancy cycle which illustrates the Hours of the Virgin. This example from a mid-15th century French book of hours, possibly from the area of Chalons-sur-Marne, depicts the event with a simple, uncluttered dignity.

53. ST JOHN THE EVANGELIST AND THE POISONED CUP

Book of Hours (fragment), Latin and French

Eastern France (Dijon?), c.1430-40

Parchment, 19.5 x 14.0 cm 96 leaves

State Library of Victoria, *096/R66 Hm, fol. 13r

The Book of Hours often contained a series of passages from the Gospels. The four Gospel extracts were usually introduced by evangelist portraits and in this case a single portrait of St John ,whose prologue begins the series. In this instance the miniature refers to a legendary event, which took place during St John's stay at Ephesus. He was challenged by Aristodemus, priest of the cult of the goddess Diana, to drink a poisoned cup as a test of the power and authenticity of the God he professed. John blessed the cup and then drank the poison with no ill effects. Although the usual apocalyptic symbol of the eagle accompanies him, John holds a chalice with snakes symbolising the poison instead of the customary book.

11. DEDICATION PAGE Livy, History of Rome, French Paris, c.1400 Parchment, 44.0 x 32.5 cm 510 leaves National Gallery of Victoria, MS Felton 411-4, fol. 8r			The French translation of Livy's History of Rome is divided into three decades of ten books each. The group of four miniatures that illustrate this opening page of the first decade show, from upper left to right: (1) the presentation by the translator, Pierre Bersuire, of his work to King Jean le Bon, (2) the discovery of Romulus and Remus, (3) Romulus promulgating the laws of Rome, and (4) the battle of the Horatii and Curiatii. The illustrations express the ideals of wise statesmanship and superiority in tactical warfare to which Bersuire refers in his preface. Rome is held up as a model for France to emulate in this regard.

12. RITUAL FOR CONFIRMATION Pontifical, Latin France, c.1500 Parchment, 48.0 x 32.5 cm 149 leaves State Library of Victoria, *f096. 1/R66 P, fol. 4r			The lavish use of costly pigments and gold in this manuscript shows that no expense has been spared to provide a sumptuous work for the patron, who is identified by the arms on this page and elsewhere as Philippe de Levis, archbishop of Mirepoix. The border decoration, which employs alternating coloured and white grounds, and geometric divisions in the manner of late French illumination, is competently executed. So, too, are the figures and settings of the small miniatures, which show the bishop administering the sacrament of confirmation.

31. THE RISEN CHRIST APPEARS TO MARY MAGDALEN Antiphonal, Latin Paris, c.1335-45 Parchment, 28.5 x 20.0 cm 428 leaves State Library of Victoria, *0961/R66 A, fol. 287r			This scene illustrates matins for the feast of St Mary Magdalen in a 14th century French antiphonal made for Dominican nuns at the monastery of St Louis de Poissy. It is based on the account in John's Gospel (20. 11-18) of the appearance of Christ to Mary after his Resurrection. The scene highlights Mary's close, personal relationship with Christ, which is also the theme of the office, 'Let every age rejoice in the solemnity of the blessed Mary, whom with eternal love, Jesus loved exceedingly' (responsory for matins).

35 PRESENTATION OF THE VIRGIN Aspremont Psalter-Hours (Hours section), Latin The Lorraine, c.1290-1302 Parchment, 21.5 x 15.0 cm 139 leaves National Gallery of Victoria, MS Felton 1254-3, fol. 1r			The Gothic style first appeared in the architecture of France in the late 12th century. Gothic architectural motifs, canopies and pointed niches soon found their way into manuscript illumination.The Hours section is introduced with an elaborate historiated initial at the first vespers of Christmas, showing the Presentation of the Virgin. Joachim and Anne, the parents of Mary gesture to each other on the left as their small daughter mounts the temple steps where a priest waits to receive her. The images in the quatrefoil medallions set into the cusped ivy bar border indicate the future that awaits the young Mary. The margins are filled with playful drolleries, animals and hybrids, allusions to popular folklore and secular activities.