The Maître François dominated Parisian manuscript production during two decades of the fifteenth century between c. 1460 and 1480. He is identified in a document by Robert Gaguin dated 1473 (“peintre François”) as responsible for a manuscript of St. Augustine’s City of God (Paris, BnF, MS fr. 18).

Hours of Pierre de Bièvre for Paris use, France, Paris, c. 1470-80 (Private Collection, f. 47).

This manuscript is the second half of its former whole; the first part is in the British Library (Add. MS 36,684).

Hours for St.-Omer and Hospitallers use, France, probably Thérouanne, c. 1320s (New York, The Pierpont Morgan Library, MS M.754, f. 59v).

This manuscript was illuminated by Rouen artists who followed in the steps of Master of the Échevinage de Rouen, an illuminator named after a group of chronicles made for the municipal patrons, known as the échevins, of Rouen. The artist must have had an enormously efficient workshop. He created models for the standard illustrations for a typical Book of Hours and hired assistants for their ability to paint in his style. The quality of the shop's production is consistent and high during the twenty-five years of the artist's activity. This manuscript has a palette and models based on the earlier style.

Hours for Rouen use, France, Rouen, c. 1500 (New York, The Pierpont Morgan Library, MS H.1, f. 17r).

The anonymous painter is an artist whose style depends mainly upon that of Willem Vrelant, one of the dominant illuminators working in Bruges from the late 1450s until his death in 1481. As in the work of Vrelant, figures in angular drapery move somewhat stiffly in shallowly defined spaces. The men's flat faces are dominated by large noses.

“Black Hours” for Rome use, Belgium, Bruges, c. 1470 (New York, The Pierpont Morgan Library, MS M.493, ff. 18v-19r).

This book is one of only three known vellum copies of the “Grandes Heures Royales” published under the patronage of King Charles VIII of France. The Horae produced by Antoine Vérard, known as the “father of the French illustrated book,” are known for their beauty. This particular edition is remarkable for its multitudinous marginal illustrations, large format, and special texts. The last include prayers composed or translated by the French humanist Guillaume Tardif, Charles VIII's former tutor. This copy has been associated with Louis d'Orléans (later Louis XII), whose arms appear in the book but they have been painted over those of the original owner.

“Grandes Heures Royales” for Paris use, France, Paris, after 20 August 1490 (almanac 1488-1508), printed by Antoine Vérard (New York, The Pierpont Morgan Library, PML 127725 [ChL 1523B], f. a5r).

The hand of the Netherlandish illuminator called the Master of Morgan 453 can be found in two other Morgan Books of Hours: the eponymous M.453 and M.1004. Like the latter, this manuscript is an early work, when he was collaborating with the Boucicaut Master (who, with assistants, painted much of this manuscript) before establishing a workshop of his own. This Horae received its charming nickname, the “Strawberry Hours,” from Beatrice Bishop Berle's children, who christened it after the fruit in the borders. Mrs. Berle donated the book to the Morgan Library in 1982.

“Strawberry Hours” for Paris use, France, Paris, c. 1420 (New York, The Pierpont Morgan Library, MS M.1000, f. 151v).

By the most prolific forger of all time, whose one-man show took place at the Morgan Library in 1978, this manuscript reminds us that the nineteenth century used medieval illumination to bolster national identity and to champion legitimist claims. The Spanish Forger typically used original medieval manuscripts, as in this case, to which he added his curious and highly inventive pictures.

Hours for Tournai use, Low Countries, Tournai, c. 1450; France, likely Paris, c. 1890 (Private Collection, f. 12).