![\"\"](\"http:\/\/slisapps.sjsu.edu\/blogs\/280\/azurite\/files\/2013\/02\/Richard-BasDePage.jpg\")
<\/a>f. 29v, drawn and painted by Richard of Oxford.<\/p><\/div>\n
In the second quarter of the 14th century, London had\u00a0eclipsed\u00a0Oxford as a center for manuscript production. \u00a0The London book trade was primarily made up of professional craftsman, as opposed to monastic scriptoriums or courts (Smith, 2012). \u00a0The Taymouth Hours have two primary creators – Richard of Oxford and an artist referred to as “the Draughtsman (Smith, 2012, p. 32). \u00a0It is likely Richard of Oxford was trained in Oxford and relocated to London, as artistic migration was common in the 14th century. \u00a0<\/span>Richard of Oxford is also credited with a\u00a0miscellany\u00a0in Glasgow (<\/span>Hunter MS 231<\/a>)\u00a0commissioned\u00a0by Roger of Walth<\/span>am (Smith, 2012). \u00a0<\/span>Richard of Oxford did nearly all of the miniatures and bas-<\/em>de-page<\/em> illustrations, but the <\/span>bas-de-page<\/em> illustrations in folios 60r-149v were\u00a0drawn by the Draughtman and painted by Richard.<\/span><\/p>\n f. 124v, drawn by the Draughtsman and painted by Richard of Oxford<\/p><\/div>\n While scholars debate over who the manuscript was comissioned by and for whom, there is no argument that its intended recipient was a royal woman (Smith, 2012). \u00a0As stated previously, the manuscript could have been made for either Philippa of Hainault, Joan of the Tower, Isabella of France, or Eleanor of Woodstock. \u00a0The manuscripts London origin is also supported by the presence of saints Ethelburga and Botulph in the calendar pages, the former the abbes of Barking and the latter venerated at three London parishes.<\/p>\n Arms of the Nevilles of Raby, f. 3r<\/p><\/div>\n The manuscript was next known to be in the\u00a0possession\u00a0of a member of the Neville family, as there are two instances where a shield has been overpainted – fol. 3r and fol. 151r – with the arms of the Nevilles of Raby:\u00a0gules, a saltire argent<\/em>).<\/p>\n Arms of the Nevilles of Raby, f. 151r<\/p><\/div>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n These were painted over the arms of St. George, seen on f. 153v, which unfortunately do not do much to help identify the original owners. \u00a0Edward III was a “vigorous\u00a0and sustained” (Smith, 2012, p. 23) supporter of the cult of St. George that eventually resulted in his elevation as England’s patron saint.<\/p>\n Arms of St. George, f. 153v<\/p><\/div>\n The last known medieval owner is dated to the 16th century based on a pair of notations on f. 60 and f. 89, both in a Scots dialect.<\/p>\n
\nThese London craftsmen did not model their work spaces on the monastic scriptoriums, but rather rented or owned small shops in close proximity to one another. This facilitated collaboration (Smith, 2012).\u00a0<\/span><\/p>\nProvenance<\/h2>\n
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