Turin-Milan Hours

Turin-Milan Hours

Hidden behind the simple title of the so-called Turin-Milan Hours is hidden a handwritten and illuminated codex which possesses a unique position in the history of mediaeval manuscripts. Over the course of time, it was continuously divided into fragments and found itself in the possession of the most important noble houses in Europe. The book gained its title from its then-residence in the house of Savoy, the ruling house of Milan, where it emerged from the National Library of Turin. The work combines the stylistic elements of two books of hours, one of which bore the title Très Belles Heures de Notre-Dame and the other Heures de Turini. It is an incomparable, unique prayer book and missal, which was fashioned by a collection of the greatest artists of the Middle Ages over a time period comprising multiple generations. The book of hours contains 28 impressive, full-page miniatures. Particular fame was achieved by several miniatures that were probably created by Jan van Eyck – the founder of portrait art and father of the great Old Dutch painting-style.

The Origin Story of the Masterpiece

The Turin-Milan Hours was produced sometime between 1380/90 and the 1440’s in Paris and Flanders. Originally, the book of hours was an underlying part of the monumental work that had been commissioned by the Burgundian Duke Jean de Berry, namely the Très Belles Heures de Notre-Dame. Two unbelievably-talented illuminators saw to the furnishing of this work until the death of the duke in the year 1416. By way of inheritance, the incomplete work reached the possession of Count Johann von Holland, who commissioned Jan van Eyck with its completion. Only a short time later, he was appointed to the court of Philip the Good, where he continued to grapple with the monumental project. Van Eyck’s death in the year 1441 abruptly ended work on the book of hours. In order to pay tribute to the great artist and to properly esteem his work, Duke Philip commissioned a further, obscure painter from Flanders who completed the codex according to the stylistic examples of van Eyck.

The Top Lineup of Illuminators

The most diverse theories exist about the illuminators of the 28 miniature pages. One of the artists, who devoted himself to the manuscript in the last quarter of the 14th century, is identified with the name of convenience “Master of the Parament of Narbonne”. A few miniatures were made in a particularly sophisticated painting technique, the so-called grisaille painting-style. These pictures were produced by an artist known as “Master G”. Hidden behind the mysterious Master G is most probably Jan van Eyck. The unmistakable depictions definitely mirror the style of the important artist. The brothers of van Eyck, Barthélemy and Hubert van Eyck, probably took part in the creation of the codex. There exists no other work from this historical epoch that was worked on by such an astounding artistic collective.

Historically Significant Illumination

The Turin-Milan Hours is an absolute magnum opus of Gothic illumination**. Some of the miniatures are counted among the most beautiful examples of Late-Gothic painting in France, while others demonstrate a revolutionary, illusionist style. These very same new kinds of depictions founded the Old Dutch Style of painting, which is **still of immeasurable significance for art history. The pictures ascribed to Jan van Eyck particularly astound historians and historically-interested book-lovers. They show the legendary abilities of the artist, which lend a higher meaning to everyday spaces with the help of masterfully integrated light reflections in the paintings. At the same time, it was van Eyck who first understood how to create realistic portraits. Furthermore, he led painting toward a microscopically exact reflection of reality. The significance of the *Turin-Milan Hours for the history of book art is irreplaceable.