Volume II Part 3 (1/2)
LIBER GENERATIONIS IHI XTI. Of all portions of the sacred text--not absolutely a consecutive series of the Gospels, or of any of the books of the Old Testament--the present is probably, not only the oldest MS. in that particular department, but, with the exception of the well known _Codex Claromonta.n.u.s_, the most ancient volume in the Royal Library. It is a folio, having purple leaves throughout, upon which the text is executed in silver capitals. Both the purple and the silver are faded. On the exterior of the binding are carvings in ivory, exceedingly curious, but rather clumsy. The binding is probably coeval with the MS. They call it of the ninth century; but I should rather estimate it of the eighth. It is undoubtedly an interesting and uncommon volume.
EVANGELIUM STI. IOHANNIS. This is a small oblong folio, bound in red velvet. It is executed in a very large, lower-case, coa.r.s.e gothic and roman letter, alternately:--in letters of gold throughout. The page is narrow, the margin is large, and the vellum soft and beautiful. There is a rude portrait of the Evangelist prefixed, on a ground entirely of gold. The capital initial letter is also rude. The date of this ma.n.u.script is pushed as high as the eleventh century: but I doubt this antiquity.
LIBER PREc.u.m: c.u.m NOTIS, CANTICIS ET FIGURIS. I shall begin my account of PRAYER BOOKS, BREVIARIES, &C. with the present: in all probability the most ancient within these walls. The volume before me is an oblong folio, not much unlike a tradesman's day-book. A ms. note by Maugerard, correcting a previous one, a.s.signs the composition of this book to a certain Monk, of the name of _Wickingus_, of the abbey of Prum, of the Benedictin order. It was executed, as appears on the reverse of the forty-eighth leaf, ”_under the abbots.h.i.+ps of Gilderius and Stepha.n.u.s_.” It is full of illuminations, heavily and clumsily done, in colours, which are now become very dull. I do not consider it as older than the twelfth century, from the s.h.i.+eld with a boss, and the depressed helmet. There are interlineary annotations in a fine state of preservation. In the whole, ninety-one leaves. It is bound in red morocco.
BREVIARE DE BELLEVILLE: Octavo. 2 volumes. Rich and rare as may be the graphic gems in this marvellous collection, I do a.s.sure you, my good friend, that it would be difficult to select two octavo volumes of greater intrinsic curiosity and artist-like execution, than are those to which I am now about to introduce you:--especially the first. They were latterly the property of Louis XIV. but had been originally a present from Charles VI.
to our Richard II. Thus you see a good deal of personal history is attached to them. They are written in a small, close, Gothic character, upon vellum of the most beautiful colour. Each page is surrounded by a border, (executed in the style of the age--perhaps not later than 1380) and very many pages are adorned by illuminations, especially in the first volume, which are, even now, as fresh and perfect as if just painted. The figures are small, but have more finish (to the best of my recollection) than those in our Roman d'Alexandre, at Oxford.
At the end of the first volume is the following inscription--written in a stiff, gothic, or court-hand character: the capital letters being very tall and highly ornamented. ”_Cest Breuiare est a l'usaige des Jacobins. Et est en deux volumes Dont cest cy Le premier, et est nomme Le Breuiaire de Belleville. Et le donna el Roy Charles le vj^e. Au roy Richart Dangleterre, quant il fut mort Le Roy Henry son successeur L'envoya a son oncle Le Duc de Berry, auquel il est a present.”_ This memorandum has the signature of ”Flamel,” who was Secretary to Charles VI. On the opposite page, in the same ancient Gothic character, we read: ”_Lesquelz volumes mon dit Seigneur a donnez a ma Dame Seur Marie de France. Ma niepce.”_ Signed by the same.
The Abbe L'Epine informs me that Flamel was a very distinguished character among the French: and that the royal library contains several books which belonged to him.
BREVIARY OF JOHN DUKE OF BEDFORD. Pursuing what I imagine to be a tolerably correct chronological order, I am now about to place before you this far-famed _Breviary_: companion to the MISSAL which originally belonged to the same eminent Possessor, and of which our countrymen[34] have had more frequent opportunities of appreciating the splendour and beauty than the Parisians; as it is not likely that the former will ever again become the property of an Englishman. Doubtless, at the sale of the d.u.c.h.ess of Portland's effects in 1786, some gallant French n.o.bleman, if not Louis XVI.
himself, should have given an unlimited commission to purchase it, in order that both _Missal_ and _Breviary_ might have resumed that close and intimate acquaintance, which no doubt originally subsisted between them, when they lay side by side upon the oaken shelves of their first ill.u.s.trious Owner. Of the _two_ performances, however, there can be no question that the superiority lies decidedly with the _Missal_: on the score of splendour, variety, and skilfulness of execution.
The last, and by much the most splendid illumination, is _that_ for which the artists of the middle age, and especially the old illuminators, seem to have reserved all their powers, and upon which they lavished all their stock of gold, ultramarine, and carmine. You will readily antic.i.p.ate that I am about to add--the _a.s.sumption of the Virgin_. One's memory is generally fallacious in these matters; but of all the exquisite, and of all the minute, elaborate, and dazzling works of art, of the illuminatory kind, I am quite sure that I have not seen any thing which _exceeds_ this. To _equal_ it--there may be some few: but its superior, (of its own particular cla.s.s of subject) I think it would be very difficult to discover.
HORae BEATae MARIae VIRGINIS. This may be called either a large thick octavo, or a very small folio. Probably it was originally more decidedly of the latter kind. It is bound in fish skin; and a ms. note prefixed thus informs us. ”_Ma.n.u.scrit aqui du C^{en} Papillon au commencement du mois de Frimaire de lan XII. de la Republique.”_ This is without doubt among the most superb and beautiful books, of its cla.s.s, in the Royal Library. The t.i.tle is ornamented in an unusual but splendid manner. Some of the larger illuminations are elaborately executed; especially the first--representing the _Annunciation_. The robe of the Angel, kneeling, is studded with small pearls, finished with the minutest touches. The character of ART, generally throughout, is that of the time and manner of the volume last described: but the present is very frequently inferior in merit to what may be observed in the Bedford Breviary. In regard to the number of decorations, this volume must also be considered as less interesting: but it possesses some very striking and very brilliant performances. Thus, _St. Michael and the Devil_ is absolutely in a blaze of splendor; while the illumination on the reverse of the same leaf is not less remarkable for a different effect.
A quiet, soft tone--from a profusion of tender touches of a grey tint, in the architectural parts of the ornaments--struck me as among the most pleasing specimens of the kind I had ever seen. The latter and larger illuminations have occasionally great power of effect, from their splendid style of execution--especially that in which the central compartment is occupied by _St. George and the Dragon_. Some of the smaller illuminations, in which an Angel is shewing the cruelties about to be inflicted on the wicked, by demons, are terrific little bits! As for the vellum, it is ”de toute beaute.”
HISTORIA BEATae MARIae VIRGINIS. Folio. This is briefly described in the printed catalogue, under number 6811. It is a large and splendid folio, in a very fine state of preservation; but of which the art is, upon the whole, of the ordinary and secondary cla.s.s of merit. Yet it is doubtless a volume of great interest and curiosity. Even to English feelings, it will be gratifying to observe in it the portrait of _Louisa of Savoy_, mother of Francis I. That ill.u.s.trious lady is sitting in a chair, surrounded by her attendants; and is in all probability a copy from the life. The performance is a metrical composition, in stanzas of eleven verses. I select the opening lines, because they relate immediately to the portrait in question.
_Tres excellente ill.u.s.tre et magnificque Fleur de n.o.blesse exquise et redolente Dame dhonneur princesse pacifique Salut a ta maieste precellente Tes seruiteurs par voye raisonnable Tant iusticiers que le peuple amyable.
De amyens cite dicte de amenite Recomandant sont par humilite Leur bien publicque en ta grace et puissance Toy confessant estre en realite Mere humble et franche au grant espoir de France_.
The text is accompanied by the common-place flower Arabesques of the period.
HOURS OF ANNE OF BRITTANY. The order of this little catalogue of a few of the more splendid and curious ILLUMINATED Ma.n.u.sCRIPTS, in the Royal Library of France, has at length, my worthy friend, brought me in contact with the magical and matchless volume usually designated by the foregoing t.i.tle. You are to know--in the first place--that, of ALL the volumes in this most marvellous Library, the present is deemed THE MOST PRECIOUS. Not even the wishes and regulations of Royalty itself allow of its migration beyond the walls of the public library. There it is kept: there it is opened, and shewn, and extolled beyond any limits fixed to the admiration of the beholder. It is a rare and bewitching piece of art, I do a.s.sure you: and so, raising your expectations to their highest pitch, I will allow you to antic.i.p.ate whatever is wonderful in FRANCESCO VERONESE and gorgeous in GIROLAMO DEI LIBRI.[35] Perhaps, however, this is not the most happy ill.u.s.tration of the art which it displays.
The first view of this magical volume is doubtless rather disheartening: but the sight of the original silver clasps (luckily still preserved) will operate by way of a comforter. Upon them you observe this ornament:
[Ill.u.s.tration.]
denoting, by the letter and the ducal crown, that the book belonged to Anne, d.u.c.h.ess of Brittany. On the reverse of the second leaf we observe the _Dead Christ_ and the _three Maries_. These figures are about six inches in height. They are executed with great delicacy, but in a style somewhat too feeble for their size. One or two of the heads, however, have rather a good expression.
Opposite to this illumination is the _truly invaluable_ PORTRAIT OF ANNE herself: attended by two females, each crowned with a glory; one is displaying a banner, the other holding a cross in her hand. To the left of these attendants, is an old woman, hooded, with her head encircled by a glory. They are all three sweetly and delicately touched; but there are many evident marks of injury and ill usage about the surface of the colouring. Yet, as being _ideal_ personages, my eye hastily glided off them to gaze upon the ill.u.s.trious Lady, by whose orders, and at whose expense, these figures were executed. It is upon the d.u.c.h.eSS that I fix my eye, and lavish my commendations. Look at her[36] as you here behold her. Her gown is brown and gold, trimmed with dark brown fur. Her hair is brown. Her necklace is composed of coloured jewels. Her cheek has a fresh tint; and the missal, upon which her eyes are bent, displays highly ornamented art.
The cloth upon the table is dark crimson.
The _Calendar_ follows; in which, in one of the winter months, we observe a very puerile imitation of flakes of snow falling over the figures and the landscape below. The calendar occupies a s.p.a.ce of about six inches by four, completely enclosed by a coloured margin. Then begins a series of the most beautiful ornaments of FLOWERS, FRUITS, INSECTS, &C. for which the illuminators of this period were often eminently distinguished. These ornaments are almost uniformly introduced in the fore-edges, or right-side margins, of the leaves; although occasionally, but rarely, they encircle the text. They are from five to six inches in length, or height; having the Latin name of the plant at top, and the French name at the bottom. Probably these t.i.tles were introduced by a later hand. It is really impossible to describe many of them in terms of adequate praise. The downy plum is almost bursting with ripeness: the b.u.t.terfly's wings seem to be in tremulous motion, while they dazzle you by their varied l.u.s.tre: the hairy insect puts every muscle and fibre into action, as he insinuates himself within the curling of the crisped leaves; while these leaves are sometimes glittering with dew, or coated with the finest down. The flowers and the vegetables are equally admirable, and equally true to nature. To particularise would be endless. a.s.suredly these efforts of art have no rival--of their kind.
_Scripture Subjects. Saints, Confessors, &c._ succeed in regular order, with accompaniments of fruits and flowers, more or less exquisitely executed:--the whole, a collection of peculiar, and, of its kind, UNRIVALLED ART. This extraordinary volume measures twelve inches by seven and a half.
HOURS BELONGING TO POPE PAUL III. 8vo. The portrait of the Pope is at the bottom of the first ornament, which fixes the period of its execution to about the middle of the sixteenth century. Towards the end the pages are elaborately ornamented in the arabesque manner. There are some pleasing children: of that style of art which is seen in the Missal belonging to Sir M.M. Sykes, of the time of Francis I.[37] The scription is very beautiful.
The volume afterwards belonged to Pius VI., whose arms are worked in tambour on the outside. It is kept in a case, and is doubtless a fine book.
MISSALS: numbers 19-4650. Under this head I shall notice two pretty volumes of the devotional kind; of which the subjects are executed in red, blue, &c.--and of which the one seems to be a copy of the other. The borders exhibit a style of art somewhat between that of Julio Clovio and what is seen in the famous Missal just mentioned.
MISSAL OF HENRY IV. No. 1171. This book is of the end of the XVIth century.