Full Calendar, in French (f.1r); Gospel extracts (f.13r); ‘Obsecro te’ (f.17r); Hours of the Virgin, Use of Lyon (f.20r); the end of the ‘Obsecro te’ and Passion narrative based on the Gospel of John (f.69r); Hours of the Cross (f.71r) and of the Spirit (f.73r); Seven Penitential Psalms (f.74r) and litany (f.82v), including the rare St Elpidius, 5th-century bishop of Lyon; Office of the Dead, Use of Lyon (f.85r); Suffrages to saints (f.128v).
Lyon illumination in the decades around 1500 is studied by E. Burin, Manuscript Illumination in Lyons (1473–1530), 2002, and while the present manuscript is apparently not painted by any of the artists whose work she reproduces, her plates provide some close iconographic comparisons: the way in which the infant lies back on the Virgin’s lap, instead of sitting up, is found in Rouen MS 3027 (fig.57), and the way in which the kneeling magus holds a chalice by its stem, with the fingertips of the other hand under its base, is found (in reverse) in Keble College MS 40 (fig.24) and an Hours in a private collection (fig.70). A remarkable iconographic peculiarity of the present composition is that the kneeling magus has not – as is absolutely standard in scenes depicting the Adoration of the Magi – removed his crown.
The subjects of the large miniatures are: (1) The Adoration of the Magi (f.49v), (2) The Flight into Egypt (f.55v), and (3) The Coronation of the Virgin (f.61v); and of the small miniatures: (1) St Luke painting a portrait of the Virgin and Child (f.13v), (2) St Matthew writing his gospel, copying from a book held open by his angel (f.14v), (3) St Mark writing, assisted his his lion (f.16r), and (4) The Virgin and Child (f.17r).
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