17:
518:, a purely mythological tale and unusual subject for use in the "Office for the Dead", Belkin posits that this contest between man and beast is "symbolic of the struggle against dark forces. The Centaur and the wild woman form a single unit—the personification of vice in terms of Christian allegory. The private nature of the Book of Hours leads one to infer that Charles used the allegory of the struggle with the Vices for his own political vendetta against his rivals, conveying in this enigmatic miniature his bitter enmity towards those who had wronged him."
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579:. Originally, "the vivid colours of the concentric circles behind the diagram must have stood out more clearly against the cream-coloured parchment one of the components used to make the golden ground of the Ave Maria, probably silver, has gone rusty and seeped deep into the parchment". The main spoke, pointing up, features a sequence of nineteen Roman numerals representing years in the
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is an unusual volume and is more comprehensive than just a set of devotions. The artist seems to understand his sponsor's character. As well as its devotional purpose, the book seems designed to entertain, to arouse curiosity (f. 52v), to amuse (ff 3r, 4v and 5r), to satisfy the sponsor's aesthetic
59:
which have been glued onto the vellum and overpainted. The book is notable for both the quality of its art, and its various methods of incorporating prints, which testifies to the "complex history of interchanges between printed materials and manuscript illumination during the later fifteenth
116:
were included and may demonstrate
Testard's honesty, his admittance that his talents were insufficient for the task. He also introduced some profane elements such as sexual encounters (ff. 4v and 20v), mythology (f. 41v) and chivalry (f. 53v). The text is entirely in
378:
A scene of a country dance which at first seems unconnected to this part of the book of hours. Closer examination reveals it to be a combination of religious and picturesque elements: a shepherd in the background points to an angel in the sky who is accompanied by a
1099:
284:. He has made some alterations to the faces and postures of the other characters, and added four prophets to the corners, skillfully extending and elaborating the foliate motifs to unify the image.
254:
604:
A print by van
Meckenem, lightly coloured by Testard, depicting St George, patron saint of chivalry and military orders across medieval Europe. "The choice of this dragon-slaying saint rather than
190:'s c. 1480 engraving. He has made several slight alterations: the appearances of the faces and costumes in some of the crowd, minor architectural details, and a slightly lower viewpoint.
261:
The original print features John the
Baptist in the centre, whom Testard has replaced with Christ amongst angels. Surrounding, the four symbols of the evangelists are arranged in a
611:
Testard leaves the original print largely unaltered except for the conical hat and veil of the princess which he has replaced with a turban reflecting contemporary fashion.
265:: John's eagle (top), the winged lion of Mark (left), the bull of Luke (right), and Matthew's angel (bottom). The other medallions show the four doctors of the Church:
1176:
476:. Testard has altered the faces, costumes and number of characters, introduced a lower viewpoint and made minor modifications to architectural details.
979:
608:, the patron saint of the crown of France from Louis XI onwards, was probably the result of a desire to disassociate Charles from the king of France".
93:
sense (ff. 16v and 26v), to encourage his pastoral feelings (f. 20v), to encourage his chivalrous instincts (f. 2v) and even to flatter him (f. 41v).
1156:
1151:
557:). Testard seems to have modeled the rest of the letters upon another woodblock alphabet of around 1464 from Flanders or the Netherlands.
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421:
1049:
Belkin, Ahuva (1990). ""La Mort du
Centaure". A propos de la miniature 41v du "Livre d'Heures" de Charles d'Angoulême".
542:
on a background of gold which spell "Ave Maria, gracia ple" from the first chapter of Luke. This is the reading for the
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is a manuscript designed for personal devotion and was popular in the Middle Ages. This illuminated work made for
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121:, and the book can be interpreted as being the antithesis of a book of hours, or even an anti-book of hours.
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112:, subsequently coloured by Testard with his characteristic luminous hues. Other work by painters such as
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An overpainting of a van
Meckenem engraving, itself a reversed version of a c. 1480 print by
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16:
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This miniature is adapted by
Testard from an engraving by van Meckenem, itself a copy of an
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357:. The ground and sky have been extended through use of additional overpainted strips.
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Les Heures de
Charles d'Angoulême : enluminure et gravure à la fin du Moyen-âge
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510:. Interpretation of this scene is problematic. Typically understood to represent a
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Testard largely keeps to original composition, which may have been a design for a
132:; the moral scene "Combat between Virtue and Vice"; the political scene "Death of
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52:
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Matthews, Anne (1986). "The use of prints in the Hours of
Charles d'Angoulême".
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Two incomplete prints of the 1464 alphabet series are in the
British Museum,
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The manuscript is composed of 230 folios. It includes 38 full-page
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commissioned in the late 15th century, probably around 1480, by
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Un Livre d’Heures de Charles d’Angoulême (Charles d’Orléans)
136:"; the picture of "the Spider King and his daughter Madame
553:(itself inspired by the late-14th century pattern-book by
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The book contains full-page miniatures mostly painted by
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Some important pages include; the animated scene of the
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The composition of this scene is based upon a print by
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The folios most concerned with personal devotion, the
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An example of the use of prints in the book of hours.
144:, a legendary scene which is more appropriate to a
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from the manuscript's unusual Ave Maria (folio 52r)
575:On the reverse of the Ave Maria is a diagram for
108:(f. 106v), were in fact the work of the engraver
1138:
549:The first letter is copied from the alphabet of
128:; the mysterious image showing the death of the
182:Testard has borrowed the composition for his
1177:Bibliothèque nationale de France collections
573:Diagram for calculating the date of Easter
277:(bottom right), and Ambrose (bottom left).
1023:. Vol. 3, no. 1. pp. 4–18.
875:
873:
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1113:Le livre d’heures de Charles d’Angoulême
1016:
67:
15:
48:in Paris, under the number Latin 1173.
1157:Iconography of illuminated manuscripts
1139:
1048:
868:
1133:on Histoire Passion (26 January 2016)
1152:15th-century illuminated manuscripts
1090:Reproduction intégrale du manuscrit
881:"Les Heures de Charles d'Angoulême"
422:Presentation of Jesus at the Temple
13:
14:
1188:
1078:
1036:Les Heures de Charles d’Angoulême
630:and prayer in the garden (I. M.)
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813:
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777:
759:
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500:Battle of Two Men with a Centaur
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46:Bibliothèque nationale de France
1100:Institut national du patrimoine
1038:(facsimile of the manuscript),
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577:calculating the date of Easter
317:Floral composition with birds
186:from Netherlandish printmaker
63:
1:
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374:Annunciation to the shepherds
196:
126:Annunciation to the shepherds
30:Heures de Charles d'Angoulême
7:
848:Charles, Count of Angoulême
841:
600:Saint George and the Dragon
86:Charles, Count of Angoulême
38:Charles, Count of Angoulême
22:Saint George and the Dragon
10:
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1147:Illuminated books of hours
24:(I. M.), f.53v (1475–1500)
1096:Présentation du manuscrit
738:washes his hands (I. M.)
544:Feast of the Annunciation
502:, to which he introduces
496:Master I. A. M. of Zwolle
383:bearing the words of the
219:
216:
213:
664:Sanhedrin trial of Jesus
209:Selection of miniatures
1116:on Histoire de Paris.fr
682:Flagellation of Christ
492:Death and the Centaur
385:Gloria in excelsis Deo
269:with lion (top left);
162:Master FVB's engraving
148:than a book of hours.
106:Resurrection of Christ
77:
25:
808:Resurrection of Jesus
754:Stations of the Cross
555:Giovannino de' Grassi
404:Adoration of the Magi
71:
19:
1051:Artibus et Historiae
772:Crucifixion of Jesus
142:George of Cappadocia
110:Israhel van Meckenem
57:Israhel van Meckenem
1098:on the site of the
982:and 1947,0724.1–19.
540:historiated letters
469:Judgment of Solomon
453:Prayer to Our Lady
438:Floral composition
229:Liturgical Calendar
210:
184:Judgment of Solomon
44:. It is now in the
42:Francis I of France
1162:Miniature painting
255:earlier 1466 print
246:Christ Pantocrator
208:
174:Testard's painting
78:
26:
1040:M. Moleiro Editor
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355:Martin Schongauer
350:Nativity of Jesus
146:chivalric romance
74:inhabited letters
40:, father of king
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376:: country dance
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138:Anne de Beaujeu
114:Jean Bourdichon
90:Robinet Testard
88:by the painter
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53:Robinet Testard
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34:book of hours
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1167:French books
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1011:Bibliography
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966:Belkin, p.31
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892:. Retrieved
890:. M. Moleiro
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551:Master E. S.
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301:Annunciation
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259:Master E. S.
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217:Description
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1172:Printmaking
1103: [
1085:BNF catalog
1044:Read online
628:Last Supper
546:(March 25)
263:Latin cross
72:One of the
64:Description
1141:Categories
1124:on YouTube
1092:on Gallica
894:2 February
854:References
606:St Michael
508:wild-woman
474:Master FVB
381:phylactery
250:Tetramorph
220:Miniature
203:miniatures
197:Manuscript
188:Master FVB
60:century".
1042:, 230 p.
980:B,10.1–23
888:Catalogue
718:Ecce homo
535:Ave Maria
333:Pentecost
275:Augustine
1029:41823707
842:See also
828:(I. M.)
810:(I. M.)
792:(I. M.)
774:(I. M.)
756:(I. M.)
720:(I. M.)
702:(I. M.)
684:(I. M.)
666:(I. M.)
648:(I. M.)
602:(I. M.)
406:(J. B.)
248:and the
134:Louis XI
1128:1466 –
1071:1483382
992:Hermant
938:Hermant
516:Lapiths
512:Centaur
271:Gregory
214:Folios
140:"; and
130:centaur
98:Passion
1069:
1027:
1003:Lepape
976:Lepape
909:Lepape
826:Emmaus
267:Jerome
225:1r-6v
1107:]
1067:JSTOR
1025:JSTOR
884:(PDF)
822:113v
804:110v
786:106v
504:Death
282:paten
119:Latin
102:Death
32:is a
20:53v:
896:2017
768:97v
750:94v
732:91v
714:89v
696:87v
678:80v
660:77v
642:74v
624:59v
596:53v
570:52v
531:52r
489:41v
465:34v
450:28v
435:26v
418:24v
400:22v
370:20v
346:18v
329:17v
314:16v
104:and
28:The
1059:doi
538:17
498:'s
297:9v
257:by
242:7v
1143::
1105:fr
1065:.
1055:11
1053:.
886:.
870:^
583:.
387:.
205:.
100:,
80:A
1073:.
1061::
1031:.
898:.
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