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A miniature depicting Posthumus, on horseback, being struck in his shoulder with a lance held by the foremost of a group of knights in armour, two holding standards with the black imperial two-headed eagle on a gold background, with broken weapons and wounded men in the foreground, a river flowing through the landscape in the background, a small area at the top of the miniature reserved for the rubric ?Le xme. chap(itr)e? (a few areas of minor pigment loss, mainly at the extreme edges, otherwise in fine condition). A cutting, c.130 × 100 mm, trimmed to the edge of the miniature, the reverse with 21 lines of text in a rounded bâtard script, describing Postumus?s death, and how the Boii returned the spoils, including a paragraph beginning ?Les Boyens emporterent ses despouilles et son chief a leur temple ?? A fine secular miniature once illustrating what would have been an imposing copy of the Romuléon, already separated by 1884 (see below). The work draws on several classical and Christian authors and tells the story of Rome and the Romans from the time of Romulus and Remus to Constantine the Great. The present miniature was identified in 1989 as The Death of Postumus at the Hands of the Boii, and has been used since 2015 to illustrate the Wikipedia page ?Lucius Postumius Albinus (consul 234 BC)? The text on the reverse is from Book 5, chapter 9, and the miniature includes the rubric for chapter 10: it must therefore instead depict the battle of Ibera in 215 BC, at which the Romans under the Scipios defeated Hasdrubal and his army and thereby prevented them joining Hannibal in Italy. It comes from fol. 57 of the parent manuscript. The original compilation, in Latin, was made by Benvenuto da Imola between 1361 and 1364, but in the 1460s, in response to the courtly taste for histories and chronicles in the vernacular, two writers independently undertook to translate the work into French (McKendrick, 1994). The present miniature illustrated a chapter of the translation of Jean Miélot, resident of Lille between 1453 and 1472, who was in the service of Philip the Good, Duke of Burgundy, from around 1448 until the duke's death in 1467. Only six complete manuscripts of Miélot's translation survive, all of them luxury volumes made in the southern Netherlands for members or friends of the Burgundian court. A group of fourteen miniatures from the same manuscript, sold at Christie's, 21 June 1989, lots 6-11. They were attributed to an illuminator active in Langres between 1480 and 1493 serving clients in Champagne and Lorraine (Reynaud, 1993). The artist was subsequently named as one Langres illuminator Pierre Garnier, who worked at the court of René d'Anjou between 1476-1480 (Lauga, 2007). Provenance: The fragmentary parent manuscript to which these and other dispersed miniatures once belonged has been identified in Niort (Bibliothèque Municipale, ms. Réserve G2F, formerly ms.25), given in 1884 by Edmond-Emmanuel Arnauldet. It is the only known copy of the Romuléon that was produced in France. The manuscript's frontispiece is in the Musée de Cluny in Paris acquired by 1883; other pieces are in the Musée de Limoges (McKendrick, 2012). S. McKendrick, 'The Romuléon and the MSS of Edward IV', Proceedings of the 1992 Harlaxton Symposium, 1994, pp.149-69. S. McKendrick, 'Charles the Bold and the Romuléon: Reception, Loss and Influence?, in Kunst und Kultur-Transfer zür Zeit Karls des Kühnen, eds N. Gramaccini & M. C. Schurr, 2012, pp.59-84). N. Reynaud in Les Manuscrits à peintures en France 1440-1520, 1993, p. 376. J. Lauga 'Les Manuscrits liturgiques dans le diocèse de Langres à la fin du Moyen âge: les commanditaires et leurs artistes', thesis, Paris 4, Sorbonne, 2007).
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