
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
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View in the galleryThe Met's commentary on this page points to a flaw the Limbourgs let stand: the slender side columns stand in front of the nearest figures, while the arcade they carry seems to run behind the whole scene. Inside that unsteady room a mob torments Christ and a high priest looks on.
The flaw belongs to a pair. When the book is bound, this page faces the Flagellation, and the Met reads the similar settings and gestures of the two scenes as deliberate, chosen to unify the opening. The torment on this page continues across the gutter, in a matching room.
Sources: The Metropolitan Museum of Art, The Art of Illumination, 'The Mocking of Christ, Folio 131v', Belles Heures, 54.1.1, read 2026-09-24 · The Metropolitan Museum of Art, The Art of Illumination, 'The Flagellation of Christ, Folio 132r', Belles Heures, 54.1.1, read 2026-09-24 · The Metropolitan Museum of Art, The Art of Illumination, 'Hours of the Passion' (2010), read 2026-09-24 · The Metropolitan Museum of Art, The Cloisters Collection, The Belles Heures of Jean de France, duc de Berry, 54.1.1a, b, object record, read 2026-09-24
And platting a crown of thorns, they put it upon his head, and a reed in his right hand. And bowing the knee before him, they mocked him, saying: Hail, King of the Jews.
Matthew 27:29 · Douay-Rheims
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