Miniatures and borders from the Book of Hours of Bona Sforza, Duchess of Milan in the British Museum . unnatural, but in the rest of thecomposition there is abundant merit. David is kneeling under anarched portico, the vaulting of which is closely copied from the Italianminiature of St. Matthew (no. 3), while the destroying angel, with threedarts, appears in the sky overhead (i Chron. xxi.). Facing the portico,with an intervening garden-plot, is a large open square, on the furtherside of which a king, no doubt meant for David himself, sits enthronedin a balcony, reviewing a crowd of people who
Miniatures and borders from the Book of Hours of Bona Sforza, Duchess of Milan in the British Museum . unnatural, but in the rest of thecomposition there is abundant merit. David is kneeling under anarched portico, the vaulting of which is closely copied from the Italianminiature of St. Matthew (no. 3), while the destroying angel, with threedarts, appears in the sky overhead (i Chron. xxi.). Facing the portico,with an intervening garden-plot, is a large open square, on the furtherside of which a king, no doubt meant for David himself, sits enthronedin a balcony, reviewing a crowd of people who pass in single file beforehim. In this scene, in which it is not difficult to detect a covertwarning to the new emperor Charles V. not to indulge in inordinatepride, the architectural features, both in the square itself and down astreet leading out of it, are of singular interest, and if they couldbe recognized they might solve the question where these Flemishminiatures were executed, just as the inscription in pi. 1\-., assuming itto have a meaning, might reveal to us the artists name. G. F. /
Size: 1339px × 1866px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorbritishm, bookcentury1800, bookdecade1890, bookyear1894
