Book of Hours of Charles V - Codex Madrid

One of the most important codices of the Spanish National Library is Cod. Vitr. 24–3, which was once owned by Emperor Charles V (1500–58), the person who came closest to recreating the universal monarchy of Charlemagne (742–814). A handwritten note on the second page, Hic liber fuit Magni Imperatoris Caroli V, confirms it was owned by him. Created ca. 1503, it may have been intended to be used as a primer for the young prince. A team of artists working under the French master Jean Poyer (d. 1504) is responsible for the incredible work. It may have been created as a gift for the young Charles in the course of marriage negotiations between the Queen of France, Anne of Brittany and Queen Isabella I of Castile. The agreement did not materialize, but the gift remained in Charles’ possession and may have been with him at his imperial coronation in 1520. The manuscript belonged to the Habsburgs until Philip III gave it to Cardinal Francisco de Joyeuse during his visit to Montserrat Monastery. It was part of the library of Cardinal Zelada in the 18th century and entered the Spanish National Library in 1869 along with other codices of the Cathedral of Toledo.

A Renaissance Masterpiece

The codex, written in French bastarda script is, according to Durrie, "A singularly interesting work for the history of illumination." Of its 336 pages, 320 are profusely illustrated with brightly colored full-page miniatures of the highest quality, making this codex an exceptional jewel. The magnificent décor of the manuscript is further embellished by more than 700 historiated initials as well as abundant and varied borders. Its three double-page miniatures – the Victorious Entry of Heraclius in Jerusalem with the Cross of Christ, David's Victory over Goliath, and the Meeting of the Three Death Knights – suffice to qualify the codex as a masterpiece. The manuscript doubles as an encyclopedia because various cycles are interspersed between the biblical stories including the Sibyls, prophets, legends of the True Cross, Marian miracles, Acts of the Apostles, the lives of David and Job, the Dance of Death, etc. This proliferation of images indicates that the manuscript was intended to be seen more than to be read, which broke the established forms for a book of hours. Only a great master like Jean Poyer could have designed and executed such a magnificent manuscript.

The Opulent Image Program

Far from the typical bucolic scenes, the images of the calendar present daily life throughout the months of the year. They do this by tracing the childhood, youth, and maturity of two brothers, one a pious man and the other sinner. Their life cycle ends in December with the former’s soul ascending to Heaven and the latter descending to Hell. This book of hours dedicates 27 miniatures to Genesis (f. 16–42) and each one of them includes a caption – more than many contemporary Bibles. The image cycle of the Life of Christ is presented in 63 miniatures, the Life and Miracles of the Virgin Mary in 20 miniatures, and the Apocalypse in 12 miniatures. With 320 miniatures altogether, this is one of the most richly illuminated manuscripts ever created, made all the more significant because it is the product of one of the greatest ateliers in history: the Parisian workshop of Jean Poyer, which seamlessly blended the predominant artistic styles from Italy and the Netherlands.