Book of Hours 1518 - 1521

Editor: Here we have a page from the "Book of Hours," created between 1518 and 1521, attributed to Gilles Hardouyn. It’s a miniature, incredibly detailed with vibrant colours, but the composition strikes me as a little odd with the figures arranged rather unusually. How do you interpret this work? Curator: The visual language employed here offers a rich tapestry of meaning. Notice how the central emblem is supported by winged figures—eros figures typically found in Renaissance art and clearly evocative of classical antiquity – and also take a moment to acknowledge the placement of that climbing figure amidst the branches; what does that connote for you? Editor: It’s almost heraldic, like a family crest but with these almost mischievous figures added. Is that supposed to signify anything in particular? Curator: Exactly! Heraldry itself is a system of symbols, loaded with lineage, aspiration, and power, so it is interesting to find such symbols juxtaposed with Renaissance visual language that evoked notions of free-spiritedness as inherited from classical Greece and Rome. Consider how the book of hours provided a deeply personal way to link the individual with these forms of representation and, by extension, the world at large. Editor: So, it’s about more than just personal devotion? Curator: Precisely. It is about situating oneself within a lineage of faith and visual traditions. What I find most interesting is how an emblem is actively embraced through the depiction of those children, signifying a claim and a renewed relationship between identity, inherited history, and individual ownership. Editor: I hadn't considered how the act of depicting something being carried represented agency; that's a fresh perspective for me. Thanks! Curator: It highlights the crucial role visual symbology has on cultural identity and helps create cultural continuity and personal ownership.