Morgan Library MS M.399, fol. 6v Da Costa Hours May calendar image Ghent, Belgium ca. 1515 Image courtesy of Akademische Druck- u. Verlagsanstalt, Graz/Austria. Detail: Click for the full image at The Morgan Library.
This Da Costa Hours May calendar page illuminated by Simon Bening of Ghent (1483/84–1561) is from the Da Costa hours in the Morgan Library (MS M.399, fol. 6v). It is very similar to the May calendar page that Simon Bening created for the British Library’s Golf Book. Just as in the Golf Book calendar page for May, Bening in the Da Costa Hours features a boat with greenery and musicians celebrating May 1 and the heart of Spring, an appropriate labor of May.
As with all of the calendar pages in this book of hours, May from the Da Costa Hours features what the Morgan Library describes as “an illusionistic frame.” In the front of the image is a boat containing a helmsman, a woman looking towards the viewer, someone playing a recorder-like instrument (the Morgan calls it a pipe and describes the musician as “a gentleman”; I suspect it’s a woman), and a woman playing a lute, looking more than a little bored. In the back, the presence of greenery suggests Maying and fetching in the green. Off the edge of the boat, hanging from the boat in the cooling water, is a flask, perhaps containing wine. On the shore a heron looks on.
Detail showing a group on horse back gathering May greenery from the Morgan Library’s Da Costa Hours f. 6v
Beyond the boaters you can see a castle, swans, trees, and a group of four on horseback in the background in this detail from the Da Costa Hours May calendar. They too have been busy gathering the green boughs of May, as the inset detail shows. The horseman are carrying green boughs.
March from the Da Costa hours Morgan Library MS M.399, f.4v Simon Bening (1483/84–1561) Ghent
The typical labors of March include digging and plowing in preparation for spring planting. In this March calendar image from the Morgan Library’s Da Costa Hours (Morgan Library MS M.399, f.4v) a false frame surrounds a full page illumination by Simon Bening.
Outside a castle with a moat and bridge, two workers are digging garden beds with “D” handled spades.To their right, two gentlemen (based on their expensive clothing) on a walkway, one in blue with a hat, and one resplendent in a red furled cape, appear to be conversing with one of the workers, perhaps, giving instructions about the garden beds.
The garden area is enclosed by a low wall, and a hedge. Beyond the garden area, a bridge crosses a moat to the castle. Two people, one of them a woman, are in conversation on the bridge just outside the a door leading inside the castle. Beyond the garden workers, on the path under an arbor, a worker on a ladder is tying vines to the arbor—another of the labors of March. In the distance, just vaguely discernible before the rise of a hill, you can see a plough and team.
This detail from Morgan Library MS M.399, f.4v shows the White Stork nest on the top of the castle chimney
If you look very closely at the castle chimney, there’s a stork’s nest on the on the top of chimney. This is a White Stork, Ciconia ciconia. They’ve been nesting on the roofs and chimneys of Europe for centuries, to the point where the White stork is associated with fertility and luck (hence the folklore about storks delivering babies). White storks return to the same nests, year after year, and the presence of White storks is one of the heralds of spring, even in medieval bestiaries. In recent decades the white stork populations have declined. There has been some success in attracting storks to return in Alsace.
Da Costa Hours Morgan Library M.399, fol. 3v ca. 1515, Ghent, Belgium. Detail from the February calendar page by Simon Bening
There are times when it’s very clear that the weather in Europe in the late fifteenth century is not the weather in 21st century New England. This February calendar image from the Morgan Library’s Da Costa Hours (the work of Simon Bening) shows workers in a vineyard. In the foreground one man is trimming a grape vine with a knife, while just behind him a second man is tying a vine to a pole. To his left in the forefront a third worker is breaking ground with a pick axe, with a shovel ready at hand on the ground. You’ll notice that the landscape looks like early spring, with no snow in sight. In colder European climates, the labors of February favored warming up by the fire, or chopping wood.
In the middle distance a watch tower with people inside it looks over the fields and across the river, a river with several small boats. Beyond the tower, on a hillside another worker appears to be staking more vines. Beyond him, a fifth man is blowing a hillside with what the Morgan Library describes as a team of oxen (which would be the expected livestock) but which looks very equine to me.
The landscape, which like the other calendar images in the DaCosta hours is surrounded by an ornamental frame, features a river flanked by deep hills, one of which has a castle or monastery or chapel surmounting it. The landscape looks realistic, though I can’t find any source identifying it.
This January calendar image from the Da Costa Hours, MS M.399, fol. 2v from the collection of the Morgan Library features typical January labors; warming by the fire, and feasting.
Image Credit: The Morgan Library
DaCosta Hours MS M.399, fol. 2v.jpg detail from the January Calendar Page
A man and a child are, quite literally, warming their hands by the fire. The man has removed his footwear, a pair of crude sandals that are startlingly reminiscent of flip-flops.
Behind him, a man and a woman are at a small dining table. The woman appears to be serving a leg of goose or other large fowl. The man is holding a covered bowl. The table is already set with a lit candle, two pieces of trencher bread, and a salt cellar.
Above the fireplace a bird in a bird cage hangs on the wall, while on the floor a disgruntled cat has his back to the table. Beyond the dining room scene, a doorway leads to what is presumably the kitchen, with a second fireplace with a vague figure kneeling before it.
The use of the ornamental carved frame and the way the viewer’s eye is drawn towards the second fireplace at the back of the image is an interesting technique.