One of the oldest and most important manuscripts of the Alexander story by Curtius Rufus; it probably was copied on the initiative of Lupus of Ferrières at the local abbey. A quire bound in the front contains a collection of excerpts from the Pseudo-Isidorian papal letters (= false decretals) which has been preserved only here. This collection is larger than the related partial collection by Hinkmar of Laon and most probably stems from the common 'legal invention', which was thought to have been lost. The final pages of the manuscript contain a geographical index of the late Roman administration and notes on the city of Rome. This volume came into the possession of Pierre Daniel, who annotated it extensively; in 1632 the manuscript came to Bern as part of Jacques Bongars' collection. (all/mit)

This French translation of the story of Alexander, destined to belong to Charles the Bold, was commissioned by Vasco da Lucena, "the Portugese", a retainer of the Infanta Isabella, who was married to Philip the Good. This revival of the work by Quintus Curtius Rufus, which is augmented by texts from Plutarch, Valerius Maximus, Aulus Gellius and Justin, allows the author to liberate the Macedonian conqueror from legends perpetuated by the medieval tradition. The Miroir des princes portrays a model of a hero shaped within the framework of the humanistic movement initiated by the dukes of Burgundy in the late middle ages. CB 53 was copied in Burgundy and may be fairly accurately dated only a few years after the translation was made; it was decorated with miniatures in the artistic circle of the Master of Marguerite of York (ca. 1470-1475). (mes)

Vasco de Lucena translated Quintus Curtius' history of Alexander into French at the request of Isabella of Portugal, the wife of Philip III, Duke of Burgundy. The translator drew on texts by Plutarch and Justin in order to complete the Roman writer's text which contains gaps. The translation, completed in 1468, presents Alexander as conqueror, devoid of all legends transmitted through courtly literature; it is dedicated to Charles the Bold, the son of Isabella. This copy from the Bibliothèque de Genève was illustrated by a Flemish artist, Maître d'Edouard IV, who was active in Bruges around the end of the 15th century, as well as by a second hand not yet definitively identified. (hoc)