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Commentary volume
The Lamentation over the dead Christ, f. 2v
Anne of Brittany at prayer presented by three female saints, f. 3r
The Calendar: May, f. 8r
The Calendar: June, f. 9
The Calendar: August, f. 11r
The Calendar: September, f. 12
Saint Luke presenting Our Lady’s portrait, f. 19v
Saint Matthew writing, f. 21v
The Annunciation, f. 26v
Chicory, f. 31r
Marigold, f. 33r
The Visitation, f. 36v
Hawthorn, f. 39v
Summer pheasant’s-eye, f. 41v
The Crucifixion, f. 47v
The Nativity, f. 51v
The Annunciation to the shepherds, f. 58v
The adoration of the Magi, f. 64v
The flight into Egypt, f. 76v
Thistle, f. 77r
Gourd, f. 81r
f. 85r, Beginning of complines in the little office of the Virgin
Oak, f. 87v
Spindle, f. 107v
Florenceola, f. 127r
Of the Holy Trinity, f. 155v
The archangel Raphael, f. 165v
Of St Cosmas and St Damian, f. 173v
Saint Sebastian, f. 175v
Orange lily, f. 176r
Of the ten thousand martyrs, f. 177v
The vision of Saint Hubert, f. 191v
Saint Ursula and the eleven thousand virgins, f. 199v
Saint Mary Magdalene, f. 201v
Saint Margaret, f. 205v
Judas’s kiss, f. 227v

Great Hours of Anne of Brittany

"Unique and unrepeatable first edition, strictly limited to 987 numbered and authenticated copies"

Bibliothèque nationale de France

Saint Sebastian, f. 175v
Saint Sebastian, f. 175v. According to the legend, Saint Sebastian became the captain of emperor Diocletian’s praetori...
According to the legend, Saint Sebastian became the captain of emperor Diocletian’s praetorian guard but when it was discovered that he was a Christian, the archers shot him. Master Bourdichon has depicted the saint, despite his martyrdom, with a very serene expression of trust that faith will triumph over physical suffering, hence his eyes raised to heaven. The peaceful seascape surrounding the scene contributes to this serenity.
In the mid 15th century it became customary to portray the saint during his martyrdom as a young man with a bare chest, as in the Prayer Book of Charles the Bald (f. 29r), or almost naked, as in a miniature dated around 1440 by the Master of the Ghent Privileges (Baltimore, The Walters Art Gallery, W. 719, f. 134r). Indeed, in the Italian Renaissance he was depicted most frequently with virtually no clothes, as in this instance.
Saint Sebastian was extremely popular in the Middle Ages due to the protection he was said to offer against the plague at a time when epidemics were decimating the population. His patronage against this disease was due to the action he took against the plague that swept through Rome in the year 680. From then on, following the Romans’ example, he was invoked against this disease.

«Unique and unrepeatable first edition,
strictly limited to 987 numbered and authenticated copies»


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