This marvelous Book of Hours has long been attributed to one of the most important illuminators of the French Renaissance, the Master of Claude de France, an exceptional painter trained in Tours under Jean Bourdichon and possibly Jean Poyer. This may be the first work created by the painter as an independent artist, completed shortly after he finished his apprenticeship. Each page of the manuscript is framed with a field of soft gold, upon which are painted silver armillary spheres, paired lilac wings, knotted cordelières, and scrolls bearing the motto NON MUDERA. These are references to both Louis XII and Anne de Bretagne, the parents of the Queen Claude de France, the first owner of this incredibly beautiful manuscript. The Master of Claude de France’s style is characterized by fineness and delicacy, infused with sensitivity and realism. He had a particular talent for composition, creating convincing scenes even on the smallest scale. His work is marked by gentle lighting, a distinctly recognizable pastel palette, and the elegant fusion of Flemish decorative motifs with rich Renaissance frames and all'antica candelabras. The Master of Claude de France may have begun his apprenticeship as early as 1498, but he did not emerge as an independent artist until 1508 and disappeared shortly after 1520. The Hachette Hours are a powerful testament to the master’s brief but bright journey as an illuminator. It includes 17 full-page arched miniatures, 32 small miniatures, plus 24 miniatures for the calendar, which is adorned with the signs of the zodiac, and the occupations of the months.
The recipient of this outstanding manuscript, queen Claude de France (1499-1524) was a renowned bibliophile like the rest of her family. The references to the books’ first owner are manifold: The heraldic devices found in the Hachette Hours are only comparable to the Book of Hours and the Prayer Book, which were painted later by the same master, also for the French Queen. However, the Hachette Hours clearly precede the other Claude de France manuscripts, and were surely made before her marriage to Francis. This manuscript contains references to both her mother, Anne de Bretagne, with the Spanish motto "NON MUDERA" and the knotted cordelière of the Franciscans, and to her father, Louis XII, with wings symbolizing the letter "L ". We also find repeated use of the armillary sphere, a personal emblem of Claude representing prudence.
Intense colors, a generous use of gold and soft facial expressions give life to classic scenes of Christianity. One miniature depicts the annunciation to the Shepherds in a striking way: young and old shepherds, accompanied by their flock, are sitting in the dark. An angel opens the firmament and sheds a golden light on the whole scene, creating a beautiful and particularly sophisticated version of this biblical moment.
