Illuminations. The fifteenth-century illuminate manuscript as art form. It was an art, as Poussin said, that appealed to the pleasures of intelligence; pleasures which are above all others. As opposed to frivolous art for amusement.   Philippe de Mazerolles – a Parisian miniaturist who worked as court painter to Duke Charles the Bold in Bruges beginning about 1465 – but rather a group of artists working in his shadow in the 1470s

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( see link at end) …His valet de chambre and illuminator, Philippe de Mazerolles, was paid for both the script and the illumination. One volume, called “the original” was embellished with a large and expensive miniature and a fine box to house the appended seal of Charles. The present volume has been identified as that volume and thereby as Charles’s own copy of the ordinances. Moreover, its miniature has been considered by de Schryver to be a documented work of the illuminator Philippe de Mazerolles. It is clear, however, that several different hands were responsible for both the writing and the illumination of the six surviving copies; thus Mazerolles was clearly paid for work undertaken by others.Read More:

…Many illuminated mss. of the later 15th and i6th centuries surpass in wealth of pictures and magnificent embellishment, even the works from the time of the duke of Berry. Their place is finally taken in the i6th century by black and white. The splendid miniatures of the 15th and i6th centuries are, like those of the preceding period, chiefly destined for princes and great courtiers. Three large centers of production are prominent : Flanders (Ghent, Bruges) ; France (Paris, Tours) ; Italy (Florence, Ferrara, etc.). Illumination in this period acknowledged no restriction on its choice of subject. The Books of Hours, indeed, still played an important part, but, besides these, there were profane manuscripts of an incredible variety, among which the Chronicles on the one hand, and the Romances on the other, are prominent….

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Flanders.—In the generation following the van Eycks it can only rarely be proved that painters on panel had a hand in illumi nation. We know a number of miniaturists from their works or from documents, e.g., Jean le Tavernier, Willem Vrelant, Loyset Lyedet, Philippe de Mazerolles, the Bening family. About the middle of the i6th century the activity of the Flemish scriptoria seems to have died out. It is important to note Simon Marmion, unsurpassed in landscape (Book of Hours, British Museum Add. 38,126). A master belonging to the circle of Roger von der Weyden is called after the Romance of Girart de Roussillon, Jean le Tavernier, who adorned the Conquetes de Charlemagne executed for Philip the Good (Vienna, Staatsbibl. 2,549).Read More:

---During World War II the four volumes of the manuscript were moved to Berlin, where they still reside today. The style of miniatures and decoration varies considerably from one volume to the next, indicating several stages in the execution of the set. The miniatures of Book I are mostly attributed to the workshop of Loyset Liédet, whereas the decoration of Book IV has been connected with various artists such as Liévin van Lathem, Philippe de Mazerolles and the Master of the Golden Fleece---Read More:


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