Author Archives: Patricia

September in The Très Riches Heures of the Duc de Berry

September is the month for harvesting fruit, and this is shown as the Labour of the Month in The Très Riches Heures of the Duc de Berry. Here workers are bending over picking grapes from vines and loading them on to barrels on a cart drawn by oxen on the right of the picture, and on to a donkey with panniers in the middle, both to be taken to the press. As always the scene is set with a brilliant ultramarine sky and topped by an arch showing the appropriate signs of the Zodiac.

As would be expected at this time of the year, the Zodiac signs are Virgo followed by Libra, encircling the sun in its wingèd chariot rolling ever onwards. Two shades of ultramarine have been used – a paler one for Virgo and a darker one for Libra, and the signs are painted painted subtly in similar colours highlighted with gold, but are still easily visible. The semi-circles are inscribed by shell gold lines drawn with compasses, and these are divided into smaller sections such as days and phases of the moon.

Château de Samour
© 2025 Patricia Lovett MBE

In each calendar page the Van Lymborch Brothers depict a castle, château or palace owned by the Duc de Berry and this page is no exception. The building shown is the Château de Saumur in the Loire Valley. It seems as if the architect has had a field day on turrets, towers and chimneys as these totally dominate the skyline. There are also crenelations under and on top of many of the towers adding to the decoration of the building. The access to the Château is by a high bridge, separated from the building itself by a wooden drawbridge for defence, which can be easily raised if the building is attacked.

Harvesting grapes
© 2025 Patricia Lovett MBE

In the foreground workers are busy bending over to harvest grapes – it is interesting that the vines are so low requiring such stooping; not being a viticulture specialist, this may have been the way of growing grapes at the time and it was only later when the vines were trained on wires. Two of them are standing up, a woman, who looks pregnant, is adjusting her headgear which has a long length of cloth trailing down her back, and the other, looking rather young, is eating probably a bunch of grapes. The donkey with almost full panniers is waiting patiently for more bunches to be loaded on to his back.

Grapes loaded into barrels on a cart drawn by oxen are being taken off to the winery
© 2025 Patricia Lovett MBE

On the right of the image, grapes are harvested by one man bending over. He’s wearing jaunty blue socks and a short brown tunic – it’s a good thing he’s also wearing white pants! Oxen are waiting patiently ready to pull the cart of grapes loaded into barrels off to be made into wine.

September in The Très Riches Heures
© 2025 Patricia Lovett MBE

As with every image in The Très Riches Heures painted by the Van Lymborch Brothers, the imagination in design, exquisite execution at such a small scale and exuberance is wonderful and truly admirable (yes, and enviable!).

For The King on the Occasion of the Coronation

It’s not often that you’re asked to carry out a commission for The King to be presented to mark His Majesty’s Coronation, and it was such a privilege to be asked to do so. It was also a special privilege to be able to propose texts rather than this being prescribed. At the time of this request I was looking into suitable extracts for my latest book ‘The Art of the Scribe’ (published Spring 2025), and this quotation from Shakespeare – John of Gaunt’s speech from ‘Richard II’ seemed most apt. Starting with the phrase ‘This royal throne of kings …’ and with other appropriate regal references in the speech as well – it matched the occasion. (Admittedly, John of Gaunt is lamenting the decline of the realm under Richard II, but that section wasn’t included!)

Such a piece needed a lot of thought and preparation and I was keen to ensure that as many pertinent references were made. First, of course, it had to be on stretched vellum, and a beautiful skin was selected by William Cowley – the most perfect ivory-white. Then, without question, it had to be in gold – yellow shell gold – and with pure leaf gold on gesso as part of the composition. I tried it in my go-to Italic script and wrote out the whole passage as here.

This, though, was too ‘blocky’, and, on re-reading, it seemed that the speech was reaching a crescendo at ‘This blessed plot, this earth, this realm, this England’ (you can almost hear the actor’s voice rising in volume until the last two words are almost shouted). But writing each phrase on a separate line broke up the design too much.

In the end I decided to write the four phrases in two lines, with ‘this England’ in capital letters. This seemed to work better. However, for this piece italic just didn’t seem right, so I went back to a script developed during the reign of another King Charles, actually a Holy Roman Emperor, that of Caroline Minuscule used in many manuscripts during the time of Charlemagne in the ninth century. But how would it look written in gold? I tried out the first line on an offcut of the vellum being used and it seemed to be just right.

The gesso crown was rather tricky as it was so small (about 1·5 cm) and only a nodding representation could be made to the pearls atop the arches of the crown, and the fleur-de-lis and crosses patey which rise from the gold rim. The different shine on this part of the piece echoed but also contrasted that of the shell gold.

It was framed in Sandringham oak – wood saved from an ancient oak tree in the parkland which would have resonated with His Majesty for whom, we know, it is a very special place. The letter received back by Gallyon indicated that King ‘was touched to receive this beautiful piece of commemorative art’. And I felt that it was a real honour to have been asked complete it.

St Paul’s Church, Covent Garden – the Actors’ Church

Many visiting Covent Garden have little idea that there is a church behind the magnificent portico, in front of which conjurors, acrobats and magicians impress the audience and, hopefully, pay for what they see.

This portico is part of the grand plan of the Earl of Bedford, Francis Russell, who was laying out a large piazza in this part of Covent Garden. As can be seen here, the Church sits well with the arched columns on the north side of the piazza, and paths laid out behind a railed fence in a huge area of gardens. The church itself was built between 1631–33.

However, this grand entrance isn’t used; the access to the church from the piazza is via two arched entrances either side of the portico (they can be in the first image) and then round the sides of the church to the west entrance. The reason for it not being the main entrance is that the church faces east and this is the direction that it is thought the congregation should face – towards Jerusalem and where Jesus lived. No exception was made by the Bishop of London at the time, Bishop Laud (1573–1645) and so the ‘entrance’, which has never been used, is behind the high altar. The church is large, 50 by 100 feet and 38 feet high.

It is called, and is, the Actors’ Church because Charles II, on the Restoration, licensed two ‘Patent’ theatres – the Theatre Royal in Drury Lane, and the Royal Opera House at the other end of the piazza to the church, both within the church’s parish. Inside are many plaques commemorating significant actors. Here are some of them.

The pulpit is particularly splendid and is thought to be by Grinling Gibbons or by one of his pupils. The famous, and unbelievably talented wood carver attended the church for decades.

Also in the church is the Aubrey Leyborne Theatre, a model theatre that was built in 1928 to show how theatres work. It shows scenery, flats and the rigging system to move the flats up and down.

Outside the west front is an oasis of calm. The graveyard, now a beautiful garden, provides respite for those who want to site and contemplate. When visiting Covent Garden, why not spend a bit of time behind that portico of entertainers and enjoy the tranquil and calm of the Actors’ Church, St Paul’s, Covent Garden?

August in The Très Riches Heures of the Duc de Berry

August is the month for hawking in the Très Riches Heures of the Duc de Berry, painted and illuminated by the Van Lymborch Brothers. A party of five, three women and two men, are mounted on three horses setting out to do just that. Two of the women are riding side saddle behind men, and the third woman, the most richly attired, is riding side saddle on the most sumptuously decorated horse. Behind them, very much in the background, are people swimming and others stacking the corn into sheaves ready to be carried on a cart by two oxen, one black and one brown.

Ultramarine blue semi-circles top the main image with the appropriate signs of the Zodiac for August, Leo and Virgo, they are surrounded by a sprinkling of stars. In the innermost section of the semi circle is the relentless sun charting its way across the sky in a chariot. Semi-circles of shell gold, polished to a brilliant shine, also adorn the image. It is clear that all the semi-circles were constructed with compasses.

The castle in the background is the Château d’Étampes, near Paris. The Van Lymborch Brothers included a number of the Duc de Berry’s castles and châteaux in their paintings and this one looks particularly splendid with its high main square tower, five smaller towers, three of them with turrets, and a high encircling wall.

In the river below the castle, the Van Lymborch Brothers have shown people enjoying themselves swimming and splashing around in the water.

A man in a white long-sleeved shirt has an over tunic of grey with the skirt slashed high on his thighs. He is wearing a straw hat and a thick glove to protect his hand from the two hawks sitting on his arm. His very long pole drags behind him on the ground and he is stylishly wearing one long red sock and one black one. It’s clearly hot as he has no leg covering above the knee.

The most richly dressed woman has a cloak of glorious ultramarine lined with white fur (in this weather?) which drapes low over her and the body of white horse. The cloak has a circlet of gold decorated with circles and two long braids of gold which are attached to the cloak but extend way beyond it and the horse. These are painted in shell gold and the fine detail is amazing with such a tricky medium. The bridle, headband and straps on the horse are also in the most expensive pigment of ultramarine and again with shell gold painted patterns. The saddle cloth is in cinnabar (vermilion) also a very expensive pigment, and again with shell gold decoration.

Enlargements of the decorations show the fine detail of the decorations and the white fur peeping out from the slashed hem and cuff of the cloak:

One of the other women is wearing a black dress with red sleeves, and what looks like gold kid gloves. Her contrived linen headpiece will at least keep her face shaded from the sun but it must have been a bit tricky to wear and keep on! She is behind a man in a pale blue cloak decorated with a silver pattern and a shirt with a wide white lace collar. He is wearing a stylish straw hat.

It is difficult to show in these images how small the pages of the book are and thus the paintings. The Van Lymborch Brothers were incredibly skilled working with such fine detail as such a small scale.

The Duc de Berry and the Très Riches Heures

The Duc de Berry really must have been someone to know in the fifteenth century, with his lands, castles, and an unerring eye for quality, craftsmanship and fabulous objects. He described himself as the son, brother and uncle of a king, and lived to the ripe old age of 76.

The Très Riches Heures of the Duc de Berry is a case in point as regards his recognition for exquisite skill and his support for artisans. He is painted here in the manuscript by the artists Herman, Paul and Johan – the Van Lymborch Brothers (previously Limbourg). Note the Duc’s well-dressed servants waiting at his table with one of them just about to carve chickens, his steward holds his stick of office and is calling people forward, and on the Duc’s table is a salt cellar in the form of a magnificent gold galleon with a gold bear at one end – one of the Duc’s symbols.

This close up of the Duc shows him wearing a thick fur hat with each hair painted individually and precisely, his plush deep ultramarine blue brocade robe has gold embroidery and decoration. It is lined with fur, very luxurious and it looks very thick and heavy; the fur also peeps out at his neck and forms cuffs on each wrist. He does, though, have surprisingly small hands. The Duc wears a thick gold collar from which hangs a medallion, and his two little lap dogs are on the table enjoying food from one of the gold plates.

The effigy on the Duc de Berry’s tomb shows a remarkable resemblance to his portrait in the Très Riches Heures with his downturned mouth and double chin. He is wearing here an elaborate headdress of what looks like a circlet of pearls or small silver balls, and large square cut and rounded gems all neatly held in place with clasps.

It is easier to see his coronet in this photograph. They are very large stones!

The Duc is wearing robes of regal ermine, with the black tips of the tails pushed through slits in the white fur and represented here by black curving shapes. At first it looks as if these were painted on the marble but in fact each one of black stone has been inset to the white marble with the greatest precision.

The Duc was very fond, and proud, of his castles and homes, and the Van Lymborch Brothers were very clever and inventive in incorporating them into their paintings in the manuscript. Here is a map of his châteaux and palaces linked to the various paintings in the miniatures.

It is difficult to appreciate the small size of many of the paintings by the Van Lymborch Brothers. This of the Zodiac Man is about the size of a quarto sheet of paper, and the detail is incredible.

Different parts of the body relate to the various Zodiac signs. This enlargement shows the partial bull of Taurus behind his neck, Cancer at the throat, Leo on his chest, and one of the Gemini twins peeping out from behind his arm. The head and blue robe of Virgo is just visible.

In some of the miniatures in the Très Riches Heures treasures belonging to the Duc de Berry are depicted such as this magnificent bejewelled gold cross, studded with exquisite pearls, rubies and sapphires.

And here is a very similar one painted in the Heures:

The stand out stars of the manuscript for many are the calendar pages, each double spread showing a full page miniature of the labours of the month, and on the opposite page the important religious festivals and saints’ day so they could be celebrated by the owner of the book in their own home, One after another they form a visual feast! Books of Hours being produced for lay people. Here is the one for April, the month for weddings, and indeed one is depicted here. In the semicircle at the top the ram of Aries is followed by the bull of Taurus.

There will be more posts on this book in due course. Meanwhile, here is the one for the calendar month of July.

July from the Très Riches Heures of the Duc de Berry

The Très Riches Heures of the Duc de Berry is an absolutely masterpiece. Created by the Van Lymborch Brothers (previously Limbourg), Herman, Paul and Johan, they consist of page after page of the most magnificent and exquisite paintings. This post focuses on the calendar page for July; there are other blogposts on this website.

July is the month for harvesting wheat and shearing sheep. Two men towards the lower half of the miniature are cutting wheat with sickles, and, as they do, the blue and red flowers are being revealed. At the bottom right a woman in a blue dress and a man are shearing sheep. This particular painting is interesting because the angles of the château in the upper part of the image are reflected in the diagonal stream and the edges of the field. The mountains left and right at the top echo the shapes and draw the eye down and into the page.

The detail in the sheep shearing scene can be seen in this enlargement. Both shearers are using large shears which are operated not from handles through which thumb and fingers go, but by pressing on the blades themselves held open by a circular spring. The wool coming off the sheep being sheared by the man is shown falling on to the ground where it is in a large pile. He is wearing a fashionable bucket hat with a piece of pink fabric hanging down to protect his neck from the sun, but his clothes are rather worn and ragged, the sleeves are frayed and the knees of his breeches are worn away. The woman has a glorious deep blue dress which looks in better repair, and a black hood again for protection from the sun. Relieved of their thick wool coats, the sheep are grazing peacefully.

The other workers in this miniature are the reapers the other side of a small reed-lined stream. One of them has succumbed to the heat and is wearing just a white shirt and underwear; his partner’s tunic is split up to his thigh. Both are wearing straw hats to protect them from the bright sun.

The Duc de Berry was very fond of his castles, palaces and châteaux, and the Van Lymborch Brothers often incorporated them in miniatures in his books. This is a depiction of the Château de Poitiers, an unusual triangular- shaped building with a raised wooden walkway on stone supports providing the entranceway over the moat.

This is shown in greater detail in this enlargement. It is not quite of a high enough resolution to make out the precise strokes used by the brothers to show the curve of the tower and turrets, the covered wooden walkway, and the steeply gabled windows in the roof.

At the top of each calendar miniature are Zodiac signs for that month, here Cancer the crab followed by Leo the lion are set in a dark blue sky with golden stars. The sun, stars and semi-circular lines and divisions are in shell gold which is applied with great precision. There will be other posts on the calendar months on this website.

Here is more on the Très Riches Heures and the Duc de Berry.

Glitterati of 2025

Another group of budding illuminators gathered in mid-May 2025 for this year’s Illumination course at Sevenoaks in Kent. In 2024 half were from overseas but this year they were all from the UK – it varies every year which makes it always very interesting. The day before everything was ready and the rooms set up; most of the tools needed were in the pink boxes – those who’ve been on my courses will be familiar with the wet and dry boxes – and the rest were carefully arranged around individual work stations! It takes quite a bit of time to prepare for the course, not just what is required for the course itself of course, but we also provide a light lunch of homemade soup, bread and dessert, as well as homemade biscuits and cake during each day – these being a very necessary sugar hit to keep us going!

It is a very full first day! Gesso is made, laid and gilded, quills are cut, vellum prepared for painting, and two miniatures prepared for gilding. Both images are transferred to vellum using home made Armenian bole paper – everyone gets to take home their own piece for future use.

The practice miniature is done first with a modern adhesive used to attach the gold.

Gesso is applied to the main miniature with a quill that each person on the course has cut themselves from a swan’s feather.

Then leaf gold is applied to the gesso and polished to a shine with a burnisher; after this the gold is cleaned up.

Finally the painting is done using the wonderful jewel colours as in the original being copied and applied with a very fine Kolinsky sable brush.

We learned many things on the course, not least that gesso needs to be thick enough to allow for scraping down to achieve a smooth surface, and that modern adhesive needs to be applied either quickly over the whole surface, or in tiny tiny strokes.

These are the results with comments by those on the course. The comments don’t necessarily match the miniatures.

I would do it again! Highly recommended course with an excellent tutor and lovely people.

Great explanations, very enjoyable and approachable for all questions. Great course! Perfect amount of time (longer would have been lovely too). Immersive and very educational!

Thank you for your clear explanations and demonstrations. The course is perfect for providing an introduction to illumination and painting. It has given me the motivation to continue with this.

I enjoyed the additional information as well as the essentials – all very well explained. It was wonderful; could have done five days.

Brilliant; thank you. I cannot believe how well my miniature turned out.

Excellent, clear description and explanation of materials, techniques and tools. Brilliant – pure and simple.

Such an interesting and engaging experience, thoroughly enjoyable and I felt I learned a great deal that will be put into practice at home. Patricia was unfailingly patient and good humoured, like being with a lovely family. Thank you!

Lovely, informative, very interesting and fun. Great!

‘Illumino: a History of Mediæval Britain in Twelve Illuminated Manuscripts’ by Michelle Brown

Michelle Brown is a prolific author having written many books, but, having read most of them, I can say that every single book she produced is well worth reading. She is able to share her knowledge in the most user-friendly way, and her latest book ‘Illumin: a History of Mediæval Britain in Twelve Manuscripts’ is a case in point. It is slightly a misnomer though because it suggests that the book is about only those twelve manuscripts when in fact it covers so much more. It is a whirlwind tour of the history of Britain during that period including what was going on socially, the battles and wars, kings and queens, and all providing a backdrop and an introduction to not only the selected twelve manuscripts but so many more. I marked pages that I wanted to go back to look at and study again with coloured stickers – it is clear from the photograph how fascinating I found the book!

The books are: the Lindisfarne Gospels (as here), the Book of Cerne, Lives of St Cuthbert, Queen Emma’s Enconium, the St Albans Psalter, Topographia Hibernia, Chronica Majora, the Holkham Bible, the Luttrell Psalter, the Sherborne Missal, the Dictes and Sayings of Philosophers, and the Psalter of Henry VIII.

A number of these books have been studied before by Michelle with excellent publications as a result, but here each one is approached within the context of the events surrounding its production. As an example the chapter on the St Albans Psalter, shown here, picks up the death of Henry I’s son and heir with the ensuing civil war, Henry II’s quarrel with Thomas Becket and the latter’s murder, the Crusades, the influence of Arabic knowledge on the West, learning and teaching in Paris, glossed and the huge twelfth-century bibles, the Psalter itself and the life of Christina of Markyate, the Bury Bible and Master Hugo, sagas, romances and the Arthurian legend, Eleanor of Aquitaine, Marie of France, and even more. If this list suggests just that, a list, a name check of the long twelfth century then you would be much mistaken, the text is presented in not only an informative but also the most readable way, and it really is a page turner.

The last chapter on the King’s Psalter, the psalter for Henry VIII not only focuses on the manuscript itself, shown here, and Henry’s own handwriting in it, but emphasises the importance of this book and the significance with which Henry regarded it both in terms of his own behaviour as king and him regarding himself as being similar in many ways to King David in the Psalms, but also his relationship to Anne Boleyn.

The book ends with the first exhibition of manuscripts at the Burlington Arts Club in London, arranged by Sir Sydney Cockerell (his wife, Florence Kate Kingsford had trained with the great calligrapher Edward Johnston), and is brought up to date with a consideration of the ways in which manuscripts have inspired calligrapher, illuminators, letter designers and even how they have influenced modern technology in tablet design.

I do have one criticism, however, which is that the illustrations in the review copy I was sent are in black and white only. With over 100 of them, it is not surprising that costs had to be kept down, but one of the most important joys of manuscripts is their glorious colours and brilliant gold. This should not, though, detract from a wonderful book, very highly recommended.

‘The Art of the Scribe’

‘The Art of the Scribe’ is the latest book published by the British Library in Spring 2025. It focuses on the scripts and the illumination and decoration used in the seven major periods of mediæval and Renaissance book production. Each of the seven chapters includes information about manuscripts of those times, what they were, who they were produced by – the scribes and illuminators – and the people associated with the books. There is also a detailed second section on tools, materials and techniques for calligraphy (including analysing texts, spacing of letters, words and lines, layouts, and serifs), illumination, painting, and simple book binding.

For each of the seven writing styles there are clear exemplar letters with guides for writing each one – here are Uncials as in the St Cuthbert Gospel in the British Library. Both the alphabet is shown as well as the letters arranged in families that have similar strokes – this makes learning and practising the letters much quicker.

Illustrations are large, often taking up the whole page as here – a page from one of the huge bibles produced at the monastery of St Martin, Tours, in France. The script is Caroline Minuscule and is a lovely dancing script, very legible, and wonderful to write.

At the end of each of the seven chapters are three graded projects – foundation, intermediate and advanced. This is a favourite from Caroline Minuscule – a zig zag or concertina book using text from Dorothy Wordsworth’s ‘Grasmere Journal’ describing the walk when the ‘host of golden daffodils’ was seen. The illustration along the bottom matches the text, with a few daffodils to start with and then more and more.

The second section consists of a comprehensive consideration of materials, tools and techniques; for tools and materials – what is needed, how to use them and how to take care of them. The pages here are how to mix gouache for ink and paint and how to mix repeat colours.

This double spread is about vellum, how it’s made, types of skin – vellum and parchment – and the differences in thickness in the skin which affects the final result in use.

Included in the section on tools is a section on quills, quill curing and quill cutting – all clearly illustrated with excellent photographs by the British Library photographer, Jonathan Vine, and with step-by-step instructions. Just visible on the left are the final steps for laying gesso, adding gold leaf (illumination) and painting a mediæval miniature.

Here is a sneaky peek inside the book showing the seven chapters – Uncial, Caroline Minuscule, English Caroline Minuscule, Gothic Textura (Black Letter), Bâtarde, Humanistic Minuscule and Italic – and also the second section of detailed information.

‘The Art of the Scribe’ is available from the British Library bookshop, and I have a limited number of copies for sale where I am happy to write in a name calligraphically; contact me through this website for this and for the cost of p+p (it is a heavy book, so that isn’t cheap!).

Stanford University Calligraphy Collection – Mary Noble

Everyone associated with the Stanford University Calligraphy Collection was delighted when UK Calligrapher, Mary Noble, donated three of her artworks to the growing Collection. Mary is a calligrapher at the top of her game and specialises in innovative lettering as well as beautifully written brush lettering as shown here with ‘Et Semel …’, a Latin quotation written by Horace.

Mary’s thoughts behind producing this piece were: ‘My love affair with Rustics drew me to seek an appropriate Latin quotation that would feature all my favourite letters! As I had recently witnessed words said then regretted, this quote was perfect. The pencil translation is in Rustics-inspired letterform focusing on the strong diagonals.’

Mary’s writing can also be free and expressive as here in this quotation by John Muir. Using a ruling pen and a pointed nib, the word ‘Wilderness’, as Mary writes, required a very free form to the lettering.

She says about this piece: ‘John Muir’s outlook on life and all living things always encourages hope, and at more than a century after his death they are potent reminders of what we may lose. the word ‘wilderness’ demanded free interpretation, grounded by the contrasted line of text. The gold is to hint at secrets to be enjoyed in nature.’

Mary’s third piece – ‘What do you do for your soul?’ – shows a different approach again. Using her favoured brushes, and this time with a lead pencil as well, Mary writes that she enjoyed making every letter!

‘I was posed this question some years ago by Sue Cavendish, who was quoting a past friend in the calligraphy world. It gave me pause to think, and to enlarge the thought with the later-found proverb – ‘the desire accomplished is sweet to the soul’. Assembling this composition was my response to the question, as I enjoyed making every letter.’

We are all delighted that we have such excellent and different work from a truly inspiring calligrapher and are pleased that her work is represented in this most prestigious Collection which goes from strength to strength.