Book of Drolleries - The Croy Hours

Book of Drolleries - The Croy Hours

The Croy Hours, originating from the 16th century, originally bore the name Book of Drolleries. The term “drolleries” indicates a very specific, typical picture cycle for late-medieval illuminated manuscripts, which found its full expression in The Croy Hours. Drolleries are imaginative vignettes in which fairytale hybrid creatures of man and beast or plant are depicted. Alongside over 200 fascinating drolleries, The Croy Hoursis adorned with 58 colorful miniatures in the highest quality, 12 calendar miniatures, and countless gold appliqúes. In terms of content conception, the prayer book conforms to the widely-disseminated medieval book of hours, which was used for quiet prayer and private meditation.

A Book for Aristocratic Houses

To this day, it is not known exactly who commissioned and financed The Croy Hours. It was presumably an unidentified lady of the court of Hapsburg Burgundy. The name Croy goes back to the name of a French Nobleman, Guillaume de Croy recorded on a page of the manuscript. The de Croy family cultivated outstanding relations with the Dukes of Burgundy, John the Fearless and his son Philip the Good and belonged among the wealthiest and powerful Burgundian families. The precious book of hours represents the greatest treasure of their private book collection. At the beginning of the 18th century, Prince Eugene of Savoy acquired the precious work for his library, which belonged among the most comprehensive at that time and which came into the possession of Emperor Charles VI in the year 1738. The Croy Hours have always been an absolute highlight of the imperial collection.

Miniature Art from Bruges

Both of the greatest masters of the renowned Ghent-Bruges school made the miniatures of The Croy Hours. Gerard Hohenbout and Simon Bening created the full-page pictures of the manuscript and decorated the margins with the unique drolleries. Both of the masters worked in accord with the world-famous panel painter Gerard David for the artful design of the work. A few details about the origin of the manuscript still cannot clarified to this day. It is well established that the work was not produced in a single workshop, but instead the splendid design of the masterpiece was implemented throughout several stages of work and at various locations. The refined depictions attest to the unbelievable imagination and creative delight of both of the primary masters, which was supported by artists from various studios. The complicated yet not-fully researched production process contributes to the special appeal of The Croy Hours.