Hours of Jeanne D'Evreux - Style

Style

The hours are a classic masterpiece of Gothic illumination, and the architectural surrounds to many images show typical French Gothic architecture of the period. Although it does not depict the typical flying buttress and gargoyles most commonly associated with the Gothic period, the 154 verso leaf from the Hours of Jeanne d’Evreux titled The Miracle of the Breviary, a cathedral with Gothic architecture Elements such as the trifoils that can be found decorating the top part of the ornate roof are drawn in grisaille. Even more gothic aspects can be found in the two facing folios depicting Christ Carrying the Cross, on verso sixty one, and the Annunciation to the Shepherds (62 recto). The figures are constrained within a space that acts as a frame but resembles a Gothic cathedral or at least carries the same structural or architectural and stylistic elements. Quatrefoils, gargoyles, crockets are all elements that are most associated with the Gothic movement and can be found in both folios. To be more specific, the Hours of Jeanne d’Evreux, belongs to the stylistic conventions of the Northern Gothic tradition that was native to Jean Pucelle with which “he combined the elegance and refinement of the Parisian court style with the lively humour and observation of nature characteristic of northern France and Flanders” while influenced by the Italians.

Close similarities to the sculpture of Strasbourg Cathedral have been noted, and Pucelle may have had an involvement there. According to Gould, “most of the connections with the Strasbourg sculpture appear in the Hours of Jeanne d’Evreux. The parallels with the Strasbourg sculpture occur in the Passion cycle in the Hours of Jeanne d’Evreux. Several of the motifs come from the Passion cycle occupying the tympanum of the central portal at Strasbourg.” Although, the relationship between Strasbourg Cathedral’s second register of the tympanum and the miniature of Christ Carrying the Cross is quite unnoticeable when initially examined, “ the outstretched arm reaching to support the Cross in the miniature makes a visual connection with an unusual motif in the same scene” of the second register. All of the figures can also be found in the Siena Maesta by Duccio, and Portail de la Calende at Rouen Cathedral. Other similarities, especially ones concerned with the Hedroit Legend that are found in the Hours of Jeanne d’Evreux, can also be seen in the Hours of Yolande of Flanders. The facial features of the man who’s wife forges the nails for Christ’s crucifixion at the request of Jews, are similar to the facial features of the crouching figure in the Christ Carrying the Cross (61 verso).