Close Up: Bourdichon’s Painted Prayers Gallery Guide

Saint John the Evangelist on Patmos

Seated before a bound manuscript with pen and pointer in hand, the apostle John gazes up to the heavens for inspiration. The seascape beyond situates him on the island of Patmos, where he wrote the book of Revelation, which describes a series of apocalyptic images.

Object Description

This illuminated manuscript page from the Book of Hours is painted to resemble an altar within which is placed a bucolic scene of Saint John the Evangelist on the island of Patmos, Greece. The altar has a flat, tiered base with four square columns separated by framed areas of purple and red and a flat shelf on top. A rectangular section containing Latin text is placed in front of the base. Within this section is a framed uppercase letter "I", in gold, over a blue and red background. Standing on each side of the shelf is a green circular column with a gold base and capital. Resting on the columns, the flat top of the altar is painted gold and green. Square columns that are set back and connected with a scalloped arch frame the scene. In the foreground, the haloed figure of Saint John sits on a grassy knoll, with an open book resting in his lap. He steadies the book with his left hand and holds a writing quill in his right hand. His head is tilted slightly back and his gaze is upward. He has pale skin and golden hair flowing back off his forehead and down his back. He wears a burgundy gown with gold trim on the collar and cuffs and a purple robe with gold trim along the edge on his left arm and shoulder. The robe drapes off his left arm and shoulder, and then gathers at the waist and covers his legs. In the background is the sea with images of figures in boats, large rock formations, and likely another island in the distance. A ray of gold shoots down from the scalloped arch toward the haloed figure.

Saint Matthew

The apostle Matthew copies from an open book held by an angel, who symbolizes the ancestors of Christ and with whom the apostle begins his Gospel, or account of Jesus’s life and teachings.

Object Description

St. Matthew appears as a haloed, light-skinned male who is seated facing our right in a high backed carved wooden chair with a wooden desk in front of him. He is dressed in a royal blue robe with gold highlights and has a brown shawl over his left shoulder and arm. He has a white beard, long curly white hair with a receding hairline and large nose. He is gazing down at the book that is open on the desk. He is writing in black ink using a white pen in his right hand. He other hand rests beside the book, which has a red cover and gold gilt-edged pages. To our right is a haloed light-skinned blonde haired angel, which is the symbol for St. Matthew. The angel wears a pale pink robe and holds a book open for St. Matthew, as if he were copying the text. This image is framed with gold and red lines. This image of St. Matthew has Latin text in red ink above and greenish text below and to the right of it. The first letter of the paragraph is a large drop cap of the letter “I” in gold with a blue and red background and outlined in gold and red. This page is in excellent condition.

Saint Luke

Seated at his desk, the apostle Luke pens his Gospel with one hand while keeping his place with a pointer. The ox — Luke’s emblem — was sacrificed in the Temple and likely evokes Christ’s sacrifice on the Cross as related by his Gospel.

Object Description

This work on paper is a page from an illuminated manuscript. A square illustration double bordered with red ink and a thin gold band the left side of the landscape-oriented sheet of paper. A title and passage of Latin text wraps around the illustration, occupying the right side of the sheet. The painting illustrates a middle-aged man with light skin seated at a small rectangular wooden desk writing on a page of an open book. He sits in a high backed, brown, wooden chair carved with geometric motifs. His head is surrounded with a thin gold halo. He wears Christian religious vestments including a cranberry red tunic with gold trim on the sleeves and a short purple cape (mozetta) with gold trim. The cape falls over his shoulders and extends up loosely covering his neck. He has a wispy beard and mustache and shoulder length, light brown hair that is thin on the top of his head. His face is full with a prominent straight nose and a thin upper lip. He holds a stylus in his left hand and a quill in his right and seems to be using them simultaneously to mark the page of two column text. Other writing tools, including a round brass inkwell, lie on the surface of the desk to the left of the book. On the viewer’s far right, the head of a cow with short curved horns and large brown eyes looks at the open book. A small round recessed widow on the viewer’s upper right lets in filtered light. The title, written in red ink above the illustration, says Secundum Lucam. The first illuminated initial of the text is the letter "I" in gold with a blue decorative background. The tarnished gold Latin text reads: In illo tepore miffuse ga briel angelus adeo inciui tatem galilee cui nome na gareth: ad v jinem defponfata viro cui no.

Saint Anne

Mother of the Virgin Mary, Anne holds an open book for her daughter’s prayers. Anne’s role as Mary’s teacher would have appealed to parents, who used books of hours as primers for children.

Object Description

This illuminated manuscript page from the Book of Hours includes a square illustration of Saint Anne and three young female saints. The image is placed on the viewer’s left side of the page; Latin text runs above, to the side, and below it. Thin gold and red borders frame the illustration. Saint Anne sits in a high-backed, carved wooden chair, holding an open book with both hands. She wears a white fringed neck and head coverings decorated with bands of blue trim, a red gown with gold trim on the cuffs, and a purple robe with gold trim along the edge. Her head is tilted slightly to our right and her gaze is cast down toward the open pages. She has rosy cheeks and her pink lips form a gentle smile. Saint Anne’s halo abuts the top of the frame. In front of her and to the viewer's right is the haloed figure of young Mary standing in profile. Mary’s golden hair is pulled back and flows down her back. She wears a blue, long-sleeved gown trimmed with gold along the neck and cuffs. Her hands are held in a prayer position against the book pages and her gaze is downward. The other two haloed figures stand to Anne’s left, behind Mary. The one to the viewer’s left gazes toward the book and the one to the viewer’s right seems to stare out in space. Both wear gold-trimmed mauve gowns, with their hair pulled back off their faces. The Latin writing around the page is written in red and gold ink. The first letter that is illuminated is a "C" in gold on a red and blue background.

Saint Bernard and the Devil

Bernard faces down the Devil with a book in one hand. Locked in a dispute, the saint eventually triumphed with an overwhelming display of piety.

Object Description

This work on paper is a page from an illuminated manuscript. Occupying the left side of the landscape-oriented sheet of paper is a square illustration that is double bordered with red ink and a thin gold band. A title in red ink and a passage of Latin text in tarnished gold wraps around the illustration, occupying the right side of the sheet. To the left of the title is an illuminated "C". The painting shows a light-skinned man holding an open book in the crook of his left arm. His right forearm is raised, bent at the elbow, possibly forming the sign of the Christian blessing (fingers together and extended with the thumb tucked into his palm). He has a thin gold halo surrounding his head and tonsured hair. He wears Christian religious vestments including a white cassock and black alba under a short, shoulder length, black cape with an unused hood. He stands at the far left of the scene. His dark shadow plays on the plain, pink-grey wall behind him. There is a small, irregular splotch of bright blue ink at the upper center of the square illustration. Under it, to the right side of the composition, a chimeric creature with large bat-like purple and gold wings stands with arms crossed looking up at the man next to him. The creature is slightly shorter and thinner than the man. The creature has a human-like body with turquoise colored legs, a long thin tail and a gold torso. His red and gold head has short curved horns protruding from the top of his forehead. His entire body is covered with short, stubbly, gold fur or hair. His nose is bulbous and his cheekbones are pouched. There is a quizzical, challenging expression on its face. His body language is menacing: he leans toward the man and stares at him. The title, written in red ink above the illustration, says Verficuli beati bernardi. The first illuminated initial of the text is the letter "I" in gold with a red and blue decorative background. The gold Latin text reads: Iuumi nao culos meos nevnq dicatini mucus meus prei alui aduerfus.

The Holy Trinity

Christ sits enthroned with God the Father, while a dove hovers between them. Together, they represent the theological concept of the Holy Trinity: the unity of the Father, the Son, and the Holy Spirit in a single being.

Object Description

This painting of Christ the Father, Christ the Son, and the Holy Spirit, represented by a dove, is set on a brilliant gold background. Christ, seated to our left, is depicted as a light-skinned haloed man with a medium brown beard, eyes, and long brown hair. He has red lips and reddish cheeks. He looks off to our right. In his hand, to our left, he holds a gold staff with a cross at the top that rests in his lap. To our right is seated a light-skinned haloed male, God the Father, who wears a multi-tiered gold crown. He has a white beard, eyebrows, and long hair. In his hand to our right, he holds a gold orb topped by a small gold cross and he looks to our left. Both men are dressed in purple gowns under a purplish pink robe that is trimmed with gold motifs along the edges. Together they hold a large open book with text on its pages, in their laps. Between the male figures and above the book is a haloed white dove with outstretched wings. This image has Latin text to its right and below. The text begins with a large drop cap letter “S” in gold with a blue and red background and outlined in gold.

The Annunciation of the Virgin Mary

The Virgin Mary stands over a lavish devotional book, her hands clasped in prayer. The angel Gabriel delivers the message that she will bear the Son of God. The descent of the Holy Spirit in the form of a dove heralds her miraculous pregnancy.

Object Description

A painting of two people in a domed, recessed niche is framed in trompe l’ oeil painting technique to resemble an altar composed of elaborate classical architectural elements. In the painting, the couple’s bodies are shown from their heads to their knees. On the viewer’s left, a light-skinned young woman with a thin gold halo wears a purple gown with a white headscarf and a long, bright blue cloak with gold trim that drapes over her headscarf and body. She gazes down placidly and reverently at an open book with her extended fingertips touching in a gesture of prayer. Leaning toward her, to the viewers right, is a golden haired young angel with light skin and a white tunic, gold halo, and green and gold feathered wings. The index finger of his left hand touches the thumb of his right hand. A golden shower of light streams from the viewer’s upper right toward the head of the woman. A white dove in the center of the shower flies in the same path as the light. The couple are in a shallow rounded niche with a white domed ceiling supported by a central classical pilaster and pink marble walls. The pictorial scene is positioned like an altarpiece in a framework of classical architectural elements arranged symmetrically around it. A pair of rounded columns support a semicircle of dental and scalloped molding to outline the scene. A flanking pair of square columns painted with teal and gold botanical designs and corinthian capitals supports an upper flat but complex entablature with carved acanthus leaves protruding from the upper center. This elaborate frame rests on a lower rectangular altar-like structure with an undecorated upper surface. The flat altar forms the top of another entablature that is supported by three short square columns decorated with blue and gold painted botanical motifs. A large rectangle with a Latin inscription is inserted in the foreground of the altar. It resembles a page from an illuminated manuscript. The illuminated initial is "D". The inscription reads: Omne labra mea a peries. Et os meum annuciabit laudem tuam. Deus in adjutoium meu intede.

The Nativity

Beneath the starry night sky that guided their way, the shepherds kneel in adoration of the newborn Christ Child outside a simple wooden shed. Mary and Joseph join them in prayer, while the ox and ass look on.

Object Description

This illuminated manuscript page from the Book of Hours is painted to resemble an altar within which a scene of The Holy Family is placed. On either side of The Holy Family are turquoise lower columns that support a golden arch painted to appear carved. To the outside of the columns are two red rectangular pannels with golden fillegry with corinthian tops. The lintel behind the arch is also painted gold and detailed as if it were deeply carved. Inside, Mary stands in the center of the painting in a simple wooden structure. She wears a purple goen with gold emplishments on the sleeves and collar, a white headscarf and a traditional blue wrap that is trimmed with gold. Her headscarf looks to be falling off showing her beautiful golden hair. Her head is framed with a gold halo and she holds her hands in a prayer position. Her gaze is soft as she stands over the baby Jesus, to the viewers' left. He is laying down on a white cloth with a halo and golden rays surrounding him. Above him are the head of a cow and a donkey. To the viewers left is Joseph in a plain brown robe, who gazes up to the sky. A window in the background opens to a brilliant blue sky framing five shepherds. Four rays of bright starlight beam in through the left corner of the window. The bottom of the altar is supported by four round pink columns. In between the colums are three purple and blue panes with golden fillegry. The colums rest on two levels of a golden platform, upon which is a banner with an illuminated "D" and a Latin inscription.

The Flight into Egypt

Mary holds the Infant Christ in her lap as Joseph leads them on a donkey into Egypt to escape persecution. King Herod, who had ordered the slaughter of all male children, hoped to eliminate the newborn Savior.

Object Description

This vibrantly colored altarpiece of the Holy Family is framed in trompe l’oeil painting technique to resemble an altar composed of classical architectural elements. The painting is framed between four columns; a purple and deep pink one on each side, and a gold scalloped archway above. The Holy Family, Jesus, St. Mary, and St. Joseph, appear to be traveling to our left. Mary is fair-skinned, haloed, and wears a purple gown with gold trim at her cuffs and bottom hem. Over her head and draped down her body is a deep royal blue shawl that is also edged with gold decoration. She cradles baby Jesus in both hands as they gaze lovingly at each other. The haloed Christ wears a deep red gown that is edged and highlighted with gold. His right hand rests on Mary’s chest and his bare feet are visible beneath his robe. Mary is seated on a brown donkey that is led by St. Joseph who holds the gold-colored reins. St. Joseph is haloed with medium-colored skin. He appears to be elderly, as evidenced by his white beard, eyebrows, and bald head with white hair around the edges. He is dressed in a brown tunic and brown leggings and has a short blue poncho on his shoulders that has gold decorations about the edges. He holds a wooden staff over his right shoulder. Hanging below this image on the face of the altar base is a banner of Latin text. In the upper left corner is an illuminated "D" that encircles a blue field and is set on a dark red background with gold decorations throughout.

The Adoration of the Magi

The three wise men dispatched by King Herod to find the Infant Jesus reach Bethlehem by following a star, visible through the crumbling roof. Upon arrival at the humble manger, they kneel before the Savior in adoration and present him with gifts, in this case gold chalices filled with coins.

Object Description

A painting of a woman holding a baby on her lap with a group of people offering gifts to the child is elaborately framed in trompe l’ oeil painting technique to resemble an altar composed of elaborate classical architectural elements. The woman and child fill the right half of the painting. She is young and has light skin, light brown hair, and rosy cheeks. She has a thin gold halo and wears a purple gown with gold trim on its neck and sleeves, a white neckerchief, and a bright blue, long cloak that drapes around her shoulders and lap. The naked baby on her lap has light skin, blonde hair and a similar halo. He reaches toward a large gold goblet filled with gold coins that is held out to him by a seated or kneeling old, white bearded, balding man. The light skinned man wears a rose-color tunic with a large ermine collar. He fills the lower foreground on the left side of the scene. Behind him crowd five other figures. A man with brown hair and light skin wears a purple tunic with an ermine collar. He holds out a gold crown and a lidded, gold goblet as he bends toward the child. A third figure stands behind him pointing to another lidded gold goblet. That figure wears a green tunic and a heavy gold crown above his shoulder length blonde hair. Three small figures in soldiers' helmets crowd the periphery of a crudely built wooden room with a partially open roof and wall revealing the night sky with a bright star emanating a circle of golden rays. This pictorial scene is positioned like an altarpiece in a framework of classical architectural elements. A pair of square columns painted with teal ground and gold botanical designs are topped with corinthian capitals. They support an upper flat entablature with a shallow, central, rounded indentation. This upper frame rests on a lower rectangular altar-like structure with an undecorated flat upper surface. This altar forms the top of another entablature that is supported by three rectangular panels decorated with gold painted botanical motifs on a purple or red background. A large rectangle with a Latin inscription is inserted in the foreground. It resembles a page from an illuminated manuscript. There are several illuminated initials. The inscription reads: Eusm adjutorium meum intende Domine Aol adeu uandumme feSuna Gloria Pater Hymnus.

The Arrest of Christ [The Betrayal of Judas]

Christ looks to Judas, who places a kiss on his cheek, betraying the Son of God to the arresting soldiers who fill the Garden of Gethsemane. When one of Christ’s disciples intervenes with a sword, cutting off the ear of a soldier, Christ miraculously heals the man with his right hand.

Object Description

This illuminated manuscript page from the Book of Hours is painted to resemble an altar within which is placed a frenzied scene of the arrest of Christ. The altar has a tiered base with four rectangular areas of alternating red and green color with gold curlicue designs. A flat shelf on top supports a deep pink circular column with a gold base and capital on each end. From the top of each column, curving arches meet at a point in the center. In front of the base, a horizontal, rectangular section containing Latin text is placed. Within this section is a framed uppercase letter "I", in gold, over a blue and red background. The scene portrayed within the framework of the altar is crowded and intense. In the foreground, just behind the altar’s base, the haloed figure of Christ stands to the viewer’s left. His long, golden wavy hair extends over his shoulders. He has a neatly trimmed, golden beard and mustache and wears a gold and purple gown. Christ’s head is tilted to the viewer’s right, just touching the figure of Judas. His eyes are cast onto the figure and his lips are lightly pursed. The figure of Judas is mostly in profile. He has relatively short curly hair, a long, pointed nose, and a long, spikey beard. His face is pushed up against Christ and his left arm embraces him. He wears a gold-colored gown and a reddish wrap over his right shoulder and down his back. Christ’s right hand rests on the neck of another figure who appears to be creeping behind the altar. His eyes are cast up and he has a terrified expression on his face. It appears that there is blood on the right side of his neck. Behind Christ to the viewer’s left, a haloed figure holds a long, unidentified item with both hands. He wears a gold-trimmed red gown under a blue robe. He has a round face, some tufts of grey hair along his forehead and temples, and a grey beard. His eyes are lowered, his mouth is downturned, and his expression is forlorn. Crowded in behind these figures are many helmeted soldiers holding up spears. One figure in the mid-ground holds a lit lantern.

The Crucifixion

Christ hangs from the Cross, blood streaming from wounds in his side, hands, and feet. Mourning his death, Mary and John the Evangelist shed tears of sorrow. Mary Magdalene, the blonde-haired woman who kneels at the foot of the Cross, kisses Christ’s feet and joins in their despair.

Object Description

This illuminated manuscript page from the Book of Hours is painted to resemble an altar within which a scene of Christ on the cross is placed. The altar has a tiered base with three diamond-shaped areas of alternating purple and green color with gold curlicue designs. A flat shelf on top supports a deep pink circular column with a gold base and capital on each end. An angled border rests on the columns and serves as the top of the altar. A horizontal, rectangular section containing Latin text is placed in front of the base. Within this section is a framed uppercase letter "D", in gold, with a blue center over a red background. The scene portrayed within the framework of the altar is solemn. In the center foreground is a haloed Christ on a wooden cross wearing a white loincloth. The letters "I" ,"N", "R", "I" are placed on the cross above Christ’s head. Christ’s head tilts forward and to the viewer’s left. He wears a crown of thorns around his head; blood drips down onto his forehead and the side of his face. His eyes are closed and his mouth is downturned. Both arms are stretched up and out to the ends of the cross where his hands are nailed. Blood drips from his palms down the inside of his arms. He has a wound on the right side of his chest from which blood is dripping down his side, through his loincloth. His feet are crossed; a nail adheres his right foot to the cross and blood drips from the wound. At Christ’s feet, the haloed figure of Mary Magdalene clutches the bottom of the cross as she looks up to Christ. Her wavy golden hair flows down her back, and she wears a white scarf around her neck over a gold robe. To the viewer's left stands Mary wearing a purple robe, a white headscarf, and a blue covering with gold trim. Her head tilts away from Christ and her gaze is pointed upwards. To the right is another woman in a purple robe and pink cover. She is using her white headcover to wipe away tears. Behind these two women and Christ stand three more female saints in white headcovers. A bluish tone falls over the background, a skyline of various buildings, one with a gold dome.

The Pentecost

The Holy Spirit — in the form of a dove — descends from heaven to mark the birth of the Church. Surrounded by the twelve apostles, Mary joins them in prayer. According to Christian tradition, they saw tongues of fire and miraculously began to speak different languages.

Object Description

The Virgin Mary, clad in a purple robe, white headscarf and bright blue covering stands in the middle of this painting with her hands in prayer and her eyes turned upward. She is surrounded by the 12 apostles, each in a vibrant robe of purple, red, or green trimmed in gold. All are crowned with a golden halo. Each person looks upward toward the Holy Spirit in the form of a dove radiating light. This tableau is set under an arch that is painted gold in a manner that appears deeply carved. The arch is supported by two round pink columns on each side, which rest on a golden base also painted to appear carved. The base has three circular designs along it, one on each side painted green, one in the center painted blue and all three have gold floral motifs. A banner in front of these circles has a Latin inscription which begins with an illuminated "D". The entire piece is encircled in a purple halo.

The Virgin in Glory

Crowned the Queen of Heaven, Mary radiates golden light of glory. Red seraphim — angels in the presence of God — gather overhead, their hands joined in prayer.

Object Description

In the center of this manuscript page, the Virgin Mary stands with her hands in prayer. She is wearing a blue cloak over a purple dress and has an ornate gem encrusted crown on her head along with her halo. Bright golden light emanates from all around her. On each side of her, at her feet, the faces of three angels are looking up toward the Virgin’s face. Each of the six angels has golden hair and a golden halo. She looks down towards the three on her left. The Virgin and the angels are framed by an ornately painted architectural structure. The base of this structure is rectangular and painted gold with brown to suggest carvings. Across this base three large diamond shapes are painted purple and red with gold scrolls. Around them are smaller purple triangles framing them. A large banner hangs in front of these triangles with an illuminated "A" and Latin text. From the top of this base, two round columns flank the Virgin and the angels. These columns are also gold with brown used to create the image of carved spiraling. An ornate gold arch connects the columns and a row of red seraphins (God’s angels in Heaven) are gathered under the arch, their hands in prayer. Behind the archway, an ornate gold lintel is supported by two rectangular columns painted red with gold scrollwork.