HAinTSOaXPTB 621
tuiy. It contains first more than two hundred scenes from the Old Testament bordered with a smpla framework of foliage. The figures are graceful uid elegant. Then come scenes from the life of Christ exe-
'd tiackgrounds with much greaterrichneBs
in the miHRt of innumerable
-^■fiies of tl]p chase, tourney,
's, grotesque Hubjeota, The
Anglian iibbeys (Norfolk,
SiitTiilk) produced niagnificent
p.-v:illprs during the lame period
'■^Iter of I'eterboroughatBnw-
■ ; PsaH
MAKUSORmv
«. In this respect the
)uke of Berry (Cbantilly,
«n attributed to Pol d
"Trt«
ij^Husfe
months are represented all the chAteaux of the prinoe
in the midst of surprisinriy true landscapes. Loog
before the Van Eycks, Pol de limbourg r
p, Robert of Ormes-
^«^«rQ^ by at Oxford)
- *'*""^** which belong to
tlic same echoed. lu (lermany the mini.ituriats had lone been imitat- ig Bysantine art; beginning with the fourteenth century they also ' I i t a t e
the mon-
asteiy of St. Florian is found the moat ancient exam- ple of the Biblia Pauperum, executed about lUOO ac- cording to the same method as theScrmon Bibles. The taste for miniaturea was so keen at this period that they even went so far as to illuminate some important char- ters. A copy of the house rulea of the kings of Majorca showB each of the ofEciala in the exerciae of his funo- tiona (reproduced in "Acta SS. BoUand.", June, I; cf. list given by Dclaborde ia " Centenaire de la Soci- ^t^ dcs Antiquairea de France ", 93).
I^e Fourteenth, and Fifteenth Century.— It was in the second half of the fifteenth century that the art of miniature painting n-aa most profoundly changed. It m.iy even be said that the illuminators of this period were to a certain extent the precursors of modern painting. This new transformation seems to have . been largely the work ot the power- ful" Ghildes" of the Flemish mas- ters, versatile art- ists, many of them skilled like Andr^
obUged b;^ stress
of competition to
leave their own
country in order
to offer their ser-
vices to the lovera
of beautiful MSS.
They are found
scattered through-
out Europe, and
Italy. Andr^
artists in Ihe em-
Sloy of Jean Duke of Berry. He made a Psalier {Bib. at.. Paris) in which figures of propheta. and Apostles iilti'mated in quiet tones. It was at this lime that miiiiuscripts bejian to he painted in grisaille. The goliJ baekgroundg WCTC np\&vni by designs in coloure,
quainted with aerial perspective. In his works an
found the effects t^ snow, of starry nights, of daiiUng
muniner li^ta, the grey tones of autumn, all of which
mre new m art. Persons were treated with the same
love of truth. Physiognomies copied from nature
without disguise of any defect, intensity of look (never
was religious sentiment expressed with such power),
minute truthfulness as to costumes and details of fur-
nishing, such were the characteristics of this art. Having arrived at this perfection miniature painting eeued
to be a merely decorative art and was confounded
with painting on a large scale. The anachronism of
costumes belonging to the fifteenth century, wbetber
they have to do with characters from Terence or soenes
from the Goepels, is not one of the least charms of
these beautiful works. Simitar are the other MSS. of
Jean de Beny, the "Grandes Heures", ascribed to
Jacquemart de Hesdin, the "Trfe Belles Heurea"
(Brussels) by the same artist, the "Dukes' Terence"
^aris), which first belonged to the Duke of Ouyenne.
The "Heures de Turin" (destroyed by the fire of
1901), made for William IV, Count irf Holland, belcaw
to the same school. About 1450 we can distingui^
the Flemish- Burgundian school (works executed for
the Dukes of Burgundy) from the French schod,
whose chief representative is Jean Fouquet of Tours
(1415-80). Flemish and Italian influence are con-
fused in his works: "Jewish Antiquities" (Paris);
"Book of Hours" of Etienne Chevaher (Chantilly);
" Grandea Chronioues de France " (Paris), et«. After
him Jean Bourdichon, who about 1508 decorated the
"Hours" of Anne of Brittany (Paris), may be consid-
ered the lost representative of the great scnool of min-
iature painting. The progress of wood-engraving was
as fatal to it, as was that of printing to calligraphy.
Until modern times Books of Hours, works of nep-
atdiy, etc. have continued to be illuminated, but these
miniatures do not possess a single personal quality.
Sl..vl,iTHt. Faltoa^^iihie unir^MfHo {Taiii, ISSB-tl). 400; Mli>nr,i:TON» lllvminited Munvfiriplt in Clatncat and Mrdim^ pal Tima (Cunbrldse, IS92]; Rtpmductiom /mm iUuminaltd man^urriplsefthsantuh Mu-tam (Iadcjod, ISM-lMS); Bau- LET, A Dictionary o] ilinvOmiti. fUuminnliiHi, CtalKrrapAin and Capf/uli <Londan. ISfiT)^ Lscox Di 1.* UiUHsa, La
it la ontrr (&<■,' IW3v' MaktiH.'Lm pti < Hla minimum tnFmnatPtlit. mm; Knw lailik (Weiawr. 1S8S): Zoamoa, Bitbina A
rum picionim (Leipu«, 1743): Bbissbi., OoMAH At £Mni- sW>«n6cMer >n d<r mttn fflttU da Mittt^aUin (FMban b Br.. 1906); db HousilC. Lt Virgilt du Vatiem tf wt piSwt (Piris. t8S7); M<I, IHadit fratmBita . . . mm pietivH ODba. 1S19I; Stbetoowui. StntAlaaiiAimttAtWtltAniult (VisuK, IBOS): Idbu. Dot BUcimiadan EmnfiSaT (Vlouia, ISBl): Idkh, KMUfammitAt MiniMtirwia$errt im YtrHfaiMd H atiit «T UnintnilatibMiaatli n> reMwoi. 1: Uionst, ifaaul d'a'rlMiattlman,U(PMit.lW7),K-60: Blocret, Lea faota ^ printurt m Prrte in Ret: AirliMoo. (Ju[y. 1005); Kohdako**. Ili-'.-ir/ d, r.„! '.ii:.,„t:,i ,C,ii-r,s I,-.- .;, i -,-)!„-,■. I F> Ir, FatM. ISSS-Sn^ Ouatn. Mi^ia!tIral^rtmanltlC^il^BTladI^aB^Ui^■ !. HiOBXTC dii fart I, II!
'saky
ISSG); I
rr.Coda
'^eZ^
r. Die Wia
I. Uathi
litu&t
_ AfonunwnnPirf, VII (1901);
btaantina dt Berlin in Revut Anhlolog. (July, 1901): CcxfuM a Va^ni Select* . . . VIII. II Mmoloay, di BaMie, II (ToiId, 1907); OcspBNKT. Le manoKrit de rOdalntue du SJnQ ia Bnlltiin de flmlUul AnAA)l. rutte de ComUntinopU, XII. (1007)1 anuTOOWBEi. Dm miniaiuren dee eerbitch^n Fnltdri tVi»DnkISOe>: GiLBcnr. Fac-timileeofnatiimalmiaitucrirllof Ireland (London. 1H74-18S4): Wmtwood, Fa^^imUm of Ike rtinialurei and omameiUt of Anglo-Saam and /rtrt mamaP i p J l (London, 18631: rNCER, La miniatwe iriandaiie in An. Cd- (iqu«(lSTO); The Lindiifame and RutkwrVt (htpiit tSu^fM* SoclETT. 4S. ISaS): ns Butaxd. Pcinlum et oriMiMK* dtt manuKrite (Pfttii, 1888. intomplttol ; LiiTSCaraH, 0mA. drr Karolineinchen Malerei (Berlin, 1804); tlEKUU Di* Tritrtr Ada-Bandtckrifl (Ldpiii, 1889) ; db Babtabd, FfkUum di Is
