Differences in palette
Artists' Materials
The Betrayal and Arrest of Christ is the only one of the three miniatures to contain an arsenic-sulphide pigment, used in the dark yellow folds of Judas’ robe and in Christ’s hair, as well as pure azurite, identified in St Peter’s blue drapery. In the other two miniatures, the yellow areas contain lead-tin yellow and the dominant blue is ultramarine, often mixed with small amounts of azurite, while pure azurite is found only in border details.
St Peter’s reddish-pink robe was painted with an earth pigment, possibly mixed with small amounts of an organic red. The lighter pink robe of the apostle facing the Virgin in the Pentecost scene does not contain a red earth. This difference may reflect the desire to vary the pink hues.
An organic red was also mixed with azurite to paint Christ’s purple drapery, yielding a hue not found in the two other miniatures.
Pentecost (Matins of Hours of the Holy Spirit)
Surrounded by the apostles as the dove of the Holy Spirit descends, the Virgin Mary is the central focus of this miniature, which would have introduced the Hours of the Holy Spirit in the original manuscript. The proportion of image to text, the border design, the miniature’s thin, arched frame, the balanced, symmetrical composition, and the architectural backdrop emphasizing the Virgin’s centrality echo Pentecost miniatures in works by Bourdichon and his workshop in the 1480s and 1490s. The monumental figures in the foreground are early examples of the artist’s mature style. In his later works, Bourdichon increasingly favoured compositions with ‘dramatic close-ups’. While the composition follows the master’s design faithfully, the level of execution, especially in the schematic background figures, falls short of Bourdichon’s autographs, which suggests that the image was painted by a close assistant.
The miniature features a full border of pink and blue acanthus and floral sprays on a gold ground, with strawberries, two birds, a butterfly and a seated dog. Below are three lines of text, opening with a grey and white ornamental initial D, introducing the Hours of the Holy Spirit. The letter is filled with gold on a pink ground, enclosing sprays of blue, yellow and white pansies. The text of the Hours of the Holy Spirit continues on the reverse, which is decorated with a one-sided, vertical border in the outer margin. The border contains pink and blue acanthus, and floral sprays on a gold ground, strawberries and two birds. The page is further ornamented with small foliate initials in contrasting colours, one embellished with a fly and another with the head of a goat. Line fillers take the form of white and gold foliate motifs on blue and maroon grounds, and a tree branch rendered in brown and gold.