The image for January (f.18v–19) features a snowy winter scene. In the background, a windmill works, and people are on the steps of a small church. Beyond the windmill and a church is a small figure on horseback and another kneeling in the snow. A man and a woman stand chatting in the path, near a bit of gate that looks very like a modern farm gate. In the foreground, inside a house with a smoking chimney and birds on the roof, a man stands at a small table, and a woman sits in a chair nursing a baby. You can just glimpse a bit of the fire, a winter convention in calendar pages. Outside the house a man in red stockings chops wood for kindling while a woman kneeling in the snow gathers the kindling in a sling-like bag looped across her shoulders. At the opposite end of the house you can see the attached byre with its cow. At the base of the page, several men are shown dragging another man on a sledge, an appropriate winter past time. The actual calendar page, on the right facing page, features a similar mirroring scene of men pulling a sledge, towards the left-hand scene.
January saint’s days include the Feast of the Circumcision on the first, the Epiphany on the sixth, Saint Agnes on the twenty-first, and the Conversion of Saint Paul on the twenty-fifth, among other feats. Typically the calendar page will show the sign of Aquarius, the water-bearer in a border (at the top of the full size page of this folio) and/or of Janus, the two-faced deity associated with doors, and beginnings and endings of years. Books of Hours for January are very fond of feasting images, like this one from the Trés Riches Heures:
Trés Riches Heures Musée Condé MS. 65 f.91v
This particular feasting image might be set at New Years or the Feast of the Epiphany, or Twelfth Night. The seated gentleman on the right with the fancy hat and the blue and gold robe is the Duke himself. Behind him is a very large fireplace. Above the fireplace the red and blue banner features Jean de Berry’s heraldic devices—the swan and the fleur de lys. At the very top edge of the banner are two bears—a reference to the Duke’s beloved Ursula. Behind the dining scene is a large, expensive tapestry that seems to be showing a scene from the Trojan wars. The damask tablecloth and the large, ornate salt cellar in the shape of a ship are items that are listed in inventories of the Duke’s household possessions.
The two richly dressed in grey and green young men on the opposite site of the table appear to be his cupbearer and carver, respectively; these are squires or young courtiers, rather than servants. Notice the dog, a white hunting hound, begging (and receiving) food from a courtier. At the far right on the table, just at the edge, two kittens appear to be playing. In the back new guests are just entering, stretching their hands towards the fire, while they look at the guests.
Art historians have attempted to identify some of the figures besides the Duke. For instance, the gentleman to the Due’s right, with the tonsure and the reddish-purple robe is possibly the Duke’s close friend Martin Gouge, the Bishop of Chartres. In the crowd of people entering on the left, behind the table, is a fellow with a white or gray floppy cap. He’s behind a figure dressed in green with a large red hat. The person is the white hat is possibly the artist Paul de Limbourg. The same person is also featured in images in two other mss. that the Limbourgs created, the Petites Heures (Bibliotheque Nationale, Paris) and the Belles Heures (The Cloisters, New York).