The Hours of Charles of Angoulême

The Hours of Charles of Angoulême

Bibliothèque nationale de France, Paris




Shelf mark: Latin 1173.
Date: c. 1485.
Provenance: France.
Size: ± 215 x 155 mm.
Artist: Robinet Testard.
230 pages, 38 full-page miniatures.
Red leather binding with gilt border.
Full-colour commentary volume by Maxence Hermant and Séverine Lepape (BnF).
Unique and unrepeatable first edition strictly limited to 987 numbered and authenticated copies.
ISBN: 978-84-16509-02-7

The Hours of Charles of Angoulême Bibliothèque nationale de France, Paris Bibliothèque nationale de France, Paris

Shelf mark: Latin 1173.
Date: c. 1485.
Provenance: France.
Size: ± 215 x 155 mm.
Artist: Robinet Testard.
230 pages, 38 full-page miniatures.
Red leather binding with gilt border.
Full-colour commentary volume by Maxence Hermant and Séverine Lepape (BnF).
Unique and unrepeatable first edition strictly limited to 987 numbered and authenticated copies.
ISBN: 978-84-16509-02-7





Commentary volume

The Hours of Charles of Angoulême Bibliothèque nationale de France, Paris


CONTENTS
 
From the editor to the reader
Manuel Moleiro

Foreword
Séverine Lepape
Curator, Musée du Louvre

Charles of Angoulême and his library
Maxence Hermant
Curator, Bibliothèque nationale de France
 
Manuscript description and contents
Maxence Hermant / Séverine Lepape

The two illuminators: Robinet Testard and Jean Bourdichon
Maxence Hermant
 
Robinet Testard and his use of engravings
Séverine Lepape

Israhel van Meckenem’s Great Passion in the
Hours of Charles of Angoulême
Séverine Lepape

Iconographic description
Maxence Hermant / Séverine Lepape

Bibliography
Index of works cited

ISBN: 978-84-16509-13-3
 





Description

The Hours of Charles of Angoulême Bibliothèque nationale de France, Paris


This book of hours commissioned for Charles, Count of Angoulême (the father of Francis I of France) is undeniably Robinet Testard’s most personal work. Testard, one of France’s most creative painters, drew upon his boundless imagination to create a totally novel work. The calendar scenes on the opening pages are surprisingly original. Testard also portrays exotic landscapes, botanical elements, an acrostic featuring animated figures more typical of alphabet books, and even combines mythology and religion in rather peculiar ways. Testard’s compositions in the Passion cycle are inspired by engraving techniques, and the intense, vivid colours in his paintings bring the scenes alive. And if this manuscript defying prevailing trends was still not original enough, it even features a miniature by Bourdichon (none other than the master of the Great Hours of Anne of Brittany!).



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