Sobieski Hours

Sobieski Hours

A highpoint of late Gothic illumination was supposedly commissioned by Margaret of Burgundy (1393–1441) ca. 1420: the Sobieski Hours. It is believed to have been a wedding present for her union with Arthur III (1393–1458), the Duke of Brittany. The 468-page parchment manuscript contains prayers in French and Latin for private devotion, which are complimented by an unbelievable 60 full-page miniatures, 400+ illustrated scenes, as well as 66 large-format and countless smaller historiated initials. This imposing mass of illumination could not have been tackled by a single artist, and actually, the three leading masters of their time participated in the lavish design over an extended period.

Many Helping Hands

A large number of miniatures are attributed to the famous Bedford Master, who was active in Paris between 1405 and 1465. Since it is unlikely that he could have painted all the depictions, he probably gave compositions to his assistants or presented them with models. Furthermore, the Fastolf Master and the Master of the Munich Legenda Aurea also made equally important contributions to the decoration. The former worked in Paris and Normandy, just like the second, whose activity in Paris between 1430 and 1440 can be proven. Although he was a disciple of the Bedford Master, he developed his own conspicuous style. Nonetheless, although the stylistic details of the respective masters is discernable, the artistry is surprisingly uniform and harmonious, it is characterized by carefully modeled human figures and draperies.

A Medieval Picture Story

It is astonishing with what attention to detail and artistic virtuosity the splendid miniatures were painted. Two styles of composition are present. In the earlier sections, especially those dealing with the Hours of the Virgin, the scenes have a more holistic perspective and are depicted panoramically with sweeping landscapes, fantastical architectures, and three-dimensional interior spaces. Later sections are distinctly more intimate, divided into six or nine individual scenes with golden frames. Precious gold and silver leaf and high quality paints like lapis lazuli were used throughout by all of the artists involved. All of the miniatures and marginalia display an artistic mastery that makes the codex a milestone of art history.

A Turbulent History

Despite the incredible artistry of the manuscript, or perhaps because of it, this codex has a turbulent ownership history about which little is known. The great artistry and the masters involved with its creation point to a high-ranking patron nonetheless. Although it has since fallen out of favor as a theory, it was originally thought to have been a wedding present for Margaret of Burgundy (1393–1442), sister of Duke Philip the Good (1396–1467), upon her union with Duke Arthur III of Brittany (1393–1458). It is known, however, that the codex came into the possession of King John III Sobieski of Poland (1629–96), hero of the Battle of Vienna (1683), sometime in the 17th century. It passed to the British royal family through the marriage of his granddaughter Maria Clementina Sobieska to James Francis Edward Stuart (1688–1766), the son of the deposed King James II, called the “Old Pretender”, who then bequeathed it in 1803 to the future King George IV (1762–1830). Today, it is counted as one of the most coveted treasures of the Royal Library.