<em>Speculum of Human Salvation</em>
Ludolph of Saxony, Speculum of Human Salvation (Flanders, ca. 1455), copy of Philip the Good, Duke of Burgundy.

The Dukes of Burgundy

This manuscript, which belonged to Philip the Good, Duke of Burgundy, is a rare French translation of the widely popular abbreviated version of the Bible, the Speculum of Human Salvation. The Speculum juxtaposes Old Testament events with the New Testament scenes that they prefigure. Flemish artist Willem Vrelant is credited with painting in full color the left-most miniature, the Punishment of the Damned in Hell, after a design by the duke’s court painter, Jan van Eyck. The three other miniatures, in partial color, connote the incomplete revelation of the Old Testament. They follow the style of illuminator Jean de Tavernier.
From the library of Louis H. Silver.

Genealogical Roll of the Kings of England and France
Genealogical Roll of the Kings of England and France (Burgundy, 1467-1468).

This roll, created uniquely for heraldic display, preserves the only known surviving portion of the original two-panel genealogical diagram. It was prepared within the domain of the Burgundian dukes after the death of Philip the Good (ruled 1419-1467), either for Charles the Bold (ruled 1467-1477) or, more likely, a member of his entourage. The roll emphasizes the royal heritage of the Burgundian dukes and the familial ties of the Princes du sang (Princes of the Blood), who in 1468 joined the king of England in rebellion against Louis XI.
Joint acquisition with the University of Illinois at Urbana-Champaign. The Newberry Library portion supported by Roger S. Baskes, the Florence Gould Foundation, and the Samuel and Marie Louise Rosenthal Rare Book Fund.

<em>Le champion des dames</em>
Martin Le Franc, Le champion des dames (Lyon: Jean du Pré, before May 1488).

This text by Martin Le Franc, composed about 1440 for Philip the Good of Burgundy, champions the female sex. The scene on display here appropriately depicts women defending themselves against men, the principal theme of this book-length poem. In the fifteenth century, Lyon rivaled Paris as a center for printing exquisitely illustrated books. Such printed volumes reached a far larger audience than earlier manuscripts. Notably, this book’s colored woodcuts resemble the illustrations found in paper manuscripts from Philip the Good’s library.
Purchased on the John M. Wing Book Fund.