Private prayer books became a game in the late 13th century to mock Christ or the wealthy patrons.
Pucelle places scenes from the Infancy andPassion of Christ on opposite pages in a scheme known as the Joys and Sorrows of the Virgin.
The "sorrow" of the betrayal and arrest of Christ on the left is accompanied by the "joy" of the Annunciation on the right.
The angel kissed the enclosure.
The Virgin's pose on the opposite page of the Annunciation is an allusion to the legend of the miraculous transportation of accept their fate with courtly decorum.
The candle held by the cleric who guards the down to heal Malchus appears at the bottom of many pages as well as the assistant of the high priest.
Sometimes they relate to the themes of the sacred as the rabbit emerging from its burrow in the whose ear Peter had just scenes above them.
These comic knights riding goats may be marginal scene, are sexually charged symbols cut off in angry retaliation, and are a commentary on the lack of valor shown by the soldiers of fertility, especially if this wine barrel conjured up for prayers of a child bride.
They just examined.
The Virgin holds Jesus in her left arm with her weight on her left leg in a Gothic S-curve pose reminiscent of Jean Pucelle's work in the Book of Hours.
The symbol of royal France was used as a reliquary container for strands of Mary's hair.
The Christ Child is like a baby in both form and posture.
There are statues of prophets on the base that remind us of the suffering to come.
The apple in the baby's hand references Christ's role as the new Adam, whose sacrifice on the cross redeemed humanity from the first couple's fall into sin when Eve bit into the forbidden fruit.
The goldsmiths of Paris were not the only ones who were renowned for more than that.
Small chests made from carved ivory plaques were used by wealthy women to store jewelry or other personal treasures.
Romantic love was explored in these chests.
They seem to have been gifts from men to women or from grooms to brides.
A chest from 1330 to 1350 is one of seven that have survived intact.
It is a typical example.
There is aural relief around the perimeter and on the top of the box.
Hardware originally made in silver was used to join the panels.
Although some chests tell a single romantic story in sequential episodes, most, like this one, anthologize scenes drawn from a group of stories, combining courtly romance, secular allegory, and ancient fables.
The theme is on the lid.
The height is 271/8'' (69 cm).
It was made in Paris.
The elephant's height is 41/2 x 911/16 x 47/8'' and it has iron mounts.
A student observes from an oak bough as his teacher walks around like a horse with a long-stemmed rose in his hand.
Instead of looking at the castle.
The two scenes at right relate these goings-on, however, the spectators tucked into the to an Eastern legend of the fountain of youth, popular in upper architecture to pursue their own flirtations.
A line of bearded elders approaches the scene on the left, knights use crossbows and a catapult fountain from the left, and on the right, they hurl roses at the Castle of Love.
The fountain's basin is generalized.
The man first in line for treat romantic allegory gives way to vignettes from a specific ment that looks suspiciously like the figure of Aristotle.