Author Archives: Patricia

June in the Très Riches Heures of the Duc de Berry

June is the month for making hay while the sun shines and this is certainly true in the calendar page from the Très Riches Heures of the Duc de Berry. The detail and intensity of colour hold their own against the bold red and blue script and decoration of the calendar page opposite.

Three men are scything the hay. It’s clearly hard work as their bodies strain to hold the scythe and swing it round to cut the vegetation.The leg muscles on the man in the middle are particularly well painted. Sensibly they have left a strip between each of them to avoid slicing through their companion’s legs! It’s clearly hot as their heads are covered with straw hats with brims or a fabric hat, and they have removed their trousers or hose leaving only a loose tunic which in two cases doesn’t even come to their knees.

To the left of the page, two women are busy, one raking up the hay and another using a pitchfork to pile it into stacks. They, as the men, are barefoot, and there is a real feeling of the searing heat throughout the image.

The woman on the right wears an intense blue robe, laced at the top, and hitched up at the waist, with the sleeves and hem of her white undergarment showing below the dress. The ways in which the individual stalks of the hay on the right have been painted is really impressive.

And the detail in the image is quite amazing. Behind the women is a wide stream surrounding the castle with a boat and boatman with a single oar bobbing on the surface. Behind him are steps leading up to the gatehouse and a tiny figure with black hose and a red jacket just disappearing up them.

The building in the background, yet another of the Duc de Berry’s residences, is the Palais de Cité, located on the île de Citè in the very centre of Paris. It is painted particularly finely with sharply pointed gables, cone-shaped roofs and Sainte Chapelle on the right.

As with all the other pages, at the top is a semicircle showing the positions of the stars during the month as well as the astrological signs of Gemeni and Cancer.

The Van Lymborch Brothers have yet again created an absolute masterpiece in miniature and their creativity, artistry and excellence in execution is stunning!

(Apologies for the weird formatting – something seems to have gone wrong and nothing I do helps!)

For more Labours of the Month from the Très Riches Heures of the Duc de Berry see: July, August, September, October, November, January, February, March, April and May

Prince Arthur’s Chantry

Prince Arthur, son of Henry VII and Elizabeth of York, and his wife Catherine of Aragon, the Spanish princess, travelled to Ludlow Castle after their marriage, both were age 15. While there, they caught the ‘sweating sickness’ and sadly Arthur died and as a result his younger brother, Henry, became the heir to the English throne; Catherine survived the illness and went on to marry Henry, becoming Queen as a result. Arthur’s final resting place was Worcester Cathedral where this magnificent Chantry Chapel was erected to house his body and have prayers said for his soul. The fineness of carving and magnificent tracery are breathtaking.

Prince Arthur's Chantry, Worcester Cathedral, detail

His name alone indicates the hope that Prince Arthur held and it must have been devastating for that expectation to be dashed by his death. After he died Arthur was brought to Worcester Cathedral in a large horse-drawn ‘charre’ (chariot?), his body having lain in state for three weeks at Ludlow. The ceremony surrounding his funeral was documented in detail – his body was carried with due ceremony under a rich canopy into the Cathedral and peers, officers of arms and others kept watch over the body during the night. The outside of the Chantry has many related carvings – here are the white rose of York for his mother, surmounted by two ostrich feathers indicating that Arthur had been made a Knight of the Garter. To the right are the arms of Prince Arthur consisting of the Royal Arms with the fleur-de-lis of France in the first and third quarters indicating the claim England had on lands in France; a label for difference is at the top of the shield. The supporters are two stags, or white harts, relating to his predecessor Edward IV.

Prince Arthur's Chantry, Worcester Cathedral, inside

The outside tracery looks just as stunning from the inside – with delicate narrow pointed arches ending in a trefoil design, supported on the finest of columns. The masons came from Westminster Abbey to create this, where they had been working on the chapel for Henry VII. At the bottom of this image is the top of the tomb of Prince Arthur.

Prince Arthur's Chantry, Worcester Cathedral, tomb

The tomb itself looks relatively bare for such an important Prince. With a quatrefoil decoration at each end and an inscription round the upper edge, the top is blank. It is thought that there was going to be a bronze effigy of the Prince here by the Italian sculptor Torrigiano who did one on the tomb in Westminster Abbey of Henry VII, and indeed that the stonework would also be painted, but those plans fell by the wayside when Henry VIII married Catherine and to a large extent poor Prince Arthur was quietly forgotten.

At one of the shorter ends of the tomb (just visible above) place within a carved quatrefoil is a painting of the Royal Arms on a shield. The stone tracery around it is particularly fine.

Prince Arthur's Chantry, Worcester Cathedral, ceiling

And just look at this ceiling! What amazingly delicate carving with pointed and curved ended trefoils, quatrefoils, and multiple semi-circular shapes in the supporting ribs.

Prince Arthur's Chantry, Worcester Cathedral, ceiling detail

Centrally above the tomb is a finer carving of Prince Arthur’s coat of arms. The three feathers of the Prince of Wales are at the bottom of the shield, and the supporters are again the stags. As a royal, he bore the Royal Arms but at the top is a label – a white horizontal strip – this indicates that there is a difference and identifies him separately from his father who wouldn’t need that label. In Prince Arthur’s case it has three pendants.

At the head of the tomb is a wall of sculptures with the most delicate carving above. The figures were damaged during the reign of Edward VI, Henry’s son and Arthur’s nephew.

Prince Arthur's Chantry, Worcester Cathedral, floor

Many prayers must have been said for the Prince if the indentations on the floor are anything to go by – to wear away stone as much as this there must have been considerable footfall!

If in the area Worcester cathedral is well worth visiting, if to view the amazing craftsmanship on this Chantry alone.

May in the Très Riches Heures of the Duc de Berry

The usual Labour of the Month for May is hawking, but it can also be courtly love. Neither is obvious in the illustration for May in the Très Riches Heures of the Duc de Berry by the Van Lymborch Brothers – no birds, and no obvious hands being held, or loving and longing glances being exchanged, but there are certainly beautifully well dressed young men and women on horses forming a procession and ‘bringing in the may’. May 1st was a special day in France and celebrated at the French Court; this image certainly emphasises that.

The procession is preceded by trumpeters and buglers announcing the richly dressed men and women behind them. The musicians are all blowing lustily and some of their brass instruments are bedecked with ultramarine blue flags. They are wearing garlands of green leaves to commemorate the special day.

The women wear robes of bright green, the colour of spring and of fairies. It’s also the shade of green called ‘vert gai’ which Charles VI liked to give to his favourites at this time of year. Their hair, and the white headdress of the woman riding a white house at the front are decorated with garlands of green leaves which they may well have picked from the forest they have just left.

The painting of that white horse is exquisite with tiny brush strokes of a darker grey used to outline and to create the form and shadows of the animal. The green and gold horse trappings are also meticulously painted, even to the extent that they actually work – a narrow band passing under the horse’s tail which anchors the strap into place.

The men are no less luxuriously dressed, in fact, their clothes look every richer than those of the women. In the foreground, one man wears a gloriously deep ultramarine blue cloak decorated with what look like gold teardrops and arrow heads, and a rich, wide gold collar; he is looking towards another man wearing the colours of the King of France – half black and white and half red. It has been suggested that this could be the Duc de Berry himself. Green leaved garlands adorn the men as well as the women.

If it is the great man, then the two little dogs in the lower right of the picture will be the same ones as on his table for the Christmas feast (see here) Certainly they’d be a lot safer on a table top than they are here on the ground in too easy range of getting trodden underfoot by the horses!

As with most of the images for each month, this one also features one of the Duc de Berry’s many castles and châteaux. This time it’s the Palais de la Cité in Paris, with the Sainte-Chapelle and the Tour de l’Horloge clearly visible in the background, and thus giving an invaluable record of the skyline of Paris in the 15th century.

As with all these Labours of the Month pages, this is topped by a blue and gold semi-circle showing the astrological signs for this time of year. Here Taurus the Bull is giving way to Gemini the Twins, with the chariot of the sun being pulled by winged horses across the sky.

Yet again, this is a real triumph of skill and artistry which underline the title given to this manuscript – the Très Belles Heures.

For more Labours of the Month from the Très Riches Heures of the Duc de Berry see here: July, August, September, October, November, January, February, March, April

‘The Art of the Scribe’ – Winner in the British Book Awards

I was absolutely stunned and truly delighted that my latest book for the British Library (published in March 2025) won in the ‘Scholarly, Academic and Reference’ category of the British Book Awards sponsored by the British Printing Industries Federation. It was thrilling to know that the British Library had nominated my book for this Award, and even more so when it was shortlisted.

However, I did practise my loser’s smile beforehand, not looking a bit disappointed that it hadn’t won to start with and then smiling with a ‘but the other book really was the worthy winner’ look on my face (as in the BAFTAs)!

When it came to this category, there were four other books that looked like very worthy winners, and having looked at them, I was pretty sure who would win – not mine.

When the book wasn’t even Highly Commended (Runner Up), I took a bit of a back seat – it had been a good evening, and at least the book was shortlisted.

Then came the ‘And the Winner is …’ moment. I absolutely couldn’t believe it when ‘The Art of the Scribe’ was announced with this citation on the left (also in the ‘Book of Winners and Nominees’ given to everyone afterwards)! It was just tremendous!

The Award was presented by Heather O’Connell, Publishing Consultant, Coach and Trainer at Bluebird Consulting. When I thanked her afterwards she said something on the lines of ‘when we saw your book we hardly thought it worth looking at the others, it stood out so much’! The Head of Publishing at the British Library, John Lee, and my Editor, Alison Moss, are shown here, Alison with the Award and me with my book.

And the double spread in the ‘Book of Winners and Nominees’ which was distributed after the presentations was a thrill too.

April in the Très Riches Heures of the Duc de Berry

April is the month for engagements in the Trés Riches Heures of the Duc de Berry, and shown here is a very elegant group dressed in rich fabrics with the happy couple giving and taking the engagement ring. The striking blue of the cloak of the man on the left, the woman sitting, that of the sky, and the semicircles above completely balances in the painting.

At the top of the image, as with all of these Labours of the Month in the Très Riches Heures, is a semicircle with repeated fine shell gold lines encasing two wide blue borders. The sun in its winged chariot and pulled by horses – picked out by shades of blue and highlights of gold – are in the inner one, and in the outer one are the astrological signs for the month – Aries the Ram and Taurus the Bull.

On many such pages the Van Lymborch Brothers include one of the Duc de Berry’s castles and houses, and that is the case here. This time it’s the Château de Dourdan with it’s fine red tiled roof, high walls, and many conical towers.

Below the castle are the tiniest of boats, two of them, each containing a man rowing. Between them the floats for a net attached to each of the boats are shown by tiny dots, and to the left is what looks like a weir.

Carefully and exquisitely painted is the edge of a stone building with four diamond leaded light windows, and a walled garden with well-kept beds and fruit trees in blossom – appropriate for the month. Some plants are being trained up the back wall – espaliers – and there is a trellis separating parts of the garden.

But the main focus is the engagement with the four main figures in the foreground. Their clothes are rich and colourful, the ultramarine blue of the man on the right offering the engagement ring is particularly striking, especially in contrast to his gloriously plumed red hat! His bride-to-be looks suitably modest as she accepts the ring; she’s wearing a paler blue gown decorated with a regular deeper blue pattern, which so cleverly changes according to the folds lower down as she hitches up the skirt. Behind them are probably her parents, her mother in a rather sombre black dress but with bright red sleeves for contrast, looks as if she is encouraging her daughter to accept, and her father on the left, in a subdued grey gown with gold trim, is supporting his wife. His gown may be sombre but note that extravagant black hat and those red stockings!!

Two women one in a pretty pink dress clinched at the waist with a gold belt, her flaxen hair loose and falling in waves to her waist, wears a circlet of gold roses, on her head, and her companion, with a rather strangely shaped ultramarine blue hat decorated with pearls and a gold medallion, has a deep blue dress and a black and white over-tunic. It looks as if they may be picking flowers perhaps to create bouquets on such an auspicious day.

Yet again the Van Lymborch brothers have created a wonderfully joyful page, full of details and painted exquisitely.

For more Labours of the Month click on these links: July, August, September, October, November, January, February and https://www.patricialovett.com/march-in-the-tres-riches-heures-of-the-duc-de-berry/

King John’s Tomb

King John really hasn’t got a good press, especially compared with his older brother, Richard the Lionheart of Robin Hood fame, John just doesn’t have that same star quality, despite him being the favourite of his father, Henry II. As the youngest son of Henry and Eleanor of Aquitaine, he wasn’t expected to either inherit significant lands – leading to his nickname ‘John Lackland (Jean sans Terre) – nor to become king as he did in 1199.

There are reasons for his unpopularity of course, John lost much of the land ruled by the English in France and raised heavy taxes for military campaigns to try to get it back. And then there is the famous Magna Carta, sealed, not signed, at Runnymead, forced on John by his nobles.

John died of dysentery while on a campaign in eastern England and died in Newark on the night of 18–19 October 1216. His wish was that he should be buried at Worcester Cathedral so that he could be near the shrines of the Anglo-Saxon saints St Oswald and St Wulfstan, and small effigies of the saints appear next to him on the top of his tomb – one of them is just visible by to his head. His complete tomb, looking back down the nave is above.

John’s funeral is depicted here in a later British Library manuscript (Egerton MS 3028, f.6r) where the text also states that John was buried between his two favoured saints. The image, though, doesn’t show the many mounted knights in armour who accompanied John’s coffin to its final resting place.

When John’s tomb was opened they found that some of the textiles had amazingly survived. These fragments are of the fine hose in which he was buried. The fabric is so fine that it’s difficult to know whether they were made from woven material or knitted.

Another piece of fabric is this beautiful embroidered cloth, it shows a lion (the lion of England?), in raised stitches, with gold and silver thread on the head; this was wrapped round John’s body.

And this is the sole of one of his shoes; it’s made of leather and there are clear indications that not only has it been worn – it looks quite rough and the stitching shows wear and tear – but there is even an indentation as the shoe moulded round his feet!

The glorious tiled pavement looks mediæval with its terracotta background and yellow pattern, but they are in fact Victorian and designed by Sir George Gilbert Scott and made by the firm Godwin of Lugwardine, the design being copied from the surviving historical tiles. It does give John’s rather sombre chest tomb a colourful background.

It does seem quite amazing that this historical tomb has survived since 1216 and so, too, the artefacts found within it.

All photographs © Patricia Lovett 2026

March in the Très Riches Heures of the Duc de Berry

This ‘miniature’ (it’s quite big!) for March in the Très Riches Heures of the Duc de Berry is one that was not finished by the Van Lymborch Brothers. It is their original drawing, and they painted a portion of the Château of Lusignan over five years from 1411 to 1416 (no doubt working on many other paintings at the time!), but it was completed by Barthélemy d’Eyck around 1446. The Labours of the Month for March as depicted here are ploughing, pruning vines, sowing seed and grazing sheep.

As an aside: The painting in the Très Riches Heures above by Barthélemy d’Eyck is not of the best and certainly not up to the standard of the Van Lymborch Brothers. This is not because d’Eyck wasn’t competent, as it is thought that he was the Master of the Aix Annunciation and Master of René d’Anjou – the titles alone being evidence of excellence – and this painting on the left shows that he certainly had the highest of standards, so it is likely that this miniature, too, is unfinished by him.

The main figure on the foreground is the ploughman, who certainly does not look happy in his work! His grey outer tunic is frayed at the hem, and has also been patched with a square of red fabric. His stockings too have big holes in the knees. His black hat pulled low over his brow covers a red scarf. The rich ultramarine blue of his under-tunic, though, suggests either a level of wealth not obvious in his other clothing, or a need to introduce this precious pigment perhaps as a balance to the glorious blue of the semi-circle of the heavens at the top. This and the red really do make this figure pop in a rather dull beige area, drawing the eye downwards.

The depiction of the plough is particularly fine with the metal coulter making the vertical cuts clearly shown as well as the mouldboard which lifts and turns the soil. The contrast between the ploughed and non-ploughed field is well marked.

An indication that even d’Eyck didn’t finish this large miniature is shown by the two oxen pulling the plough. They have no heavy collars to attach them to the plough and only the flimsiest of one rein joining them to the ploughman – certainly not enough to control two strong animals.

At the crossroads of the intersection is a carved stone monument. the stepped hexagonal plinth leads to a hexagonal column on which are carved figures, three can be seen. Above that on a carved stone platform are more figures and the pillar is topped by a decorated spire.

The section of figures pruning vines is particularly sketchy and is clearly not completed. There is also a confusing area which at first could be thought to be a figure half-buried using a mattock, but on closer examination the tool is sitting on the ground beside a black hat and a piece of white cloth.

The depiction of the Château of Lusignan is also incomplete, lacking the precision and detail shown in other months of the year. With round towers, one topped by a golden dragon, stout walls and dwellings inside it is very much a castle, but without the finishing touches and finesse of those depicted in other months.

As with all the Labours of the Month, the main image is topped by the precisely drawn shell gold and rich ultramarine blue semicircles of the appropriate signs of the Zodiac, here Pisces is giving way to Aries. Inside the semicircle, the Sun is being pulled by winged horses.

This is a typical tour-de-force of design by the Van Lymborch Broethers, but it is a pity that neither they nor Barthélemy d’Eyck finished it.

For more Labours of the Month click on these links: July, August, September, October, November, January, and February

December in the Très Riches Heures of the Duc de Berry

The ‘Labour’ of the Month for December in the Très Riches Heures of the Duc de Berry is boar hunting as evidenced by this rather gory image of a dead boar lying in its own blood having been hunted by dogs. It is hardly a labour apart from for the huntsmen involved! Three men are really struggling to control the dogs even though the boar is clearly dead.

The huntsman on the right in the miniature is blowing a horn, which is attached to his body by thick leather straps going over his right shoulder; he is supporting the horn in his right hand which is awkwardly twisted round (it would be more natural if it was held with his hand the other way round so that his thumb is the most visible with the tips of his fingers indicating the grip). In his other hand he holds a long spear. The white highlights really do stand out on the horn, and also the single dot as the white of his eye. He is wearing a fur hat, a glorious blue tunic which looks thick and warm and which is pulled in by a black belt, and he also wears a black undershirt with black boots.

Opposite him is a burly fellow with tousled hair and a bushy beard endeavouring to pull a brown dog which is wearing a heavy thick collar away from the boar. He is grabbing it by the ears, and the dog’s expression clearly shows that it is not enjoying the restraint! On the right of this huntsman’s red tunic are straps to leash the dogs. The dog’s teeth and the spittle from its mouth show how fierce these dogs are!

The third figure in this image is another huntsman looking rather disgruntled. He is wearing a blue hat with strips hanging over his shoulders, and his tunic is red and brown with a black and white check band over his shoulder; this tunic is held in with a black belt from which are hanging both his hunting horn and leashes for the dogs. He is holding on to a lead which is wound round his wrist and attached by a blue collar to a large brown dog clearly resisting being pulled away, as can be seen by the acute angle of its back legs and the way in which its collar is being pulled from its neck. Despite his two-coloured tunic his socks with large holes are falling down and his expression is one where he looks as if he wants to get back in the warm!

The dogs look so vicious and I pity the poor boar who mustn’t have had much of a chance with this pack! They are beautifully painted, though, and the way in which they are pulling at the boar is depicted so well – there is a real tension there.

As with many of the images in this manuscripts, one of the Duc de berry’s castles is shown in the distance. This time it’s the Château de Vincennes, its towers stand proud over the canopy of winter trees.

Each month has a semi-circle of the heavens and astrological signs heading the main image, and December is no different. Sagittarius gives way to Capricorn and the sun chariot, drawn by four horses, relentlessly moves across the sky in the centre.

Yet again the incredible and inventive designs of the Van Lymborch Brothers are evident in this richly painted miniature.

For other months please click here for July, August, September, October, November, January, February

January in the Très Riches Heures of the Duc de Berry

Christmas wasn’t really celebrated in historical times as a major festival, that was left to the New Year when gifts were exchanged, this was called the étrenne, and where the Duc de Berry was concerned, gifts were lavish and expensive. The Labour of the month for January in many Books of Hours was feasting and warming by the fire. There are some miniatures where people have taken their shoes off so that the heat from a fire is more effective.

Jean, Duc of Berry, is no different, but it is on a different scale altogether! Here in this magnificent colourful image for January, Three men are serving meat at the Duc’s table laden with food, using large knives to do so.

It has been suggested that the two men with their backs to the viewer are pages as they have white linen napkins, one with his over his shoulder, and the other across his body. They may also be to hand to pass to the Duc de Berry when he has rinsed his hands removing the grease from the meat. One of them is wearing spurs, even indoors, indicating that he is ready at any moment to fight for his master.

The Duc’s table, covered by a large white linen cloth, is laden with food including chickens and suckling pigs on a huge platter; they are carved by the green-tuniced figure almost in the centre of the image. Some of the carved meat is already on the Duc de Berry’s golden plate. Next to him is his finger bowl to rinse his greasy fingers, although they seem remarkably small as they rest on the table in front of him.

Two little lapdogs are standing on the table with their backs to the chickens and suckling pigs. Although they have their own golden plate, it is pretty unlikely, if my experience of dogs is anything to go by, that they would ignore this huge mound of meat!

The Duc’s white greyhound, meanwhile, is lying down on a rush-matting-covered floor waiting patiently for the kneeling man in sombre clothes enlivened with a red scarf to cut some pieces of meat for him.

The other usual activity for January’s Labour of the Month is warming by the fire and it is no different in this image. Although he is wearing thick robes and a fur hat, the Duc is here sitting in front of a roaring fire protected by a woven circular firescreen supported by a central carved light wood pole. The flames from the fire can be seen above this. A rush (?) screen such so close as this to the Duc and the fire doesn’t seem that sensible with the sparks from the fire being thrown out!

Others in this image are wearing fur hats and the two behind the Duc, both shown above and in the enlargement here, are thought to be two of the Van Lymborch Brothers. The one nearest to the Duc is leaning rather familiarly on the back of the Duc’s blue-covered bench. Both are wearing matching grey robes, with the one in front having a fur collar and a dark grey or black red tipped scarf, and the one behind warming his elegant fingers by the fire.

The detail on the woven firescreen can be seen better here, with the radiating ‘spokes’ and carefully woven weft, and the change of pattern nearer the edge.

The 1st of January was also a time for gift giving, and it is possible that the magnificent golden salt cellar, to the right of the image, was one such. It is in the shape of a boat and at one end is a figure of a bear, the Duc’s symbol. Between 1401 and 1416 the Duc commissioned 119 objects, gave 231 gifts, and received 358 gifts from 136 different people – some gift giving, and the gifts were probably more than a pair of socks!!

In this enlargement of the man almost in the centre of the image, the lavishness of the court dress and excellency of skill of the Van Lymborch Brothers is clearly seen. His tunic is lined with brown fur and the thickness of it can be seen in the way that it hangs and the slight bunching above his black belt – although, of course, this could also be due to the generosity of the Duc’s table! A delicate darker green pattern covers his tunic which is shown slashed in two places, and there is a gold chain dangling from an elaborate collar hanging right down to the hem. The grey-blue pattern, fringing and folds are clearly depicted on the linen napkin which is draped over his shoulder.

Similarly, the man next to him has a fur-lined tunic which is slashed but it is light and dark gray in vertical sections this time with a green leaf pattern overall. His wide, rather low slung belt is carefully painted and long tassels hang down from it. Just shown is his dark grey fur-lined cloak folded carefully over one shoulder.

Similar to the other calendar pages in this Book of Hours, this page is topped by a deep blue, ultramarine, semi-circular depiction of the Zodiac at this time with Aquarius the water carrier following Capricorn. The sky is studded with shell gold stars, and, in the centre of the semi-circle, the sun in its winged chariot pulled by four horses relentlessly moves across the sky.

The exceptional skill of the Van Lymborch Brothers results in this tour-de-force which must have delighted their patron, the Duc de Berry, when he opened this book.

Other calendar pages are here: and February November, July, August, September, October and February

February in the Très Riches Heures of the Duc de Berry

December is the month for keeping warm indoors and for cutting wood for fires and taking it into the towns. This is shown for the Labour of the Month in the Très Riches Heures of the Duc de Berry. The scene on the left certainly looks very chilly!

To the right of the miniature a man is stamping his feet in the cold, and his head and upper body are covered with a blanket with his hands raised to his mouth, blowing on them to warm them up. The bee skeps to his right are covered in snow as is the wagon just in front of him.

Just above him the woodcutter is swinging his axe to chop down wood for the fires. It must be warm work as he has tucked his blue tunic into his waistband to show his white underpants. To his left a man and a donkey are taking the wood to the town. Note the snow covered hayrick.

Interestingly, this image of the man and donkey shows sketched lines from the underdrawing and indicate the way in which the Van Lymborch Brothers altered the final painting from that planned as they worked. The donkey is loaded either side with neatly chopped logs.

Outside the mainly white sheep with a few black ones huddle together in a wattle-walled enclosure. The roof is thatched but there is a very obvious hole which would have let in the snow. Outside birds peck at seed left on the ground, and there are bound faggots of wood ready to be put on the fire.

The people who come off best in this image are the three lucky enough to be indoors and sitting in front of a blazing fire. It is painted as though the wall of the building has been removed so we can see the scene. A woman in a glorious blue robe with a black headdress has rather primly raised her dress to her calves revealing a white underskirt. Her companions, a man and a woman sitting on what looks like a blue padded settle, are not quite so delicate – their clothes have been raised to above their knees and it is clear that they have nothing on underneath!

As with all the Labours of the Month in this magnificent book, the scene is topped with a semicircular depiction of the heavens and the appropriate signs of the Zodiac. The sun in its winged charity is painted in shades of blue with a glorious gold sun, and wends its way in the centre of the semicircle; on the outer rim, also with a blue background are the signs of Aquarius, the water carrier, and Pisces, fish swimming in opposite directions tied together forever with a cord.

As with all the miniatures in this glorious book, it is a tour-de-force. Anyone looking at the picture would feel the chill and extreme cold in this snow scene and the figures illustrate clearly the Labours for December from those working outside and being cold to those inside and enjoying the heat.

For other Labours of the Month from this book click for November, July, August, September, and October

Patricia Lovett MBE

Calligraphy | Illumination | Design