Manuscript Painting in Paris during the Reign of St. Louis: A Study of Styles [Reprint 2020 ed.] 9780520349773

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MANUSCRIPT PAINTING IN PARIS DURING THE REIGN OF SAINT LOUIS

California Studies in the History of Art Walter Horn, General Editor Advisory Board: H. W. Janson, Donald Posner, Wolfgang Stechow, John R. Martin

I II III IV V VI VII

The Birth of Landscape Painting in China, by Michael Portraits by Degas, by Jean Sutherland

Leonardo da Vinci on Painting: A Lost Book (Libro A) by Carlo Pedretti Images in the Margins of Gothic Manuscripts, by Lilian M. C. Randall The Dynastic Arts of the Kushans, by John

George Caleb Bingham: The Evolution of an Artist, and A Catalogue Raisonné (two

X XI

Roethlisberger

Venetian Painted Ceilings of the Renaissance, by Juergen

Schulz

The Drawings of Edouard Manet, by Alain de Leins Theories of Modern Art, by Herschel B. Chipp, with contributions Joshua C.

XII

Bloch

Claude Lorrain: The Drawings—Catalog and Illustrations (two volumes), by Marcel

IX

Rosenfield

A Century of Dutch Manuscript Illumination, by L. M. J. Délaissé volumes), by E. Maurice

VIII

Sullivan

Boggs

by Peter Selz and

Taylor

After the Hunt: William Harnett and other American Still Life Painters, 1870-1900, by Alfred

Frankenstein

XIII

Early Netherlandish Triptychs : A Study in Patronage, by Shirley Neilsen Blum

XIV

The Horned Moses in Medieval Art and Thought, by Ruth

XV

by Kathleen XVI XVII XVIII

Mellinkoff

Metamorphosis of a Death Symbol: The Transi Tomb in 15th- and 16th-century Europe, Cohen

Franciabigio, by Susan R.

McKillop

Egon Schiele's Portraits, by Alessandra

Comini

Manuscript Painting in Paris during the Reign of Saint Louis, by Robert

Branner

Frontispiece Christ in M a j e s t y , M i s s a l f o r St.-Denis usage (Latin 1 1 0 7 , f. 2 1 0 ) CHOLET GROUP

MANUSCRIPT PAINTING IN PARIS DURING THE REIGN OF SAINT LOUIS A Study of Styles by

ROBERT BRANNER

UNIVERSITY OF CALIFORNIA PRESS BERKELEY

LOS ANGELES

LONDON

UNIVERSITY OF CALIFORNIA PRESS BERKELEY A N D LOS ANGELES, CALIFORNIA UNIVERSITY OF CALIFORNIA PRESS, LTD. LONDON, ENGLAND

Copyright © 1977, by Shirley Prager Branner Library of Congress Catalog Card Number: 73-78541 ISBN Number: 0-5520-02462-1 Printed in the United States of America

M A N U S C R I P T P A I N T I N G D U R I N G THE REIGN O F ST. LOUIS is a volume in the California Studies in the History of Art Series sponsored in part by the Samuel H. Kress Foundation

To the memory of Dorothy Miner without whose generous and gracious help this book could not have been written

Preface

This book is an effort to identify and study manuscript paintshops active in Paris in the middle half of the thirteenth century. It pretends to be no more than a great classification, including the information and apparatus necessary to support such a scheme on a scholarly level. Nearly fifteen years ago, while I was admiring the stained-glass in the SainteChapelle on one of those days of ineffable clarity that only Paris can produce, my eyes fell for a moment on the dado arcade of the chapel and there, to my surprise, I noticed a series of paintings—Gothic frescoes, not only from the time of St. Louis, but in the king's private chapel! There, indeed, was a subject for thought and investigation, for any Gothic frescoes from the mid-thirteenth century are in themselves rarissima, and none are known from Paris for a long time before 1250 and a long time after. That the paintings crumbling from the walls turned out to be almost entirely the detritus of nineteenth-century restorations was incidental, for accurate, full-scale copies of what still remained of the originals in the 1840s were on file in the Musée des Monuments Français. Of greater ultimate interest was another factor that presently came to light. Of course one could not compare the chapel frescoes with other murals of the same time or style because the latter did not exist. But it was something of a shock to learn that comparisons with related media were also virtually impossible to make. The Corpus vitrearum had been born, it is true, and L. Grodecki's volume on the stained-glass of the SainteChapelle had just been published. But this and a few other monographic studies did not provide the necessary repertory, especially since the frescoes did not particularly resemble the glass. The second obvious medium for comparison was manuscript painting. I thought that among the numerous well-known exhibitions and catalogues of private collections I would find what I needed. To my surprise, however, it shortly became apparent that no detailed history existed of French vii

PREFACE

manuscript painting in the thirteenth century, let alone of Parisian painting. The last important works on the subject had appeared in 1906 and 1907! One was Arthur HaselofFs brilliant essay in André Michel's Histoire de Vart, the other Georg von Vitzthum's full-length Die Pariser Miniaturmalerei. Haseloff's work was penetrating but very brief, while Vitzthum's, although longer, was devoted primarily to the second half of the century. Since that time, more than half a century ago, nothing equal in scope or depth has been published. Parisian painting has been treated in a number of general books and featured in exhibitions, but other than Giinther Haseloff's Psalterillustration of 1938, no study has been devoted entirely or even largely to the "fountainhead" of Gothic illumination. That, quite simply, is the story of the origin of the present study.* Since World War II, the materials and means for writing the history of French Gothic illumination have increased enormously. The last of Leroquais' excellent descriptions and analyses of classes of manuscripts has become available, and the freer use of photography has profoundly transformed and facilitated the examination of style. Several studies have also been started, such as the one on French and English Bibles of the twelfth and thirteenth centuries by Professors Peter Brieger and G. Stephen Vickers of Toronto and Dr. J. Paul of Tubingen, and more recently Professor Reiner Haussherr's on the Moralized Bible. Each is bound to overlap the other to a certain extent, just as the present volume must do, so that once-great poverty shall shortly be replaced by a plethora of material. In my own view such plenty is good, for the more material and interpretations are made public, the more likely we are to obtain a correct picture of medieval activities and thought. One of the first and most fundamental problems facing anyone studying thirteenth-century manuscripts is how to determine where they were made. Vitzthum's attributions are no longer acceptable, although often they are the only ones available. His basic division of styles into the court and non-court modes in Paris is incorrect, and his groupings, such as the famous Roman de Poire group, do not withstand close examination. My own method has been to assign a work to the capital when good grounds for it exist, such as liturgical usage, cult or historical associations, or perhaps simply date, if the manuscript is an early copy of the new University Vulgate. This assignment makes possible a further step, for if the artists who illustrated such manuscripts resided in Paris, then other manuscripts painted in the same styles were probably also made there. In brief, I have set out to isolate and examine the paintshops active in Paris in the middle third of the thirteenth century, knowing this * The relation of the Sainte-Chapelle frescoes to manuscript illumination was eventually confirmed. The connection is published in my short article, "Rediscovering a Parisian PaintShop of the Thirteenth Century/' Boston Museum Bulletin, LXIX (1971), pp. 1 6 5 - 1 7 2 .

viii

PREFACE

task to be a necessary first step upon which future research of this sort would depend. I have consciously omitted some famous works, such as the Macejowski Bible (Morgan 638) because, even if it were a royal manuscript (and that remains to be proven), there is no evidence that its painters were in Paris very long (if at all); to my way of thinking, the manuscript may have been painted in England. But I have not seen 7,000 manuscripts, as had Destrez when he wrote his famous study of the pecia, and my lists are far from complete. I hope others will add to the appendix, and that eventually a fuller picture of Parisian illumination will emerge. Like Vitzthum, I too, have been forced to name the various shops and groups, and I trust the reader will excuse what must sometimes seem my whims of baptism. I have tried to avoid Vitzthum's linear method of passing from a brief description of a manuscript to a brief discussion of its place in the realm of illumination. Rather, I have studied some ateliers synthetically, some biologically, still others chronologically, each in the way that seemed best suited to its idiosyncrasies as they appear at the present time. But Vitzthum's approach could not be entirely avoided and I beg the reader's indulgence when the going seems to get "thick." I have tried to publish as many new photographs as possible, to enlarge the public repertory, although I realize this means the book will probably have to be read in a well-stocked library where the familiar images are readily available. All reproductions are at a scale of x :i (height given first) unless otherwise noted. The lengthy appendices at the rear, made as concise as possible, contain data about the manuscripts that could only with the greatest difficulty be worked into a text focussed on style; I hope also that their condensed form may increase the accessibility of the data. M y thanks go to far more people and institutions than can be mentioned here. But special gratitude is due Miss J. Backhouse, Miss A. Bennett, Mme. Ch. M. G. Berkvens-Stevelinck, P. Brieger, W. Cahn, Miss W. Clark, Miss P. Danz, H. Davis, Mr. and Mrs. Douglas C. Ewing, J. Folda, Mrs. P. Gerson, Miss D. Glass, Miss R. Green, H. Kessler, R. Nelson, J. Plummer, Miss M. Roberts, G. Schmidt, Miss E. Spenser, H. Stahl, M. Thomas, D. H. Turner, P. Weis, and W. D. Wixom. Professor Brieger was kind enough to read the first chapter and to give me the benefit of his observations thereon. M M . J. J. G. Alexander and F. Avril must be particularly thanked for their continuing assistance and enthusiasm, which on many occasions equalled my own, and for having brought to my attention many manuscripts that enabled me to flesh out the skeleton of the book. I wish also to record the generous support extended me by the American Council of Learned Societies, The American Philosophical Society through the Penrose Fund, Columbia University, and The Johns Hopkins University. ROBERT BRANNER

June

1971

ix

PREFACE

Since this book was terminated, a typescript of five lectures on medieval Bible illustration by Count Erbach-Fürstenau, catalogued among the printed books in the Cabinet des manuscrits in Paris (Impr. 4° 494), has come to my attention. I regret being unable to make use of it here, all the more since it treats many of the same manuscripts as the present study. POSTSCRIPT.

X

Note

Owing to Robert Branner's premature death in 1973, at the age of only 46, this book tragically became the last of an amazing series of brilliant studies undertaken in passionate search for truth by a man of whom his distinguished colleague and friend, Jean Bony, has said: "He worked always with such intensity and at such a pace that he accomplished in twenty years what could be claimed with pride as the sum of a long life's work." Virtually all of the editing of Branner's manuscript was completed under his supervision before he died. Proofreading, final assembly of acknowledgments, and photo credits have been made under the careful stewardship of Shirley Prager Branner, the author's wife. She also made the Index according to verbal instructions Branner gave her during his last illness. We hope, in the physical rendering of this book, to have done justice by Robert Branner's expectations and high standards for it. We are indebted to many of the author's colleagues, and the institutions with which he was associated, for their generosity and cooperation in producing the book under such circumstances. The Samuel H. Kress Foundation, with characteristic compassion, has greatly assisted in its making. Any inadequacies remaining in format or wording owe to the more limited vision of those who remain to complete Robert Branner's task in his absence. W A L T E R HORN

General Editor, California Studies in the History of Art Berkeley, May, 1975

xi

Contents

Preface

vii

List of Illustrations

xv

Acknowledgments I II

xxiii

The Making of Illuminated Manuscripts in 1 3 t h - c e n t u r y Paris The Earlier Styles. T h e Moralized Bible Ateliers The Atelier of the Vienna Moralized Bibles

32

The Toledo and Oxford Moralized Bibles and Their Ateliers III

Other Parisian Ateliers of the Earlier Styles

IV

A Parisian Style

97

2. The Sainte-Chapelle Group

98

117

143

Abbreviations and Bibliography APPENDICES

49

66

1 . Origins, Formation, and Offshoots of the Parisian Style

Illustrations

22

145

152

I

Canonic Parisian Order of Bible Books and Prologues

II

Illuminators, Parchmenters, Scribes & Booksellers Known in Paris, mid-i3th Century 156

III

A Hands in ONB 1 1 7 9

157

B Hands in ONB 2554

160

C Hands in the Toledo Moralized Bible Toledo vol. I, Toledo vol. II, Toledo vol. Ill

162

154

CONTENTS

D Hands in the Oxford Moralized Bible

169

i Bodley 270b, 11 Paris, Latin 11560, ma Harley 1526, nib Harley 1527 E Hands in the Saint Louis Psalter (Latin 10525) IV

176

A Old Testament Subjects from Selected Manuscripts

178

B Old Testament Subjects in Bibles Painted by the Mathurin Atelier C Psalm Illustrations Painted by the Vie de Saint Denis Atelier D Pauline Epistles Subjects from Selected Manuscripts

184

192

194

E Illuminated Missals for Paris Usage: Feasts in Calendars for Dating

197

F Order and Grouping into Volumes of Bible Books in Some Glossed Bibles V

Working Lists of Manuscripts A Early Manuscripts

200

201

B Manuscripts Associated with the Moralized Bibles i Atelier of the Vienna Moralized Bibles

ii Ateliers of the Toledo & Oxford Moralized Bibles C Amiens Atelier

210

D Guines Atelier

211

E Pierre de Bar Atelier

2x2

F Gautier Lebaube Atelier G Mathurin Atelier H Soissons Atelier I

213

214 216

Du Prat Atelier

218

J Isolated Manuscripts and Small Groups K Johannes Grusch Atelier

222

L Vie de Saint Denis Atelier M Wenceslas Atelier N Bari Atelier

229

O Aurifaber Atelier P Corpus Atelier

231 234

Q Sainte-Chapelle Group Index

xiv

241

224

228

236

220

206

206 207

List of Illustrations

PLATES reproduced in color: Frontispiece: Christ in Majesty, Missal for St.-Denis usage, Latin 1 1 0 7 , f. 210 (slightly reduced) I Initial for Matthew, Bible, Additional 1 5 2 5 3 , f. 265 (slightly reduced) II February, Martyrology for St.-Germain des Prés, Latin 1 2 8 3 3 , f. 3 2

III Crucifixion, Psalter, Boston Museum of Fine Arts, no. 57.707

IV Initial for Leviticus, Bible, Morgan 269, f. 33V V Initial for Joshua, Glossed Bible, Latin 9402, f. 3 (enlarged) VI Initial for Job, Bible, Glazier 3 1 , f. 1 5 6 VII Initial for Psalm 5 1 , Douce 48, f. 76V VIII Initial for Leviticus, Dominican Bible, Latin 1 6 7 1 9 , f. 8 5 V IX Vignette of Three Kings, Sainte-Chapelle Evangeliary, Latin 8892, f. 6 X Initial for Daniel, Bible, Latin 233, f. 391 XI Initial for I Chronicles, Metropolitan Museum of Art, Bequest of Gwynne M. Andrews, 31.134.9 (formerly B482), f. 2 1 1 V

XII Initial for Genesis, Bible, Williams College, Loan 505 XIII Initial for Genesis, Bible, Harvard College Library, Latin 264, f. 4V (reduced) XIV Initial for I Chronicles, Bible, Yates Thompson 1 , f. 179V

XV Initial for Genesis, Bible, Additional 54235, f. 6 XVI Initial for Per omnia, Missal for Paris usage, Latin 8 2 4 , f. 1 7 8 XVII Initial for Psalm 97, Bible, Harley 1297, f. 229

XVIII Initial, Decretals of Gregory IX, Latin 8 9 2 3 , Book II, f. 5 5 XIX Initial for I Kings, Summer Breviary for Paris usage, Harvard College Library, Riant 9, f. 1 XX Initials for Per omnia and Vere dignum, Paris missal, Latin 830, f. 1 2 5 XXI Initial for Consecration of Church, Sainte-Chapelle Evangeliary, Latin 8892, f. 30 XXII February, St.-Germain des Prés Martyrology, Latin 1 2 8 3 4 , F- 3 6

X X m Initial for Psalm 26, Bible, University of California, Santa Barbara, Foot Purchase 1962 (enlarged) XXIV Crucifixion, Bible, Museum Plantin-Moretus, Antwerp, M16.7, Latin 2 1 2 , f. 4 XXV Initial for Hosea, Bible, Latin 1 6 7 2 1 , f. 2 1 2 FIGURES reproduced in black and white: 1 Initial for I Peter, Bible, Latin 16749, 357 V 2 Initial for Haggai, Bible, Mazarine 1 5 , f. 354V (enlarged) 3 Crucifixion and initial for Genesis, Bible, Mazarine 1 5 , f. 4 (slightly reduced) 4 Initial for Feast of St. Stephen, Sens Breviary, Walters 108, f. 1 4 1 5 Initial for prologue to Habbakuk, Bible, Latin 1 1 5 4 5 , f. 393V

(90%)

6 Sketch and initials for Philemon and prologue, Bible, Mazarine 1 5 , f. 436V ( 6 6 % )

7 Initial for Numbers, Bible, Latin 1 1 5 3 8 , f. 57 (40%) 8 Sketch and initial for Joshua, Petrus Riga, Aurora, Latin, 1 7 9 0 7 , f. 62V

9 Initial for Te igitur, Paris Pontifical, Metz 1 1 6 9 , f. 146 (66%) xv

LIST OF ILLUSTRATIONS

1 0 Initials for prefaces to mass, St.-Maur Missal, Latin 1 3 2 4 7 , f. 1 3 5 (66%) 1 1 Initial for John Beleth, Summa, Latin 14860, f. 1 6 3 (80%) 1 2 Annunciation, Leber Psalter, Rouen 3 0 1 6 , f. 7V (reduced) 1 3 Crucifixion from canon of mass, St.-Maur Missal, Latin 1 2 0 5 9 , f- 130V ( 4 2 % ) 1 4 Initial for Psalm 5 1 , Psalter, Latin 1 1 5 6 5 , f. 63 1 5 Initial for prologue to Kings, Latin 1 1 5 3 5 , f. 146 1 6 Sacrifice of Isaac, Peter of Poitiers, Genealogy, Naples VIII.C.3, f. 3V (slightly enlarged) 1 7 The Prince, initial for Gilles de Paris, Miroir des Princes, Latin 6 1 9 1 , f. l v (90%) 1 8 King David, Peter of Poitiers, Genealogy, Naples VIII. C.j, f. 3V (enlarged) 1 9 Preface to Petrus Comestor, Historia scolastica, Naples VIII.C.3, f. 7 20 Initial for Genesis, Pierre de Chateauroux Glossed Bible, Mazarine 1 3 1 , f. 3 ( 8 5 % ) 2 1 Initial for Genesis, Bible, Latin 1 1 5 3 6 , f. 4 ( 8 1 % ) 22 The Virtues and Prince Louis, Gilles de Paris, Miroir des Princes, Additional 22399, f- 3 23 Initial for Exodus, Bible, Boulogne 5, f. 20V (enlarged) 24 The Prince, Ptolemy, Almagest, copied in 1 2 1 3 , Latin 1 6 2 0 0 , f. 4 (66%) 2 5 Initial f o r Exodus, Pierre de Chateauroux Glossed Bible, Mazarine 1 3 1 , f. 1 1 3 26a. Cain Embracing Abel, O N B 1 1 7 9 , f. 5 C ; First Painter ( 0 1 ) 26b. Cain Murders Abel, O N B 1 1 7 9 , f. 5 D ; First Painter

(e1)

26c. Cain and Abel Embracing, and Murder of Abel, O N B 2554, f. 2 * C ; Fourth Painter (A 3 ) 2 7 Christ Presenting Ecclesia to Apostles, O N B 1 1 7 9 , f. 1 1 a ; First Painter (Q 1 ) 28 Christ Resting on the D a y of Judgment, O N B 1 1 7 9 , f. 3c; First Painter ( 6 1 ) 29 Christ Warning Perverse Students, O N B 1 1 7 9 , f. 33c; Second Painter (0 2 ) 30 Synagoga Seeking a Prolongation of Her Life, O N B 1 1 7 9 , f. 74d; Third Painter (6 3 ) 3 1 Pharisees Taking Council Against Christ, O N B 1 1 7 9 , f. i 6 6 d ; Third Painter (0 3 ) 3 2 John Hearing the Voice of Great Triumph, Apoc. XIC, 7 f f , O N B 1 1 7 9 , f. 2 4 2 A , Third Painter (0 3 ) 3 3 Christ Warns His "Ambassadors" to Reform Their Ways, O N B 1 1 7 9 , f. 1 0 3 d ; Fourth Painter (A 1 ) 34 God Seeing His Son as Moses Saw the Flowering Rod;

xvi

35 36 37 38 39

40 41 42 43 44 45 46 47 48 49 50 51

God Telling Moses to Put the Rod in the Tabernacle, O N B 1 1 7 9 , f. 57c, d; Fourth Painter (A 1 ) Simon Taking Gaza, O N B 1 1 7 9 , f. 2 1 3 A ; Fourth Painter (A 1 ) The Woman Taken in Adultery Brought Before Christ, O N B 1 1 7 9 , f. 1 7 4 a ; Fifth Painter (A 2 ) God the Father Observing the Jews with Stones to Strike Christ, O N B 1 1 7 9 , f. 167c; Sixth Painter (w1) Christ Inflicting Punishment on the Devil, O N B 1 1 7 9 , f. l o i d ; Seventh Painter (2 1 ) Christ Striking the Flesh of the "Proudome" for Penance; God the Father Refusing the Jews and Taking Christ Instead, O N B 2554, f. 58*3, b ; First Painter (©") Ecclesia Hagellated by the " S e a " of Worldly Beings, O N B 2554, f. l b ; First Painter (0 4 ) Christ Revealing Himself to the Apostles as the Good Shepherd, O N B 2554, f. 1 3 a ; Third Painter (0 5 ) Anna Prays in the Temple, O N B 2554, f. 3 5 B ; Fourth Painter (0 7 ) Creation of Fishes, O N B 2554, f. i * A ; Sixth Painter (A 3 ) Christ Telling Good Christians to Burn the Devil, O N B 2554, f. 26a; Seventh Painter (X2) God Giving Moses the Effulgence, O N B 2554, f. 26* A ; Eighth Painter (il 1 ) Jeroboam Asks God to Cure His Hand and Offers Him Presents, O N B 2554, f. 5 2 A ; Ninth Painter (il 2 ) Mary Asks Gabriel About His Announcement, Toledo III, f. 3 C ; Hand A 4 The N e w Law Concealed in the Five Eras of Man and in the Five Books of Moses, Toledo III, f. 2c; Hand 2 3 Moralization on Those Who Followed Christ Because of John the Baptist, Toledo III, f. i 6 d ; Hand it2 The Possessed Boy Brought to Christ, Toledo III, f. 33 B; Hand 0 9 Initial for prayer, "Domine labia mea aperies," O N B 1 9 0 4 , f. 48

52 Christ in Majesty, St.-Maur Missal, Latin 12059, f. 1 3 1 (80%)

5 3 Initials for Per omnia and Vere dignum, Missal f o r Paris Cathedral, Latin 1 1 1 2 , f. 103 (80%) 54 Initial for " Y a d e s " (= doctores), with T w o Martyrdoms for preceding entry, Gamier de Rochefort, Distinctiones, Troyes 392, f. i 6 8 v (80%) 5 5 Initials for Psalm 26, Holkham Psalter, Additional 4 7 6 7 4 , f. 34V

56 Initial for Genesis, Bible, Brussels 8 3 1 8 - 8 3 1 9 , f. 3 (72%)

5 7 Initial for Joel, Pierre de Chateauroux Glossed Bible, Mazarine 1 3 7 , f. 33V (60%)

LIST OF ILLUSTRATIONS

58 Events in the Public Life of Christ, f r o m Christ and the Samaritan W o m a n through the Cure of the M a d man, C r a w f o r d Psalter, John Rylands Library, M a n chester 22, f. 12V 59 Initial for Creation, Petrus Riga, Aurora, Latin f- 4 ( 7 5 % ) 60 Initial for Daniel, Petrus Riga, Aurora, Latin

17907,

17907,

f.

102V ( 9 0 % )

6 1 Initial for I K i n g s , Pierre de Chateauroux Glossed Bible, Mazarine 1 3 3 , f. 3 ( 9 0 % ) 62 Initial for Psalm 5 1 , C r a w f o r d Psalter, John Rylands Library, Manchester 22, f. 6iv (66%) 63 Initial for Colossians, Bible, Ste.-Genevieve 1180, f. 348V

(60%)

64 M a g i before Herod, and Epiphany, Psalter, N o u v . acq. lat. 1392, f. 2v 65 Initial for Psalm 1, Thott Psalter, Copenhagen, Thott 1 0 8 - 8 ° , f. 7

(80%)

66 Initial for Exodus, Petrus Riga, Aurora, Latin 17907, f. 25 67 Joseph with Benjamin and His Other Brothers, Toledo I, f. 25 D , Hand ® l 68 Job and Friends, Toledo I, f. 190B, Hand 69 T h e M o r a l of Job's Friends Seeking His C o m p a n y W h e n He W a s W e a l t h y , Toledo II, f. i d . Hand O 1 70 Christ Teaching Through Preaching, Toledo III, f. 95 a, Hand ® J 7 1 Ecclesia as Sponsa Christi; Baptism and Confession as Preparations, Toledo III, f. 190a, Hand ® ' 72 Gideon Telling Jether to Kill Zeber and Z a m u n n a , T o ledo I, f. 90 A , H a n d ® 1 73 G o d Tells Moses to W i t h d r a w His H a n d ; Confession and Penitence Used by the Church to Rekindle Hope, Toledo I, f. 3 5 D , d, Hand 74 Resurrection (moralization for Psalm 3), Toledo II, f. 3a, Hand ® ' 5 7 5 Priests and Levites Sent to John, Toledo III, f. 14B, Hand ® 6 p 76 Joseph with Benjamin and His O t h e r Brothers, Bodley 270b, f . 3 1 A , G r o u p ® {

77 G o d Telling Moses to T a k e W a t e r f r o m the River, Bodley 270b, f. 4 2 A , Group ® s 78 Gideon Telling Jether to Kill Zeber and Zamunna, Bodley 270b, f. 1 1 0 A , G r o u p ® s 79 Moralization of Christ and the Apostles in the Field of Grain, Toledo III, f. 26d, Hand ® 6 80 Paul Leaving Ephesus; A p o l l o Expounding Christian Sacraments, Toledo III, f. 1 1 0 B , Hand ® 7 81 Paul Preaching to the Romans, Toledo III, f. 1 2 8 C , Hand®8

82 A b r a h a m and the A n g e l s , Toledo I, f. 1 4 C , Hand O 1 83 The Jews with Christ in the Temple, W h o A s k s G o d to Send Fire Upon T h e m , Toledo I, f. 142a, H a n d V 1 84 The T r u l y Penitent and Those Oppressed b y Tribulations, Toledo III, f. 68b, Hand A 2 85 Christ

Destroying

Idols T h r o u g h

1 1 5 6 0 , f . 51V, d , G r o u p

Preachers,

Latin

O

86a. Ezechiel's Vision of the Idols of the House of Israel, Latin 11560, f. 1 9 8 A , Group O 86b. Ezechiel's Vision of the W o m e n M o u r n i n g A d o n i s , Latin 1 1 5 6 0 , f. 1 9 8 C , Groups O and • 87 Christ, A l o n e A m o n g Humans, Is W i t h o u t Sin, Latin 1 1 5 6 0 , f . 2ooc, G r o u p s O a n d

•

88 Initial for Jeremiah, Glossed Bible, Latin 15510, f. li6v

89 Annunciation, Psalter, M o r g a n 92, f. 1 v 90 Initial for B o o k 1 0 1 , William of T y r e , d'Outremer, Français 9081, f. 1 7 4

Histoire

9 1 Initial for the Reconciliation of a C h u r c h Fabric, Beauvais Pontifical, Besançon 138, f. 165V (reduced) 92 Initial for Exodus, Bible, M o r g a n 269, f. 19 (90%) 93 Initial for Leviticus, Dominican Bible, Latin 16719, f. 85V

(70%)

94 Initial for I Chronicles, Dominican Bible, Latin 16720, f.io8v

(75%)

95 Initial for II Esdras, Dominican Bible, Latin 16720, f. 1 8 1v ( 9 0 % ) 96 Initial for Ecclesiastes, Dominican Bible, Latin 16721, f. 1 8 97 Initial for Judith, Dominican Bible, Latin 16720, f. 201V 98 Hester A s k i n g Ahasuerus for N e w Letters, Bodley 270b, f. 204B 99 G o d Speaking to Satan about Job, Bodley 270b, f. 206A 100 Psalm 40, Latin 1 1 5 6 0 , f. 1 2 B 1 0 1 Arrestation and Flagellation, Psalter, Latin 10434, f- 15V 102 Initial for Lesson of Nativity of the Virgin, Evangeliary of the Sainte-Chapelle, Latin 9455, f. 110 103 Initial f o r Jeremiah, Bible, Ste.-Geneviève 12, f. 42 (enlarged) 104 Initials for Per omnia and Vere dignum, Dominican Missal, Latin 8884, f. 130 1 0 5 Initial for Lesson on Pentecost, Evangeliary for Royal Chapel, Latin 8892, f. l o v (65%) 106 Initial for II K i n g s , Bible, Latin 11541, f. 35V ( 6 6 % ) 1 0 7 Virgin and Child, Crucifixion, and Initial for Genesis, Bible, Collection of M r . and Mrs. William D . W i x o m , Bratenahl, O h i o (slightly enlarged) 108 Initial S h o w i n g M a r t y r d o m of St. James the Less, Lives of the Saints, Royal 20.D.vi, f. 41 (reduced)

xvii

LIST OF ILLUSTRATIONS 109 Initial for James, Bible, Mazarine 1 5 , f. 452 110 Initial for Psalm 26, Glossed Psalter, Royal 4.E.VÍ, f. 46V ( 9 5 % ) 111 Initial for Joshua, Bible, Glazier 1 1 , f. 63 (slightly enlarged) 1 1 2 Initial for Psalm 38, Glossed Bible, Assisi, B.C. 7, f. 85V ( 8 0 % ) 113 Initial for Psalm l , Glossed Bible, Assisi, B.C. 7, f. 2v (80%) 114 Presentation, Hastings Psalter (reduced) 115 Initial Showing Martyrdom of St. Matthew, Lives of the Saints, Royal 20.D.VÍ, f. 30V 116 Initial for Leviticus, Bible, Glazier 3 1 , f. 30V (slightly enlarged) 117 Initial for Exodus, Bible, Walters 56, f. 19V 118 Ascension and Pentecost, Christina Psalter, Copenhagen Gl. Kgl. S. 1 6 0 6 - 4 ° , f. 20V (reduced) 119 Flight and Massacre, Christina Psalter, Copenhagen Gl. Kgl. S. 1 6 0 6 - 4 ° , f- 14 (reduced) 120 Baptism and Temptation, Christina Psalter, Copenhagen, Gl. Kgl. S. 1 6 0 6 - 4 ° , f(reduced) 121 Crucifixion, Gerold Missal, 1 2 1 8 , Additional 17742, f. 1 8 1 v (reduced) 122 Initial for Psalm 26, Glossed Bible, Douai 17.6, f. 57V 123 Initial for Galatians, Glossed Pauline Epistles, Douai 18.2, f. 169V 124 Initial for Matthew, Glossed Gospels, Douai 2 1 , f. 2 125 Initial for Genesis, Bible, Walters 60, f. 5V (enlarged) 126 Initial for Genesis, Bible, Klagenfurt 6/6, f. 3V 127 Initial for Isaiah, Glossed Bible, Assisi, B.C. 9, f. 2V 128 Initial for Exodus, Glossed Bible, Mazarine 7 1 , f. 90 129 Initial for Psalm 38, Guiñes Psalter, Additional 30045, f. 23 (enlarged) 130 Initial for Genesis, Bible, Lille 37 (5), f. 5V (enlarged) 131 Initial for Psalm 26, Psalter, Lille, Godefroy 4 (91), f. 4 1 (slightly enlarged) 132 Initial for Psalm 38, Psalter, Douce 48, f. 64 133 The Archbishop of Reims Replacing the Coronation Crowns with "Daily" Crowns, and the King and Queen Going to the Palace Preceded by a Naked Sword, Pontifical, Latin 1246, f. 93 (42) 134 Initial for Feast of St. Stephen, Sens Breviary, Walters 108, f. 1 4 1 135 The Abbot of St.-Remi Bringing the Ampulla to the Archbishop, Pontifical, Latin 1246, f. 4 [red] 136 Initial for Codex, Book III, Français 20120, f. 58V 137 Initial for Jeremiah, Glossed Bible, Brussels 4680/81, f. 1 1 7 138 Initial for Zachariah, Bible, Rawlinson G 6, f. 325 (slightly enlarged) xviii

139 Initial for Mass on Easter Sunday, Missal, St.-Etienne 104, f. 72V ( 8 0 % ) 140 Initial for Tobit, Glossed Bible, Troyes 106, f. io8v (slightly enlarged) 141 Initial for Exodus, Bible, Bamberg, Msc. Bibl. 4 (A.I.19), f. 1 8 ( 7 0 % ) 142 Initial for Genesis, Bible, Ambrosiana E 23 Sup., f. 3 143 Initial for Genesis, Bible, C5NB 1 2 4 1 , f. 3V 144 Tree of Consanguinity, Glazier 37, leaf 1 145 Tree of Affinity, Glazier 37, leaf 2 146 Initial for Genesis, Bible, Ambrosiana Q 34 Sup., f. 4 147 Title Page of Peter Lombard, Historia Scolastica, Latin 5 1 1 1 , f. 1 ( 5 5 % ) 148 Initial for Genesis, Wadham College 1 (A.5.2), f. 3V 149 Initial for Exodus, Bible, Latin 14397, 150 Initial for Mark, Bible, Latin 14397, f- 3°5 ( 6 0 % ) 151 Initial for Genesis, Bible, Newberry-18, f. 4 ( 8 2 % ) 152 Initial for Genesis, Bible, Latin 36, f. 4 ( 8 5 % ) 153 Initial for Ruth, Bible, Frankfurt, Stadtbibliothek, Lat. qu. 56, f. 84V 154 Initial for Mark, Bible, Madrid 553, f. 362 155 Initial for I Esdras, Bible, Canon. Bibl. lat. 47, f. 186 156 Initial for Jerome's Prologue, Bible, Frankfurt, Stadtbibliothek, Lat. qu. 56, f. 6 ( 6 6 % ) 157 Initial for Psalm 1 , Bible, Latin 14397, f- 166 158 Initial for Genesis, Bible, Canon. Bibl. lat. 47, f. 33V 159 Initial for Haggai, Bible, Wadham College 1 (A.5.2), f. 316V 160 Initial for Exodus, Bible, Madrid 553, f. 22 161 Initial for Mark, Bible, Ambrosiana Q 34 Sup., f. 380V 162 Initials for Joshua and Prologue, Bible, Latin 14397, f60v ( 8 1 % ) 163 Initial for Genesis, Bible, Vat. Reg. lat. 3, f. 4V (slightly enlarged) 164 Initial for Genesis, Bible, The Hague 1 3 2 F 2 1 , f. 4V 165 Initial for Malachi, Bible, The Hague 1 0 E 33, f. 346 (slightly enlarged) 166 Initial for Genesis, Bible, Walters 58, f. 4 (slightly enlarged) 167 Initial for Genesis, Bible, Canon. Bibl. lat. 1 5 , f. 5V 168 Initial for Genesis, Bible, Latin 203, f. 4V 169 Initial for Judges, Bible, Glazier 15, f. 96 (enlarged) 170 Initial for I Esdras, Bible, Metropolitan Museum of Art, X.418 [B 483] 171 Initial for Ecclesiastes, Glossed Bible, Assisi, B.C. 6, f. 123 (50%) 172 Initial for Psalm l , Mathurin Breviary, Latin 1022, f. 193 173 Initial for Judges, Bible, Latin 233 A, f. 104V

LIST OF ILLUSTRATIONS

1 7 4 Initial for Genesis, Bible, T h e Hague 10 E 35, f. 4V 1 7 5 Initial for Genesis, Bible, Latin 2 1 2 C , f. 4V (80%) 1 7 6 Initial for Genesis, Bible, Bamberg, Msc. Bibl.

206 Initial for Nehemiah, Glossed Bible, Assisi, B.C. 4, f. 140V

8

(A.I.22), f. 4

1 7 7 Initial for Genesis, Glossed Bible, Mazarine 7 1 , f. 2V (60%)

178 179 180 181

d'Outremer,

208 Initial for Life of St. Cecilia, Lives of the Saints, Royal 20.D.VÌ, f. 7 8 ( 4 5 % )

Initial for Genesis, Bible, Vale 433 Initial for Genesis, Bible, Library of Congress 7 1 , f. 5V Initial for Genesis, Bible, Westminster 3 Crucifixion, Psalter, Morgan 283, f. i 8 v

1 8 2 Initial for III John, Glossed Bible, Assisi, B.C. 1 5 , f. 40

(50%) 183 Initial for Exodus, Bible, Latin 200, f. 23V 184 Initial for Genesis, Bible, Westminster 4 ( 9 5 % ) 185 Initial for Psalm 109, Bible, St.-Paul im Lavanttal 1 0 7 . 3 , f- 2 ° 7 * ( 6 6 % )

186 Initial for Psalm 109, Bible, Châlons-sur-Marne 163, f. 219

1 8 7 Initial for Leviticus, Bible, Boston Public Library 1 5 3 2 , f. 5 0 ( 8 0 % ) 188 Initial for Leviticus, Bible, Canon. Bibl. lat. 92, f. 36 189 Initial for Romans, Glossed Pauline Epistles, T h e Hague 7 1 A 22, f. ii [red] 190 Coronation of the Virgin, Psalter, Riccardiana 309, f. 1 6 1 (slightly enlarged) 1 9 1 Initial for Codex, Book II, Français 22969, f. 1 7 (80%) 192 Initial for Codex, Book V , Lyon, Palais des Arts 43, f. 112 193 Initial for Ecclesiastes, Glossed Bible, Latin 1 1 5 4 5 , f. 44V (slightly enlarged) 1 9 4 Vignette for William of T y r e , Histoire d'Outremer, Book 1 8 , Français 2630, f. 159V 1 9 5 Vignette for William of T y r e , Histoire d'Outremer, Book 14, Français 24208, f. i o 8 v 196 Initial for Genesis, Bible, Châlons-sur-Marne 163, f. 3 1 9 7 Initial for Genesis, Bible, Provins 1 (95), f. 4V 198 Initial for Genesis, Glossed Bible, Royal 3.E.ÍX, f. 4

(55%) 199 Initial for Genesis, Glossed Bible, Assisi, B.C. 1 , f. 3 200 Initial for John, Glossed Gospels, Vat. lat. 120, f. 274

(66%) 201 Initial for Codex, Book VIII, Français 20120, f. 216V 202 Initial for Genesis, Bible, Yates Thompson 1 , f. 4V 203 Initial for Luke, Glossed Gospels, Vat. lat. 120, f. 165

(66%) 204 Initial for Genesis, Bible, V a t . Reg. lat. 1 6 , f. 4 205 Initial for Aristotle, Metaphysics,

(66%)

207 Vignette for William of T y r e , Histoire Book 18, Français 2827, f. 1 5 2

Book I, Latin 16082,

f-5 * [Possibly 270. There is a discrepancy between author's text and number marked on photograph.—SPB]

209 Initial for Exodus, Bible, Latin 226, f. 27V 210 Initial for Haggai, Bible, O N B 1 1 1 5 , f. 354V (slightly enlarged) 2 1 1 Initial for Psalm 26, Psalter, W a r s a w , Bibl. N a r o d o w a 8003, f. 50 ( 8 0 % )

2 1 2 Initial for Feast of the Nativity, Rouen Missal, Rouen Y-5o(277), f. 23V (90%) 213 Initial for Christmas Mass, Paris Missal, Latin 9441, f. l o v 2 1 4 Initial for First Lesson, Christmas, Paris Breviary, Latin 1 5 6 1 3 , f. 79V

2 1 5 Initial for Peter Lombard, Sentences, 1 1 8 2 , f. 1 5 9

Book III, T r o y e s

2 1 6 Initial f o r Genesis, Bible, Philadelphia, Free Library, E 2 4 2 , f. 3V ( 7 0 % ) 2 1 7 Initial for Genesis, Bible, Latin 15467, f. 1 1 ( 6 7 % ) 218 Initial for Genesis, Bible, Latin 2 1 1 , f. 5 (90%) 2 1 9 Initial for M a r k , Bible, formerly A d a m s o n Collection 220 Initial f o r Joshua, Glossed Bible, Douai 1 8 . 1 , f. 2V (50%)

221 Initial f o r Job, William of Altona, Commentary, Madrid 4 9 3 , f. 1 2 ( 7 0 % ) 222 Ascension and Pentecost, Florence. Laur. Plut. 29.1, f.

346

(381)

223 Initial f o r Start of A d z o ' s Commentary Français 22969, f. 5

on

Codex,

(50%)

224 Initial f o r I Chronicles, Glossed Bible, Assisi, B.C. 3, f. 1 8 6 225 Initial for Dominican Compilation, Additional 23935, f. 5 2 6 226 Initial f o r Peter Lombard, Sentences, Book II Nuremberg, Stadtbibl. Cent. II.5, f. 76 227 Vignette for William of T y r e , Histoire d'Outremer, Book 1 4 , Français 779, f. 123V 228 Initial for Ecclesiastes, Bible, Munich, C l m 10002, f. 10 229 Initials for Per omnia and Vere dignum, Paris Missal, Latin 9441, f. 87 (80%) 230 Initial f o r Isaiah, Glossed Bible, Latin 1 1 5 4 6 , f. 2v (slightly enlarged) 231 Initial for M a r k , Glossed Gospels, Wilhering 22, f. 88v

232 Christ in M a j e s t y with Tetramorph, Canon of Mass, Franciscan Missal, Mazarine 426, f. 1 5 6

xix

LIST O F

ILLUSTRATIONS

2 3 3 Initial for Joel, Glossed Bible, Latin 1 1 5 4 5 , f. 346 (reduced) 2 3 4 Initial for Leviticus, Bible, Latin 1 5 4 7 7 , f. 44 2 3 5 Initial for Job, Glossed Bible, Latin 1 1 5 4 7 , f. 2v 2 3 6 Initial for Job, Glossed Bible, Ewing Collection 2 3 7 Initial for Deuteronomy, Glossed Bible, Latin 1 1 5 4 4 , f. 192V

(75%)

238 239 240 241 242 243

Initial for Genesis, Glossed Bible, Latin 1 1 5 4 3 , f- 3 Initial for Numbers, Bible, Samen 1 6 , f. 49 (reduced) Initial for Psalm 1 0 9 , Psalter, Morgan 1 0 1 , f. 1 9 5 Initial for Jude, Glossed Bible, Latin 1 1 5 4 7 , f- 179 Initial for Genesis, Bible, ONB 1 1 5 0 , f. 5V (80%) Initial for Genesis, Bible, Metropolitan Museum of Art, X . 4 1 8 [B 483] (enlarged) 2 4 4 Initial for Genesis, Bible, Latin 3 3 , f. 4V ( 8 5 % ) 2 4 5 Initial for Genesis, Bible, Naples VI.A.3, f. 4 2 4 6 Initial for Gratian, Decretum, Book II, Douai 592, f. 85 (reduced) 2 4 7 Initial for Fourth Sunday in Quadragesima, Sens Breviary, Walters 1 0 8 , f. 255V 248a, b. Story of Joseph, from Joseph's Dream through Joseph's Coat Shown to Jacob, Psalter, Douce 48 f. 13V-14

249a. Initial for Isaiah, Glossed Bible, Assisi, B.C. 1 0 , f. 2 249b. Initial for Feast of All Saints, Missal, Mazarine 4 1 4 , f. 2 5 1 V 249c. Initial for the Unction of the King of France, Pontifical, Latin 1 2 4 6 , f. 1 9 2 5 0 Initial for Numbers, Glossed Bible, Rawlinson G 1 8 4 , f. i 8 v 2 5 1 Initial for Exodus, Glossed Bible, Rawlinson G 1 8 3 , f. 106

2 5 2 Last Judgment, Glossed Gospels, Vat. lat. 1 2 0 , f. II 2 5 3 Initial Showing Charles the Bald Giving a Relic of the Crown of Thorns to Saint Denis, Nouv. acq. lat. 1 5 0 9 , p. 374 ( 6 6 % ) 2 5 4 Initial for Genesis, Bible, Fitzwilliam Museum 1 , f. 4 (75%) 2 5 5 Initial for Prologue to Matthew, Glossed Gospels, Arras 779, f. 1 2 5 6 Initial for Joshua, Bible, Fitzwilliam Museum 1 , f. 72V (50%) 2 5 7 Original Sin and Expulsion, Bible, Mazarine 38, f. 6v (5^%) 2 5 8 Initial for Wisdom, Bible, Mazarine 39, f. 1 1 9 ( 6 5 % ) 2 5 9 Initial for Psalm 1 0 9 , Psalter, Ste.-Geneviéve 2690, f. 1 2 7 (reduced) 2 6 0 Christ in Majesty with Tetramorph, Psalter, Latin 1 0 7 5 , f. 1 8 2 6 1 Crucifixion, Psalter, Latin 1 0 7 5 , f. i 6 v xx

2 6 2 Saint Paul Curing the Blind, and Baptism of Saint Denis, Libellas of St.-Denis, Nouv. acq. fr. 1 0 9 8 , f. 3 1 V 2 6 3 Crucifixion, cutting from Psalter (?), Fitzwilliam Museum, Marlay Cuttings f. ( i ) a E (reduced) 2 6 4 Crucifixion, Rouen Missal, Additional 2 6 6 5 5 , 99v (80%)

265 Crucifixion, Paris Missal, Latin 862, f. 1 6 5 V (enlarged) 2 6 6 Crucifixion, Paris Missal, Latin 1 5 6 1 5 , f. 1 4 2 V ( 8 0 % ) 2 6 7 Crucifixion, St.-Maur Missal, Latin 1 2 0 5 4 , f. 148V (70%) 2 6 8 Virgin and Child, Libellas of St.-Denis, Nouv. acq. fr. 1 0 9 8 , f. 5 8 ( 7 0 % ) 2 6 9 Christ in Majesty with Tetramorph, St.-Corneille Missal, Latin 1 7 3 1 9 , f. 1 0 0

270 Crucifixion, St.-Corneille Missal, Latin 1 7 3 1 9 , f. 99V 271 Initial for Ezechiel, Bible, Boulogne 4, f. 64 ( 6 6 % ) 2 7 2 Creation, Wenceslas Psalter, Ex-Dyson Perrins 3 2 , f. 7V 273 Joseph Story, Wenceslas Psalter, Ex-Dyson Perrins 3 2 , f. 1 6 2 7 4 Crucifixion with Infancy Cycle, Rouen Missal, Rouen Y - 5 o ( 2 7 7 ) , f. 1 5 7 V

2 7 5 Majesty with Passion Scenes and Coronation of the Virgin, Rouen Missal, Rouen ¥ - 5 0 ( 2 7 7 ) , f. 1 5 8 2 7 6 Initials for Per omnia and Vere dignum, Rouen Missal, Rouen ¥ - 5 0 ( 2 7 7 ) , f. 1 5 9 2 7 7 Detail from Title Page, Humbert Codex, Rome, Sta.Sabina 2 7 8 Majesty, Mathurin Missal, Latin 1 0 2 2 , f. 292 2 7 9 Scenes from the Life of David (I Kings 1 9 - I Kings 22), Psalter, ONB s. n. 2 6 1 1 , f. 85V 280 Joseph's Brothers Before Jacob, Psalter, ONB s. n. 2 6 1 1 , f. 1 3 281 Initial for All Saints, Ste.-Geneviève Missal, St.-Geneviève go, f. 227V ( 6 6 % ) 2 8 2 Initial for Resurrection, Gradual, Bari, San Nicola, f. 64V

283 Crucifixion, Ste.-Geneviève Missal, Ste.-Geneviève 90, f. 167V (slightly reduced) 2 8 4 Majesty, Ste.-Geneviève Missal, Ste.-Geneviève 90, f. 1 6 8 (slightly reduced) 285a. Initial for Genesis, Bible, Latin 1 4 2 3 4 , f. j v (reduced) 285b. Initial for Codex, Book I.i, Giessen 945, f. 1 2 8 6 Initial for Prologue to Jeremiah, Bible, Latin 1 6 , f. 272V (80%)

2 8 7 Initial for Roman de Poire, Français 2 1 8 6 , f. 67 288 Initial for Aristotle, De Generatione, Latin 1 2 9 5 3 , f. 166

2 8 9 Page from Roman de Poire, Français 2 1 8 6 , f. 3V

LIST OF ILLUSTRATIONS

290 Annunciation, Psalter, Additional 17868, f. 14V (enlarged)

326 Initial for John, Bible, Stuttgart, Bibl. qu. 8, f. 398V 327 Initial for M a r k , Glossed Bible, Nantes VIII, vol. II, f. 296 ( 8 6 % )

291 Initial for Psalm 52, Psalter, Additional 17868, f. 82V (73%) 292 Initial for Psalm 109, Hours, Latin 10489, f. 237 293 Initial for Canticles, Bible, Frankfurt, M u s e u m f u r Kunsthandwerk, Linel L.M. 1 7 , f. 305 ( 5 0 % ) 294 Initial for Ascension, St.-Nicaise Missal, Reims 230, f. 246V

(58%)

295 Initials for Per omnia and Vere dignum, Paris Missal, Latin 830, f. 125 ( 7 0 % ) 296 Initial for Psalm So, Bible, Français 899, f. 253V ( 6 0 % ) 297 Initial for Jeremiah, Bible, Le M a n s 262, vol. I, f. 284V (reduced) 298 Initial for II Kings, Bible, Le M a n s 262, vol. II, f. 40 (reduced) 299 Vignette for Codex, Book II, Français 20118, f. x v i 300 Initial for I Esdras, Bible, D ' O r v i l l e 212, f. 201 301 Ascension, Pentecost, and initial for Psalm 1 , Psalter, Douce 50, pp. x x i i - i 302 Initial for Psalm 38, Psalter, Douce 50, p. 1 2 6 303 Initial for Psalm 80, Psalter, Douce 50, p. 265 304 Initial for Psalm 109, Psalter, Douce 50, p. 368 305 Heaven and Hell, Psalter, D o u c e 50, p. xvii 306 Initial for Genesis, Bible, N e w b e r r y - 1 9 ( 8 8 % ) 307 Initial for Genesis, Bible, Latin 226, f. 4V ( 6 6 % ) 308 Initial for Genesis, Bible, Stuttgart, Bibl. qu. 8, f. 4 309 Initial for Psalm 1 , Bible, Ehrmann Collection, f. 237 (enlarged) 310 Initial for Psalm 1 , Bible, Stuttgart, Bibl. qu. 8, f. 202 (45%) 3 1 1 Initial for Psalm 1 , Bible, Lille 37 (5), f. 269 ( 4 0 % ) 3 1 2 Initial for Genesis, Bible, M u n i c h C l m 10001, f. 4 (reduced) 3 1 3 Initial for Genesis, Bible, E. D . Clarke 3 1 , f. 439V 3 1 4 Initial for M a t t h e w , Bible, Latin 10426, f. 520V 3 1 5 Initial for M a t t h e w , Bible, Library of Congress 1 9 , f. 406V

3 1 6 Initial for Job, Bible, N e w b e r r y - 1 9 ( 8 8 % ) 3 1 7 Initial for I Chronicles, Bible, Canon. Bibl. lat. 1 5 , f. 156V

3 1 8 Initial for Psalm 26, Bible, O N B 1 1 2 5 , f. 495V (reduced) 3 1 9 Initial for Genesis, Bible, Additional 35085, f. 9V 320 Initial for Genesis, Bible, Basel, M u s e u m K K . inv. A . 1 1 , p. 7

321 322 323 324 325

Initial Initial Initial Initial Initial

for for for for for

I Esdras, Bible, Harley 1 2 9 7 , f. 1 7 6 Jude, Basel, M u s e u m K K . inv. A . 1 1 , p. 486 I Chronicles, Bible, Madrid 559, f. 1 5 5 Psalm 1 , Bible, T h e Hague 1 0 E 34, f. 220V M a r k , Bible, Ste.-Geneviève 1 1 8 1 , f. 338V

328 Initial for Luke, Glossed Bible, Nantes VIII, vol. II, f. 316V

329 Initial for Hosea, Bible, Additional 1 6 4 1 0 , f. 108 330 Initial for Job, Bible, London, Private Collection, f. i8ov 331 Initial for Zachariah, Glossed Bible, Nantes VIII, vol. II, f. 1 6 4 V ( 7 3 % ) 332 T w o D a y s of Creation, Psalter (?), Douce 381, f. 1 2 2 333 Initial for Corpus juris civilis, Digest I . i , Copenhagen, Gl. K g l . S. 3 9 3 fol., f. 1 v ( 8 0 % ) 334 Initial for Ruth, Bible, Bodleian, A u c t . D . 5 . 1 7 , f. 109 (90%)

335 336 337 338 339

Initial for Genesis, Bible, Latin 1 3 1 4 4 , f. 4V ( 7 0 % ) Initial for II Kings, Bible, Latin 1 3 1 4 4 , f. 1 2 7 ( 8 0 % ) Initial for Decretals, Book V , Latin 1 6 5 4 1 , f. 109 Crucifixion, Psalter, Padua, Seminario 353, f. 20 Illumination S h o w i n g Bishop and Scribe, Richard, Corpus juris civilis, Copenhagen Gl. Kgl. S. 393 fol., f. 402V (70%)

340 Initial for Corpus juris civilis. Book I, Codex, C o p e n hagen, Gl. Kgl. S. 393 fol., f. 290 341 Initial for Aristotle, De Vita, Vat. lat. 2071, f. 297 (80%)

342 Initial for Psalm 80, Psalter, Royal 2.B.ii, f. 88v ( 3 6 % ) 343 Initial for Psalm 109, Psalter, Padua, Seminario 353, f. 134 (slightly enlarged) 344 Vignette for Corpus juris civilis. Book X , Codex, C o penhagen Gl. K g l . S. 393 fol., f. 381V 345 Initial for Decretals, Book II, A d m o n t 646, f. 87 346 Initial for Ordination, Corbie Ritual (?), Latin 12083, f. 1 ( 8 0 % ) 347 Initial for Aristotle, Topics, Book I, Balliol 253, f. 92 348 Initial for Aristotle, Posterior Analytics, B o o k I, Balliol 2 5 3 , f. 2 1 1 V 349 Initial for Exodus, Bible, Latin 32, f. 25V ( 8 0 % ) 350 Initial for Psalm 1 , Bible, Latin 32, f. 243 3 5 1 Initial for I Corinthians, Bible, Latin 32, f. 497 352 Initial for I Chronicles, Bible, Canon. Bibl. lat. 52, f. 158

353 354 355 356

Initial Initial Initial Initial

for N u m b e r s , Bible, Canon. Bibl. lat. 4 1 , f. 5 1 for I Chronicles, Bible, Walters 59, f. 1 5 1 for M a t t h e w , Bible, Latin 1 6 7 2 2 , f. 4 1 ( 7 4 % ) f o r Romans, Glossed Pauline Epistles, Latin

1 5 2 3 7 , f. 2

3 5 7 Initial for Canticles, Bible, Latin 1 6 7 2 1 , f. 24 358 Initial for II John, Bible, Latin 1 6 7 2 2 , f. 205V 359 Initial for Isaiah, Bible, Latin 1 6 7 2 1 , f. 7 1 V

xxi

LIST OF ILLUSTRATIONS

3 6 0 Initial for II Maccabees, Bible, Latin 1 6 7 2 2 , f. 24V

3 8 6 Initial for Christmas, St.-Denis Missal, Latin 1 1 0 7 , f. 19V

(50%)

3 6 1 Initial for I Corinthians, Bible, Latin 1 6 7 2 2 , f. 1 3 0 (50%) 3 6 2 Initial for II Thessalonians, Bible, Latin 1 6 7 2 2 , f. 1 5 7 (85%) 3 6 3 Initial for Te igitur, Franciscan Missal, Assisi, Museo del Sacro Convento, f. 79 (reduced) 3 6 4 Initial for Christmas, Franciscan Missal, Assisi, Museo del Sacro Convento, f. 1 5 3 6 5 Initial for First Sunday in Advent, Sainte-Chapelle Evangeliary, Latin 1 7 3 2 6 , f. 1 ( 7 5 % ) 3 6 6 Initial for Epiphany, Sainte-Chapelle Evangeliary, Latin 1 7 3 2 6 , f. 1 6

(55%)

3 6 7 Initial for Easter Sunday, St.-Corneille Missal, Latin 1 6 8 2 4 , f. 1 5 0

3 6 8 Initial for Aristotle, De Differentia, 369 370 371 372

Latin 1 2 9 5 3 , f-

(70%)

3 8 7 Initial for Haggai, Bible, Le Mans 2 6 2 , vol. Ill, f. 263 (enlarged) 3 8 8 Initial for Hippocrates, Liber Regimenti Acutorum, CSNB 2 3 1 5 , f. IOOV ( 7 0 % ) 3 8 9 Crucifixion, St.-Denis Missal, Latin 1 1 0 7 , 390 391 392 393

(93%) Majesty, St.-Denis Missal, Initial for Te igitur, Cholet f. 1 1 3 Initial for Hebrews, Bible, Initial for III Kings, Bible,

f.

209V

Latin 1 1 0 7 , f. 2 1 0 ( 9 5 % ) Missal, Padua, B.C., D. 3 4 , Royal l.C.ii, f. 384V Royal l.C.ii, f. n o v

3 9 4 Initial for Psalm 1 0 9 , Glossed Psalter, Arsenal 2 5 , p. 544 ( 5 0 % ) 3 9 5 Murder of Abel; God speaks to Cain, St. Louis Psalter, Latin 1 0 5 2 5 , f. 2

(85%) Initial for Second Sunday in Advent, Sainte-Chapelle Evangeliary, Latin 1 7 3 2 6 , f. 2V Initial for II Esdras, Bible, Latin 3 2 , f. 206V Initial for Leviticus, Bible, Brasenose 1 , f. 3 7 Initial for Aristotle, De Celo, Book I, Latin 1 2 9 5 3 , f.

3 9 6 Destruction of Sodom and Gomorrah; Lot Leaves With His Family, St. Louis Psalter, Latin 1 0 5 2 5 , f. 9V 3 9 7 Joseph and Brothers; Joseph Put in Well, St. Louis Psal-

76

3 9 9 Joseph Presenting His Family to Pharoah, St. Louis Psalter, Latin 1 0 5 2 5 , f. 26 4 0 0 The Jews Ask Samuel to Name a King; Samuel Anoints Saul, St. Louis Psalter, Latin 1 0 5 2 5 , f. 7 2 4 0 1 Initial for Psalm 1 , St. Louis Psalter, Latin 1 0 5 2 5 , f.

(80%)

3 7 3 Initial for Genesis, Bible, Latin 1 1 5 3 8 , f. 4 ( 6 6 % ) 3 7 4 Last Supper, Washing of Feet, Judas Accepts Silver, Arrestation, Psalter, Morgan 1 0 1 , f. 1 9 ( 9 3 % ) 3 7 5 Crucifixion, Franciscan Missal, Assisi, Museo del Sacro Convento, f. 1 0 3 V ( 5 0 % ) 3 7 6 Majesty, Franciscan Missal, Assisi, Museo del Sacro Convento, f. 1 0 4 ( 5 0 % ) 3 7 7 Initials for Fourth Weekday after Third Sunday after Easter, and for Fourth Sunday, Sainte-Chapelle Evangeliary, Latin 1 7 3 2 6 , f. 1 0 1 ( 7 0 % ) 3 7 8 Initial for Sixth Sunday after Easter, Sainte-Chapelle Evangeliary, Latin 1 7 3 2 6 , f. 1 1 6 ( 7 0 % ) 3 7 9 Initial for Consecration of Church, Sainte-Chapelle Evangeliary, Latin 8892, f. 30 ( 6 0 % ) 3 8 0 Initial for I Corinthians, Bible, Mazarine 9, f. 404 3 8 1 Initial for Psalm 1 0 9 , Henry VIII Psalter, Yates Thompson 1 8 ( 7 3 ) , f - 1 4 °

(80%)

3 8 2 Initial for Genesis, Bible, Mazarine 9, f. 5V 3 8 3 Initial for Romans, Bible, Stuttgart, Bibl. fol. 1 4 , f. 476V (reduced) 3 8 4 Initial for Aristotle, Metaphysics, Book I, Florence, Bibl. Naz., Conv. Sopp. I.iv.22, f. 1 (enlarged) 3 8 5 Initial for Canticles, Bible, Le Mans 262, vol. II, f. 239V (enlarged)

ter, Latin 1 0 5 2 5 , f. 1 6

3 9 8 Slaughter of the Lamb; Signum

Tau, St. Louis Psalter,

L a t i n 1 0 5 2 5 , f. 3 2

85V

4 0 2 Initial for Psalm 1 , "Isabella" Psalter, Fitzwilliam 300, f. 1 3 V ( 6 6 % ) 4 0 3 Labor and Zodiac Signs for September, St.-Germain des Pres Martyrology, Latin 1 2 8 3 4 , f- 69V 4 0 4 Initial for Life of Saint Maur, Lives of the Saints, Latin 1 2 6 1 4 , F- 3 8

4 0 5 Initial for II Kings, Bible, Ste.-Genevieve 1 5 , f. 48V (50%) 4 0 6 Initial for Job, Bible, Ste.-Genevieve 1 5 , f. 2 1 7 ( 5 0 % ) 4 0 7 Initial for Raymond of Penaforte, Summa de casibus, O N B 1 3 7 1 , f. 1 ( 8 4 % ) 4 0 8 Initial for Numbers, Bible, Latin 1 5 1 8 5 , f. 44V ( 6 6 % ) 4 0 9 Initial for Feast of St. Michael, Evangeliary of SainteChapelle, Additional 1 7 3 4 1 , f. 1 5 1 ( 7 5 % ) 4 1 0 Initial for Joshua, Bible, Washington, National Gallery of Art, Rosenwald Collection 4 1 1 Initial for Hugucio of Pisa, Liber derivationum, Chantilly 428, f. 3 1 ( 8 5 % ) 4 1 2 Angel with Millstone, Apocalypse, Douce 1 8 0 , f. 7 7

Acknowledgments

The author wishes to thank all those who have provided photographs for the present study, especially the following: Arxiv Mas, Barcelona, 47—50, 67—75, 79-84; Bamberg, Staatl. Bibl., 1 4 1 , 176; Basel, Kunstmus., 320, 322; A. Beuf, 1 6 , 1 8 , 1 9 ; Bibl. Apost. Vaticana, 163, 200, 203, 204, 252, 341; Bibliothèque Nationale, l , 5, 7, 8 , 1 0 , 1 1 , 1 3 , 1 4 , 1 5 , 1 7 , 2 1 , 24, 52, 53, 59, 60, 64, 66, 85-88, 90, 9 3 - 9 7 , 100, 1 0 1 , 102, 1 0 4 - 1 0 6 , 1 3 3 , 1 3 5 , 1 3 6 , 1 3 9 , 1 4 7 , 1 4 9 , 1 5 0 , 1 5 2 , 1 5 4 , 1 5 7 , 162, 168, 1 7 2 , 1 7 3 , 1 7 5 , 1 8 3 , 1 9 1 , 1 9 3 - 1 9 5 , 201, 205, 207, 209, 2 1 3 , 2 1 4 , 2 1 7 , 218, 223, 227, 229, 230, 2 3 3 - 2 3 5 , 237, 238, 241, 244, 249c, 253, 260, 2 6 1 , 2 6 5 268, 269, 270, 278, 285, 286-289, 295, 2 9 6 , 2 9 9 , 3 0 7 , 3 1 4 , 335-337/ 34 6 / 3 4 9 - 3 5 1 '

355-362, 365-37°; 372/ 373, 377-379/ 3^6,389,39°/ 395-4°ï/4°3/4°4/4°8; Bodleian Library, 76-78, 98, 9 9 , 1 3 2 , 1 3 8 , 1 4 8 , 1 5 5 , 1 5 8 , 1 5 9 , 1 6 7 , 1 8 8 , 248, 250, 251, 300-305, 313, 317, 332, 334, 347, 348, 352, 353, 371, 412; British Museum, 22, 5 5 , 1 0 8 , 1 1 0 , 1 1 5 , 1 2 1 , 1 2 9 , 1 9 8 , 202, 208, 225, 264, 290, 2 9 1 , 3 1 9 , 3 2 1 , 329, 342,

381, 392, 393, 409; Brussels, Bibl. Royale, 5 6 , 1 3 7 ; Cambridge, The Syndics of the Fitzwilliam Museum, 254, 256, 263, 402; Copenhagen, Royal Library, 65, 1 1 8 120, 333, 339, 340, 344; Courtauld Institute, 219, 272,273,309,330; P. Danz, 91; Dorléat, 186, 196; Douai, Bibl. Mun., 1 2 2 - 1 2 4 , 220, 246; Ellebé, 276; Mrs. Douglas C. Ewing, 236; Florence, Bibl. Laur., 222; Florence, Bibl. Naz., 384; Florence, Bibl. Ricc., 190; Frankfurt, Mus. Kunstgewerbe, 293; P. Gerson, 394; Giessen, Univ. Bibl., 285b; D. Glass, 277; The Hague, Royal Library, 164, 165, 174, 189, 324; Library of Congress, 179, 315 ; Lyon, Bibl. Mun., 192 ; Madrid, Bibl. Nac., 160, 221, 323; Metropolitan Museum of Art, 170, 243; Munich, Bayerische Staatsbibl., 228, 312; Nantes, Museé Dobrée, 327, 328, 3 3 1 ; Newberry Library, Chicago, 1 5 1 , 3 0 6 , 316; M. Perrotti, 1 4 2 , 1 4 6 , 1 6 1 ; Philadelphia, The Free Library, 216; Pierpont Morgan Library, 89, 9 2 , 1 1 1 , 1 1 6 , 1 4 4 , 1 4 5 , 1 6 9 , 1 8 1 , 240, 374; J. Poteau, 130, 3 1 1 ; G. Ruf, 1 1 2 , 1 1 3 , 1 2 7 , 1 7 1 , 1 8 2 , 199, 206, 224, 249a, 363, 364, 3 7 5 , 3 7 6 ; Saarbrlick-

xxiii

ACKNOWLEDGMENTS

en, Bildarchiv zur Buchmalerei (Vorm. Slg. Haseloff), 1 0 3 , 1 3 1 , 262, 292; Sarnen, Collegium, 239; Stuttgart, Württembergische Landesbibl., 308, 310, 326, 383; The Dean and Chapter of Toledo Cathedral, 47-50, 67-75, 79-84; Troyes, Bibl. Mun., 2x5; Vienna, Kunsthist. Inst., 2 3 1 , 279, 280; Vienna, österr. Nationalbibl., 2 6 46, 5 1 , 1 4 3 , 210, 242, 318, 388, 407; Walters Art Gallery, 4, 1 1 7 , X25, X34, x66, 247, 354; Warsaw, Bibl. Narod., 2xx; Washington, National Gallery, 4x0; The Dean and Chapter of Westminster Abbey, x8o, X84; Mr. and Mrs. W. D. Wixom, X07; Yale University, X78. POSTSCRIPT:

The decision to include a section of color plates was made by my husband several months before his death. While references to the color plates are to be found in the index made by me, and have also been added to Appendix V, such references were omitted from the text itself, however, for only the author could have analyzed their features for discussion there, or explained their place in his organization of the manuscripts described. Although Robert did not live to incorporate a discussion of the color plates into his text or to bring his list of acknowledgments up-to-date, all the illustrations were selected by him, and permission for their use in this volume was requested before he died. To his acknowledgments I would like to add my own thanks, therefore, to the following institutions for making it possible for me to carry out his intentions by providing color transparencies for reproduction in this book: Antwerp, Museum Plantin-Moretus, XXIV; Bibliothèque nationale, Frontispiece, II, V, VIII, IX, X, XVI, XVIII, XX, XXI, XXII, XXV; Bodleian Library, VII; Boston, Museum of Fine Arts, III; British Museum, I, XIV, XV, XVII; Harvard University, Houghton Library, XIII, XIX; Metropolitan Museum of Art, XI; Morgan Library, IV, VI; Santa Barbara, University of California, XXIII; Williams College, XII. If, in spite of repeated checking, there are any illustrations reproduced in this book for which permission was not requested or granted, it is entirely by inadvertence and with my apologies. Such an oversight should in no way reflect upon the care with which my husband prepared this work for publication. SHIRLEY PRAGER

May, ±975

xxiv

BRANNER

I The Making of Illuminated Manuscripts in 13th-century Paris

When Jean de Joinville wrote his History of Saint Louis at the end of the thirteenth century, he likened Louis IX's foundation of abbeys, hospitals, and convents throughout the realm to the illumination of a book in gold and azure.1 The simile was particularly well chosen. It suggests that Louis' institutions were like the bright initials to be found here and there throughout an illuminated manuscript; it marks the houses with the colors of the king's coat of arms—golden fleurs de lys on an azure background—which, along with red, were among the favorite colors of the thirteenth-century illuminator; and it conveys the idea that illumination, like the creation and endowment of institutions, was expensive. The only item which Joinville could not include in his simile was some reference to Paris, at the time the most important center of illumination in Europe. Paris had not always been a large center of manuscript painting. At the end of the twelfth century the situation was quite different from what it was when Joinville wrote: Illumination was not as modish an art and Paris did not then have as many skilled practitioners, although it already held the potential to become a great center. The fulfillment of that potential is one of the major aspects of the history of Gothic illumination and one of the major themes of this book. Paris had more and wealthier patrons of the arts than any other city in Europe.2 1 Jean de Joinville, Histoire de saint Louis, ed. N. de Wailly (Société de l'histoire de France, CXLIV), Paris, 1868, p. 267. 2 For a description of the way in which Paris was seen in the thirteenth century by those interested in culture and the arts, see R. Branner, St. Louis and the Court Style in Gothic Architecture, London, 1965, pp. 1 - 6 .

1

I M A K I N G OF ILLUMINATED M A N U S C R I P T S IN 1 3 T H - C E N T U R Y PARIS

Chief among these were the king and the court, but a broad, although less conspicuous, patronage also resided in the many religious institutions in and around the capital, the University and its students, and the burghers. Normally one would not associate burghers with expensive manuscripts in the Middle Ages. By the later thirteenth century, however, a number of townsmen in the industrial centers of northern France and Flanders owned books, chiefly volumes of civil and canon law in French, which may have had some professional interest for them and which they treasured and passed down to their children.3 The burghers of Paris also were well established and wealthy, as we know from the fact that they were able to finance the city walls for Philip Augustus early in the century. They undoubtedly formed a clientèle interested in and able to purchase illuminated manuscripts. Among the latter may have been Bibles and some of the civil lawbooks and romances in French, of the sort that were illuminated in Paris throughout the thirteenth century. The name of one bookseller, Herneis le Romanceeur, and the advertisement he put in a French copy of Justinian's Codex (Giessen 945*) suggest that there were some men who regularly undertook translations from the Latin, presumably for the upper bourgeoisie. Herneis' shop was on the parvis Notre-Dame, and he seems to have been a colleague and perhaps a successor of the booksellers to the masters and students of the University when it was still located in the shadow of the Cathedral.5 The students also formed a clientèle of considerable consequence for Parisian book-makers—not, of course, the students who had to rent their textbooks or who earned their keep by copying texts for the booksellers,6 but those who came from well-to-do families or who were clerics with more than adequate incomes. The Bolognese professor of law, Odofredus (d. 1265), characterized the situation succinctly when he wrote, "The father said to the son, 'Go to Paris or Bologna and I will send you £ 100 a year.' And what did the boy do? He went to Paris and had his books made to prattle with gold letters."7 Such students lived well and indulged their desires for expensive, fashionable items. Illuminated books, particu-

3 Ch. Dehaisnes, Documents et extraits divers concernant l'histoire de l'art dans la Flandre, l'Artois et le Hainaut avant le XVe siècle, I, Lille, 1886, pp. 65 and 68. For French translations of the Codex Justinianus, see F. Olivier-Martin, Les institutes de Justinien en français, traduction anonyme du XlIIe siècle, Paris, 1 9 3 5 , with bibliography. 4 All manuscripts referred to in this manner, that is, with italicized shelf-numbers, are listed in A p pendix V. The exact names and locations of libraries are listed in the Table of Abbreviations. 5 Cf. John of Garland's Dictionary: "Paravisus est locus ubi libri scolarium venduntur," cited in H. Géraud's Paris sous Philippe le Bel (Collection de documents inédits sur l'histoire de France), Paris, 1 8 3 7 , p. 608; in a previous phrase this parvis is called "paravisum Domine-Nostre," identifying it as the one in front of the Cathedral of Notre-Dame. 6 Cf. J. Destrez, La pecia dans les manuscrits universitaires du XlIIe au XlVe siècle, Paris, 1 9 3 5 . 7 H. Rashdall, The Universities of Europe in the Middle Ages, Oxford, 1 9 3 6 , 1 , p. 432, n. 2.

2

I MAKING O F ILLUMINATED M A N U S C R I P T S IN 1 3 T H - C E N T U R Y PARIS

larly the new version of the Bible just published by the University, were high on the list of fashionable academic attributes.8 Formal, beautiful liturgical books for the mass and the divine office were also in constant demand in the many religious houses in and around Paris, as indeed they were elsewhere. The city was ringed with large, well-established monasteries and priories such as St.-Maur des Fossés, St.-Martin des Champs, St.-Germain des Prés, St.-Victor, and St.-Denis, while the left bank of the city contained a number of newer houses such as the Trinitarians or Mathurins (founded in 1229), and the Cathedral rose on the Ile-de-la-Cité. The desire for new service books and, at places like St.-Denis, for new cult books must have been perpetual. Moreover these institutions often conferred high positions on many men of modest background, enabling them to collect and to commission illuminated books for their own use. Like the students, local deans, abbots, and canons found that Paris could easily fulfill their desires in this respect. The king and the court were of course the most prestigious patrons of all. They had virtually unlimited funds and could freely indulge whatever appetites they had for works of great luxury, although they did not always commission manuscripts in Paris itself. Several elaborate works destined for the royal family are extant from the reign of Philip Augustus (1179—1223), namely the so-called Ingeborg psalter, which was made in northern France,9 and one of the Moralized Bibles (österreichische Nationalbibliothek 117g), which was painted in Paris and which we shall examine below. The nobility naturally followed the king's example, and it may thus have been for a grandee of the court that a second Moralized Bible (österreichische Nationalbibliothek 2554)—in French—was created in Paris only a few years after the first one. Blanche de Castille, Philip's daughter-in-law and the mother of Saint Louis, however, was the first important royal patron in the thirteenth century. She enriched the royal capella (not to be confused with the Sainte-Chapelle10) with several elab8 Geoffrey Boydin de Rya, who was at the time or who later became a Franciscan friar, ordered a pocket Bible in Paris as a memorial to his father, for example (Hatfield House, Cecil Papers 30g). Cf. A . B. Emden, A Biographical Register of the University of Oxford to A.D. 1500, I, Oxford, 1 9 5 7 , pp. 2 3 7 2 3 8 ; III, Oxford, 1 9 5 9 , p. 1 8 3 2 . The cost of illuminated manuscripts in the thirteenth century is hard to establish. Around 1 2 6 3 , Pierre de Chevry, Abbot of St.-Maur des Fossés paid £200 Tur. to Jacques de Boulogne, a cleric, for a Bible—whether illuminated or not is not known (L. Delisle, Le Cabinet des manuscrits, II, p. 77). The making of a copy of the Roman de Blaquerna (Français 24402: ff. 1 0 2 , 3 1 . 5 x 22cm., 2 cols., 4611., after 1 2 8 3 ; Delisle, loc cit., pp. 1 6 7 - 1 6 9 ) cost 43s. 4d. (although the contemporary total of f. 102V is given as 42s. 4d.), but it contains only filigree initials and no illuminations. Later evaluations may be higher than initial cost, such as the fully illuminated Bible given by Master Etienne de Gerberoy to the Sorbonne and valued at £ 3 2 (Latin 1 5 1 8 5 ) . See also notes 2 2 - 2 6 below.

F. Deuchler, Der Ingeborgpsalter, Berlin, 1967. R. Branner, " T h e Sainte-Chapelle and the Capella 1 9 7 1 , pp. 1 9 - 2 2 . 9

10

Regis

in the Thirteenth Century/' Gesta,

X

3

I MAKING OF ILLUMINATED MANUSCRIPTS IN 13TH-CENTURY PARIS

orate volumes 11 and seems to have ordered a vastly enlarged version of the Moralized Bible. The latter, now at Toledo Cathedral, has three volumes rather than just the one of Philip Augustus' Bible, and has images of the king and queen on the last folio. It may have been commissioned when Blanche and her husband, Louis VIII, mounted the throne in 1 2 2 3 , although it must have been finished some years later, long after the death of the king in 1226. 1 2 Blanche also owned a Bible which she gave to St.-Victor and which is now in Paris (Latin 14397), a n d she supplied her favorite foundations with illuminated books, such as the ordo for Maubuisson. 13 She seems in fact to have commissioned manuscripts with some frequency. Louis IX ( 1 2 2 6 - 1 2 7 0 ) , on the other hand, was more restrained vis-à-vis illuminated manuscripts. Thanks to the Lives of the king and to the depositions later made in support of his canonization, we know a good bit more about his personal life and the part manuscripts played in it. Saint Louis set aside part of every day for reading or listening to readings,14 just as every day he attended mass, the canonical hours, and, when possible, the hours of the Virgin. 15 Among the service books of his private chapel there must have been a breviary, a psalter, and the several volumes needed for mass, such as a sacramentary, an epistolary, an evangeliary, a gradual, a sequentiary, a tropary, and so on; perhaps there was also a missal for the less ceremonial low mass that would have been said when the king was in camp or on board ship. Louis also had a Bible, a glossed Bible, copies of St. Augustine and other patristic writings, as well as various volumes of exegetical nature. And he liked to talk about the lives of the saints, a fact suggesting he had some manuscripts on this vast, almost limitless subject.16 But such a list of works, although necessarily incomplete, is well within the bounds of what we can postulate for any member of the high nobility in the thirteenth century. It is not 1 1 Blanche may have commissioned the original gradual of which the mid-century copy is now at Bari, as I once suggested (Branner, Capella; for this and other short forms of reference, see Abbreviations); and she may have ordered the psalter now in the Arsenal (Arsenal 1186; see Leroquais, Psautiers, II, p. 13). She also owned an English psalter (Leyden, BPL 76 A) in which Saint Louis is said to have learned to read; but that was probably not a capella volume (France de Saint Louis, no. 203). 12 Since the images of the king and queen on the last folio of the Toledo Moralized Bible (now = Morgan 240, f. 8; see A. de Laborde, La bible moralisée, Paris, 1911-1927, pi. 671) are "symbolic" and not portraits, it is in fact immaterial whether the king represents Louis VIII (d. 1226) or Louis IX (12261270), or, in fact, whether the queen represents Blanche de Castille or Margaret of Provence, wife of Louis IX. Thus the work might easily have been commissioned by Blanche for the household and been completed only under Saint Louis. 13

Recueil des historiens des Gaules, XXII, p. 605.

Guibert de Tournai, Eruditio regum et principum, ed. A. de Poorter (Les philosophes belges, Textes et études, IX), Louvain, 1914, p. 6. 14

15

The Anonymous of St.-Denis in Recueil des historiens des Gaules, XX, pp. 46, 50 £f.

Guillaume de Saint-Pathus, Vie de Saint Louis, ed. H.-F. Delaborde (Collection de textes, XXVII), Paris, 1899, pp. 52-53. 18

4

I

M A K I N G OF ILLUMINATED M A N U S C R I P T S IN 1 3 T H - C E N T U R Y PARIS

unusual and does not in any way indicate that Louis was a connoisseur or collector of illuminated manuscripts such as his descendants, Charles V and Jean de Berry, were to be.17 When Louis founded a library for scholars in the annex to the Ste.Chapelle, he filled it with plain, carefully corrected copies of accepted patristic texts, finely made but totally devoid of illumination.18 When he died, he willed these volumes to various monasteries and convents, but he took pains to exclude the rich manuscripts of the capella, which were passed on to his son, Philip III." Louis had at least a solid sense of values even if he was not a connoisseur. Very few of Saint Louis' manuscripts have survived the hazards of time. One may be the two leaves that seem to come from a copy of Gratian's Decretum (Glazier 37), 20 another a small Bible now in Paris (Latin 10426). Presumably for use in the capella are the Bari sequentiary and the two magnificent psalters, one for the king himself (Latin 10525) and one probably for his wife, Marguerite, or his daughter, Isabella (Fitzwilliam 300). That is little, indeed, although it gives us some idea of the character of royal commissions in the middle third of the thirteenth century. It seems proper to look for royal commissions among the manuscripts made for the foundations of special interest to the Crown, which normally provided not only the endowment, the land, and the buildings, but the liturgical utensils and books as well. Blanche, as we have noted, paid for an illuminated ordo for one of her abbeys, probably Maubuisson, the Cistercian house she founded in 1 2 3 6 and where she died in 1 2 5 2 ; a later inventory from that abbey also credits her with having given it a beautiful illuminated psalter with calendar.21 The institution that immediately comes to mind with respect to Saint Louis is of course the Ste.-Chapelle, founded in 1 2 3 9 or a year or two later, and beyond any doubt he took an interest in its service books, just as he did in the services themselves and in such minor material matters as the maintenance of the stained glass.22 But there is no documentary evidence of any sort to link the king with the three chapel 17 Most recently, see Charles V , 1 9 6 8 ; M . Meiss, French Painting in the Time of Jean de Berry: The Late Fourteenth Century and the Patronage of the Duke, London, 1 9 6 7 . 18 For the history of this library, see Geoffroy de Beaulieu in Recueil des historiens des Gaules, XX, p. 1 5 ; Delisle identified two of the manuscripts (Latin 1 6 3 5 7 a n d Latin 1 7 4 3 9 ; Cabinet, I, pp. 8 - 9 ) , and I have been able to add a third (Boston, Museum of Fine Arts, 06.138, ex-Phillipps 7 6 6 ; see R. Branner, "Saint Louis et l'enluminure parisienne au XlIIe siècle," Septième centenaire de la mort de Saint Louis; Actes des Colloques de Royaumont et de Paris [ 2 1 - 2 7 mai 1 9 7 0 ] , Paris, 1 9 7 6 ) . 19

Cf. Louis' will in A . Duchesne, Historiae Francorum Scriptores, V , p. 438. See p. 72. 21 " U n g autre beau Psaultier à Kalendrier, qui fut à la royne Blanche, hystorié . . . , " from the 1 4 6 3 inventory cited by Delisle, Notice de douze livres royaux, Paris, 1 9 0 2 , p. 3 5 . 22 S.-J. Morand, Histoire de la Sainte-Chapelle, Paris, 1 7 9 0 , pièces justificatives, p. 1 1 . The only manuscripts mentioned in the two charters of foundation ( 1 2 4 6 and 1 2 4 8 ) are those to be kept in the treasury, that is, ones with bindings of precious materials. The first text known to me mentioning royal funding of a Ste.-Chapelle book comes only from 1 2 9 9 , when Philip IV paid for the correction of a gradual (Français 1 0 3 6 1 , p. 1 ) . 20

5

I M A K I N G OF ILLUMINATED M A N U S C R I P T S IN 1 3 T H - C E N T U R Y PARIS

evangeliaries extant from this time (Latin 88g2, Latin 9455, and Latin 17326)} the accounts of 1248, for instance, which mention payments for the fabrication of reliquaries for the chapel and for the king's own Cistercian abbey at Royaumont, are silent insofar as manuscripts are concerned.231 think it would therefore be unwise to see in these works anything more than a reflection of court taste, such as can be found earlier in the French Moralized Bible in Vienna. The presence of such conspicuous patrons obviously stimulated the production of expensive books in Paris. How these books were actually made—from the commission of the works to their payment—is a subject on which there is relatively little concrete information; most of what is known comes from court circles. In 1239, for instance, the king's hôtel paid 100s. on a larger debt due to Master Nicolas the Illuminator, who was then living on the Rue St.-Jacques.24 Such a record suggests that Nicolas worked often or even regularly for the king, running up a sizable bill which the king paid off in parts from time to time. But Nicolas could not have been the only illuminator in the king's employ, since two manuscripts (Glazier 37 and Latin 14397) were undoubtedly made for the Crown by the shop of Gautier Lebaube, and still other painters worked for the king at various times. That is to say, there was in fact no single "royal illuminator." The Crown patronized a number of different painters and received manuscripts painted in a number of different styles. What effect royal or court taste may have had on style under such conditions will be taken up at the end of this book. One of the royal agents for manuscripts was Master Richard, perhaps the Richard de Torni who organized and oversaw the construction of Maubuisson for Blanche. In 1 2 4 1 , he paid z£ 5s. for a psalter for the queen.25 Master Richard may have been a member of the royal council, an informal group of dignitaries who advised the king and queen and undertook just such services as this for them. But he was not the only agent Blanche had for manuscripts. In 1239 the king's hôtel paid Herbert the Parchmenter 40s. for the illumination and binding of the queen's or do mentioned above,26 and in 124a Blanche gave Herbert 100s. for the marriage of his daughter, a sum that seems like a dowry.27 A parchmenter might bind a volume, but he would certainly not illuminate it, and it looks very much as if Herbert were a retainer of the queen with special duties in the field of manuscript fabrication. The texts do not mention whether Herbert had anything to do with the three psalters Blanche paid for in 1242, 28 nor do they contain any further references to agents or to 23

Recueil des historiens des Gaules, XXI, p. 284. Ibid., XXII, p. 607. See also Appendix II. Bougenot in Bulletin du Comité des travaux historiques, 1 8 8 8 - 1 8 8 9 , p. 90. 28 See note 1 3 . 27 Latin 9017, f. 69. 28 The copying of one, by Guido Cocus, in 1 2 4 1 cost 40s. (see note 25); the other, by his son at Orléans, cost 100s. (Delisle, Cabinet, I, p. 7). A certain Guido Quocus owned houses in Paris near the 24

25

6

I

MAKING OF ILLUMINATED MANUSCRIPTS IN 13TH-CENTURY PARIS

manuscripts during the remainder of Saint Louis' reign. Whether the king and queen continued to employ agents from the household or relied on the staff of the SainteChapelle, which took care of the king's books in the fourteenth century,29 cannot be determined with any confidence. Yet it was during the reign of St. Louis that manuscript painting flourished in the capital, and the king and his court clearly played a role in this development. By the time of his death in 1270, Paris had also become the capital of European illumination. The creation of illuminated manuscripts in quantity required a fairly large number of specialists, and this development completed the transformation of bookmaking that had already begun in the later twelfth century. In the Romanesque period one man working in a monastic scriptorium might cleanse, stretch, and cut the parchment, prick and rule the lines, copy the text, and illuminate it.30 Occasionally this still happened in the late thirteenth century,31 but by then, as Léopold Delisle pointed out long ago,32 most of the operations had been given over to professional laymen who specialized in the various tasks. This was particularly true in a university town like Paris, where materials could be purchased ready to use and services hired as necessary. The parchment could be bought by the box and needed only to be scraped before use;33 professional scribes (who might be clerics) or students copied the texts;34 rubricators and illuminators added the initials and illustrations;35 and binders stitched the gatherings together. Even ink and gold leaf " p l a s t e r i a m " ( m e n t i o n e d i n t h e S t . - G e r m a i n o b i t u a r y , Latin 12834, a n Aquilonati a taro »ntmo.Otiigtimem tieni « t a f 6m totr>teii-u«t«onv —ftwniWB^MfuMV-WMl^«: « TiftMfeaanfOttdibMifcmCroiflfSnr tfrwtfcwjidtri-umafeomwww 1 dmmiurjii^MuwyoiM»!»

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BIBLE

(YATES

JOHANNES GRUSCH

ATELIER

X V Initial for Genesis, Bible (Additional 54235, f. 6) " V I E DE S A I N T D E N I S "

ATELIER

X V I Initial for Per omnia, Missal for Paris usage (Latin 824, f. 1 7 8 ) AURIFABER

ATELIER

XVII Initial for Psalm 97, Bible (Harley 1 2 9 7 , f. 229)

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