Sorrows, exhibiting wounds and surrounded by instruments of the passion. This is a common iconographic type in fourteenth-century manuscripts (Cazelles and Rathofer 1988). Hours of the Holy Ghost: Folios 79–81 Office of the Dead: Folios 82–107 Colombe painted all the miniatures of this section, other than “Hell”, which was painted by a Limbourg brother. “Hell” is based on a description from a thirteenth-century Irish monk Tundal (Cazelles and Rathofer 1988). This miniature may not have been originally intended for the manuscript. Meiss and subsequent writers have argued that the full-page miniatures that codicological data show were inserted on single leaves were not originally designed for the Très Riches Heures (including the Anatomical Man, folio 14v; The Fall, folio 25r; the Meeting of the Magi, folio 51v; the Adoration of the Magi, folio 52r; the Presentation, folio 54v; the Fall of the Rebel Angels, folio 64v; Hell, folio 108r; the Map of Rome, folio 141v). Margaret Manion, however, has suggested that, "although the subjects are handled in an innovative manner, they fit within the context of the prayerbook and could well have been part of a developing collaborative plan." The funeral image shows a reputed incident at the funeral of Raymond Diocres, a famous Parisian preacher, when in the middle of his Requiem Mass he was said to have lifted up his coffin lid, and announced to the congregation "I have been condemned to the just judgement of God". Short Weekday Offices: Folios 109–140 The Presentation of the Virgin takes place in front of Bourges Cathedral, in Berry's ducal capital (Longnon, Cazelles and Meiss 1969). Plan of Rome: Folio 141 Hour of the Passion: Folio 142–157 Masses for the Liturgical Year: Folios 158–204 Folio 201 depicts the martyrdom of Andrew the Apostle. The Duke of Berry was born on Saint Andrew's Day, 1340; consequently this miniature was of great importance to him (Cazelles and Rathofer 1988). Stylistic analysis The Limbourg brothers had artistic freedom but worked within a framework of the religious didactic manuscript. Several artistic innovations by the Limbourg brothers can be noticed in the Très Riches Heures. In the October miniature, the study of light was momentous for Western painting (Cazelles and Rathofer 1988). People were shown reflected in the water, the earliest representation of this type of reflection known thus far. Miniature scenes had new informality, with no strong framing forms at the edges. This allowed for continuity