Illuminated Manuscript Decorations

Gorgeous initial letters and scenes from medieval manuscripts, richly adorned with tempera, gold leaf, and intricate illustrations.

Initial L: A Man Clubbing Another Man before a Judge; Unknown, Michael Lupi de Çandiu (Spanish, active Pamplona, Spain 1297 - 1305); Northeastern Spain, Spain; about 1290 - 1310; Tempera colors, gold leaf, and ink on parchment; Leaf: 36.5 x 24 cm (14 3,8 x 9 7,16 in.)

Initial L: A Man Clubbing Another Man before a Judge; Unknown, Michael Lupi de Çandiu (Spanish, active Pamplona, Spain 1297 - 1305); Northeastern Spain, Spain; about 1290 - 1310; Tempera colors, gold leaf, and ink on parchment; Leaf: 36.5 x 24 cm (14 3,8 x 9 7,16 in.)

Initial T: A Church; Master Michael (Austrian, active about 1420 until the mid-15th century); Vienna, Austria; about 1420 - 1430; Tempera colors, gold leaf, and ink on parchment; Leaf: 41.9 x 31 cm (16 1,2 x 12 3,16 in.)

Hours of Charles the Noble, King of Navarre (1361-1425), fol. 321v, Bust of Death, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsibl

Initial A: A Man Placing his Hand on the Head of a Kneeling Man.

Decorated Initial V; Thérouanne , France (formerly Flanders); fourth quarter of 13th century (after 1277); Tempera colors, pen and ink, gold leaf, and gold paint on parchment; Leaf: 23.3 x 16.4 cm (9 3,16 x 6 7,16 in.)

Initial H: David Playing the Harp; Brabant (possibly), Flanders, Belgium; after 1460; Tempera colors, gold leaf, and ink on parchment; Leaf: 17.1 x 12.2 cm (6 3,4 x 4 13,16 in.)

Initial A: Two Men before a Judge; Initial S: Two Men Fighting with a Club and a Sword.

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 204r, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mos

Saint John the Evangelist with the Poisoned Chalice; Workshop of the Bedford Master (French, active first half of 15th century); Paris, France; about 1440 - 1450; Tempera colors, gold leaf, gold paint, and ink on parchment; Leaf: 23.5 x 16.4 cm (9 1,4 x 6 7,16 in.)

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 296v, St. Mary Magdalene, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, respo

Initial S: The Preparation of a Knight for Burial. Atelier of the Passion Master

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 284v, Four Doctors of the Church, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistan

Hours of Charles the Noble, King of Navarre (1361-1425), fol. 312r, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mos

Initial S: A King Pointing to a Man Slaughtering a Ram.

Initial D: A Seated King Pointing to His Eyes; Initial M: David Kneeling Before Christ; Bute Master (Franco-Flemish, active about 1260 - 1290); Paris (written), France; illumination about 1270 - 1280; written about 135 - 1375; Tempera colors, gold, and iron gall ink on parchment; Leaf: 17 x 11.9 cm (6 11,16 x 4 11,16 in.)

Initial S: Two Men Fighting with Swords; Unknown, Michael Lupi de Çandiu (Spanish, active Pamplona, Spain 1297 - 1305); Northeastern Spain, Spain; about 1290 - 1310; Tempera colors, gold leaf, and ink on parchment; Leaf: 36.5 x 24 cm (14 3,8 x 9 7,16 in.)

Initial O: A Young Man and a Devil before the Virgin and Child; Northeastern France, France; about 1300; Tempera colors, gold leaf, and ink on parchment; Leaf: 26.4 x 18.3 cm (10 3,8 x 7 3,16 in.)

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 46v, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most

Initial N: A Man (Bileam) and a Donkey; Northeastern France, France; about 1300; Tempera colors, gold leaf, and ink on parchment; Leaf: 26.4 x 18.3 cm (10 3,8 x 7 3,16 in.)

Decorated Text Page; Nicolas Spierinc (Flemish, active 1455 - 1499); Antwerp (illuminated), Belgium; 1469; Tempera colors, gold leaf, gold paint, silver paint, and ink on parchment; Leaf: 12.4 x 9.2 cm (4 7,8 x 3 5,8 in.)

Initial J: Saint Peter; Master of the Brussels Initials (Italian, active about 1389 - 1410); Bologna, Emilia-Romagna, Italy; between 1389 and 1404; Tempera colors, gold leaf, gold paint, and ink on parchment; Leaf: 33 x 24 cm (13 x 9 7,16 in.)

Saint Germain; Workshop of the Bedford Master (French, active first half of 15th century); Paris, France; about 1440 - 1450; Tempera colors, gold leaf, gold paint, and ink on parchment; Leaf: 23.5 x 16.4 cm (9 1,4 x 6 7,16 in.)

Initial P: The Virgin Mary Taking the Hand of a Person Raised from the Dead; Northeastern France, France; about 1300; Tempera colors, gold leaf, and ink on parchment; Leaf: 26.4 x 18.3 cm (10 3,8 x 7 3,16 in.)

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 278r, St. George, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible f

A Cross in a Landscape. Willem Vrelant (Flemish, died 1481, active 1454 - 1481)

Decorated Text Page; Nicolas Spierinc (Flemish, active 1455 - 1499); Ghent (written), Belgium; 1469; Tempera colors, gold leaf, gold paint, silver paint, and ink on parchment; Leaf: 12.4 × 9.2 cm (4 7,8 × 3 5,8 in.)

Initial O: The Man of Sorrows; Master of the Llangattock Hours (Flemish, active about 1450 - 1460); Bruges (illuminated), Belgium; 1450s; Tempera colors, gold leaf, gold paint, and ink on parchment; Leaf: 26.4 x 18.4 cm (10 3,8 x 7 1,4 in.)

Decorated Text Page; Ghent (bound), Belgium; 1450s; Tempera colors, gold leaf, gold paint, and ink on parchment; Leaf: 26.4 x 18.4 cm (10 3,8 x 7 1,4 in.)

Saints Cosmas and Damian; Workshop of the Bedford Master (French, active first half of 15th century); Paris, France; about 1440 - 1450; Tempera colors, gold leaf, gold paint, and ink on parchment; Leaf: 23.5 x 16.4 cm (9 1,4 x 6 7,16 in.)

Initial G: The Circumcision; Brabant (possibly), Flanders, Belgium; after 1460; Tempera colors, gold leaf, and ink on parchment; Leaf: 17.1 x 12.2 cm (6 3,4 x 4 13,16 in.)

Initial E: Three Men Led before a Judge while a Fourth Man Lies Wounded and A Man with a Club Speaking to Another Man Working at an Anvil.

Initial B: David Playing the Fool before Achish King of Gath. Bute Master (Franco-Flemish, active about 1260 - 1290)

Initial D: David Confronting a Man Throwing a Stone at Him; Bute Master (Franco-Flemish, active about 1260 - 1290); Northeastern (illuminated), France; illumination about 1270 - 1280; written about 135 - 1375; Tempera colors, gold, and iron gall ink on parchment; Leaf: 17 x 11.9 cm (6 11,16 x 4 11,16 in.)

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 293r, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mos

Noli me tangere; Master of Cardinal Bourbon (French, about 1480 - 1500); Paris, France; about 1500; Tempera colors, ink and gold on parchment; Leaf: 13.3 x 8.7 cm (5 1,4 x 3 7,16 in.)

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 15r, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most

Initial D: David Pointing to his Eye; Paris, France; about 1320 - 1325; Tempera colors, gold leaf, and ink on parchment; Leaf: 16.7 x 11.1 cm (6 9,16 x 4 3,8 in.)

Initial G: The Virgin Mary Pointing to Books Burning in a Fire; Northeastern France, France; about 1300; Tempera colors, gold leaf, and ink on parchment; Leaf: 26.4 x 18.3 cm (10 3,8 x 7 3,16 in.)

The Earl of Arundel Preparing for the Landing in Bretagne. Unknown

Decorated Text Page; Nicolas Spierinc (Flemish, active 1455 - 1499); Ghent (written), Belgium; 1469; Tempera colors, gold leaf, gold paint, silver paint, and ink on parchment; Leaf: 12.4 × 9.2 cm (4 7,8 × 3 5,8 in.)

Initial O: The Virgin and Child; Northeastern France, France; about 1300; Tempera colors, gold leaf, and ink on parchment; Leaf: 26.4 x 18.3 cm (10 3,8 x 7 3,16 in.)

Initial C: A Priest Praying at an Altar; Bute Master (Franco-Flemish, active about 1260 - 1290); Paris (written), France; illumination about 1270 - 1280; written about 135 - 1375; Tempera colors, gold, and iron gall ink on parchment; Leaf: 17 x 11.9 cm (6 11,16 x 4 11,16 in.)

Hours of Charles the Noble, King of Navarre (1361-1425), fol. 310v, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mos

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 121v, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mos

Initial C: Noli me tangere. Bute Master (Franco-Flemish, active about 1260 - 1290)

Initial T: The Twelve Apostles; Paris, France; about 1320 - 1325; Tempera colors, gold leaf, and ink on parchment; Leaf: 16.7 x 11.1 cm (6 9,16 x 4 3,8 in.)

Initial L: Two Men before a King; Unknown, Michael Lupi de Çandiu (Spanish, active Pamplona, Spain 1297 - 1305); Northeastern Spain, Spain; about 1290 - 1310; Tempera colors, gold leaf, and ink on parchment; Leaf: 36.5 x 24 cm (14 3,8 x 9 7,16 in.)

Initial D: The Virgin and Child. Atelier of the Passion Master

Agathocles Orders His Wife and Children to Flee to Egypt. Date/Period: Ca. 1413 - 1415. Folio. Tempera colors, gold leaf, gold paint, and ink on parchment. Height: 420 mm (16.53 in); Width: 296 mm (11.65 in). Author: UNKNOWN.

Decorated Initial R; Master Michael (Austrian, active about 1420 until the mid-15th century); Vienna, Austria; about 1420 - 1430; Tempera colors, gold leaf, and ink on parchment; Leaf: 41.9 x 31 cm (16 1,2 x 12 3,16 in.)

Mary Magdalene Borne Aloft to Heaven by Angels; Workshop of the Bedford Master (French, active first half of 15th century); Paris, France; about 1440 - 1450; Tempera colors, gold leaf, gold paint, and ink on parchment; Leaf: 23.5 x 16.4 cm (9 1,4 x 6 7,16 in.)

Initial C: A Wounded Man Lying under a Tree and a Man with a Sword Speaking to a Woman; Initial L: A Man Digging.

Samson Wrestling with the Lion. Unknown

Initial H: Saint Jerome; Bologna, Emilia-Romagna, Italy; about 1280 - 1290; Tempera colors, gold leaf, and ink on parchment; Leaf: 37.5 x 24.8 cm (14 3,4 x 9 3,4 in.)

Initial I: Saint Matthew. Master of the Brussels Initials (Italian, active about 1389 - 1410)

The Fall of the Angels; England; about 1250 - 1260; Pen-and-ink drawings tinted with body color and translucent washes on parchment; Leaf: 21 x 15.7 cm (8 1,4 x 6 3,16 in.)

Saint Margaret and a Dragon; Workshop of the Bedford Master (French, active first half of 15th century); Paris, France; about 1440 - 1450; Tempera colors, gold leaf, gold paint, and ink on parchment; Leaf: 23.5 x 16.4 cm (9 1,4 x 6 7,16 in.)

Decorated Initial D; Decorated Initial E; Engelberg, Switzerland; third quarter of 13th century; Tempera colors and gold leaf on parchment; Leaf: 21.6 x 15.6 cm (8 1,2 x 6 1,8 in.)

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 107r, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mos

Missale: Fol. 192v: Resurrection of Christ, 1469. Bartolommeo Caporali (Italian, c. 1420-1503), assisted by Giapeco Caporali (Italian, d. 1478). Ink, tempera and burnished gold on vellum ; overall: 35 x 25 cm (13 3/4 x 9 13/16 in.).

Initial D: A Saint Holding a Scroll; Bute Master (Franco-Flemish, active about 1260 - 1290); Northeastern (illuminated), France; illumination about 1270 - 1280; written about 135 - 1375; Tempera colors, gold, and iron gall ink on parchment; Leaf: 17 x 11.9 cm (6 11,16 x 4 11,16 in.)

Saint Sebastian; Master of Jacques de Besançon (French, active about 1480 - 1500); Paris, France; about 1500; Tempera colors, ink and gold on parchment; Leaf: 13.3 x 8.7 cm (5 1,4 x 3 7,16 in.)

Initial O: Saint James the Greater; Master of the Dresden Prayer Book or workshop (Flemish, active about 1480 - 1515); Bruges, Belgium; about 1480 - 1485 ; Tempera colors and gold on parchment; Leaf: 20.5 x 14.8 cm (8 1,16 x 5 13,16 in.)

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 303vr, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mo

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 81r, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most

The Harp-Playing Victors on the Sea of Glass. Unknown

Kahedin and Palamedes Speaking to King Mark; Paris, France; about 1320 - 1340; Tempera colors, gold paint, and silver and gold leaf on parchment; Leaf: 39.4 x 29.8 cm (15 1,2 x 11 3,4 in.)

Initial E: Three Men and a Boy Meeting Another Man in his Doorway; Unknown, Michael Lupi de Çandiu (Spanish, active Pamplona, Spain 1297 - 1305); Northeastern Spain, Spain; about 1290 - 1310; Tempera colors, gold leaf, and ink on parchment; Leaf: 36.5 x 24 cm (14 3,8 x 9 7,16 in.)

Initial A: A Judge and Two Men Pointing to an Aquaduct and a Millwheel.

Initial P: An Apostle; Circle of Stefan Lochner (German, died 1451); Cologne, Germany; about 1450; Gold leaf, tempera, and black ink on parchment; Leaf: 36.7 x 26 cm (14 7,16 x 10 1,4 in.)

Initial B: The Three Men from the Fiery Furnace. Bute Master (Franco-Flemish, active about 1260 - 1290)

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 33r, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most

Initial C: The Entombment; Atelier of the Passion Master; Paris (written), France; illumination about 1270 - 1280; written about 135 - 1375; Tempera colors, gold, and iron gall ink on parchment; Leaf: 17 x 11.9 cm (6 11,16 x 4 11,16 in.)

Missale: Fol. 387v: Death represented as a Skeleton with a Sickle, 1469. Bartolommeo Caporali (Italian, c. 1420-1503), assisted by Giapeco Caporali (Italian, d. 1478). Ink, tempera and burnished gold on vellum ; overall: 35 x 25 cm (13 3/4 x 9 13/16 in.).

Decorated Initial S; Decorated Initial D. Unknown

Tristan Returning from the Tournament; Jeanne de Montbaston (French, active about 1320 - 1355); Paris, France; about 1320 - 1340; Tempera colors, gold paint, and silver and gold leaf on parchment; Leaf: 39.4 x 29.8 cm (15 1,2 x 11 3,4 in.)

Flagellation; Master of the Chronique scandaleuse (French, active about 1493 - 1510); Paris, France; about 1500; Tempera colors, ink and gold on parchment; Leaf: 13.3 x 8.7 cm (5 1,4 x 3 7,16 in.)

An Eagle. Date/Period: Fourth quarter of 13th century (after 1277). Folio. Tempera colors, pen and ink, gold leaf, and gold paint on parchment. Height: 233 mm (9.17 in); Width: 164 mm (6.45 in). Author: UNKNOWN.

Decorated Initial D; Unknown; Bruges, Belgium, Europe; about 1480 - 1485 ; Tempera colors and gold on parchment

Decorated Text Page; Bruges, Belgium; about 1525 - 1530; Tempera colors, gold paint, and gold leaf on parchment; Leaf: 16.8 x 11.4 cm (6 5,8 x 4 1,2 in.)

The Beheading of Pompey. Date/Period: Ca. 1413 - 1415. Folio. Tempera colors, gold leaf, gold paint, and ink on parchment. Height: 420 mm (16.53 in); Width: 296 mm (11.65 in). Author: UNKNOWN.

The Drunken Harlot; Unknown; London (probably), England, Europe; about 1255 - 1260; Tempera colors, gold leaf, colored washes, pen and ink on parchment; Leaf: 31.9 x 22.5 cm (12 9/16 x 8 7/8 in.)

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 156v, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mos

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 249r, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mos

Initial A: Arrival of Ships in Constantinople. Master of the Brussels Romuléon or workshop (Flemish, active about 1465)

Initial B: The Nativity; Bute Master (Franco-Flemish, active about 1260 - 1290); Northeastern (illuminated), France; illumination about 1270 - 1280; written about 135 - 1375; Tempera colors, gold, and iron gall ink on parchment; Leaf: 17 x 11.9 cm (6 11,16 x 4 11,16 in.)

Initial E: Michol Helping David Climb out a Window; Bute Master (Franco-Flemish, active about 1260 - 1290); Northeastern (illuminated), France; illumination about 1270 - 1280; written about 135 - 1375; Tempera colors, gold, and iron gall ink on parchment; Leaf: 17 x 11.9 cm (6 11,16 x 4 11,16 in.)

Leaf from a Book of Hours: Two Devils (verso), c. 1460. Circle of Coëtivy Master (French). Ink, tempera and gold on vellum; leaf: 19.7 x 14.3 cm (7 3/4 x 5 5/8 in.).

The Resurrection; Initial R: A Sleeping Soldier. Date/Period: Between 1389 and 1404. Folio. Tempera colors, gold leaf, gold paint, and ink on parchment. Height: 330 mm (12.99 in); Width: 240 mm (9.44 in). Author: Master of the Brussels Initials.

Initial G: Saint Margaret; Master of the Dresden Prayer Book or workshop (Flemish, active about 1480 - 1515); Bruges, Belgium; about 1480 - 1485 ; Tempera colors and gold on parchment; Leaf: 20.5 x 14.8 cm (8 1,16 x 5 13,16 in.)

Initial D: The Presentation in the Temple. Master of the Lee Hours (Flemish, active about 1450 - 1470)

David and Goliath. Unknown

Psalter: David Playing Bells, C. 1300-1350, Manuscripts, The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California

Initial D: David Pointing to His Mouth. Bute Master (Franco-Flemish, active about 1260 - 1290)

Saint Margaret. Date/Period: Early 1460s. Folio. Tempera colors, gold leaf, and ink on parchment. Height: 256 mm (10.07 in); Width: 173 mm (6.81 in). Author: Workshop of Willem Vrelant.

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 210v, Text, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for mos

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 290r, St. Francis, c. 1405. Master of the Brussels Initials and Associates (French). Ink, tempera, and gold on vellum; codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.). This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible

Initial M; Bute Master (Franco-Flemish, active about 1260 - 1290); Paris (written), France; illumination about 1270 - 1280; written about 135 - 1375; Tempera colors, gold, and iron gall ink on parchment; Leaf: 17 x 11.9 cm (6 11,16 x 4 11,16 in.)

Nicoraut and Madule before the Nurse and Child; Paris, France; about 1320 - 1340; Tempera colors, gold paint, and silver and gold leaf on parchment; Leaf: 39.4 x 29.8 cm (15 1,2 x 11 3,4 in.)

August Calendar Page; Threshing; Virgo. Workshop of the Bedford Master (French, active first half of 15th century)

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