Grandes Heures du Duc de Berry

Grandes Heures Du Duc de Berry

The manuscript was commissioned by the important collector and patron – of illumination in particular – Duke Jean de Berry (1340–1416). As the brother of the French King Charles V, Louis of Anjou, and Phillip of Burgundy, he was a member of one of the highest aristocratic circles of his time. He is known as one of the greatest art patrons in history. In his art collection, Jean de Berry compiled the greatest names of his time. Among the well-known books of hours that he retained were the Très Belles Heures, the Petites Heures, and the grandiose Très Riches Heures, which were all crafted by artists whom he commissioned. Among others, the three Limbourg brothers were often employed by him. The Duke of Berry lived in unbelievable luxury and richness, which can be embodied especially by the collection of his art, making him a figure of opulence in art history today. In the Grandes Heures, his likeness is forever captured in five separate portraits (one, for example, depicts him as one of the chosen to be received by Peter at the Pearly Gates).

Only the Best Artists Would Do

The Grandes Heures serves as the Duke’s most valuable book in his collection. According to an inscription within the manuscript, it was fully completed in 1409. Among the artists commissioned were great names such as Jacquemart de Hesdin or the Bedford-Master. Jacquemart de Hesdin (around 1355–1414) had already provided the Duke with the Petites Heures. For the Grandes Heures, he completed the largest miniature pages and many of the smaller miniatures. Along with him, other artist were involved with the manuscript, like the so-called Pseudo-Jacquemart (who executed the majority of the drolleries, the small miniatures, and the initials), the Bedford-Master and the Parisian Mazarin-Master.

A Grand Artistic Layout

The 252 pages of the Grand Heures are equipped with 212 miniatures, countless large-format and historicized initials; above all with heraldic appearances of the Duke’s emblems and mottos, as well as hundreds of drolleries with depictions of animals. Unfortunately the better part of the 17 whole-page miniatures from the hand of Jacquemart de Hesdin are lost (they were removed from the manuscript at an unknown point in time). One of the whole-page miniatures is still retained and is now on display in the Louvre. It presents the grandiose ability of the master of miniature painting. The depiction of the carrying of the cross is laid out among a wonderful perspective of scenery and thus depicts the Passion of Christ in a haunting manner. The manuscript was also adorned with 24 calendar-pages with unbelievably fine, widely branched floral ornamentation on the edges, as well as miniatures of biblical allegories with 28 miniatures that illustrate the text.

An Almost Kingly Splendor

Next to the magnificent, rich gold and bright colors of the artistically designed layout of the manuscript, the original binding of the Grandes Heures of violet velvet with two gold clasps, rubies, sapphires, and pearls still survives. The high esteem of the book is proven by the fact that after the death of the Duke of Berry, the book ended up with the royal collection of King Charles VIII of France. Today, the manuscript still counts as one of the most important testimonies to the amazing book art of the 15th century.