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.
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.
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.