Abstract
Eleanor of Portugal, the widowed queen of Dom Joao II, received a magnificent breviary illuminated by the some of the finest artists in the Southern Netherlands. It is sumptuously decorated on more than one hundred of its folios. Many of the borders in Dona Leonor's Breviary, as in other Ghent-Bruges manuscripts, are strictly ornamental, with no apparent direct thematic or iconographic link to the text or miniature they surround. Further study reveals that even without direct thematic links to the center, many of the borders in the breviary do have a performative value, capable of engaging the viewer at various levels, including the mnemonic, the emblematic and the didactic. Many of the continuous narrative borders in Dona Leonor's Breviary may be linked to the personal interests of the Queen, and were painted by the Maximilian Master himself or in conjunction with the Master of James IV of Scotland. Keywords:Border; breviary; Dom Joao; Dona Leonor; Eleanor of Portugal; Ghent-Bruges manuscripts; Master of James IV; Maximilian Master; Netherlands
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