Books of hours can be described in many ways. In a simple sense, they were Christian religious texts intended for lay people that evolved into beautiful illuminated manuscripts of profound historic and artistic importance. Their pages were filled with text, borders and miniatures, all of a religious nature, revolving around the liturgical hours of the day, predominately in honour of the Virgin Mary. Furthermore, the book commonly contained a calendar, prayers, and psalms. Depending upon the social and financial stature of the patron, the books could be highly decorated with miniatures or very simply adorned with rubrics. The function of this book was to cultivate the Christian faith of lay people through readings of the text and meditations upon the miniatures. These books were the most popular and the most highly valued type of religious literature at the time.

It is important to note that not all books of hours were illuminated. Many books were of a modest nature containing nothing more than basic text and rubricated initials. Some incorporated historiated or artistic initials, sometimes with ivy borders or marginalia. You must also realize that as printing came into widespread use after 1450, books of hours started to be mass produced by the press with woodcuts. Specialized workshops of illuminators already existed, producing large volumes of texts that ranged from illustrious masterpieces to low quality, ‘hack’ reproductions (Febre and Martin, 27). Printing carried on and perfected the tradition of mass production while woodcuts replaced the illuminations. As contemporary historians, we must accept that not all books of hours were as sumptuous as the Tres Riches Heures of Jean, Duke of Berry. There were oversized display editions as well as smaller, pocket-sized, portable versions that were intended for daily use. As recognizable works of art, the display editions have been preserved and examined; whereas, the fodder for the masses has been ignored and declined in number. These books of hours will be seen as equally important to the medieval individual for different reasons.

We should also be aware of the ‘use’ of a book of hours. While the use has no direct impact on this paper, one should be aware of it and its importance. Use (such as Sarum, York or Paris) refers to the manner for regulating the details of the Roman Liturgy. The use is distinctive. This encompasses details such as emphasis and order of the liturgy, and the exclusion or inclusion of psalms and prayers. Basically, the use was a style of liturgy that one followed. The use of a book of hours should have no impact upon illumination. Use is reflected in textual variations that are most easily detected in the hours of prime and of none, in particular, the capitulum and the antiphon. (Weick, Painted Prayers, 138) These books were being produced throughout Europe. To meet the doctrinal requirements of different geographic regions, standard uses were developed. By determining the use, historians are closer to determining the book’s origin, workshop and possibly the patron. It is one clue in solving the mystery of the artifact’s past and aid in our quest to understand its development.