By 1333, Nicholas of Lyra had completed his Postilla super totam bibliam, an exegetical work drawing upon Jewish and Christian commentary. Many Postilla manuscripts were fairly modest creations produced for biblical scholars. However, some were created not only as sources of knowledge, but also as luxury goods. My paper examines a seven-volume, lavishly illuminated, brilliantly colored Postilla produced from 1494-1497 by one of Florence’s most celebrated illuminators, Attavante degli Attavanti, for King Manuel I of Portugal. I link this Postilla’s imagery to Manuel’s architectural interests and art collecting patterns. First, the frontispieces visually reference Manuel’s patronage of the Monastery of Saint Jerome in Lisbon, thus projecting an image of Manuel as a pious ruler. Second, the diagrams illustrating Lyra’s comparisons of Jewish and Christian commentary include detailed images of Italian Renaissance architectural structures; this painterly precision suggests the Portuguese court desired a luxury object that overtly displayed its foreign origins.