Studies in Arthurian Illustration, Vol. II 1904597688, 9781904597681

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Studies in Arthurian Illustration Vol. II

Studies in Arthurian Illustration Vol. II

Alison Stones

The Pindar Press London 2018

Published by T eh P i nda r P r e s s 30 W e nt w ro t h D r i ve L ond H A 5 2P U · U K

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Contents D

Lancelot

XXVII

Seeing the Walls of Troy

699

XXVIII

Illustrating Lancelot and Guinevere

732

XXIX

Images of Temptation, Seduction and Discovery in the Prose Lancelot: A Preliminary Note

763

XXX

Illustration et stratégie illustrative dans quelques manuscrits du Lancelot-Graal

788

E

Mort Artu

XXXI

The Illustrations of the Mort Artu in Yale 229: Formats, Choices, and Comparisons

817

XXXII

Illustration and the Fortunes of Arthur

874

XXXIII

Aspects of Arthur’s Death in Medieval Illumination

959

XXXIV

The Lancelot-Grail Project: Chronological and Geographical Distribution of Lancelot-Grail Manuscripts

F

Chrétien de Troyes, Wace, Luce de Gast

XXXV

Les manuscrits de Chrétien de Troyes. Introduction

1000

1021

XXXVI

The Illustrated Chrétien Manuscripts and their Artistic Context

1029

XXXVII

The Egerton Brut and Its Illustrations

1138

XXXVIII The Artistic Context of Some Northern French Illustrated Tristan Manuscripts

G

Epilogue

XXXIX

Arthurian Art: the Past, the Present, and the Future

1159

1195

Bibliography Select Bibliography

1207

Index Index of Manuscripts Cited

1291

Index of Medieval Works of Art and Architecture Cited

1315

Index of Medieval Authors and Texts Cited

1320

Index of Selected People, Places, and Things

1334

D Lancelot

XXVII Seeing the Walls of Troy

I

wrote the abstract for this talk on September 27, 2001. No one who lived, even vicariously, through the events of just a few days before, on September 11, 2001, can fail to appreciate the potency of the image of a falling fortress. Neal Gabler, writing in the New York Times of September 16, 2001, reported the comments of ‘benumbed spectators’: “It was like a movie”. As Gabler commented, the images before peoples’ eyes were as though lifted from a Hollywood disaster blockbuster — and he added that the perpetrators of the tragedy were “creating not just terror; they were creating images”. Of course, the image of a collapsing structure also matches that of a long-established topos much drawn upon during the Middle Ages both in literature and in manuscript illustration. The earliest copies of the Troy romance depicted that city on their opening page, introducing its glory and anticipating its destruction. Paris, Bibliothèque de l’Arsenal, Ms. 3340, written in 1237, contains the oldest surviving illustration to Benoît de Sainte-More’s Roman de Troie (fig. 1a).1 The opening scene shows King Solomon teaching, according to the words of the text, that meaning should not be hidden but clearly demonstrated; and below, an image of Troy inside its walls — still standing erect — the whole serving to underline the rôle of pictures in making explicit the meaning of words. Depicting the city of Troy evoked at once her moments of triumph, her downfall, and the subsequent glorious histories of her great heroes, the legendary founders of Italy, France, and Britain. Francion founding Sicambria was selected for the opening of Charles V’s First published in Manuscripts in Transition, ed., B. Dekeyzer and J. Van der Stock, Leuven, 2005, pp. 109–25. 1 Not in Buchthal, The Troy Romance; see Jung, La légende de Troie, pp. 134–139.

700

and Charles VI’s copies of the Grandes chroniques de France,2 and lesser chronicles were not slow to endow their texts with a Trojan image. The Chronique de l’anonyme de Bethune, a late thirteenth-century composition of north French local history opens with the topos of Troy, linking the deeds of Robert de Béthune and his ancestors thereby to a grand and wellknown pedigree (fig. 1b).4 Painting scenes of Troy was an important topos for the beginnings of illustration in French romances as well, one that was quickly adapted, both as an image to fit various appropriations of the story of Troy, and also as a construct of the meaning and function of illustration in general. A construct of towers, the reality of images, and the concept of memory, are of course explicitly drawn together by that oft-cited thirteenth century author Richard de Fournival, chancellor of Amiens cathedral, noted bibliophile, and founder of the first public library in France in the 1240s,5 in his Bestiaire d’amours and Réponse au bestiaire, cited from Paris, Bibliothèque nationale de France, MS fr 412, f. 228: Ceste memoire si a ij. portes ueoir et oir et a chascune de ces .ij. portes si a .i. chemin par ou on i puet aler. painture et parole, painture si ert a oel et parole a oreille... (This is memory and it has two doors, seeing and hearing, and to each of the two doors leads a path by which one can reach them, painting/pictures and speech/words. Painting goes to the eye and speech to the ear...)6 ... Car quant on uoit une estoire ou de troie ou autre, on uoit les fais des peudomes qi ca en ariere furent aussi com sil fussent present... (...when one sees the story of Troy or something similar, one sees

Paris, Bibliothèque nationale de France, MS fr 2183 and Bibliothèque nationale de France, MS fr 10135 respectively. See Hedeman, The Royal Image, p. 99, figs. 71–72. 3 Paris, Bibliothèque nationale de France, MS naf 6295. 4 From Troy, the chronicle moves swiftly to Charlemagne, in a version derived from the Pseudo-Turpin, another grand and well-known antecedent. For the illustrations, see Stones, ‘Las Ilustraciones del Pseudo-Turpin’. 5 See Rouse, ‘Manuscripts belonging to Richard de Fournival’, with reference to previous literature; further manuscripts of Richard are listed in Stirnemann, ‘Les bibliothèques princières’, esp. pp. 181,184–185. See now Green, ‘Richard de Fournival’. 6 Segre, ed. Li Bestiaires d’amours, pp. 4–5. Quotes are transcribed from Paris, Bibliothèque nationale de France, MS fr 412, f. 228, with contractions expanded; translations are mine. The second illustration is on f. 237v. 2

SEEING THE WALLS OF TROY

701

the deeds of great men of the past as though they were present...) et einsi est de parole, car qant on ot .i. romans lire, on entent les Auentures aussi com seles fussent em present. Et puis con fait present de ce qi est trespasse par ces .ij. choses poet on a memoire uenir. (and it is the same for speech. For when one hears a story read, one hears the adventures just as if they were in the present. And since one makes present what is past in these two ways one is led to memory.) This verbal evocation is one of two, one in the Bestiaire and the other the Réponse and artists not surprisingly seized upon the chance to depict memory’s tower with an image; and the significance of Richard’s text and his artists’ depictions has not been lost on modern critics. It is rarely acknowledged, however, that Roger Sherman Loomis and Laura Hibbard Loomis were the first to reproduce Master Henri’s Bestiaire illustration, as a printed line-engraving on the title-page of their important book on Arthurian Art in the Middle Ages published in 1938, to make an understated point in their pioneering empirical studies of text and picture.7 Countless later scholars have also invoked Richard de Fournival’s important topos. Troy was not the only city, as Richard de Fournival observed; depicting any other place would serve equally to bring its story, and its cast of characters, alive. Jerusalem was another obvious choice, whether shown in plan, as at the beginning of the Hague picture bible made probably at Saint-Bertin c. 1200, where the rout of the Sarracens by crusaders led by St George at the first Crusade is shown beneath; or as an exterior elevation, as in the appendix to the Hague Rijmbibel of Jacob van Maerlant,8 where the downfall of the city is coupled with and its defamation exemplified by the gruesome story of Mary of Bethzaba and the cannibalistic eating of children during the siege of the city by Titus and Vespasian in 70 AD.9 Nowhere are the dynamics of picture and text interrelationships better demonstrated than in the Lancelot-Grail romances, where seeing, concealing,

Loomis and Loomis, Arthurian Legends in Medieval Art, title page; see also Stones, ‘Arthurian Art since Loomis’. 8 The Hague, Museum Meermanno-Westreenianum, MS 10 B 21. 9 As Katheryn Smith has noted, the pictorial tradition of this subject is most prevalent in the northern periphery of France — in Flanders, Holland, and England, rather than in Paris, and it is also found in Southern France (Smith, ‘The Destruction of Jerusalem Miniatures’). For the Maerlant text and the Hague manuscript, see also Ekkart, De Rijmbijbel van Jacob van Maerlant, p. 35 (f. 152v); Meuwese, Beeidend Verteilen, pp. 96–100. 7

702

and revealing, form so critical a part of the quests and adventures of Arthur’s knights. Two foci stand out in particular: the iconography of the Holy Grail and the questing adventures associated with it, and the role of images in the story of Lancelot of the Lake. I leave aside the Grail here,10 to concentrate on Lancelot. The LANCELOT-GRAIL Romance and the Falling Tower It is not surprising that the topos of a fortress destroyed forms the opening to the Lancelot section of the romance, since that branch begins with an account of the early life of Lancelot du Lac, from his escape as a baby from his parent’s castle of Trebes (a name notably similar to that of Troy), when they are attacked by King Ban’s vassal King Claudas. For Ban the destruction of his castle is a blow so terrible that he falls from his horse and dies at the sight of his home going up in flames, whereupon his wife puts the baby Lancelot down on the ground as she rushes to tend her fallen husband. This is where the Lady of the Lake appears and takes the infant off to the Lake, where he will be brought up until it is time for him to be presented at court and made a knight of King Arthur’s Round Table. And elsewhere in the five-branch cycle, sequences of the destruction of castles link in one way or another, through the technique of interlace, to this one, and the stories of those protagonists connect or resonate in varying degrees with the destruction of Trebes and the adventures which resulted from it. This opening sequence enjoyed some popularity in the illustrative tradition of the Lancelot, particularly in its most developed form, from the last quarter of the thirteenth and first decades of the fourteenth centuries to

10 See Stones, ‘Seeing the Grail’; ead., ‘The Grail in Rylands French 1’; Waynflete Lectures, delivered at Magdalen College, Oxford, in 2001, and Meuwese, ‘Three Illustrated Prose Lancelots’ and ‘The Shape of the Grail’. 11 But not, interestingly enough, in the very earliest copies: see Paris, Bibliothèque nationale de France, MS fr 768, the earliest copy of the non-cyclic version and the base manuscript of Kennedy’s edition, Lancelot do Lac. The opening initial, showing two superimposed knights on horseback, is reproduced in Stirnemann, ‘Some Champenois Vernacular Manuscripts’, p. 207, fig. 24. The earliest illustrated copy of the cyclic version, Rennes, BM MS 255, c. 1220, shows a scene of lord and vassal: probably Aramont, Lord of Britanny, and King Arthur (not Uter Pendragon!), see Stones, ‘The earliest illustrated’, fig. 3b.

SEEING THE WALLS OF TROY

703

the first printed copies. A comparative study of all the opening illustrations to the Lancelot has yet to be written, but we can say at this stage that the pictorial emphasis varies considerably, some images concentrating on the fortress topos as an all-embracing image and others dwelling more on the psychological implications of it, depending in part on whether the sequence described above is shown in one picture or spread out over several, and on what components are selected. Thus the Morgan Lancelot, (fig. 4),12 and the first printed copies (fig. 5), draw together various elements of the opening sequence into a single image — not the same ones, for the Morgan manuscript concentrates on the escape in the upper register, omitting the castle, and on Ban’s death, including a funeral procession, in the lower register, with Lancelot’s abduction squeezed in between; and the printed edition emphasizes the abduction and Ban’s and Elaine’s reactions to it and the burning castle combined, while Elaine is seen in the far corner in conversation with a nun outside the convent where she will retire; and Ban’s death is left out. Other copies treat the opening episode as a number of discrete scenes, as in two copies of ca. 1315 from the same workshop in eastern Artois or western Flanders (figs. 2, 3a–c, 6a–c),13 and the three manuscripts of Jacques d’Armagnac, Duc de Nemours (executed for treason in 1477) — but they make different selections and give different emphases.14

New York, The Pierpont Morgan Library, MS M.805. The three early fourteenth-century copies are (1) London, The British Library, Add. MS 10292–4, in 3 vols., complete (hereafter Add.) ; (2) London, The British Library, Royal MS 14 E.III, containing Estoire, Queste and Mort Artu, lacking Merlin and Lancelot (hereafter Royal); (3) olim Amsterdam, Bibliotheca Philosophica Hermetica, MS 1, in 3 vols., containing Estoire, Merlin, and Lancelot up to the beginning of the Agravain section (hereafter Amst.); (4) the Agravain, Queste, and Mort Artu are found, interleaved, and with lacunae, in Oxford, Bodleian Library, MS Douce 215 (hereafter Douce), and (5) Manchester, The John Rylands University Library, MS French 1, bound in 2 vols, but foliated continuously (hereafter Rylands). The manuscripts of Jacques d’Armagnac are Paris, Bibliothèque nationale de France, MS fr 112, a special version compiled and written by Michel Gonnot in 1470; Paris, Bibliothèque nationale de France, MSS fr 113–116, datable c. 1475, illustrated by three artists, one of whom is Evrard d’Espingues; Paris, Bibliothèque nationale de France, MSS fr 117–120, produced in Paris, c. 1404 and illustrated by the ‘Master of 1404’, partially repainted c. 1465 by the Master of Jacques d’Armagnac and a follower of the Master of the Jouvenal des Ursins. 14 My work is part of the Lancelot-Grail Project, a collaborative venture (see now http:// www.lancelot-project.pitt.edu). The table of the three early fourteenth-century copies, by collaborator Martine Meuwese and myself are modelled on those by Blackman in ‘A Pictorial 12 13

704

The two groups are compared in the chart below:15

Text References

London, BL, Add. Ms. 10293 (Add.)

olim Amsterdam, BPH 1, vol. ii (Amst. ii)

S III 3. i (LKi) LM VII i

Add. f. 1 No rubric, no space Ban, King of Benoic, and his brother Bohort, King of Gaunes, talking together. Borders: David, crowned, slings at Goliath; border: 2 knights; a nun nurses a monk or cleric, pointed out to a king on horseback by a man holding a spear; musicians playing organ and rebec; mounted knights, apes, dog, squirrel.

Amst. ii, f. 37 No rubric, no space The Destruction of Trebes: King Claudas and his men, encamped outside, attack King Ban’s castle; King Ban and Queen Elaine escape on horseback from their castle; King Ban looking back in sorrow (wringing his hands); Queen Elaine holding Baby Lancelot.

‘E’, foliate initial Text: En la marche de Gaule et de la Petite Bertaigne auoit .ij. rois anchienement qui estoient freire germain...

‘E’, gold letter inset in frame of miniature Text: En la marche de Gaule et de la Petite Bertaigne avoit deus rois anchienement ki fiere estoient germain...

Synopsis’, esp. pp. 13–47; for fuller descriptions, see Blackman, The Manuscripts and Patronage of Jacques d’Armagnac, esp. pp. 458–564. An analysis of the opening images of Lancelot by another Lancelot-Grail collaborator is Kennedy, ‘The Placing of Miniatures in Relation to the Pattern of Interlace’. 15 For text editions see the Bibliography at the end of these essays.

SEEING THE WALLS OF TROY

S III 8. 18 Add. f. 2 (LK var) Rubric: Ensi que li senescaus LM VII 12 le roy Bant [sic, added above the line] de Benoic parole au roy Claudas par dehors . j. castel. King Ban’s seneschal plots treason with King Claudas, standing before King Ban’s castle of Trebes by the lake. ‘C’, champie initial Text: Che dist li contes que quant li rois Bans se fit partis del chastel de Trebe...

705

Amst. ii, f. 39v No rubric, no space

‘Q’, champie initial Text: Quant li rois Bans se fu partis du chastiel de Trebes...

S III 12. II Add. f. 3v (LK 7) No rubric, no space LM VII 12 ‘A’, champie initial Text: Ainsi Claudas reuesti le senescal del roiaume de Benoich... S III 12. 29 (LK13) LM VII 23

Add. f. 3v Rubric: Ensi que li roy Bam de Benoic chevaucha amont. i. tertre et vit son castel ardoir. King Ban rides up the hill away from his castle of Trebes by the lake and looks back to see it is being destroyed (towers fall) by fire (flames emerge). ‘O’, champie initial Text: Or dit chi endroit li contes que quant li rois Bans fu issus de son chastel que il se monta sour vn moult haut tertre pour veoir son chastel...

Amst. ii, f. 41 No rubric, no space King Ban falls dead at the sight of his castle burning; Queen Elaine leaves Baby Lancelot by the lake.

‘O’, gold letter inset in frame of miniature Text: Ore dist li contes ke quant li rois Bans ot puie le tertre pour le sien chastiel veoir...

706 S III 13.10 Add. f. 3v (LK var) No rubric, no space LM VII 23 ‘T’, champie initial Text: Toutes ches coses recorde li rois Bans... S III 14. 6 Add. f. 4 (LK var) Rubric: Ensi que li roys Bans LM VII 26 de Benoyc morut de duel por chou quil veoit son castel ardoir. The Death of King Ban: King Ban lies dead from grief on the hill by his castle Trebes from which flames emerge; Queen Elaine bends over him, grieving, watched by her squire; their two horses ride away and Baby Lancelot lies on the ground by the lake. ‘L’, penflourished initial Text: Li valles deschent quant il treue mort le roy Ban son seisnour... S III 16. 29 (LK 18) LM VII 32

Add. f. 4v Rubric: Ensi que li roy Claudas a assis le castel de Gaunes. Et la royne sen fuit a ses enfans. King Claudas and his men ride towards King Bohort of Gaunes’ castle Montlair, from which Queen Evane (sister of Queen Elaine of Benoic) escapes on horseback holding her two babies Lionel and Bohort in her arms. ‘C’, champie initial Text: Chi endroit dist li contes que tant esploita Claudas...

Amst. ii, f. 42v No rubric

‘C’, champie initial Text: Chi endroit dist li contes ke tant esploita Claudas...

SEEING THE WALLS OF TROY

S III 18. 26 (LK 20) LM VII 36

707

Add. f. 5 Rubric: Ensi que . i. royne se rent en . i. abaiee et on li coupe les treches d’unes forchetes. Queen Evane takes the veil: a nun cuts the queen’s hair with scissors, watched by two nuns who stand in the convent doorway; another nun holds the habit the queen will wear. ‘C’, champie initial Text: Chi dist li contes que quant li chevaliers desiretes oi les noueles de Montlair...

Add. f. 5v Rubric: Ensi que .j. damoisele porta Lancelot en le lach et la royne fesoit grant duel por son enfant. Lancelot taken to the Lake: Standing by the abbey where she too has become a nun, Queen Elaine (still shown robed as a queen) sees the Lady of the Lake enter the lake with Baby Lancelot in her arms. ‘O’, champie initial Text: Or dist chi li contes que la damoisele qui Lanselot emporta el lac estoit vne fee...

Amst. ii, f. 43v No rubric, no space

‘C’, historiated initial: Lancelot taken to the Lake: The Lady of the Lake carries Baby Lancelot into the lake. Text: Chis contes dist ke la damoisiele ki Lancelot emporta el lac vne fee estoit....

708 Text Paris, BNF, MSS References fr 117–120 (inherited by Jacques d’Armagnac from Jean de Berry, repainted in part for Jacques d’Armagnac)

Paris, BNF, MSS fr 113–116 (commissioned by Jacques d’Armagnac)

Paris, BNF, MS fr 112

Not in the text

At the opening of Estoire, fr 117, f. i top left quarter of a four-part miniature: Birth of Lancelot.

At the opening of Estoire, fr 113, f. i top right quarter of a four-part miniature: Birth of Lancelot.

vol. 2, f. i, top left quarter of a four-part miniature: Birth of Lancelot.

S III 3. i LM VII i

fr 118, f. 155 Lancelot, Boort, and Lionel with their parents.

fr 114, f. 150 Lancelot, Boort, and Lionel with their parents.

S III 12.19-29 LMVII3

fr 114, f. 154v left: King Ban, Queen Elaine and Lancelot departing from their castle; right: Ban seeing his castle burn and dying of sorrow.

S III 19.18 At the opening LM VII 5 of Estoire, fr 117, f. 1 top right quarter: The Lady of the Lake holding the infant Lancelot.

fr 114, f. 156v The Lady of the Lake holding the infant Lancelot.

(Special Version, commissioned by Jacques d’Armagnac)

vol. 2, f. 1 top right quarter: King Ban, Queen Elaine and Lancelot departing from their castle.

SEEING THE WALLS OF TROY

709

In other branches of the Lancelot-Grail romance, the falling fortress motif encapsulated further poignant moments in the story, and also found favour in the illustrative tradition. For instance, in Estoire, the opening branch of the cycle, the (unnamed) Duke who killed King Lancelot, grandfather of Lancelot of the Lake, is himself killed by divine vengeance when his castle collapses on him. King Lancelot’s death, and the retrieval of his severed head from the boiling fountain into which the Duke had flung it, would be avenged by his grandson Lancelot, who would rejoin the head and the body, guarded by lions in a tomb that weeps blood, later in the story. The patterns of selection and treatment of these elements in the manuscripts also vary in interesting ways: the makers or patron of the Additional copy chose not illustrate the falling castle episode in Estoire, but they gave very great emphasis to its sequel in the Agravain section of the Lancelot, even concluding Lancelot’s triumphant adventure with an image of the divine vision, of Christ as White Stag, linking Lancelot thereby to the Grail adventures. The makers or patrons of the Amsterdam/ Douce/Rylands copy, on the other hand, gave inverse pictorial emphasis to these related sequences, and omitted the Stag scene as its conclusion. There, Lancelot’s White Stag would be depicted, but not until later, and in the company of Mordred; at that point, Add.’s pictorial emphasis is on Lancelot and Mordred’s defeat, not their privileged vision, and Royal, in so far as it preserves this episode, aligns more closely with Amsterdam/Douce/ Rylands than with Add., while of Jacques d’Armagnac’s manuscripts, Paris, Bibliothèque nationale de France, MS fr 115 also aligns with Rylands.16

Paris, Bibliothèque nationale de France, MS fr 113 gives this episode three pictures: f. 116a shows Duke Bellegarde preparing to strike King Lancelot in the neck as he leans over a fountain; f. 116b shows his tomb, with an effigy on the top, and figures on the sides, with Jacques d’Armagnac’s motto, FORTUNE D’AMIS; f. 116v shows the lions licking the tomb. The punishment of the Duke is omitted in the illustrations. Neither Paris, Bibliothèque nationale de France, MS fr 112 nor MS fr 117 include a scene of this episode, but see note 18. See Blackman The Manuscripts and Patronage of Jacques d’Armagnac, pp. 460–461, 508, 543. 16

710 Text London, BL, References Add. MS 10292

London, BL, Royal MS 14 E.III

Amsterdam, BPH 1, vol. i

S I 295. 3 (Pon 574. 903.13)

f. 75v No miniature No paragraph division

f. 88v-1 Space for rubric left blank The duke who cut off King Lancelot’s head tries to lift it out of the boiling fountain, watched by his knights. ‘Q’, penflourished initial Text: Quant il vit la teste qui gisoit en la fontaine...

f. 117v Rubric: Chi caupa li dus la teste au roy Lancelot le pere Lancelot du Lac. 17 The duke who cut off King Lancelot’s head tries to lift it out of the boiling fountain. ‘Q’, one-line ink capital Text: Quant il vit la teste qui gisoit en la fontaine...

S I 295. 25 (Pon 575. 904.16)

Add. f. 75v col. e, line 50 No miniature No paragraph division

Royal f. 88v-2 Space for rubric left blank His castle falls on the duke who killed King Lancelot. ‘E’, penflourished initial Text: Ensi uenga nostre sires le roy Lancelot del due...

Amst. i f. 118 Rubric: Chi fondi li chastiaus au duch sour sa teste et la crauenta et ses gens. His castle falls on the duke who killed King Lancelot. ‘E’, one-line ink capital Text: Ensi uenga nostre sires le roi Lancelot del due...

It is Lancelot’s grandfather King Lancelot, not his father, King Ban, who is killed by the Duke; the rubric refers to the previous text passage while the picture shows what immediately follows in the text. 17

SEEING THE WALLS OF TROY

711

S I 295. 34 (Pon 576. 906. i+var)

Add. f. 75v No last leaf missing miniature ‘V’, penflourished initial Text: Vn iour auint que vns lyos passa par deuant la tombe...

Amst. i f. 118-2 Rubric: Chi sainia par miracle le tombe le roy Lancelot. The tomb of King Lancelot weeps blood. ‘T’, one-line ink capital Text: Tant ka. J. iour aujnt ke par deuant la tombe passoit vns lyons...

S I 296. 4 (Pon 576. 906.11)

Add. f. 75v col. f No miniature No pargraph division

Amst. i f. 118-3 Rubric: Chi lequerent li doy lyon le tombe le roy Lancelot et puis le garderent tant que Lancelot du Lac les tua. Two lions guard King Lancelot’s tomb and lick it. ‘S’, one-line ink capital Text: Si auint si biele auenture...

last leaf missing

Lancelot’s resolution of the Estoire episode:18

18 A single scene is devoted to this in Paris, Bibliothèque nationale de France, MS fr 115, f. 507v, and Paris, Bibliothèque nationale de France, MS fr 119, f. 440v, showing Lancelot slaying the lions that guard the tomb of his ancestor: in Paris, Bibliothèque nationale de France, MS fr 115 he has killed one lion and prepares to kill the second, and the head is still in the fountain; in Paris, Bibliothèque nationale de France, MS fr 119, Lancelot approaches the tomb and lions (Blackman ‘A Pictorial Synopsis’ p. 33; ead., The Manuscripts pp. 527, 558); Lancelot and Mordred seeing the White Stag and lions is in Paris, Bibliothèque nationale de France, MS fr 115 only, f. 519v: Blackman, The Manuscripts, p. 527 and ‘A Pictorial Synopsis’ p. 34.

712 Text References

London, BL, Add. Ms. 10293

Manchester, The John Rylands University Library, French 1

S V 243. 20 LM V 116

f. 334v Rubric: Ensi ke Gauvain et ses compaignons sont en .i. castel desarme et .i. chevalier desarme les vint veoir. Lionel arrives at the castle with the released Arthurian knights and is surprised not to find Lancelot. ‘O’, champie initial Text: Or dist li contes que quant li compaignon que Lancelot avoit laissiet dormant el tertre se furent au matin esveilliet...

f. 76v Rubric: Chi achieva Lancelot l’aventure de la teste son ‘daijon’ qui estoit en la fontaine qui bouloit et .y. tua .ii. lyons. f. 77 Lancelot holds the head of his ancestor (which he had taken from the boiling fountain) and presents it to the hermit. ‘O’, pen flourished initial Text: Or dist li contes ke quant li compaignon du tertre se furent au matin esueillie...

S V 244.13 Add. f. 334v LM V 117 Rubric: Ensi ke Lancelot arme chevauche en .i. forest si encontre .i. nain sor .i. noir palefroi si parla a li. Lancelot meets a dwarf in the perilous forest ‘T’ [for ‘C’], champie initial Text: Che dist li contes que quant Lancelot se fu parti de ses compaignons et se cheuaus ot vn poi mangiie de lerbe si comme li contes la deuise si cheuaucha tant que li solaus fu leues...

Rylands f. 77 No rubric

‘Q’, champie initial Text (+ var): Quant Lancelot fu entree en la forest perilleuse si erra tant que li solaus fu leues...

SEEING THE WALLS OF TROY

S V 245. 6 LM V 120

Add. f. 335 Rubric: Ensi ke Lancelot arme a piet a ochis .ij. hommes denkoste .i. tombe ki degoute sane et deles le tombe a .i. fontaine et .i. teste dedens, (lions, not hommes) Having killed the lions guarding the bleeding tomb of his grandfather, Lancelot takes the head out of the boiling fountain and presents it to the hermit. ‘Q’, champie initial Text: Quant Lanceht ot ocis lez .ij. lyons...

S V 247. 12 LM V 127

Add. f. 335v Rubric: Ensi com Lancelot est a pie deuant ,i. hermitage et parole a lermite. The hermit tells Lancelot how his grandfather died. ‘E’, champie initial Text: Ensi monstroit li prodoms a Lancelot que par un mellour chevalier...

S V 249.15 Add. f. 336v LM V132 Rubric: Ensi que Lancelot armes cheuauche apres .i. blanc cherf qui estoit environnes de .iiij. lyons. Lancelot sees a White Stag led by four lions. ‘E’, champie initial Text: Ensi délivra Lancelot le vallet del ours qui mangier le voloit...

713

714 S V 277.37 Add. f. 347 LM V 204 Space for rubric left blank Lancelot and Mordred unhorsed by two knights; their horses will be taken away. ‘O’, champie initial Text: Or dist li contes que quant li valles que Lancelot ot envoiet el Tertre Deuee...

Rylands f. 90 Rubric: Chi fierent abatu Lancelot et Mordres jus de lor kevaus par .ij. chevaliers pour che quii sievoient le blanc chierf et les .vi. lyons qui le conduisaient. The White Stag accompanied by lions appears to Lancelot and Mordred. ‘O’, champie initial Text: Or dist li contes que quant li valles qui avoit este envoies au Tertre Deuee...

In the fourth branch of the Lancelot-Grail romance, La Queste del saint Graal, is another instance of the destruction of a castle as a divine punishment: one meted out this time to the Leprous Damsel who caused the death of Perceval’s (unnamed) sister, who died donating her own blood to cure the leper. This time, all three early fourteenth-century copies give similar weight and emphases to their pictures, and Paris, Bibliothèque nationale de France, MS fr 116, f. 665 also depicts this.19

Text References

London, BL, Add. MS 10294

London, BL, Royal, 14 E.III,

S VI 173. f. 47 f. 133v 9 Rubric: Ensi que Space for rubric Pau 244. xi deus cheualiers regardent j. castel que .j. foudres auoit abatu.

Oxford, Bodlian Library, Douce 215 f. 39v Rubric: Chi endroit entrent Galaadz et Perchevaus en chastel qui font et chiet et sont toutes les gens mortes de quoi il sont trop esbahi.

19 Galaad and Perceval stand before the burning castle, see Blackman, The Manuscripts, p. 534 and ‘A Pictorial Synopsis’ p. 41.

SEEING THE WALLS OF TROY

Galaad and Perceval, riding, watch and point as a thunderbolt knocks towers from the Leprous Damsel’s castle. ‘O’, champie initial Text: Ore dist li contes que toute la nuit furent en la chapele...

715

Galaad and Perceval, riding on bridge, watch and point as a thunderbolt knocks towers from the Leprous Damsel’s castle.

Galaad and Perceval, riding, watch a thunderbolt knock pinnacles from the Leprous Damsel’s castle towers (hand 1). ‘O’, penflourished ‘O’, penflourished initial initial Text: Or dist li contes ke Text: Or dist li contes ke toute toute la nuit furent en la chapiele... nuit furent en la capiele...

In the second branch, Merlin, a memorable castle is destroyed, with important consequences for the rest of the story: that of King Vortigern, who is burnt to death when his fortress goes up in flames. His ignominious demise paves the way for Kings Pandragon and Uter, and the eventual accession of Uter’s son Arthur as King of Britain:20

Text References

London, Add. MS 10292

S II 30.32 MM 108. 46

f. 84 Rubric: Ensi que Merlins diuise au roy Verteger comment se tour porra tenir. Merlin tells King Vortigern how to build the tower. ‘L’, champie initial Text: Lors sen alerent li message et li rois mismes cheualcha apres aus...

Merlin has only an opening miniature in Jacques d’Armagnac’s manuscripts. The burning episode is also recounted in the chronicle tradition and depicted, notably, in the London, The British Library, Royal MS 20 A.II copy of Langtoft’s Chronicle, f. 3, reproduced in Loomis and Loomis, Arthurian Legends in Medieval Art, fig. 385. 20

716 S II 33. i MM 114. 22

f. 84v Rubric: Ensi que Merlins monstre au roy Verteger les merueilles de deus serpens. Merlin shows King Vortigern the two dragons. ‘L’, champie initial Text: Lors apela Merlin si li demanda liquels des .ij. dragons vainceroit...

S II 33. 28 MM 121.13

f. 85v no rubric Vortigern burns in his tower. ‘C’, champie initial Text: Chi endroit dist li contes que Merlins se tint grant piece auoec Blayse...

Image, Memory, and Truth in The Lancelot-Grail At court, Lancelot falls in love with Queen Guinevere with whom he has an adulterous affair,21 presented as an ennobling force through which Lancelot is able to achieve great deeds, becoming the best knight in the world and saving Arthur’s kingdom through his military prowess, often in disguise and unbeknownst to Arthur. A second sequence of images is particularly critical in explicitly drawing together the model of Troy and the rôle of images in keeping memory alive and in transmitting truth. Captured and imprisoned by Arthur’s sister Morgan, Lancelot looks through his prison window and sees an artist painting pictures, with explanatory captions, on the walls of a neighbouring room — of Aeneas leaving Troy. This gives him the idea of alleviating his grief by taking pleasure in looking at the fair face of his lady-love in pictures depicting her — he depicts the stages of their amorous encounters and he kisses her image on the mouth. Curiously, depictions of this arresting episode are far from common. To my knowledge, the Lancelot illustrative tradition offers only a single example, and in it Lancelot is shown embracing not an image of Guinevere painted on a wall, but a painted statue of her (fig. 7a). It may be that the artist based his depiction on the words of the accompanying rubric where the word ymage could mean either a painting or a three-dimensional image (f. 325v: Ensi que Lancelot est en prison en une See Stones, ‘Illustrating Lancelot and Guinevere’ and ‘Images of Temptation, Seduction and Discovery’. 21

SEEING THE WALLS OF TROY

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cambre et se deduist a .i. ymage pour lamor de sa dame. (How Lancelot is in prison in a room and delights himself with an image for the love of his lady); or she/he (or whoever else directed the programme of illustrations) may have decided that a depiction of a statue better exemplified the life-like qualities of Lancelot’s artistic creation. It may also be that the episode as a whole is intended to show Lancelot distinguishing himself in the sphere of artistic creation just as he had in knightly activities — a parallel to Tristan who was a noted musician.22 Lancelot shown embracing a statue also recalls the obvious parallel of Pygmalion in the Roman de la rose falling in love with his statue. The prose Lancelot-Grail was composed c. 1200–1220, long before this story in its Roman de la rose version had been written; thirteenth-century readers or listeners would have known it from the text of Ovid’s Metamorphoses, but early illustrations of the subject do not appear to antedate the Rose versions. Another parallel is a sequence in the Roman de la Manekine by Philippe de Remi, written in the 1270s: the heroine and her child are to be burnt to death, but faithful followers have a statue made of them, so life-like that the onlookers are deceived into believing the mother and child both perished in the flames. This depiction (fig. 7b), barely decipherable now, illustrates the episode in the only surviving copy of that romance, made in Arras c. 1300 and conceivably known to the artist of Add., active most likely in neighbouring Saint-Omer just a decade and a half later. The episode of Toute Belle in Guillaume de Machaut’s poem Le livre dou Voir Dit, offers another case where an image takes on life-like qualities, and is depicted in several miniatures, notably in the Morgan Library copy of c. 1425–1430. Guillaume has an image made of his beloved Toute Belle, from which he can elicit responses, by comparison with the impassive lady of his devotions; he locks the image in a trunk, whereupon it weeps and reproaches him for his harsh treatment of her (fig. 7c). In the Lancelot-Grail romance a well-known sequel to the picturepainting episode in the Lancelot occurs much later in the story. In the last branch of the romance, the Mort Artu, it is by seeing Lancelot’s paintings and their accompanying captions, their meaning reinforced by Morgan’s explanations, that Arthur is forced to confront the reality of the adultery — by then a long-standing affair. Again, illustrations of this part of the episode are also surprisingly rare. Arthur seeing the pictures is depicted, so far as 22

I thank Elspeth Kennedy for this suggestion.

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I know, only in the two copies made for himself by Jacques d’Armagnac. One of these images emphasizes the visual dimension of the pictures and captions, the latter clearly included (fig. 8a), and the other shows Morgan explaining them to Arthur (fig. 8b). The text justifies both of these pictorial interpretations. Arthur could read well enough to decipher the captions, so he began to read them and recognized plainly that this room had been painted by Lancelot: Et li rois Artus sauoit bien tant de lettre que il pooit bien .j. escrit entendre. Et quant il ot veues les lettres des ymages qui deuisoient la senefiance des portraitures si les commencha a lire, et tant quil connut apertement que cele chambre estoite portraite des oeures lancelot del lac...23 (And King Arthur was lettered enough to be able to read. And when he saw the writing beneath the images which explained their meaning he began to read it so that he realized that the room’s paintings were clearly Lancelot’s doing...) He then asks Morgan to explain them, which she does in no uncertain terms, relating what she knows of the affair.24 Perhaps Jacques d’Armagnac’s artists, working the 1470s, drew upon another image of looking at pictures, one so similar in composition to the Arthur images that it may have been the model (ill. 10a) : the sale merveilleuse of Fortune’s castle in Christine de Pizan’s Mutacion de Fortune, where Christine looks at pictures.25 The text is preserved ten copies, and eight of them include a picture of the sale de Fortune. What Christine saw there was nothing less than the story of Troy painted on the walls. Christine, like Arthur, deciphered captions written beneath the images (fig. 10a):

23 Cited from S VI 238.34–38. In ‘Images of Temptation, Seduction and Discovery’ p. 727, I noted that two more manuscripts mark this episode with images: Paris, Bibliothèque nationale de France, MS fr 342, f. 167 (fig. 4) and New Haven, Yale University, Beinecke MS 229, f. 289 (fig. 5); both show King Athur and Morgan sitting together on a bench and talking. In neither case does the painted background give any indication that the room in which they sit has painting on the walls. 24 The point is made by Varty, ‘Christine’s Guided Tour of the Sale merveilleuse’, esp. pp. 169–170, that the narrator has Morgan tell what she knows, not interpret the pictures, which Arthur does for himself — and he contemplates the pictures again after hearing what Morgan has to say. 25 Christine de Pisan, Le livre de la mutation de fortune, ed. Solente, p. CXVL See also Schaefer, ‘Die Illustrationen’, esp. pp. 189–192, and Varty, ‘Christine’s Guided Tour’. I see no reason not to interpret these images as scenes of the Trojan war.

SEEING THE WALLS OF TROY

719

En la sale que j’ay descripte, Vi l’istoire de Troye escripte, Et d’or et d’azur les ymages Bien pourtrais... Très tout devisoit l’escipture Qui estoit soubz La pourtraiture... (In the room I have described I saw the story of Troy inscribed, and images of it in gold and blue, beautifully depicted... the writing beneath the representation told all about it...) and she goes on to tell that when emperors, kings, and princes have died, then Fortune has their story portrayed to remember them ...pour memoire Elle [fortune] fait pourtraire l’istoire D’eulz... (...she [Fortune] has their story depicted so it [they] can be remembered...) Several of the manuscripts of Mutacion de Fortune also show Fortune on her Wheel.26 In the Voir Dit and the Lancelot-Grail too, Fortune has a part to play. Machaut compares Toute Belle with Lady Fortune, and Guillaume himself is compared with Fortune. Both images in the Morgan manuscript depict multiple wheels: Toute Belle as Fortuna stands in a large wheel, with four smaller wheels inside it, two on each arm, each one carefully inscribed (fig. 9a). The rubric is Comment Titus Livius descript lymage de Fortune (How Livy describes the image of Fortune); on each wheel is written a Latin couplet: large wheel: Affluo discedo, talis ludus cui me do (I am abundant, I vanish, such is the game I play); small wheel top left: Vivens sum cara; dum mors accedita amara (while living I am dear; when death comes, I am bitter); bottom left: Exceco mentem, ne diligat omnipotentem (I blind the mind so that it should not love God); top right: Ludo compsallo, deludens carmine fallo (I play and sing; deceiving with song I lead astray); bottom right: Quid

Analyzed and compared with the other Voir dit manuscripts in Earp, Guillaume de Machaut, pp. 101–102, 177–183. I note that the Ferrell-Vogüé manuscript now on loan to the Parker Library, Corpus Christi College Cambridge, does not include the Voir dit (see the facsimile, The Ferrell-Vogüé Machaut Manuscript). 26

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sum discerne, cum sciveris me fuge, sperne (Recognize what I am; when you know, you will flee and spurn me).27 All this, as Earp notes, is translated from the body of the French text, as are those in the second miniature of Fortune which accompanies the passage where Guillaume himself is compared to Fortune (ill. 9b). No rubric; Lady Fortune, two-headed, holds a wheel; five damsels stand beside five springs (an image borrowed from La Somme le roi):28 Primum signum erat si aqua foncium inciperet movere (the first sign was if the water of the springs began to move); Secundum si inciperet affuere (the second if it began to flow); tertium si inciperet tumestere (the third if it began to swell); Quartum si inciperet clarescere (the fourth if it began to clear); Quintum si inciperet totalo evanescere (the fifth if it began totally to evaporate).29 Finally for Arthur, Fortune’s appearance signifies the end.30 Fortuna appears to him in a dream, sets him at the top of her wheel, from where he can see all the kingdoms over which he had held sway, and then she dashes him down to the ground, a portent of the evils still to come. ... quant il fu endormis si li fu auis que vne dame vint deuant lui la plus bele quil eust onques ueu el monde. Ele le leuoit de terre si le portoit en la plus haute montaigne quil onques veist. Et illueques lasseoit en vne roe. et cele roe auoit sieges dont li un montoi(en)t et l(i) autre aualoi(en) t. Et li rois se regardoit en quel lieu de la roe il estoit assis, et il veoit que ses sieges estoit li plus haus. Et la dame li demandoit. Artus ou es tu. et il li 27 Earp p. 182, notes that the inscriptions in Pm are identical to those in A (Paris, Bibliothèque nationale de France, MS fr 1584). Transcriptions and translations of the inscriptions in both miniatures are Earp’s. 28 See, for example, London, The British Library, Add. MS 54180, reproduced in Millar, The Parisian Miniaturist Honoré, pl. 4, except that the Somme has seven ladies, for the Seven Virtues. 29 Earp, Guillaume de Machaut, p. 183, shows that, of the six extant copies of the Voir dit, the Fortuna miniatures are the only illustrations in MSS J and K (Paris, Bibliothèque de l’Arsenal, MS 5203 and Bern, Burgerbibliothek, MS 218, respectively); they are two of four miniatures in MS E (Paris, Bibliothèque nationale de France, MS fr 9221); in the other four copies they are two of many more illustrations, 22 in Pm (New York, Morgan Library, MS M.396), 30 in A (Paris, Bibliothèque nationale de France, MS fr 1584), 37 in F (Paris, Bibliothèque nationale de France, MS fr 22545). 30 Fortuna is evoked on numerous occasions in the Mort Artu, and by different people, as Lacy has pointed out; but this is the only occasion where Fortuna appears in person with her wheel, and it is the only illustration of that subject in the manuscript tradition, so far as I know. See Lacy,‘The Mort Artu and Cyclic Closure’, esp. 90–91.

SEEING THE WALLS OF TROY

1a. Paris, Bibliothèque de l’Arsenal 3340, Benoît de Sainte-Maure, Le roman de Troie, f. 2, S initial: King Solomon teaching; the City of Troy (Photo: Bibliothèque de l’Arsenal)

1b. Paris, Bibliothèque nationale de France, ms. nouvelle acquisition française, 6295, Chronique de l’anonyme de Béthune, f. 2, T initial: the City of Troie (Photo: Bibliothèque nationale de France)

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722

2. olim Amsterdam, Bibliotheca Philosophica Hermetica 1, Lancelot, vol. ii, f. 37, King Ban’s castle of Thebes destroyed; King Ban and Queen Elaine escape on horseback with the infant Lancelot (Photo: Lancelot-Grail Project).

SEEING THE WALLS OF TROY

3a. London, British Library, Additional 10293, Lancelot, f. 3v, King Ban sees his castle destroyed (Photo: British Library).

3b. olim Amsterdam, Bibliotheca Philosophica Hermetica 1, Lancelot, vol. ii, f. 41, The Death of King Ban and Lancelot left by the lake (Photo: Lancelot-Grail Project).

3c. London, British Library, Additional 10293, Lancelot, f. 4, The Death of King Ban, Queen Elaine grieving, and Lancelot left by the lake (Photo: British Library).

723

724

4. New York, Morgan Library and Museum, M.805, f. 1, The Escape of King Ban, Queen Elaine, and Lancelot, and the Death of King Ban (Photo: Morgan Library).

5. London, British Library, C. 7 d. 1, Lancelot, First Edition, vol. 1, printed by J. and G. Bourgeois, Rouen, 1488, frontispiece, The Destruction of King Ban’s castle, Lancelot taken to the Lake, and Queen Elaine taking the veil (Photo: British Library).

SEEING THE WALLS OF TROY

6a. olim Amsterdam, Bibliotheca Philosophica Hermetica, 1, Lancelot, ii, f. 43v, C initial: Lancelot taken to the Lake (photo: Lancelot-Grail Project).

6b. London, British Library, ms. Additional 10293, Lancelot, f. 5v, Queen Elaine sees Lancelot taken to the Lake (Photo: British Library).

6c. New York, Morgan Library and Museum, M.805, Lancelot, f. 5v, C initial: Lancelot taken to the Lake (Photo: Morgan Library).

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726

7a. London, British Library, Additional 10293, Agravain, f. 325v, Lancelot kisses a statue of Queen Guinevere (Photo: British Library).

7b. Paris, BnF, fr 1588, Le Roman de la Manekine, f. 27, A carved replica of the heroine, Joïe, and her baby, made by a sculptor [“imagier”], is pushed into the fire (Photo: Bibliothèque nationale de France).

7c. New York, Morgan Library and Museum, M.396, Guillaume de Machaut, Le Livre dou Voir Dit, f. 171v, The image of Toute Belle weeping (Photo: Morgan Library).

SEEING THE WALLS OF TROY

8a. Paris, BnF, fr 112, Lancelot-Grail, Special Version, f. 193v, King Arthur looking at Lancelot’s wall-painting and reading their captions (Photo: Bibliothèque nationale de France).

8b. Paris, BnF fr 116, Mort Artu, f. 688v, Morgan showing King Arthur Lancelot’s wall-paintings and telling about the affair, Mort Artu (Photo: Bibliothèque nationale de France).

727

728

9a. New York, Morgan Library and Museum, M.396, Guillaume de Machaut, Le Livre dou Voir Dit, f. 175, Toute Belle as Lady Fortune, holding four wheels within a large wheel (Photo: Morgan Library).

9b. New York, Morgan Library and Museum, M.396, Guillaume de Machaut, Le Livre dou Voir Dit, f. 178v, Lady Fortune in her wheel and five damsels at springs (Photo: Morgan Library).

SEEING THE WALLS OF TROY

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10a. Munich, Bayerische Staatsbibliothek, Cod. gall. 11, Christine de Pizan, Le livre de la mutacion de fortune, f. 53, Christine de Pizan in Fortune’s Sale merveilleuse looking at images of Troy (photo: Bayerische Staatsbibliothek).

10b. London, British Library, Additional 10294, Mort Artu, f. 89, King Arthur on Fortune’s Wheel (photo: British Library).

730

respodi. dame ie sui en .j. haut roe mais ie ne sai que ce est ne quele senefie. Saces fait ele que cest la roe de fortune. Lors li redemandait. Artus que vois tu. Dame il me semble que ie voie tot le monde, voirs est fait ele que tu le vois. Ne il ni a mie grantment de chose dont tu naies este sires iusques chi. Et de toute la circuite que tu vois as tu este li plus poissans rois qui i fust. Mais tel sont li eur31 terrien quil ni a nul si haut assis quil ne le couiegne chaioir de la poesie del monde, et tu ten aparcheuras bien temprement. Lors faisoit la roe torner et le trebuchoit a terre si felenessement que al chaio(i)r li estoit bien auis quil estoit tos debrisies. et quil eust perdu tot le pooir del cors et des menbres. Einsi vit li rois artus les mescheances qui li estoient a auenir... 32 (...And when he had fallen asleep it seemed to him that a lady came before him, the most beautiful he had ever seen in the world. She lifted him up from the ground and carried him to the highest mountain he had ever seen. And there she sat him on a wheel and that wheel had seats, of which some went up and others went down. And the king looked around to see at what place on the wheel he was sitting, and he saw that his seat was the highest one. And the lady asked him, Arthur, where are you? And he replied, My lady, I am on a tall wheel but I do not know what it is or what it means. Know well, she said, that it is the Wheel of Fortune. Then she asked another question. Arthur, what do you see? My lady, it seems as if I can see the whole world. Truly, she said, that is what you can see. And there is hardly anything in it over which you have not been lord up to now. And of all the length and breadth that you see, you have been the most powerful king there has ever been. But such is earthly luck that there is no-one who sits so high that it is not fitting that he fall from worldly power and you will learn that shortly. Then she made the wheel turn and cast him to the ground so wickedly that he felt as if the fall had dashed him to pieces and sapped all the strength in his body and limbs... In this way King Arthur saw the evils that were yet to befall him...) But, like Lancelot and his image of Guinevere, and Arthur seeing Lancelot’s wall-paintings, Fortuna pictures are equally rare in the LancelotOther manuscripts give the variant orgueil here (S VI 361, n. 11). Cited from this manuscript in S VI 361. 5–22. The last sentence begins a new paragraph and is marked with a pen-flourished initial, indicated above by a bold capital. 31 32

SEEING THE WALLS OF TROY

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Grail cycle. To my knowledge, the subject was chosen only once — for the Additional copy (fig. 10b), but not for its two sister manuscripts, nor for Jacques d’Armagnac’s sets.33 And there is only one miniature, not two. Furthermore, the imaginative description of Arthur’s dream has been much simplified in the image, so that what is presented is merely a standard model with Fortuna in the middle of the wheel, and the four figures rising and falling. There is no attempt to include the lively dialogue between Arthur and Fortuna, his vision of what he sees, nor the shattering of his fall, let alone the misfortunes yet to befall him. It was to be almost another century before Machaut’s artist would render the texual description of his equally vivid Fortunae so closely in his images. Making and seeing images of Fortuna, of Troy, or of any other place or person, are critical in calling to mind the past and anticipating the future, and were well recognized as such by medieval writers and illustrators. For us too, they encapsulate valuable lessons about the important threads that link memory, reality, and the power of images, then and now.

So unusual is the image that I managed to omit it altogether from my comparative lists of Death of Arthur subjects, see ‘Some Aspects of Arthur’s Death in Medieval Art’, reprinted (with corrections) in these essays. It was reproduced in Loomis and Loomis, Arthurian Legends in Medieval Art, fig. 245. For some appearances of the Fortuna image in Brunetto Latini manuscripts, see my ‘Illustrations and the Fortunes of Arthur’ and Wirth, ‘L’iconographie médiévale de la roue de fortune’. 33

XXVIII Illustrating Lancelot and Guinevere

T

here can be little doubt that the best-known image in Arthurian art is the First Kiss of Lancelot and Guinevere in the Morgan copy of the Lancelot propre,1 the central branch of the long five-part prose romance, known as the Vulgate Cycle or Lancelot-Graal, that held so prominent a place in the book-box or on the book-shelf of the French aristocracy between about 1220 and 1500 (fig.1).2 Already the frontispiece to the Loomis’s pioneering study of Arthurian art published in 1938,3 a detail of this embracing couple was selected in the 1990s for the front of the leaflet inviting the public to join the Friends of The Pierpont Morgan Library, and has for several decades also been sold as one of the Library’s bookmarks. So familiar has the image become that it is easy to forget that the First Kiss as such is most unusual in the iconographical tradition of the Lancelot-Graal, and, when it does occur, it displays a number of peculiarities.4 This essay was first published in Lancelot and Guinevere, A Casebook, ed. L.J. Walters, New York, 1996, pp. 125–57. 1 M 805, f. 67. The only complete description of the subjects is still the one by Cockerell in Descriptive Catalogue of Twenty nos. LXXV to XCIV (Replacing Twenty Discarded), no. LXXXVIII, pp. 94–116. 2 Some 180 manuscripts of all or parts of the cycle are listed by Woledge in his indispensible Bibliographie and Supplément; more detailed descriptions are given in Micha, ‘Les manuscrits du Lancelot,’ and in his editions of Lancelot and Merlin; and in Kennedy’s edition of, Lancelot do Lac. My lists, which revise the dates proposed by these scholars, were given in ‘The Earliest Illustrated prose Lancelot Manuscript ?’ pp. 42–44, and ‘Aspects of Arthur’s Death’, in Medieval Illumination’, pp. 87–95. For the manuscripts of Jacques d’Armagnac, see Blackman, The Manuscripts and Patronage of Jacques d’Armagnac, and ead.’ ‘A Pictorial Synopsis’. Updated lists are given at the end of these essays. 3 Loomis and Loomis, Arthurian Legends in Medieval Art. 4 I leave aside here the stylistic aspects of the manuscript, which I have discussed elsewhere: see ‘L’atelier artistique de la Vie de sainte Benoîte d’Origny’. Much literary and

ILLUSTRATING LANCELOT AND GUINEVERE

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Not only is the kiss episode central to the development of the relationship between Lancelot and Guinevere in the text of the Lancelot propre, it is one of several crucial stages in that relationship that are also selected for visual emphasis as the lengthy narrative unfolds through the Lancelot, Queste and Mort Artu; other episodes often represented in the cycles of pictures that depict aspects of this relationship include the one about the split shield given to Guinevere by the Lady of the Lake,5 the consumation of the adultery, Lancelot’s affair with the daughter of King Pelles, Arthur’s discovery of the adultery through Lancelot’s pictures of it in Morgan’s castle, the poisoned apple episode, Guinevere’s trial by fire.6 But not every manuscript includes pictures of all of these; the patterns of their distribution are variable, and so is the treatment of each individual subject across the pictorial tradition.7 There is no short-cut to finding out which manuscripts include the kiss episode and which omit it. The present study is a prelude to a more complete survey of all the illustrated Lancelot manuscripts: the findings presented here are based on a laborious examination of all the manuscripts up to c. 1320 and on the major examples of the later fourteenth and fifteenth centuries. Medieval Depictions of the Kiss and their Contexts8 What is of course immediately striking about the Morgan Kiss is the third figure, Galeholt. It is his presence above all that distinguishes this from the socio-anthropoligical commentary has been devoted to the kiss motif: for instance, it is one of the examples discussed in Nicolas James Perella, The Kiss Sacred and Profane, pp. 128–30, fig. 15, and in Camille, ‘Gothic Signs and the Surplus’, fig. 10. 5 See Dover, ‘The Split-shield motif ’, and ead., ‘Imagines historiarum’. The focus of the second article is four randomly selected depictions of the split shield episode; but the illustrative tradition includes many more examples of this subject — and several interesting instances of its omission — which are not addressed. 6 For the poisoned apple and the trial by fire, and for the general background, see Stones, ‘Some Aspects of Arthur’s Death’ and ‘Arthurian Art Since Loomis’. For Arthur’s discovery of the adultery, see ‘Images of Temptation, Seduction and Discovery’. 7 I am grateful to Françoise Vielliard, Geneviève Hasenohr and the staff of the Section romane at the Institut de Recherche et d’Histoire des Textes in Paris where the microfilm collection has been immensely helpful; to Jean-Pierre Aniel and Aleksandra Orlowska at the Bibliothèque Nationale who have begun a data-base of Arthurian illustration in BN manuscripts; and to the many librarians who have allowed me to consult the originals. For an elaboration of my theoretical framework see ‘Arthur’s Death’. 8 My terminology is unashamedly old-fashioned, still using words like ‘context’ and deliberately avoiding terms like ‘sign’, ‘referent’ etc.; but the semiotic implications of the

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usual images of kissing, and those, less intimate, of embracing, that medieval viewers would have known from the long tradition of such imagery in Christian art. Among several possible examples, all with linked metaphorical meaning, are the kiss of Righteousness and Peace in the psalms, beginning as early as the Carolingian period;9 or the two kissing figures that prefaced the Song of Songs of the Old Testament and its medieval commentaries, where the couple are Christ and Ecclesia;10 or the embrace of Hosea and Gomer that accompanied the book of Hosea.11 By the late twelfth century, some of these embracing male-female couples depicted in a religious context can be read as blatantly erotic, suggesting that their formal treatment takes its impetus as much from the literature of romance as from biblical exegesis or spiritual literature.12 But the two-person, male-female kiss topos can also carry many other meanings, depending on its textual or illustrative context, and the other present examination will emerge nonetheless. For recent discussions of the semiotic approach and terminology, see Bal and Bryson, ‘Semiotics and Art History’, and their amusing application to a medieval manuscript context by Lewis, ‘Images of Opening, Penetration and Closure’. 9 For the Stuttgart Psalter see Stones, ‘Arthurian Art since Loomis’, fig. 9; I noted there that the usual typological interpretation of this scene is the Visitation — in which, of course, the two embracing figures are the Virgin Mary and her cousin Elizabeth; but in the Stuttgart Psalter, the right-hand figure seems to me clearly male not female. 10 For some particularly striking examples of Song of Songs illustration in Anglo-Saxon and Romanesque Bibles, see Walter Cahn, Romanesque Bible Illumination, Ithaca, 1982, esp. pp. 112 and colour plate on Bibles, see Cahn, Romanesque Bible Illustration, pp. 112 and fig. 70 (Valenciennes BM 10, f. 113); p. 199 and fig. 156 (Lérida, Arch. Cap. 1, f. 299); p. 220 and fig. 184 (Paris, BNF lat 16745, f. 112v); and in Perella, The Kiss, fig. 11 (Troyes BM 458); but it should be noted that the kiss is not the only choice for the illustration of the Song of Songs: Lyon BM 410–411, for instance, shows the Virgin and Christ Child embracing, in the Eleousa pose (Cahn, p. 273), and the Virgin and Child in various poses is also a common choice for Song of Songs illustration in the thirteenth century. See also my brief discussion in ‘Arthurian Art Since Loomis’, pp. 38–39, figs. 10 (a seated couple), 11, 12. For more thirteenth-century bibles see the tables in my Gothic Manuscripts, Part II vol. 2. 11 See ‘Arthurian Art’, fig. 13 (another seated couple). It is probably noteworthy that earlier seated couples such as the pair in Villard de Honnecourt’s sketchbook, Paris, BNF fr 19093, f. 14, do not embrace. See Hahnloser, Kritische Gesamtausgabe, pl. 27. On the sketchbook see now the facsimile ed. Barnes and the study by Wirth. 12 See particularly Troyes BM 1869 and Prague UK XIV A 17, ‘Arthurian Art’, figs. 10–12. The impact of St Bernard’s Commentary on the Song of Songs was certainly a significant factor in the development of an erotic approach in the illustration of the Song of Songs and related commentary. See Camille, ‘Cistercian exegesis’, where the same two images are reproduced.

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meanings may in turn refer back to those already discussed and on to still others. Examples of the kiss motif in non-religious contexts are rare before 1200 but the range of associations shortly thereafter is enormous, from the topos of domestic bliss in the Rein monastery pattern book13 made in the southern Empire in the early thirteenth century, to an allegory of liberalitas in a copy of Artistotle’s Ethics (fig. 2) illustrated in northern France about 1300.14 Other early thirteenth-century examples from the southern Empire are the couple illustrating the poem ‘Suscipe flos florem quia flos designat amorem’ in the Carmina Burana, facing each other and holding flowers, in a frame that is placed horizontally across the text column, as though the couple were lying on the ground;15 but they are not actually embracing; whereas Dido and Aeneas in Heinrich von Veldecke’s Eneit in Berlin manuscript of c.1210–1220, also lying, with their horses beside them, are much more closely united beneath a single cloak.16 Among the medieval illustrations of the classical romances in France, there is only one thirteenthcentury example of an embrace, between two knights on horseback, on the detached leaves once part of Benoît de Saint-More’s version, Paris, BNF fr 1610 and in a Dutch private collection.17 Biblical illustration of the midthirteenth century offered many models for the embrace between two men, notably Jacob and Esau, Joseph and Benjamin, David and Jonathan or Vienna, ÖNB Cod. 507, f. 1v, reproduced in Unterkircher, Reiner Musterbuch. Boulogne-sur-Mer, BM 110, Catalogue générale, p. 641, from Saint-Vaast, Arras; written in Italy for export, possibly illuminated in Paris. 15 Munich, Bayerische Staatsbibliothek Clm 4660 and 4660a (4660, f. 72v); see the facsimile ed. Bischoff, where it is dated c.1230. Somewhat similar are the horizontal figures of the dead Pyramus and Thisbe on the Cambrai tympanum (‘Arthurian Art’, fig. 6); but Pyramus and Thisbe are lying one on top of the other, both pierced by a sword, not facing each other as in the Carmina Burana. The Pyramus and Thisbe image in the Roman de la Poire Paris, BNF fr 2186, f. 7v, shows the couple lying on the ground, pierced by a sword, and embracing. Full illustrations in Thibaut, ‘Le roman de la poire’, ed. Marchello-Nizia; the other embracing couples are Tristan and Isolde (f. 5v), Cligès and Fénice (f. 3v), and the anonymous couple who presumably commissioned the manuscript (f. 4v). 16 Berlin, Staatsbibliothek, MS germ. fol. 282, f. 11v, Heinrich von Veldecke, Eneide, facsimile ed. Boeckler. There is a parallel in the Vergilius Romanus, Vatican, Vat. lat. 3867, pictura XV, f. 106, where Dido and Aeneas, sheltering in a cave from the rain, sit embracing (facsimile ed. Bertelli et al.). No amorous encounters are depicted in the classical miscellany of c. 1200 that includes the Aeneid, Paris, BNF lat 7936, discussed, with a complete list of subjects and full illustrations, by Avril, ‘Un manuscrit d’auteurs classiques’. 17 Buchthal, Historia Troiana, pl. 4a. Buchthal, p.10, thought these illustrations are similar in style to the Berlin Eneit; a relationship I find rather implausible. 13 14

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David and Absalom,18 and the Chertsey tiles of about the same date had adapted the motif for the kiss of fealty between Tristan and King Mark, and between Tristan and the barons.19 Otherwise in the illustration of the French classical romances, the kiss between men and women is depicted only in the Bodmer and Madrid BN copies of Guido, both made in Italy in the early fourteenth century.20 By then the kiss and embrace motifs had become widespread in the context of imagery of courtship, as in the Montpellier Chansonnier of the 1280s or 90s,21 to which the images of famous lovers in the Roman de la Poire, Paris, BNF fr 2186, perhaps of c. 1270, are an important forerunner;22 or, in Germany, in the Rudolf von Ems, Wilhelm von Orlens, of c. 1270/75 from Strassburg,23 and in the Weingartner and the Manessische Liederhandschriften of the early fourteenth century;24 by this time, too, parallels for the male embrace had come to include the Christ and St John devotional images popular in south Germany, derived from Last Supper imagery.25 The connotations of the kiss and embrace in all these contexts is overwhelmingly a positive one, but the kiss gesture between men could carry with it obvious negative connotations as well, as exemplified most forcefully in the Kiss of Betrayal bestowed on Christ by Judas, anticipated in the Old Testament by many examples, like the kiss of Joab as he kills first Abner 18 Cockerell, Old Testament Miniatures, rev. Plummer, esp. f. 4v, facing p. 40; f. 6, facing p. 48; f. 32, facing p. 150, and f. 44v (now Paris, BNF nal 2294) facing p. 200. In my view it was made in Flanders or Hainaut c. 1250, see my ‘Questions of Style and Provenance’. For the latest facsimiles and bibliography see the Morgan Library site Corsair. 19 Reproduced in Loomis and Loomis, Arthurian Legends in Medieval Art, figs. 41 and 42, Perella, The Kiss, pp. 27–29 and Camille, ‘Gothic Signs’, fig. 8. 20 Buchthal, Historia Troiana, pl. 19a and b (Bodmer 78, Madrid BN 17805). 21 Ed. Rokseth, Polyphonies du XIIIe siècle, esp. ff.112 and 246. The latest analysis of the date is Wolinski, ‘The compilation’, where a date in the late 1260s or 1270s, based on stylistic parallels for the illustrations, is considered for fascicles 1 and 7, implying an early date for most of the book: a little too early in my view, as I shall argue elsewhere: see now Gothic Manuscripts, Part I, vol. 2, Cat. no. I–24 and ‘Style and Iconography’. 22 See note 15 above. Dated to the mid-13th century by Marchello-Nizia and c. 1259 and later by Keller; see my Gothic Manuscripts, Part I, vol. 2, Cat. no. I–10. 23 Munich, Bayerische Staatsbibliothek Cgm 63, f. 38v, reproduced in colour in Codex Manesse, Katalog, no. H 18, pp. 300 and 612–13. 24 Stuttgart, Württembergischer Landesbibliothek HB XIII 1 (facsimle ed. Ehrismann et al.) and Heidelberg, Univ. Bibl. Cod. Pal. Germ. 848 (facsimile ed. Koschorrek and Werner) respectively. 25 For the Christ-St John groups, see Haussherr, ‘Über die Christus-Johannes-Gruppen’.

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then Amasa with his sword.26 Other visual interpretations of the embracing couple topos were also emerging in the thirteenth century, with the selection of the embracing male and female couple as an embodiment of luxuria, as among the vices on the west façade of Amiens Cathedral,27 or, in various combinations of sexes and estates of man — not only men and women and men and men, but also clerics of different ranks and laymen or women — among the moralizations of the Moralized Bibles.28 The Triple Kiss None of these examples bears directly on the Morgan Kiss because of the presence of the third figure. The illustrative tradition of the First Kiss of Lancelot and Guinevere invariably includes Galeholt with Lancelot and Guinevere, and this is above all in accordance with the text.29 It is Galeholt who engineers the kiss in the first place and is not only present at it but even, in the Morgan manuscript’s illustration, plays an active part in the realization of it: his left arm on Guinevere’s back presses her towards Lancelot, while his lap receives Lancelot’s left arm; his right hand gesture matches in reverse the pose of Guinevere’s on Lancelot’s chin; and the chiasmic arm-crossing between Lancelot and Guinevere is matched by the foot-crossing of Lancelot and Galeholt. ‘Lors se traient tout .III. ensamble et font samblant de conseillier. Et la roine voit que li chevaliers [Lancelot] n’en ose plus faire, si le prent

26

Mt 26:49; 2 Reg. 3: 26–27; 2 Reg. 20:9–10 and Old Testament Picture Bible, f. 37v, facing p. 172 and f. 46v, facing p. 208. A range of meanings and references can be found under ‘Kiss’ in Crewden’s Concordance; see also Perella, The Kiss, pp. 27–29. Negative aspects of the embrace in the Old Testament Picture Bible are also conveyed by the embracing gestures of the Benjaminites as they seduce the daughters of Shiloh, f. 17, facing p. 90. 27 Perella, The Kiss, fig. 16 and p. 154; Camille, ‘Gothic Signs’, p. 153, fig. 1. 28 The list is far too long to enumerate here, and includes examples from most of the books of the Bible and most of the plates in Laborde, La bible moralisée conservée à Oxford, Paris et Londres, and Bible moralisée, ed. Haussherr; for the Toledo Bible moralisée see now the facsimile, Bibbia de San Luis. Camille, ‘Gothic Signs’, shows an example from Genesis 19:1 as his fig. 12. 29 Except when it is discovered by Arthur on the walls of Morgan’s castle, as painted by Lancelot; for some possibly sinister implications of the few representations that show the First Kiss on the walls, see my ‘Images of Seduction’.

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par le menton et le baise devant Galahot...’30 [Then the three of them draw aside together as if they were taking counsel. And the queen sees that the knight [Lancelot] dares go no further, so she takes him by the chin and kisses him in front of Galehot] Scholars have performed ingenious manipulations to suggest subtle formal and psychological links between this image and other topoi of embrace. Haussherr invokes the Christ-St John group repeated in mirrorimage, endowing the resulting symmetical composition with a layer of meaning that includes the Godhead,31 while Camille, following Perella, suggests that the Morgan’s three-fold configuration was appropriated from a three-person Trinity in order to ‘elevate the illicit relationship, making it...a divine union of souls’.32 Perella finds kiss imagery in two images of the Holy Trinity, the Throne of Grace Trinity image in the twelfth-century Cambrai Missal, Cambrai MM MS 234 (fig. 3) and the Two Persons and Dove Trinity in Jean de Berry’s Petites Heures, Paris, BNF lat 18014, f. 137v,33 of the late fourteenth century, in both of which the wing tips of the dove of the Holy Spirit touch the lips of the other two Persons: in the first example those of God the Father and of Christ Crucifed, and in the second, those of the two Persons of the Trinity; the analogy is then transferred to the Morgan Kiss, but not without certain difficulties, as the configuration of the participants is not identical, nor even very close. At least the poses of the figures in the Christ-St John groups is right, as St John leans on the breast of Christ, and Christ wraps his arm round the saint, even though the figures do not kiss. And, of course, there is no denying the underlying Trinitarian symbolism inherent, to the medieval mind, in any group of three of anything, be they gold balls or French hens;34 but the kissing lovers in the Morgan image are otherwise formally unrelated to the Persons of the Trinity of the Petites

30 Sommer, Vulgate Version, III, p. 267; Kennedy, Lancelot do Lac, I, p. 348; Micha, Lancelot, VIII, p. 115–6. This citation is from Micha. 31 Haussherr, ‘Christus-Johannes’.” See also Hamburger, The Rothschild Canticles, p. 78, where the point is re-iterated. 32 Camille, ‘Gothic Signs’, p. 163–64. 33 Perella, figs. 22 and 23, pp. 253–56. 34 The dowry miracle of St Nicholas, transferred to pawnbrokers, and a popular choice in thirteenth-century illustrated lectionaries and saints’ lives, is the obvious connotation for the balls; whereas, although the two turtle doves are borrowed from the Presentation, I have found no medieval source for the French hens.

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Heures, still less to those of the Cambrai Missal. In neither of the Trinity groups do the Persons directly embrace. Indeed, no Trinity image, even the Three Persons type35 or the Triple Head type36 invoked by Camille, displays a pair of embracing figures, nor any gesture that even remotely resembles the distinctive play of arms or feet that are so dominant in the Morgan image. The formal analogy of the Trinity works only in part; so too its metaphorical and psychological implications. There are other triple-embrace configurations in thirteenth-century biblical imagery whose formal structure is just as close to the Morgan Kiss group as the Christ-St John or the Trinity, but that offer different, more disturbing connotations. Indeed, the ‘divine union of souls’ interpretive model stands countered by other, quite negative topoi — of lechery, and even incest. In the Vienna 2554 copy of the Moralized Bible, Lot and his daughters form a triple embrace group as Lot sits between his two fully clothed daughters, his arms around them, while one holds his cheek and the other extends her arm towards her sister — a configuration extremely close to the Morgan Kiss, but an episode interpreted as the monk deceived by the world, the flesh and the devil;37 and in the Old Testament Picture Bible (M.638), Absalom, again at the centre of a group, kisses his father’s concubines (fig. 4).38 Though admittedly rare in thirteenth-century biblical 35

Eg. Hortus deliciarum, ed. Green, Curschmann, Evans, f. 8, pl. III. A precursor of the (mid-fourteenth century) example cited by Camille (Toulouse, BM 19, f. 121), is the English thirteenth-century Trinitarian angel in Cambridge, St. John’s K 26, ff.9–10, see Morgan, Early Gothic Manuscripts, II, cat. no.179 with full bibliography; see also Hamburger, figs. 197–202, 210–212. A splendid set of fifteenth-century variations on the Trinity occurs in the Hours of Catherine of Cleves, New York, Morgan M.945 and Guennol Collection, c.1440, see The Hours of Catherine of Cleves, ff. 77v–90. 37 Haussherr, Bible moralisée, pl. 10; the text is Gn 19. This image is adjacent to Lot and his family leaving Sodom and Gomorrah, in which Lot’s wife is shown completely naked with very prominent genitalia. In Oxford, Bodl., Bodl.270b, f.15v, Lot is shown actually in bed with his daughters, he fully clothed, including Jewish hat, on the left of the bed, they both naked on the right; on the left of the same roundel, two women (the daughters ?) each hold a child, of whom one is a swaddled baby, the other an older child. The image is paired with the angel’s appearance to Lot, exhorting him to leave home, and the destruction of Sodom and Gomorrah is shown as the third roundel in the left column — with Lot’s wife, naked but wearing her wimple and modestly holding her hands in front of her pubis. 38 2 Reg 16: 21–22. The Old Testament Picture Bible includes the subject on f. 45, the leaf now in Malibu at the J. Paul Getty Museum, MS Ludwig I, 6. Two additional female figures are included on either side of the two around whom Absalom has his arms draped, making a total of four women with Absalom in the middle. 36

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1. New York, Pierpont Morgan Library and Museum, M.805, Lancelot, f. 67, First Kiss of Lancelot and Guinevere with Galehot, and Galehot with two ladies (photo: Morgan Library)

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2. Boulogne-sur-Mer, BM 110, Aristotle, Ethics, f. 16, Embracing couple, liberalitas (photo: author)

3. Cambrai, MM 234, Missal, f. 2, Gnadenstuhl Trinity (photo: author)

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4. Malibu, J. Paul Getty Museum, Ludwig I 66 (83. MA.55), Picture-Bible leaf, recto (detail), Absalom and his father’s concubines (photo: J. Paul Getty Museum)

5. London, BL Add. 10293, Lancelot, f. 78, First Kiss of Lancelot and Guinevere with Galehot, and Galehot with two ladies (photo: British Library)

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6. olim Amsterdam, BPH 1, vol. II, Lancelot, f. 40, First Kiss of Lancelot and Guinevere with Galehot, and Galehot with two ladies (photo: LancelotGrail Project)

7. Paris, BNF fr 118, Lancelot, f. 219v, First Kiss of Lancelot and Guinevere with Galehot and three ladies (photo: Bibliothèque nationale de France)

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8. Paris, BNF fr 112, II, Lancelot f. 101, First Kiss of Lancelot and Guinevere with Galehot and five ladies (photo: Bibliothèque nationale de France)

9. Paris, BNF fr 114, Lancelot, f. 244v, First Kiss of Lancelot and Guinevere with Galehot and four ladies (photo: Bibliothèque nationale de France)

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10. Bonn, LUB 526, Lancelot, f. 220, First Kiss of Lancelot and Guinevere with Galehot (photo: Landes-und Universitätsbibliothek Bonn)

11. New York, Pierpont Morgan Library and Museum, M.638, Picture Bible, f. 41v (detail) David and Bathsheba in bed (photo: Morgan Library)

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12. London, BL Add. 10293, Lancelot, f. 312v, Lancelot and Guinevere in bed (photo: British Library)

13. Bonn, LUB 526, Lancelot, f. 352v, Conception of Galaad (photo: Landes-und Universitätsbibliothek Bonn)

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14. Bonn, LUB 526, Lancelot, f. 356v, Lancelot threatening King Pelles’ daughter, (photo: Landesund Universitätsbibliothek Bonn)

15. Paris, BNF fr 122, Lancelot, f. 147v, Lancelot approaching Queen Guinevere in bed (photo: Paris, Bibliothèque nationale de France)

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16. Paris, BNF fr 119, Lancelot, f. 398v, Lancelot approaching Guinevere in bed (photo: Paris, Bibliothèque nationale de France)

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17. Paris, BNF fr 120, Lancelot, f. 493v Queen Guinevere discovering Lancelot and King Pelles’ daughter (photo: Paris, Bibliothèque nationale de France)

18. Paris, BNF fr 115, Lancelot, f. 463v, Lancelot threatening King Pelles’ daughter (photo: Bibliothèque nationale de France)

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iconography, these two subjects nonetheless offer alternative triple-embrace topoi that seem to me just as relevant to the Morgan First Kiss configuration as the Christ-St John group or the Trinity. Their negative interpretive models, coupled with the topoi of divine love, serve together to underline visually the complexity of the relationship between Lancelot and Guinevere, just as the text does — there the adultery is presented as both ennobling and destructive at the same time. The First Kiss is an image that also offers the modern interpreter a warning lesson in the multivalent ambiguity of deep structure. Deciphering it can be a precarious business if we invoke only part of the appropriate sources, especially when we know so little about exactly where our painter drew his inspiration and of what iconographical knowledge his viewers — to say nothing of the modern art historian — would be likely to bring to their reception of the image.39 The First Kiss in the illustrations of Lancelot Two things are striking about the illustrative tradition of the First Kiss in Lancelot illustration. The first is that the motif is relatively rare; the majority of otherwise fully illustrated copies deliberately omit the scene altogether.40 The second is that those which do include the Kiss are remarkably consistent in their treatment of the subject. All of them, (except the images on the walls referred to above) include a triple group; 41 what varies is who the central 39 Another discussion of Trinitarian iconography in relation to imagery in a vernacular manuscript is Kolve, ‘The Annunciation to Christine’. The visual parallel here is most workable at the level of Abraham and the Three Angels; I remain unconvinced by the additional transformations that Kolve must perform to make his interpretation work at other levels, ‘converting’ the Three Person Trinity to a Throne of Mercy Trinity in order to interpret Christine as the Virgin Mary Annunciate. 40 Examples of otherwise fully illustrated manuscripts where the Kiss is lacking are Oxford, Bodl. Ash. 828; Oxford, Bodl. Rawl. Q. b. 6; Paris, Ars. 3481; Paris, BNF fr 110; Paris, BNF fr 111, Paris, BNF fr 344; Paris, BNF fr 770; Rennes BM 255; more work is needed to complete the list. Of these, Rennes 255 dates c. 1220; BNF fr 770, BNF fr 110 and perhaps Ash. 828 in the last quarter of the thirteenth century; Oxford, Rawl. Q. b. 6 to c. 1300 and Paris, Ars. 3481 in the second quarter of the fourteenth century; BNF fr 111 to the fifteenth century. For a detailed discussion of the dating arguments which are based on stylistic comparisons with related manuscripts, see my Illustrations of Lancelot. 41 The only exception is the painted version of the kiss that Lancelot painted on the wall in Morgan’s castle, shown in some manuscripts when Arthur discovers it. See my ‘Images of Temptation’.

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figure is, whether the three are seated or standing, which way the figures are facing, and — more significantly — whether there is an additional figure. In the twin manuscripts London, BL Add. 10293 (figs. 5a, 5b) and Amsterdam BPH 1 (fig. 6),42 the group is standing and the central figure is Guinevere, squeezed between Lancelot whom she embraces and Galeholt who grasps Lancelot by the wrist — ‘devant’ taken literally, though the configuration of the figures differs from that of the Morgan Kiss. In a much later manuscript, part of the three-volume set Paris, BNF fr 117–120, made initially for the famous fifteenth-century bibliophile Jean, duc de Berry († 1416), and repainted in part for his great-grandson, Jacques d’Armagnac († 1470), BN fr.118 (fig. 7),43 Lancelot has become the central figure, with Galeholt slightly to one side as a more distant observer (‘devant’ taken figuratively), a variant that occurs again in the special Arthurian compendium written for Jacques d’Armagnac by Michel Gonnot, Paris, BNF fr 112 (fig. 8)44 and, with another slight alteration, in the other set of Vulgate Cycle volumes made for Jacques d’Armagnac, Paris, BNF fr 113–116. There, an additional female figure is added to the three-person primary group to make it a foursome. The additional lady is la dame de Malohaut, shown standing behind Guinevere (fig.9). In the other depictions of the Kiss, she is part of the secondary group of three figures where she plays a malevolent rôle that counters Galeholt’s efforts to conceal the kiss; only in BNF fr 114 does she confront the embracing couple in so direct a fashion. If Galeholt’s gaze in M.805 turns away from the kissing couple before him, it is to look over to the parallel group of three figures — two women and a man, who make up the other half (much less reproduced) of the Morgan manuscript’s image. They are la dame de Malohaut and the damoisele Lore de Carduel, accompanied by the seneschal whom Galeholt had asked to lead the ladies aside and keep them company, 42 These are two of three surviving copies produced in Saint-Omer or Ghent c.1315; the third member of the group, London, BL Royal 14 E.III, lacks this section of text and pictures. For their style see my ‘Another short Note’, reprinted in these essays; for the iconography of Estoire, see Meuwese, L’Estoire del saint Graal. 43 Bought by Jean de Berry in 1405, probably from the Parisian bookdealer Regnault du Montet, and painted by an artist dubbed by Meiss the ‘Master of Berry’s Cleres femmes’ after his main work, a translation of Boccaccio (Meiss, French Painting in the Time of Jean de Berry, I, pp. 252, 312). For Jacques d’Armagnac’s manuscripts, see Blackman, The Manuscripts and Patronage of Jacques d’Armagnac, and ead., ‘Pictorial Synopsis’. 44 Pickford, L’Évolution du roman arthurien, and Blackman, ibid.

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‘Et Galehos dist au senescal: Alés, si faites compaignie a ches damoiseles la qui trop sont seules...’45 [And Galeheolt says to the seneschal: Come on, keep these ladies company so they are not all alone] But la dame de Malohaut sees the kiss, according to the text, ‘si que la dame de Malohaut seit qu’ele le baise...’46 [so that the Lady of Malohaut knows that she is kissing him] and discomforts Lancelot with her gaze; ‘si en ot teil paor et teile angoisse en son cuer que il ne pot respondre a che que la roine li disoit...Et quant il plus esgardoit la dame de Malohaut plus estoit ses cuers a malaise...’47 [so that the fear and anguish in his heart were so great he could not reply to what the queen was saying and the more he looked at the Dame de Malehaut the more uneasy he felt] but not in this depiction, as the two ladies are shown turning away from the kiss group towards the seneschal. The text also mentions a third lady (‘une soie damoisele’), whom other versions include in the kiss image instead of the seneschal shown here. Elsewhere in the iconographical tradition of the First Kiss the supporting group of figures is likewise a group of three people; and among the examples are cases which offer a more accurate depiction of the secondary group than the Morgan Lancelot. The variants are how many people are included, whether they are seated or standing, and of what sex they are: in Amsterdam (fig. 6), Morgan (fig. 1), BNF fr 118 (fig. 7), BNF fr 112 (fig. 8), BNF fr 114 (fig. 9), the secondary group is seated not standing; in Additional (fig. 5) the secondary group is standing, like the primary figures; and in BNF fr 112 there are five figures instead of the usual three. In Morgan, Amsterdam and Additional, there are two women and one man; in the three fifteenth-century 45

Kennedy, Lancelot do Lac, p. 340; Micha, Lancelot, VIII, p. 104, cited from Micha. Kennedy, Lancelot do Lac, (cit. n. 4, p. 348; Micha, Lancelot, VIII, p. 116, cited from Micha. 47 Kennedy, Lancelot do Lac, (cit. n. 4), p. 345; Micha, Lancelot, VIII, p. 110, cited from Micha. 46

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copies the secondary group is female only. Apart from M.805 and BNF fr 114, the other examples all place the ladies so that one of them directs her eyes to the kiss group and so la dame de Malohaut can fulfill the rôle the text requires of her; in BNF fr 118 and fr 112 Lancelot turns his back on her, thus missing her meaningful glance; while in BNF fr 114 la dame de Malohaut’s position as part of the kiss group allows her to confront Lancelot much more directly than in any other example. Her presence among the primary group perhaps plays on the conversation that occurs a little later in the text when the she confronts Guinevere with her knowledge of the kiss, beginning the conversation with the words, ‘Ha dame, com est boine compaignie de .IIII.’48 [Fie, my lady, what good company four make] The six manuscripts discussed so far are relatively late in the development of the iconography of the Lancelot — after 1300, by which time several fairly fixed iconographical patterns, or groups of images, had become established in the illustration of the Vulgate Cycle as a whole.49 The Kiss in the Bonn manuscript One further manuscript provides some clues about the emergeance of the First Kiss image. Bonn LUB 526, written by Arnulfus de Kayo in Amiens in 1286,50 is, so far as I know, the earliest manuscript to include an illustration of the Kiss (fig. 10) — but it appears to have been put in as an afterthought,

48

Micha, Lancelot, VIII, p. 118. My findings for Queste and Mort Artu showed that the earliest manuscripts tended to have a single opening image only, while a ‘short cycle’ and a ‘long cycle’ of pictures had both emerged by c.1275 and continued to be copied side by side (sometimes by the same painters) into the fourteenth century, see The Illustrations. But the pattern for Estoire is quite different, as the earliest copy, Rennes BM 255, c.1220 (sic, not early 14th c. as in Kennedy and Micha), already has a ‘short cycle’ of illustrations, see ‘The Earliest Illustrated prose Lancelot manuscript ?’. The pattern for the Lancelot proper has still to be worked out, but the Rennes copy already has 29 illustrations in its incomplete Lancelot and no First Kiss image; the text ends at Sommer, Vulgate Version, IV, 220/33; the Kiss is at S III, 267. 50 Curiously, part of his colophon is in Latin, part in French: ‘Explicit. Arnulfus de Kayo scripsit istum librum qui est Ambianis. En l’an del incarnacion m.cc.iiiixx vi el mois d’aoust le iour devant le s.iehan decolase’. Arnulfus may or may not be related to another scribe of the same surname, Walterus de Kayo, who copied the Estoire Le Mans MM 354 49

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and is at the wrong place in the text. Along with its sister manuscript, Paris, BNF fr 110,51 the Bonn copy transmits, in general, a short version of the text, and one which considerably cuts this section of the narrative.52 But at an earlier spot,53 at a place where other manuscripts, including BNF fr 110, show the dame de Malohaut and Galeholt talking together, an apparently different hand has painted a three-figure embrace group with the queen in the middle between Galeholt and Lancelot (without supporting ladies) (fig. 10); and the rubric matches the scene. The sequence of events that led to this placing of the Kiss image could be reconstructed in several possible ways. The omission of the scene at the right place in the text could either have been an error, the need for a miniature at the right place simply overlooked by Arnulfus when he left blank spaces in his text for the pictures; or else it could have represented a deliberate desire — on his part or, more likely, on the part of his patron or his boss, to avoid depicting that scene at all. Such an omission would have been consistent with the selective pattern of illustration adopted in the other thirteenth-century copies of the Lancelot. But someone decided otherwise. Steps were taken to include a Kiss image while the illumination was in progress, because this miniature occurs not in the margin, but in one of the deliberately planned picture-spaces left blank by the scribe.54 The person who painted the Kiss picture would appear to have been a painter

at an uncertain date, and the Image du monde, Paris, BN fr 14962, in 1282; see Stones, ‘The Illustrated Chrétien Manuscripts’, p. 237, where Terry Nixon is credited for discovering Walterus’ signature in the Image du monde manuscript. His colophon, in Latin, in Le Mans 354 reads ‘EXPLICIT. Walterus de Kayo scripsit istum librum’. In BNF fr 14962 he uses French, not Latin: ‘Explicit. En l’an de l’incarnation M.CC.IIII.XX. et .II. l’escrit Wautiers dou Kai, foi que jou doi adeu.’ 51 BNF fr 110 may be as much as a decade later than Bonn 526 because its borders are closer to those in the Guillaume d’Orange, Boulogne BM 192, written in 1295; see Stones, The Illustrations, ch. 5, and ‘Sacred and Profane’, pp. 108–10. 52 A full study of its text version is in preparation under the leadership of Daniel Poirion; I thank Mary Speer for this information. Only the text edition and translation have materialized. 53 At Micha, Lancelot, VIII, p. 32; the First Kiss occurs on p. 115. 54 Examples of miniatures added later in the margins to rectify gaps in the iconography are the some 20 scenes, including such key items as Lancelot crossing the sword bridge, added in the fifteenth century to the early fourteenth-century fragments of the same set of volumes as the Amsterdam book: Manchester, Rylands French 1 and Oxford, Bodl., Douce 215. See my ‘Short Note on Rylands French 1 and Douce 215’, figs. 8a and b; and ‘Another Short Note’, fig. 8, both reprinted in these essays.

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other than the main artist — unless he came back and put in this image at a later stage, having modified his figure style somewhat — as one is stuck by a certain difference in the drawing of the facial features and hair, although the format of the miniatures, the decorative motifs, the proportions of the figures and their draperies are broadly comparable with the work of the main painter.55 Several other manuscripts, including BNF fr 110, are illustrated in a closely similar style that may or may not be the work of the same painter (depending on how one interprets minor stylistic difference in the absence of supporting documentation — as the work of another hand, or of the same painter at a different stage of artistic development).56 Although the Kiss image has been placed well before the occurrence of the incident in the text, this space must have been chosen because it offered the best option. The next image-space comes some eight and a half folios later — 93 pages later in Micha’s edition and 17 printed pages after the Kiss. The usual sequence is for an image to precede its textual description — as a visual anticipation of the event; and so, although the substitution meant placing the picture too early and eliminating the encounter between the dame de Malohaut and Galeholt, the Kiss image took precedence. Someone clearly felt it must be included, and that person was probably not the main artist. Was it Arnulfus the scribe ? The patron ? The planner ? The head of the production team ? Bonn 526 includes several indications that the process of laying out the script and pictures, writing, decorating, and illuminating was a complex one that most likely involved several individuals or several sequential stages, some of which could have been performed successively by one person. It is quite likely, though we cannot be certain, that Arnulf copied the captions in red after he had finished doing the text in brown ink; the script is closely similar. Here it is significant that the caption fits the Kiss miniature and is not a caption for the encounter between the dame de Malohaut and Galeholt which otherwise would have filled this picture-space; and its rubric is written by the same rubricator as the rest of the captions. Following the words of the rubric, or of a now erased note left for the rubricator, seems

55

Almost all the miniatures in the Bonn manuscript, I think, are the work of the same artist; but I do see the work of the Kiss painter again on f. 268v. It looks like the work of someone trying hard to immitate the main style. 56 See The Illustrations, ch.5, for a list of other books by the same painter or painters, and note 40 above.

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occasionally to have resulted in an error in the depiction of a scene, as I have shown elsewhere in relation to Galaad and his shield;57 but one cannot be sure whether the rubrics were put in before or after the miniatures were painted.58 There are some heads drawn in margins, in the ink of the pen-flourishing, hinting that perhaps the minor initials were done by the miniature painter or painters; there are occasional words in the margins, that seem to be guides for the use of colours; there are diagonal strokes in the margins next to many of the miniatures — two, three, or four strokes, which might perhaps relate to a division of labour between illuminators, were it not for the overall similarity of almost all the miniatures; but this miniature and those in the same quire lack these marks. Even with all these hints as to how things might have worked, it is difficult to reconstruct exactly what the sequence of production was and who, besides Arnulf, did what. But, whatever the reasons and whatever the exact sequence of events, someone who was not the principal painter put in an image of the First Kiss as an afterthought. The idea caught on in large measure: at least six later copies followed suit, enlarging, elaborating, and subtly changing the image over almost two centuries. The Adultery If the First Kiss is a relatively rare subject, so, too, is the consumation of the adultery. Nowhere in Vulgate Cycle illustrations are there bed scenes as erotic as, for instance, the vivid depictions of King David and his amorous adventures in the Old Testament Picture Bible, among which the depiction of David and Bathsheba is particularly noteworthy for the splendid phallic

57

See ‘Indications écrites et modèles picturaux’, and Alexander, Medieval Illuminators. In the Add.10292–4, Royal 14 E.III, Amsterdam/Rylands/Douce volumes, the rubrics seem to have been done after the miniatures had been drawn in leadpoint — which itself would have occurred after the script had been done and miniature spaces left blank — as the pictures often have architectural details that project upwards into the rubric spaces, forcing the rubricator to add his text around them. Here there are very few pinnacles in the margins: generally they are confined to the opening miniatures of the branches. On f. 455v, for instance, the opening of Mort Artu, there is a gap left for one decorative finial but there are two more finials which interfere with the words, or vice versa; the finials are in no way displaced in relation to the architectural frame of which they are part, but it is hard to tell whether the painter ignored existing writing or whether the scribe took no notice of existing painting or underdrawing. I could not tell which. 58

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candle behind the bed (fig. 11).59 In secular art, examples are again rare before 1300, and the Bible moralisée once more provides several instances of negative types among its moralizations, although bed scenes are far less numerous than embraces.60 I have noted elsewhere that images of couples in bed are considerably more prevelant if those couples are married, like King Mordrain and Queen Sarracinte, who are often shown in bed together in the illustrated Estoire, from the second quarter of the thirteenth century,61 or King Ban and Queen Elaine towards the end of Merlin;62 in both instances, bed is primarily a place for reflection, whether waking, or sleeping and dreaming.63 This is also the case with the first scene in the Yvain cycle of thirteenth-century wallpaintings at the castle of Schmalkalden in north Germany, where Arthur and Guinevere are shown in bed.64 But the Schmalkalden cycle also includes as scene 14 an image of the wedding night of Yvain and Laudine, for which an early fourteenth-century copy of Chrétien’s Yvain provides a parallel — the only one in the illustrated Yvain tradition, whether based on Chrétien, Hartmann, or a non-text specific version.65 Bed scenes in the illustrations

59 Old Testament Miniatures, M.638, f. 41v, facing p. 188; see also Amnon and Thamar, f. 43, now Paris, BNF nal 2294, facing p. 194. The iconography of David and Bathsheba in the Vienna 2554 Moralized Bible, f. 45, is notably more restrained, with David and Bathsheba fully clothed sitting chastely embracing on a bed while a nurse tends their offspring, and the moralization shows Christ, standing, taking Ecclesia by the hand, watched by their offspring shown as tonsured male figures. 60 The gang rape and subsequent death of the wife of Dyakene by the Sodomites (Vienna 2554, f. 65) is a particularly dramatic example. For more on rape in medieval illumination see now Wolfthal, Images of Rape. 61 They are included in Rennes BM 255, Paris, BNF fr 19162, 24394, 770, 344, Le Mans MM 354, Add. 10292, Roy. 14 E. III; but are omitted in Tours BM 951, Bonn LUB 526, BNF fr 110, BNF fr 95, olim Amsterdam BPH 1; and this list is not exhaustive. 62 Sommer, Vulgate Version, II, p. 278, line 39. There is no study of dreams in Merlin; this one is not in Rennes BM 255, BNF fr 770, Bonn LUB 526, BNF fr 110, BNF fr 95, BL Add. 38117; but the list is not complete. See now Fabry-Tehranchy, Merlin. 63 For dreams in Estoire, see Remak, Text and Image, and for an analysis of dreams in Lancelot, Queste, and Mort Artu, Demaules and Marchello-Nizia, ‘Träume in der Dichtung’. 64 Loomis and Loomis, Arthurian Legends in Medieval Art, pp.77–78, and (barely discernable) fig. 161; Rushing, ‘Adventure and Iconography’, Images of Adventure, ‘Medieval German Pictorial Evidence’; Van D’Elden, ‘Specific and Generic Scenes’. 65 Loomis, ibid., p. 78 and fig. 164. For Chrétien de Troyes’ Yvain, Paris, BNF fr 1433, f. 118, see Les Manuscrits de Chrétien de Troyes, eds. Busby, Nixon, Stones, Walters, II, fig. 318, where the bed episode is preceded by Yvain leaning over to embrace Laudine (not two female

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of Chrétien de Troyes romances (as in Chrétien’s texts) are also rare — the culminating scene of love-making between Yvain and Laudine in BNF fr 1433 is the only one that survives66 — but there is one earlier example in the Second Continuation of Perceval where the Montpellier manuscript showed (before its defacement) Perceval in bed with Blanchefleur, as part of a programme of illustrations in which, as Walters has shown, the rôle of Blanchefleur differs significantly from her textual rôle.67 Walters draws a parallel with the scene of love-making between Jason and Medea in the Madrid copy of Guido de Columnis’ version of the Troy romance,68 though the latter is an early fourteenth-century copy. There is no guarantee that lost copies of Benoît, Guido, or other intermediaries would have depicted this incident, but Heinrich von Veldecke’s Eneit again offers a parallel scene of Dido and Aeneas in bed,69 and the motif occurs several times in the Munich copy of Gottfried’s Tristan of the middle of the thirteenth century.70 There are also a few other thirteenth-century examples in other media, such as the Forrer casket and the Bussen mirror-case, where the scenes may also be based on a version of the Tristan story.71

figures as some commentators have seen). For the German Ywein tradition see Rushing, Images of Adventure. 66 Discussed by Walters, ‘The Creation of a ‘Super Romance’. 67 Montpellier, BI Fac. Méd. H 249, f. 172, discussed by Walters in ‘The Image of Blanchefleur’, in Les Manuscrits de Chrétien de Troyes, I, pp. 437–39, at p. 447, fig. 11, and II, fig. 189; see also Rieger, Le programme iconographique du Perceval montpelliérain’, fig. 20. 68 Madrid BN 17805, f. 22v, reproduced in Buchthal, Historia Troiana, pl. 21b. 69 On f. 13, see Boeckler; and Venus and Mars surprised by Vulcan, f. 39, reproduced in Zimelien, Abendländische Handschriften, no. 89, pl. 165. 70 Gottfried von Strassburg, ‘Tristan und Isolde’ mit der Fortsetzung Ulrichs von Türheim. Facsimile-Ausgabe. See particularly f. 10v, top left: love-making between Riwalin and Blanscheflur; f. 90v, top: Tristan and Isolde in bed, surprised by King Mark; f. 101v, bottom: Tristan and Isolde in bed, discovered by Antrit. 71 For the Forrer Casket (British Museum 1947.0706.1, c. 1180–1200, Cologne ?)see Forrer, ‘Tristan et Yseult sur un coffret’, cited by Loomis and Loomis, Arthurian Legends in Medieval Art, p. 43, where this scene is given as Mark and Ysolt in bed, with Bringvain bearing the love-potion prepared by Ysolt’s mother, based on Thomas’ version as reconstructed from the Norse. The bronze gilt mirror-case from Bussen (Swabia), now in the Kunstgewerbemuseum, Frankfurt, shows, on the back, a couple in bed and a harpist playing (Isolde and Mark with Tristan harping? David and Abishag ?) and standing embracing lovers on the handle. It was attributed to c. 1150 by Kohlhaussen, ‘Das Paar vom Bussen’, p. 39, and to the first half of the thirteenth century by Swarzenski in Monuments of Medieval Art, fig. 469a, b, pl. 202.

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Despite what appears to be a general reticence in the iconographical tradition about representing love-making in general and adulterous lovemaking in particular, certain manuscripts stand out for their treatment of the consummation of the love between Lancelot and Guinevere. Add. 10293 (c. 1315) is particularly remarkable for the number of times Lancelot and Guinevere are depicted in bed together. On f. 199v there are two miniatures in which Lancelot in first breaks into Guinevere’s room through a barred window, and then spends the night with her.72 But the second miniature has been defaced, as though a later viewer felt it was too exlicit.73 Yet love-making between Lancelot and Guinevere is illustrated again in this manuscript, on f. 312v (fig. 114).74 The several bed scenes in Add. 10293 give its picture cycle an emphasis that is quite distinctive in the illustrative tradition — one would like to know more about who requested these miniatures, and for whom.75 72

This is not their first sexual encounter, but it is the first one to be illustrated in this manuscript, at Sommer, Vulgate Version, IV, p. 209, miniatures 191 and 192; Micha, Lancelot, II, p. 75. 73 These miniatures are by the first painter. The defacement of scenes of love-making is not uncommon in romance manuscripts, though we cannot be sure when it occurred: see Perceval and Blanchefleur in the Montpellier manuscript, and Yvain and Laudine in BNF fr 1433, discussed above. Several scenes in the Perceval, Mons BU 226/331, are also erased (reproduced in Les Manuscrits de Chrétien de Troyes, eds. Busby, Nixon, Stones and Walters, II, figs. 192–232, esp. figs. 214–218, 220, 232); but here the erased scenes are not of lovemaking, and the motives for the mutilation are unclear. Another interesting instance of an erasure is in the medical compendium in Kraków, Biblioteka Jagiellońska ms 816, f. 154, where a marginal scene shows a seated doctor performing a rectal examination of a patient who lies on the curvilinear border, presenting his rear: the patient has been erased, but a note in leadpoint above the scene says, ‘cest .i. home nu covert de .i. mantel/.i. altre home li gete .i. distere (clistere ?) u cuch/a ses brees avales’. For a general description of the manuscript see Ameisenowa in Les principaux manuscrits, p. 39; pl. VIII reproduces f. 101v; see also ead., Rekopisy i perwodriki, no. 96; and now Stones, Gothic Manuscripts, Part I, vol. 2, Cat. no. I–52. Again there is no indication as to when the erasure occurred. 74 Sommer, Vulgate Version, V, p. 182, miniature no. 334, by the second painter; other copies shorten the text considerably here, which would help to explain the absence of parallel miniatures in other manuscripts. 75 Guilbert de Sainte-Aldegonde, who gave his Tournai Psalter, Saint-Omer BM 270, to the Chartreuse of Longuenesse in 1323, having added to it a devotional portrait miniature by the main painter of Add. 10292–4/Roy. 14 E. III/Amsterdam/Rylands/Douce 215, is certainly a known patron who commissioned work from one of the same artists, though we unfortunately know nothing else about his patronage. Shields on the opening pages of Add., Roy. and Amsterdam have not yielded information about original patrons. See my ‘Another Short Note’. I am not in agreement with Judith Oliver, that the stylistic origins of this style are to be sought in Verdun and will expound further on another occasion.

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In Add. 10293, scenes of the Lancelot’s adultery with Guinevere are matched by the inclusion of two scenes of Lancelot in bed with the daughter of King Pelles (whom he is enchanted into thinking is Guinevere), and with whom his son Galaad, eventual winner of the Grail in Queste del saint Graal, is conceived.76 The first of the two is followed by a miniature of Lancelot’s remorse, in which he raises his sword to kill King Pelles’ daughter, thinking her responsible for the deception. These episodes appear to occur somewhat more frequently than depictions of the adultery; two manuscripts that omit the adultery and include the conception of Galaad are Bonn 526 (fig. 12) and Yale 229;77 the Bonn manuscript has Lancelot threatening King Pelles’ daughter as a separate scene (fig. 13) (he fully armed, she wearing a striking red robe — the colour of guilt, often selected for Mary Magdalen); the Yale manuscript acknowledges Lancelot’s remorse while down-playing the whole incident by compressing the subject into a tiny historiated initial, showing King Pelles’ daughter still in bed and Lancelot, half naked, raising his sword. Was a pictorial emphasis on sex, even if decently covered by bedclothes, considered unsuitable for the young Guillaume de Termonde, the Yale manuscript’s possible patron ? Clearly the patron (planner ?) of Add. 10293 thought otherwise, while that of Bonn 526 seems to have preferred a middle road — and this time no image of the Lancelot-Guinevere adultery was included as an afterthought.78 The objections to explicit love-making witnessed by the erasure of one such scene in Add.10293 seem to have had an effect, as what tends to be 76 See ff. 288 (Sommer, Vulgate Version, V, p. 110, miniature 299) and f. 374 (Sommer V, p. 380, miniature no. 422); on f. 288 (Sommer V, p. 111, miniature 300) Lancelot, fully armed, having realized the lady he slept with is not Guinevere, raises his sword to kill King Pelles’ daughter, thinking it is she who has deceived him. 77 See ‘Images of Temptation’, fig. 15. Admittedly, the Yale manuscript only has the third part of the Lancelot proper, the Agravain section, so the text which would have included the First Kiss and its sequel are missing; the same is true of BNF fr 12573 which has Lancelot’s remorse on f. 48v. But love-making is also excluded altogether in BNF fr 110; and in Bonn 526 the only other example is the curious double bed-scene with two couples, on f. 254, showing Arthur and Camille in one bed and Guerrehes and his ‘amie’ in the other, with knights looking on ! (Micha, Lancelot, VIII, p. 442; Kennedy, Lancelot do Lac, p. 546); in Morgan M.805–6 the only bed scene is the seduction of the daughter of the King of Norgales by Gauvain on f. 99, where it is the subject of a large (and, as Cockerell remarked, somewhat touched up) miniature. This list is not final: more looking is still needed. 78 We are equally ill-informed about the owners of almost all the Vulgate Cycle manuscripts: the well-documented patronage of Jacques d’Armagnac’s patronage is exceptional, see Blackman.

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shown in the later manuscripts are ‘before’ and ‘after’ scenes rather than either couple actually in bed. So in BNF fr 122, made for an unidentified patron probably in Tournai in 1345, Guinevere, still crowned, lies naked in bed, while Lancelot stands fully clothed beside the bed and a servant walks away (fig. 15).79 In the early fifteenth-century set made for Jean de Berry and partially repainted for Jacques d’Armagnac, BNF fr 117–120, the Lancelot-Guinevere adultery is not illustrated, while the two occasions on which Lancelot was deceived with King Pelles’ daughter are both depicted. Both show the lady in bed and Lancelot, clothed, beside it; and both include a third figure in the composition: Brisane, who gave Lancelot the magic potion to drink, stands in the doorway in the first miniature (fig. 16), while the second includes Guinevere confronting Lancelot, who has already stepped out of the bed in which King Pelles’ daughter still lies (fig. 17).80 The miniatures are not identical in pictorial treatment; one striking difference is the presence, in the second, of a curiouly phallic finial running the length of the roof above the room in which the scene takes place. The confrontation scene seems to have appealed to Jacques d’Armagnac as it appears again in one of the sets he commissioned himself: BNF fr 115, f. 568v; and this set also has Lancelot threatening to kill King Pelles’ daughter, in a variant in which the lady kneels naked on the bed while Lancelot grasps her hands and raises his sword, f. 463v, and a scene that is not usually depicted at all: Guinevere’s premonitory dream of Lancelot entering a damsel’s bedchamber, on f. 446. This scene acts as a pictorial substitute for the bed-scene itself, and is consistent in approach with the omission, in this set, of any representation of the Lancelot-Guinevere adultery after the First Kiss. Only in the Mort Artu section of Armagnac’s special version, BNF fr 112, is there a single scene of the love-making of Lancelot and Guinevere, chosen and placed to emphasize the rôle of the adultery in the imminent downfall of Arthur’s kingdom, and including not a single third figure but Arthur’s knights who spy.81 The treatment of the love-making scenes in these manuscripts of the later fourteenth and fifteenth centuries seem to bear witness on the one hand to a shift in pictorial emphasis away from the 79

F. 147v. A full study of this important book (whose text begins with the crossing of the sword bridge) is still needed; the arms on f. 1, or a chevron gu, 3 pennanular brooches argent and or a fess azure, 3 besants argent, have not been identified. 80 See the detailed tabulations of Arthurian subjects in Blackman. 81 Vol. 3, f. 203v. But it should be noted that one volume of BNF fr 112 is missing.

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adultery towards the conception of the eventual Grail-winner; and on the other, through the inclusion of one or more additional characters, to allude indirectly to the pictorial and psychological complexities of the triple First Kiss included much earlier in their own picture selections, while offering varying and individual interpretations of the sequel to which the First Kiss was only the prelude.

XXIX Images of Temptation, Seduction and Discovery in the Prose Lancelot: A Preliminary Note*

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t a central moment in the middle of the Arthurian Vulgate Cycle, or Lancelot-Graal, Lancelot, held captive in Morgan’s castle, looked through his prison window into Morgan’s palace and saw, inside, a man painting Aeneas’ escape from Troy. It occurred to him that by painting pictures of his own deeds he could take pleasure in the delight of his lady and assuage his own misfortune: Si avint .I. jor a Lancelot qu’il fu alez a une fenestre de fer apoer, dont l’an veoit bien el palais. Il œuvre la fenestre et voit leanz .I. home qui poingnoit .I. ancienne estoire et desus chascunne ymage avoit letres, si connoist que c’est l’estoire d’Eneas, coment il s’anfoui de Troie. Lors se porpense que se la chambre ou il gisoit estoit portraite de ses faiz et de ses diz, moult li plairoit a veoir les biaux contentementz de sa dame et moult li seroit grant alegement de ses maux1. Morgan saw in Lancelot’s pictures the potential for a different purpose: a means of alerting her brother King Arthur to the adulterous relationship between Lancelot and Queen Guinevere and of proving that it had taken place:

* This article is drawn in part from material presented at the Kunsthistorisches Institut der Universität Wien in May, 1986 and at the “Lancelot-Graal” conference in Austin, Texas, in March, 1992. It is a pleasure to offer this version to Gerhard Schmidt whose own delight in medieval art has done so much to stimulate and inspire his students and friends. First published in Wiener Jahrbuch für Kunstgeschichte, 46–47, 1993–94, pp. 725–35. 1 Micha, Lancelot, V, pp. 51–52.

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. . . s’il avoit tout paint, je feroie tant que mes freres li rois Artus venroit ça et li feroie connoistre les faiz et la vérité de Lancelot et de la roiné 2. Morgan does not engineer a viewing of the paintings and their accompanying inscriptions by Arthur until well into the Mort Artu, the last of the five branches of the Vulgate Cycle, but when Arthur sees the images and captions, and learns who painted them, the impact is just what Morgan predicts: the shame that knowledge of the adultery brings Arthur is the beginning of his downfall: Ensint commença li rois a lire les œuvres Lancelot par les peintures que il veoit; et quant il voit les ymages qui devisaient l’acointement Galeholt, si en fu toz esbahiz et touz trespansez . . . et dist a soi meïsmes . . . donques m’a Lancelos honni de la reine, car ge voi tout en apert que il s’en est acointiez . . .3 These episodes invite several points of comment. As passages about the significance of the painted story, they would seem particularly appropriate for representation in the pictorial tradition of the Lancelot-Graal: what better selection could planners and artists make, not only to underline the importance of these events in the text, but at the same time to epitomize the potency of the painted image in general? For the inclusion of pictures is surely not just a display of wealth on the part of the patron, but involves as well a process of selection in which some episodes are pictorially preferred over others, so that the illustrations present a particular emphasis — always one that is selective in relation to the text, and occasionally one that is at variance with it; sometimes the pictorial emphasis is common throughout the illustrative tradition, at other times it is rare. Whether the pictures in a particular manuscript are commonplace or unusual can only be judged by comparing that manuscript to the rest of the tradition in so far as it is known from what is extant. Only then can one begin to assess which episodes were felt to be important: still not an easy task for an illustrated manuscript tradition that is one of the largest of any medieval French text, and for which there is not a single facsimile and no complete set of microfilms, let alone a corpus of illustrations4. Even when one has established how common or 2

Ibid., pp. 53–54. Frappier, Mort Artu, p. 61. 4 The manuscripts of the ‘Lancelot-Graal’ are listed in Woledge, Bibliographie, no. 96, pp. 710–79 and Supplément, pp. 50–59, with reference to the manuscript lists by Bogdanow, 3

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unusual an image is, it is not always easy to determine just how significant the selected episodes were, to whom, and why. I do not pretend to answer these questions fully here, but I present a comparative examination of some of the central themes in the Vulgate Cycle — of temptation, seduction and discovery — as a contribution towards a broader understanding of the rôle images play in the reception and transmission of the story. Lancelot painting the adultery What is most surprising about the first episode cited above — Lancelot painting the pictures — is that, to my knowlege, it is entirely absent in the illustrative tradition5. Nor, so far as I know, do any of the manuscripts show Lancelot looking through the window and seeing someone else painting the story of Troy, despite the popularity of the illustrated Troy romances, attested in France by a vigorous illustrative tradition that dates at least from 1237, the date of the earliest extant manuscript copy, Paris, Ars. 3340 (fig. 3)6. The text would also have been known from Virgil, and, in the absence of surviving wall paintings of the kind the author must be referring to, the c. Frappier, Kennedy and Micha; see also the list in Kennedy, Lancelot do Lac, II, pp. 1–11. The presence of illuminations is not always noted by text editors, and there is no complete list of which manuscripts are illustrated, nor are there descriptions of the illustrations, let alone corpora of photographs; and the dates and provenances of the manuscripts must in most cases be established by stylistic analogy. So there is no easy way to assemble data about the illustrations. I draw attention here to the very useful data base on Arthurian illustrations that is in progress at the Bibliothèque nationale de France in which several (but not yet all) of the BNF manuscripts have been catalogued; and I thank Jean-Pietre Aniel and Aleksandra Orlowska fot most kindly assisting my search. For my work on the Queste and Mort Artu iconography up to c. 1340, see Stones, The Illustrations of Lancelot and: ‘Some Aspects of Arthur’s Death’. For the illustrated Estoire, see my: The Earliest Illustrated Prose Lancelot Manuscript?’, and Meuwese, L’Estoire del saint Graal. For a complete list of Estoire manuscripts see Ponceau, Étude de la tradition manuscrite. For Paris, BNF fr 112, 113–6 and 117–20, see Blackman, The Manuscripts and Patronage of Jacques d’Armagnac, and ead., ‘Pictorial Synopsis’. 5 A full study of all the illustrations in the Lancelot proper is still in progress, so my analysis of its illustrative tradition is provisional: but the subject is significantly absent in the most fully illustrated copies of the cycle, New Haven, Yale 229, London, BL Add. 10293, and olim Amsterdam BPH 1/Manchester, Rylands fr. 1/Oxford, Bodl. Douce 215; on the latter set, see n. 20 below. 6 See Buchthal, Historia Troiana. Buchthal did not know the 1237 copy, Paris, Ars. 3340, whose illustrations are mostly cut out: two historiated initials remain. See Samaran and Marichal, Catalogue, I, p. 159, pl. 12; Stones, Illustrations, p. 80, n. 97; Nixon, ‘Reuniting Membra Disjecta’.

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1200 manuscript probably transmits a version of the pictorial cycle that was in circulation at the time the Vulgate Cycle was composed7. Arthur’s discovery Even the discovery of the pictures by Arthur is extremely rare: of the 44 illustrated copies of the Mort Artu, only four manuscripts show the subject, and they treat it according to two distinct recensions. Most manuscripts omit this subject altogether, substituting at this place in the text another scene, to which I return below. Of the four manuscripts that do include the discovery, the earliest is Paris, BNF fr 342, written by a female scribe in 1274 for an unknown patron based probably in the region of Amiens or Douai (fig. 4)8. The manuscript presents an unusually full cycle of miniatures for the Mort Artu. The discovery of the paintings is present on f. 167, but is remarkably evasive in its pictorial treatment of the subject: what is shown in the image is Arthur and Morgan seated beneath an arch, in conversation with each other: there is no hint in the depiction of any paintings on the walls. It is 7 See Avril, ‘Un manuscrit d’auteurs classiques’. Any assessment of when the Vulgate Cycle was composed must take into account the likely date of the Estoire, Merlin, Lancelot manuscript, Rennes BM 255, c.1220. See Stones, ‘The Earliest Illustrated’ (cit. n. 4), noting that both previous and subsequent scholars have substantially misinterpreted the date of this important book. 8 The colophon says, priez pour celi (not cil) ki l’escrist. See Stones, The Illustrations, ch. 3. For a discussion of the stylistic group to which BNF fr 342 belongs and for full references, see Stones, ‘The Illustrated Manuscripts of Chretien’. The Amiens link is provided by the PsalterHours of the use of Amiens, Philadelphia Free Library, MS Widener 9, whose second painter is extremely close to the hand of BNF fr 342. The association with Douai is also circumstantial for BNF fr 342, but two closely related books were certainly made for use there: Psalter-Hours of the Collegiate Church of St. Amé, Douai, Brussels, BR 9391, and Valenciennes BM 838, the Martyrology and Necrology of Notre-Dame des Prés (O. Cist.), Douai, made between 1280 and 1298. The related manuscripts also include classical texts in French, Brunetto Latini, and Vincent of Beauvais’ Speculum Doctrinale, Bruges, Stadsbibliotheek 251, the latter owned by Ter Doest (O. Cist.), but acquired, I suggest, from Douai through the Cistercian network, and the Estoire, Le Mans MM 354, copied by Walterus de Kayo, and Paris, BNF fr. 770. The activities of the team extended into the 1280s, as Terry Nixon has recently identified Walter de Cayeux at work in another manuscript, an Image du monde, Paris, BNF fr 14962, which he copied and signed in 1282. I also add the badly damaged Legendary in Saint Petersburg Academy of Sciences, MS FN 403, to this group (on which see Mokretsova and Romanova, Les Manuscrits enluminés français, no. IX, and Kisseleva, Manuscrits latins, pp. 108–110); and the Book of Hours, London, BL Add. 17444, whose liturgical use is problematical, but whose calendar, written in French for lay use, also points strongly to Douai.

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almost as if the miniature seeks deliberately to deny, by exclusion, the very point that the words of the text make about seeing pictures and knowing on the basis of them. Why the episode should be illustrated yet its main point visually subverted is altogether unclear. As many of the manuscripts related to BNF fr 342 were made for Cistercian patrons, it is tempting to suppose that monastic prudery might have precluded an explicit representation of the adultery; and the text of the fourth part of the Vulgate Cycle, the Queste del saint Graal, has been thought to reflect a certain Cistercian emphasis — white knights figure large in it. But there is not a scrap of evidence to connect this or any other Vulgate Cycle manuscript with Cistercian patronage or ownership. Nor do we know who the female scribe was. Her colophon sounds like a common topos9, and there is no reason to suppose she was a nun or a canoness. The iconography of the Yale manuscript, New Haven, Beinecke 229, generally follows BNF fr 342 very closely, both in density of images selected and in pictorial treatment10, although it was most likely made a generation or so later, towards the end of the thirteenth century, perhaps in the region of Thérouanne because of the stylistic similarity with the well-known Hours of Thérouanne, Marseille BM 111, and the related psalter Paris, BNF lat 1076; this time we can suggest that its patron was most likely a member of the noble class, perhaps, as a discreet use of heraldry suggests, Guillaume de Termonde (1248/9–1312), second son of Guy de Dampierre, count of Flanders11. On f. 289, Arthur and Morgan again sit together talking (fig. 5). The figures are rubbed, and Arthur is pointing, but not to pictures on the walls, as the background is intact, in gold with white scroll-work and, once more, there is no trace of the paintings. The only clues as to the significance of the conversation between the two figures are the presence of a bird of prey perched on the central border next to Morgan and Arthur, as if to symbolize the destructive power of what Arthur is learning; and of two centaur terminals below, each energetically blowing a five-sectioned straight 9

See Bénédictins du Bouveret, Colophons, and Drogin, Anathema!. See the tables of Queste and Mort Artu subjects in Stones, The Illustrations of Lancelot, ch. 10. 11 See Stones, The Illustrations, ch. 4, and Shailor, Catalogue, vol. 1, sub numero. For the patronage of Guillaume de Termonde, see Stones, ‘Secular Manuscript Illumination’, p. 87 (reprinted in these essays). 12 Many of the marginalia in this manuscript and in the others to which it is related attempt to play off the main subject in one way or another, either to continue its imagery or 10

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trumpet, as though to blast forth the news of Arthur’s cuckoldry far and wide12. The other two manuscripts that also illustrate Arthur’s discovery, Paris, BNF fr 116 and Paris, BNF fr 112 (figs. 1 and 2), were made for Jacques d’Armagnac, distinguished patron of fine books and notable political figure, executed for treason in 147713. As great-grandson of the still more eminent bibliophile Jean de Berry, Jacques d’Armagnac inherited several manuscripts, including another set of Vulgate Cycle volumes, Paris, BNF fr 117–120, much of whose illumination was repainted for him14. BNF fr 112 is the special version of the text copied in 1470 by Michel Gonnot for Jacques d’Armagnac15, while BNF fr 113–6 includes Armagnac’s ownership note and can be attributed to painters working in central France in the 1470s16. In these two illustrations, Arthur actually sees the pictures on the walls: in fr 116, Morgan shows them to him (fig. 2); in BNF fr 112, he looks at them alone (fig. 1), deciphering what is going on from the accompanying captions, shown as sets of lines below each depiction. The First and other Kisses In the text, what strikes Arthur first as he looks at the pictures is the depiction of the acointance of Lancelot and Guinevere through the intermediary of

to subvert or invert it, as Camille has shown in: Image on the Edge ; but there are also many marginal subjects in this book whose relation to the text still evades explanation. The best range of pictures is still Randall, Images in the Margins, and see now Hunt, Illuminating the Borders. See also the Poisoned Apple episode, discussed below. 13 See Thomas, ‘Jacques d’Armagnac, bibliophile’, and Blackman, Manuscripts and Patronage of Jacques d’Armagnac and ead., ‘Pictorial Synopsis’. 14 BNF fr 117–120 was bought by Jean de Berry in 1405, probably from the Parisian bookdealer Régnault du Montet, and illustrated by a painter identified by Meiss as the Master of Berry’s Cleres femmes after his major work, a Boccaccio translation. See Meiss, French Painting, I, pp. 252, 312. Richard and Mary Rouse, following Meiss, have suggested in their forthcoming study of the Paris book trade that Ars. 3479–80 was part of a twin copy, produced by Régnault du Montet and his team, adding that it was probably produced at the same time as BNF fr 117–20 and from the same model. Meiss proposed that Ars. 3479–80 may have been the Lancelot bought by Jean sans Peur through his agent Jacques Raponde in February 1406 (Rouse and Rouse, Manuscripts and their Makers, I, p. 296). 15 Pickford, L’Évolution; Blackman, Manuscripts and Patronage and ead. ‘Pictorial Synopsis’. 16 See Thomas, ‘Jacques d’Armagnac’; Blackman, ibid.

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Galehot. Their actual encounter is described thus: Lors se traient tout .III. ensamble et font samblant de conseillier. Et la roine voit que li chevaliers [Lancelot] nen ose plus faire, si le prent par le menton et le baise devant Galahot. . ,17 Yet the image at which Arthur looks in BNF fr 116 (fig. 2) lacks the distinctive three-figure First Kiss group, with Galehot in the middle and the couple stretching across him (literally devant), that is so familiar from the representation of its actual occurrence in New York, Morgan M.805 (fig. 6), made c. 1310–15 for an unknown patron probably in the region of Saint-Quentin or Laon, and which seems such a perfect representation of what the text describes18. What Arthur is looking at in BNF fr 116 is a standing two-person embrace of the type long familiar in biblical illustration since the Carolingian period for Righteousness and Peace in the Psalms, or Christ and Ecclesia in the Song of Songs and its commentary19. Is this just another case of the illuminator not being quite text-specific, or is the picture-within-a-picture a deliberate attempt to emphasize Arthur’s shame still more, by eliminating the intermediary Galehot in order to focus less equivocally on the Lancelot-Guinevere relationship? Either suggestion is possible, but there may be another hidden agenda, whose meaning depends on the connotations of the two-person embrace elsewhere in the Vulgate Cycle’s illustrative tradition. What is curious about the kiss motif in Vulgate Cycle illustrations is that (to my knowledge) the two-person kiss image is never used for Lancelot and Guinevere. Rather, it has a disconcerting tendency to appear in situations where the embrace is, at best, ironic, or even downright evil. Two examples must suffice, and both are from a manuscript that also includes a threeperson embrace of Lancelot and Guinevere with Galehot: olim Amsterdam,

17

Sommer, Vulgate Version, III; Kennedy, Lancelot, p. 348; Micha, Lancelot, VIII, pp. 115–6. This citation is from Micha. A full study of the distribution of the image is still needed. 18 See Stones, ‘Arthurian Art Since Loomis’, pp. 38–39. On the Morgan Kiss, see ibid., and, for related manuscripts, Stones, ‘L’atelier artistique de la Vie de sainte Benoîte d’Origny. For M 805–6, see the complete description by Cockerell in: A Descriptive Catalogue, no. LXXXVIII, pp. 94—116. 19 For further examples, see the plates in Stones, ‘Arthurian Art since Loomis’, and Camille, ‘Gothic Signs and the Surplus’.

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BPH 1 (fig. 9)20; these three examples are the only times the kiss motif is used in the manuscript. Much later on in the Lancelot proper, long after the consumation of the love of Lancelot and Guinevere, Arthur’s deception by the false Guinevere, and Lancelot’s dramatic victory in the battle against the Saxons, comes a temporary moment of reconciliation between Arthur and Guinevere in which Lancelot’s supreme valour is acknowledged by Arthur, who, in the Amsterdam manuscript, vol. ii, f. 232, seals his recognition of it with a kiss, watched by Guinevere and a large number of courtiers (fig. 11)21. The only other kiss motif in the Amsterdam manuscript has quite different connotations. It occurs in the Estoire section of the text, vol. 1, f. l00v (fig. 10), where one component of the miniature seems, at first glance, to show a king and a woman embracing, with their arms round each other. But there are oddities that are immediately striking: instead of actually kissing the woman, the king is shown with a hand in his mouth. In fact, the image shows King Agrestes, persecuter of the Christian converts of Josephé, going mad: after killing Josephé’s twelve relatives at the cross he had set up, which is coloured red by their blood, he orders the cross to be burned and then dragged around the town (shown on the left); he then eats his own hands and strangles his brother and son (both dead on the ground), as well as his wife — so the embrace is really a strangle-hold: one hand is indeed at his wife’s throat, and the other in his own mouth. Finally he comes upon a flaming oven, climbs in, and is burned to death in it (shown at the right)22. In the depiction on the wall of Lancelot’s chamber in BNF fr 112 (fig. 1) there is certainly a group of three figures shown, alongside two other groups of two male figures holding hands and a male and female figure also 20

The rest of this set is Manchester, The John Rylands University Library, fr. 1, of which a few leaves are in Oxford, Bodl. Douce 215; the same team of scribes, decorators and illuminators also produced London BL Add. 10292–4 and Royal 14 E. III. See: ‚Another Short Note‘, noting that, at that time, the Amsterdam manuscript was in the possession of H. P. Kraus and had been published as no. 31 in his Catalogue 159. For the iconography of the Estoire in this manuscript, many scenes of which are unique in the Estoire tradition, see Meuwese, L’Estoire, and Stones, ‘Seeing the Grail’ and ‘The Grail in Rylands Fr. 1’, reprinted in these essays. 21 Sommer, Vulgate Version, IV, p. 84, line 12. See also Add. 10293, f. 141v, where there is a double embrace all in the same miniature, in which Arthur first kisses Guinevere then he kisses Lancelot. 22 Sommer, ibid., I, p. 246, lines 10–18.

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holding hands. But to me, the headgear suggests that the figures of the triple group are all women: perhaps the artist, not knowing that Galehot was also present, misunderstood a three-person kiss model of the M.805 type; or he has based his group not on the triple figures of Galehot, Lancelot and Guinevere, but on those of the secondary group of three women (la dame de Malohaut. . . damoisele Lore de Carduel et une soie damoisele) 23, in the kiss image in another of Jacques d’Armagnac’s manuscripts, BNF fr 118 (fig. 7) — the copy inherited from Jean de Berry, and one that might perhaps have been available to the painter of BNF fr 112. If so, it is surprising that he did not also copy its striking kiss group as well, as elsewhere in the iconographical tradition of the First Kiss, the tripartite grouping described in the text is shown and the supporting group of figures is also a group of three people. What varies among the different First Kiss images is who the central figure of the kiss group is, whether the supporting group is all female or one man and two women, whether the paired groups are standing or sitting, and which way the supporting group is facing. In BNF fr 118, Lancelot has become the central figure, with Galehot slightly to one side as a more distant observer (devant taken figuratively), a variant that, to my knowledge, is not found elsewhere24; and in the twin manuscripts London, BL Add. 10293 (fig. 8) and olim Amsterdam BPH 1 (fig. 9), Guinevere is the central figure, squeezed between Lancelot whom she embraces and Galehot who grasps Lancelot by the wrist (devant again taken more literally, though the configuration of the figures differs from M.805 and they are standing not seated). The treatment of the secondary group varies slightly in each manuscript: in Amsterdam (fig. 9), Morgan (fig. 6) and BNF fr 118 (fig. 7), the secondary group is seated not standing; and in Morgan (fig. 6), Amsterdam (fig. 9) and Add. (fig. 8), the seneschal is shown instead of the third lady (Et Galehos dist au senescal: Ales, si faites compaignie a ches damoiseles la qui trop sont seules.)25, and in Add. the secondary group is standing, like the primary figures, while the other manuscripts show all the secondary figures seated. Whether they stand or sit, are all female or of mixed sex, it is crucial to the story that the dame de Malohaut be positioned so as to see Lancelot and Guinevere, to discomfort Lancelot by her gaze (. . . si en ot teil paor et teile angoisse en son cuer que il ne pot respondre a che 23

Kennedy, Lancelot do Lac, p. 340; Micha, Lancelot, VIII, p. 103. For discussion see Stones, ‘Arthurian Art Since Loomis’, p. 39. 25 Kennedy, Lancelot do Lac, p. 340; Micha, Lancelot, VIII, p. 104, cited from Micha. 24

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que la roine li disoit... Et quant il plus esgardoit la dame de Malohaut plus estoit ses cuers a malaise . . .) 26, and to see the kiss itself (. . . devant Galehot assés longuement si que la dame de Malohaut seit quele le baise . . .)27. While M.805 (fig. 6) seemed to be the most literal representation of the kiss, it is the image which least well satisfies this secondary requirement, as the two ladies are shown turning away from the kiss group towards the seneschal; the other examples all place the ladies so that two of them turn to face the kiss group and so the dame de Malohaut can fulfill the rôle the text requires of her. The Adultery What is equally striking about these examples of the First Kiss of Lancelot and Guinevere is that they are relatively rare in the iconographical tradition28; so, too, is the consumation of the adultery. Nowhere in Vulgate Cycle illustrations are there bed scenes as erotic as, for instance, the numerous vivid depictions of King David and his amorous adventures in the Old Testament Picture Bible29. At the same time, images of couples in bed are by no means limited to Lancelot and Guinevere: one might even note that they are considerably more prevelant in relation to other couples altogether — particularly if those couples are married, like King Mordrain and Queen Sarracinte, who are often shown in bed together in the illustrated Estoire30. But in Estoire, bed is primarily a place for reflection, whether consciously or unconsciously; so the Queen lies awake, reflecting on what it might be that is troubling her 26

Kennedy, ibid., p. 345; Micha, ibid., VIII, p. 110, cited from Micha. Kennedy, ibid., p. 348; Micha, ibid., VIII, p. 116, cited from Micha. 28 Examples of otherwise fully illustrated manuscripts where the Kiss is lacking are Oxford, Bodl. Ash 828; Oxford, Bodl. Rawl. Q. b. 6; Paris, Ars. 3481; Paris, BNF fr 110; Paris, BNF fr 770; Rennes BM 255 (see n. 7 above for its date: not early 14th c. as in Kennedy and Micha). In Bonn 526, written in 1286, no miniature was planned for the place in the text where this acointance is described, but a later text passage on f. 220, where other manuscripts show the dame de Malohaut and Galehot, a different hand has painted in a three-figure embrace group with the queen in the middle between Galehot and Lancelot. See ‘Illustrating Lancelot and Guinevere’, pp. 136–38. It should be noted that the Lancelot manuscripts listed in Woledge do not all have the three parts of the Lancelot; for more complete descriptions, see Kennedy and Micha; see also now Brandsma, ‘Lancelot 3’. 29 Old Testament Miniatures, ed. Cockerell. 30 They are included in Rennes 255, Paris, BNF fr 19162, BNF fr 24394, BNF fr 770, BNF fr 344, Le Mans 354, BL Add. 10292, BL Royal 14 E. III; but are omitted in Tours 951, Bonn 526, BNF fr 110, BNF fr 95, Amsterdam BPH 1; and this list is not exhaustive. 27

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1. Paris, Bibl. nat., fr. 112, III, f. 193v. Arthur seeing Lancelot‘s pictures and reading the captions.

2. Paris, Bibl. nat., fr. 116, f. 688v. Morgan showing Arthur Lancelot’s paintings and explaining the subjects.

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3. Paris, Bibl. de l’Arsenal, 3340, f. 5. Solomon explaining the importance of memory; the Walls of Troy.

4. Paris, Bibl. nat., fr. 342, f. 167. Morgan telling Arthur about Lancelot’s paintings.

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5. New Haven, Yale University, Beinecke Library, 299, f. 289. Morgan telling Arthur about Lancelot’s paintings.

6. New York, J. Pierpont Morgan Library, M 805, f. 67. The First Kiss of Lancelot and Guinevere.

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7. Paris, Bibl. nat. fr. 118, f. 219v. The First Kiss of Lancelot and Guinevere.

8. London, Brit. Libr., Add. 10293, f. 78. The First Kiss of Lancelot and Guinevere.

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9. Amsterdam, Bibl. Phil. Hermetica, l, II, f. 140. The First Kiss of Lancelot and Guinevere. 10. Amsterdam, BPH, I, f. 100v. King Agrestes ordering the cross to be dragged around the town; having killed his sons he strangles his wife and climbs into the oven.

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11. Amsterdam, BPH, II, f. 232. King Arthur embracing Lancelot.

12. Rennes, Bibl. mun. 255, f. 29. King Mordrain and Queen Sarracinte in bed.

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13. London, Brit. Libr., Add. 10293, f. 312v. Lancelot and Guinevere in bed.

14. London, Brit. Libr., Add. 10292, f. 159. King Ban and Queen Elaine in bed.

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15. New Haven, Yale University, Beinecke Library, 229, f. 50. Lancelot and the daughter of King Pelles.

16. Paris, Bibl. nat., fr. 342, f. 170v. Apples brought to Queen Guinevere.

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17. Bonn, Universitätsbibl., 526, f. 464. Queen Guinevere hands apples to Gaheriet.

18. New Haven, Yale University, Beinecke 229, f. 293, King Arthur and his knights ride into Camelot; Gaheriet dies from the poisoned apple handed to him by Queen Guinevere.

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19. Paris, Bibl. nat. fr. 116, f. 892v. Gaheriet dies from the poisoned apple given him by Queen Guinevere.

20. London, Brit. Libr., Add. 10294, f. 63v. Queen Guinevere hands an apple to Gaheriet.

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husband, while the King has a strange dream, a portent of the temptations he will shortly undergo after being transported away by the Holy Ghost (fig. 12)31. Similarly, in Add. 10292 (fig. 14), towards the end of Merlin, King Ban and Queen Elaine lie peacefully asleep in bed; but their calm repose will be short-lived, as he dreams that God will grant his request to be permitted to die on the day he asks; and he awakens terrified by lightning and thunder32. What is remarkable about the treatment of King Ban and Queen Elaine in bed is that the same painter, the second artist in the manuscript, repeats this picture almost identically for Lancelot and Guinevere (fig. 13): a closely similar architectural setting, with an open door beneath a cusped arch at one end and a round tower at the other, between which a cusped opening in a wall with crenellation above and below, reveals the lovers in bed. As well as minor differences in the roof tiles, chimney and fenestration, the lovemaking of Lancelot (who wears a white cap on his head) as he leans over Guinevere is somewhat more energetic than the (momentarily) peaceful slumber of King Ban and Queen Elaine33. Equally remarkable about Add. 10293 is the number of times Lancelot and Guinevere are depicted in bed together. The incident illustrated above is the second example; f. 199v shows two miniatures of their first lovemaking, in which Lancelot in first breaks into Guinevere’s room through a barred window, and then spends the night with her. But the second miniature has been defaced, as though a later viewer felt it was too explicit34. The several bed scenes in Add. 10293 give its picture cycle and emphasis that is quite remarkable in the illustrative tradition, one that is parallelled again by the inclusion of several scenes of Lancelot in bed with Elaine (Elyzabel in some versions), daughter of King Pelles (whom he is enchanted into thinking is Guinevere), and with whom his son Galaad, eventual winner of the Grail 31

For dreams in Estoire, see Remak-Honef, ‘Text and Image’, and for an analysis of dreams in Lancelot, Queste, and Mott Artu, see Demaules and Marchello-Nizia, ‘Träume in der Dichtung’. 32 Sommer, Vulgate Version, II, p. 278, line 39. There is no study of dreams in Merlin; this one is not in Rennes 255, BNF fr 770, Bonn 526, BNF fr 110, BNF fr 95, BL Add. 38117; but the list is not complete. For Merlin see now Fabry-Tehranchy, Text et Images. 33 Sommer, ibid., V, p. 182, line 16. 34 These miniatures are by the first painter. The defacement of scenes of love-making is not uncommon in romance manuscripts, though we cannot be sure when it occurred: see, for instance, those showing Perceval and Blanchefleur in Continuations of Perceval manuscripts and Yvain and Laudine in BNF fr 1433, discussed by Walters in ‘The Image of Blanchefleur’.

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in Queste del saint Graal, is conceived35. This subject, too, is unusual in the iconographical tradition: in the Yale manuscript, for instance (fig. 15), it is included but considerably downplayed visually, as the format selected is that of a very small historiated initial — one might even say one as small as possible — rather than the larger miniatures that are the rule in this book. And the emphasis, in the Yale manuscript, is on Lancelot’s remorse, while the lovemaking of Lancelot and Guinevere is excluded altogether from the picture cycle36. Was such a pictorial focus considered unsuitable for the young Guillaume de Termonde, its likely patron? Clearly, whoever devised the pictures for Add. 10292–4 thought otherwise, and it is tantalizing that we can only speculate as to who it might have been37. The Poisoned Apple The inclusion or exclusion of particular images was certainly a deliberate act at an early stage in the production of the book. Most manuscripts of the Mort Artu iconographical tradition deny the significance of Arthur’s discovery of the adultery by omitting that episode altogether, to focus a 35 See ff. 288 and 374; on f. 222 Lancelot, fully armed, having realized the lady he slept with is not Guinevere, raises his sword to kill Elaine, thinking it is she who has deceived him. 36 Admittedly, the manuscript only has the third part of the Lancelot proper, the Agravain section, so the text which would have included the First Kiss and its sequel is missing. But love-making is also excluded altogether in BNF fr 110; in Bonn 526 it is confined to a curious double bed-scene with two couples, on f. 254, and two scenes of Lancelot and the daughter of King Pelles on ff. 362v and 366, among other examples; in Morgan M.805–6 the only bed scene is the seduction of the daughter of the King of Norgales by Gauvain on f. 99, where it is the subject of a large (and, as Cockerell remarked, somewhat touched up) miniature; in BNF fr 122, written in 1345, f. 147v, Guinevere is in bed, but Lancelot stands fully clothed beside it; and Jacques d’Armagnacs books, generally quite reticent about depicting love scenes, also include a rare scene of Lancelot and Guinevere in bed while Arthur’s men spy, in the Mort Artu section of BNF fr 112, f. 203v. 37 Guilbert de Sainte-Aldegonde, who gave his Tournai Psalter, Saint-Omer 270, to the Chartreuse of Longuenesse in 1323, having added to it a devotional portrait miniature by the main painter of Add. 10292–4, Royal 14 E. III and Amsterdam/Rylands/Douce 215, is certainly a known patron who commissioned work from one of the same artists, though we unfortunately know nothing else about his patronage. Shields on the opening pages of Add., Royal and Amsterdam have not yielded information about original patrons. See Stones, ‘Another Short Note’. We are equally ill-informed about the owners of almost all the Vulgate Cycle manuscripts: Jacques d’Armagnac’s patronage is definitely exceptionally well documented. See now the names included on the list of manuscripts at the end of these essays.

IMAGES OF TEMPTATION, SEDUCTION AND DISCOVERY

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little later in the text on the poisoned apple episode, almost universally a part of the illustrative Mort Artu cycle, where Guinevere’s instrumental rôle in the ultimate collapse of Arthur’s kingdom is first manifested. Especially interesting in this respect is that BNF fr 342, Yale 229 and BNF fr 116 have both the poisoned apple and the discovery of the paintings — and they are the only three manuscripts that do. There are differences in treatment between them: BNF fr 342 (fig. 16) anticipates the suspense of the death of Gaheriet without actually showing it: the queen holds in her hand the apple she has taken from the bowl still held and offered to her by the servant; but we know from the marginal note that the apple was poisoned, and that a knight will die from it, Si com la roine seoit au mangier & on lui aporta fruit envenime et ele en dona au chevalier si morut tantost. In BNF fr 116 the eating and dying are more directly shown: the participants stand, and Gaheriet falls to the ground before the assembled company, the yellow apple (French Golden Delicious?) still at his lips (fig. 19). The words of the note in BNF fr 342, introduced by the phrase si com were probably intended as a guide for the accompanying rubric which should have been copied, as is the rule in this manuscript, into the space above the miniature. Perhaps, in this instance, it was not entered there by the rubricator because the scribe had left too little space, and so the rubricator simply left the marginal note unerased. An example where, for the same episode, both rubric and rubric note are preserved, is in BL Add. 10294 (fig. 20), another book that has rubrics throughout, as do the related copies made by the same team of bookmakers39. There the rubric says Ensi que la royne sit a table a plente de chevaliers et la royne donne le fruit a .I. chevalier et il en manga et puis si en morut. The note in leadpoint in the bottom margin is almost identical, and is again most likely to have been a note intended for the rubricator. No mention is made in the Additional manuscript of the crucial fact that the apple was poisoned, the knights are not named, and in neither of these examples is the death of Gaheriet shown in the miniature. Other pictorial treatments of the poisoned apple episode all show slight iconographical variations: in Bonn 526, the focus is on the handing of the apple and Gaheriet’s eating it, with the emphasis on just two standing figures, Guinevere and Gaheriet (fig. 17); again there are differences in the wording of the rubric, and this time names are included (Comment la roine 38 39

Contractions have been silently expanded. See Stones, ‘Another Short Note’.

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dona del fruit qui estoit envenimes a Gaheries le frere Mador et cel fruit li envoia .i. chevaliers qui avoit non Avalom dont il morut tantost.). In the rubricless Yale 229 the scene again takes place at table, as in Add. 10294, but also includes Gaheriet sprawling over it as he dies, and, in the borders, a take-off of the apple motif and the ensuing death in the form of a game of bowls and a man in a Jewish hat shooting an arrow at an animal terminal in the upper border (fig. 18). The Additional manuscript also includes, on many pages but not on this one, another kind of note that is more cryptic in wording, usually lacking the introductory Ensi com, using generic terms for people, and often including a word of command such as qui ara. Particularly clear examples are those in the Morgan Lancelot, where the notes were written in ink and those that survive seem to have escaped the trimming of the margins;40 no attempt seems to have been made to erase them there, as was done with the leadpoint notes in Amsterdam/Douce/Rylands, Roy. 14 E. III and Add. 10292–4. In those three books made by the same production team — not the same one as the Morgan Lancelot — the notes are now very hard to decipher, although there is no doubt about their presence and function on most of the illuminated pages. Occasionally there are traces of shorthand sketches in leadpoint as well as or instead of written notes; traces of one are just visible next to the miniature in Bonn 526, f. 464 (fig. 17)41. The sporadic presence of rubric notes, notes to the illuminator, and sketches, all suggest that bookmakers used intermediaries — written, sketched, or both — in forming their picture-cycles and in composing each image. The many variants, both in pictorial treatment and in the words of the notes and rubrics that survive are enough to show that the process was complex and suggest that many stages in the transmission of both words and images are now missing. The apple-eating incident is one that heavily involves Queen Guinevere, if innocently, in the death of Gaheriet and leads to her trial by fire, also

40 Most of them are transcribed by Cockerell, Descriptive Catalogue. No such note appears on the First Kiss page. 41 Several examples are discussed in Stones, ‘Indications écrites et modèles picturaux’. A useful survey of the literature with more examples is Sandler, ‘Notes for the Illuminator’ and Alexander has included some examples from the Rylands fr. 1 group in his Medieval Illuminators and their Methods of Work; but the examination needs to be a comparative one for the full implications to be realized, particularly in the case of Add. Roy. and the Amsterdam/ Rylands/Oxford set where several copies exist. A full study is in preparation.

IMAGES OF TEMPTATION, SEDUCTION AND DISCOVERY

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a popular and much represented subject in Mort Artu illustration42. Representing Arthur’s discovery of the paintings done by Lancelot serves more to emphasize Arthur’s shame as the decisive factor in his downfall. That BNF fr 342, Yale 229 and BNF fr 116 are the only manuscripts to include both episodes is certainly a striking link between the three. We know little of the circumstances surrounding the production of BNF fr 342, other than the date and gender of the scribe, and the likely provenance, mentioned above43, while Yale 229 may have been made for a member of the house of Flanders, perhaps Guillaume de Termonde. It is tempting to assume that Guilaume de Termonde and Jacques d’Armagnac, both anti-monarchists, were concerned to commision books that deliberately emphasized Arthur’s shame just as much as Guinevere’s guilt. Or were they more interested in what the painting episode says about the importance of pictures in general? Or was it simply that their artists or bookmakers had access to BNF fr 342, to its model, to a copy, or to a list based on it or its model or copy? Or, in the case of Jacques d’Armagnac, to Guillaume’s copy or its model or a copy of it. We can only speculate as to what their reasons really were, and we can only wonder who it was who made the decisions about selection and emphasis in the other manuscripts whose patrons and producers remain unknown.

42

Most notable is the selection of this subject as the only illustration in BL Royal 20 C. VI, made c. 1283 and illustrated by the William of Devon painter, an artist working for royal and noble clients in London. See Stones, ‘Aspects of Arthur’s Death’. 43 See notes 9, 11.

XXX Illustration et stratégie illustrative dans quelques manuscrits du Lancelot-Graal 1

C

ertains thèmes littéraires sont devenus des topoi dans l’art du Moyen Âge.On reconnaissait volontiers et sans difficulté dans la rencontre sous l’arbre de Tristan et d’Yseut, qui ont vu dans l’eau le reflet du roi Marc caché dans l’arbre, un motif de prédilection artistique bien au-delà de ses origines dans les romans en vers du XIIe siècle2. De même Yvain dont les hanches du cheval ont été tranchées par la herse du château fort, Alexandre explorant les profondeurs de la mer dans son vaisseau en verre, Lancelot traversant le pont de l’épée. C’étaient là les motifs par excellence qui évoquaient toute une histoire, une image tenait lieu de narration picturale complète mais bien connue. Mais l’illustration des romans et des épopées se présente sous un autre aspect bien plus complexe, qui nous mène aux questions concernant le rôle des images dans la réception et l’interprétation du texte. La sélection d’images narratives parsemées dans les romans en langue vulgaire était rarement standardisée. Au contraire, les choix d’images et leur emplacement dans le texte révèlent des stratégies délibérées qui parfois nous renseignent sur les attitudes de commanditaires envers les textes. Prenons l’exemple du Lancelot-Graal, version arthurienne transmise dans un peu moins de 180 manuscrits et fragments confectionnés entre le début du XIIIe et la fin du XVe siècle. Nous verrons qu’un lecteur-commanditaire anonyme s’intéressait

1

Une version de cette communication a été présentée à la Medieval Academy of America en mai 2010. Elle a été publiée dans Quand l’image relit le texte (Actes du Colloque international 15–16 mars 2011), éd. M. Pérez-Simon et S. Hériché-Pradeau, Turnhout, 2012, pp. 99–116. 2 Eming et al. Materiality and Visuality.

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tout particulièrement aux aspects juridiques du Lancelot, car son exemplaire met en avant de nombreuses scènes d’actions et de délibérations concernant les crimes, les jugements, les punitions ; citons le début du Lancelot propre, qui commence par l’usurpation des terres du jeune Lancelot et la mort de son père, le roi Ban, causée par son rival le roi Claudas. Puis ce même exemplaire présente une longue série d’images racontant en détail l’épisode de la fausse Guenièvre, usurpatrice des droits de la vraie épouse du roi Arthur. Un autre lecteur-commanditaire ne se sentait guère concerné par tout ceci et réunissait dans une petite sélection d’images des détails pertinents. Ce lecteur en revanche préférait les aspects spirituels du roman, mettant en avant le Graal et sa liturgie. On pourrait supposer que les variantes dans les choix d’images, leur emplacement dans le texte et leur traitement pictural dépendaient de facteurs extérieurs, chronologiques ou géographiques par exemple. Mais des exemplaires issus d’un même système de production contiennent autant de différences. Ici nous examinerons un groupe de trois copies exécutées par une équipe de copistes, de décorateurs, d’enlumineurs, sortis du même milieu culturel franco-flamand au début du XIVe siècle. Le ms. Londres, BL, Additional 10292–4 (ci-après Add.) transmet le cycle entier en 3 volumes – c’était le modèle qu’a pris Sommer pour son édition publiée entre 1907 et 19163. Add. contient un total de 748 illustrations – nettement plus que n’importe quel autre exemplaire. Dans une de ces images de l’Estoire ciel saint Graal, alors que Dame Flegentine fait faire les tombes de vengeance, la date du 17 février 1316 (1317 n.s.) a été gravée sur l’un des tombeaux, indication approximative de la date de confection du manuscrit. Le second exemplaire est conservé à Londres, BL Royal 14 E.III (ci-après Royal), contenant seulement 3 branches (Estoire, Queste, Mort Artu) – mais pour l’Estoire il contient plus d’images que Add., à savoir 63 dans Royal, 61 dans Add., et ce malgré l’absence du dernier folio qui devait lui aussi être illustré4. La commande des tombeaux est illustrée dans Royal, mais la date de confection n’y apparaît pas. Pourtant, il s’agit d’un exemplaire de grand luxe, de dimensions plus larges qu’Add., contenant des initiales filigranées en or et bleu, alternant avec le rouge et bleu, auxquelles se limite la décoration des 3

Les éditions sont indiquées dans les annexes à la fin de cet article. Roger Middleton a observé que le fragment de renvoi dans la marge inférieure du f. 88v, découpé pour la plupart, se réfère au début de la Queste, indiquant que la branche du Lancelot a toujours fait défaut dans Royal. 4

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paragraphes du manuscrit Add. Dans la branche de la Queste del saint Graal, Royal contient 31 images, Add., 25, et dans la branche finale, la Mort Artu, Royal en contient 21 (mais est inachevé), contre 22 dans Add. Le troisième exemplaire du groupe, maintenant divisé entre une collection privée (anciennement Amsterdam, BPH 1), la Bodleienne d’Oxford (Douce 215) et la John Rylands University Library de Manchester (French 1) (ci-après Amst./ Douce/Ryl.), contient les 5 branches du Lancelot-Graal sans la Suite Vulgate du Merlin mais elle comporte de très nombreuses lacunes et sa conception est nettement plus modeste. Souvent une grande initiale champie tient lieu de miniature, en faisant un exemplaire bien moins opulent que les deux autres. Il y a aussi des différences sur le plan stylistique : on peut remarquer certaines variations dans le dessin des figures, dans les motifs architecturaux ou dans le traitement des éléments végétaux, ainsi que dans le traitement des initiales champies notamment dans Amst./Douce/Ryl., sans parler des rubriques, sujet que nous laissons de côté ici. Sans doute ces différences s’expliquentelles en partie par un laps de temps dans l’exécution des manuscrits, mais on ne sait pas exactement quelles ont été les limites chronologiques ni dans quel ordre les trois manuscrits ont été exécutés. Plusieurs artistes travaillant dans le même style ont probablement participé et on distingue au moins six mains de copistes5. Il n’est pas impossible que les trois manuscrits aient tous été produits en même temps en une décennie ou plus, car l’œuvre du peintre principal se retrouve dans la miniature de dédicace ajoutée en 1323 par Gilbert de Sainte-Aldegonde au psautier qu’il offrit à la Chartreuse de Longuenesse près de Saint-Omer (Saint-Omer, BM 270, f. H)6. Quelles sont les images-topoi dans le Lancelot-Graal ? Le Graal, ses apparences et sa liturgie dans l’Estoire et la Queste ; Arthur élu roi dans le Merlin et dans le Lancelot, le héros traversant le pont de l’épée, transporté dans la charrette, le premier baiser de Lancelot et de Guenièvre. Add., Royal et Amst./Douce/Ryl. contiennent des images représentant certaines de ces scènes (rappelons que la branche du Lancelot fait défaut dans Royal) et ce sont les variantes qui à ce moment-là deviennent intéressantes, nous indiquant parfois les intérêts soit de commanditaires (pour la plupart anonymes), soit

L’opinion de Michael Gullick est à consulter sur le site du Lancelot-Grail Project, http://www.pitt.edu/Lancelot-project.html (15 décembre 2011). 6 Meuwese a proposé une suite chronologique commençant vers 1305 par Amst./ Douce/ Ryl., continuant avec Royal et se terminant avec Add. vers 1316 : Meuwese, ‘Three Illustrated Prose Lancelots’. 5

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

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de possesseurs plus tardifs. Par exemple, la traversée du pont de l’épée n’a pas été représentée d’emblée dans Amst. – une petite initiale filigranée marque l’emplacement dans le texte qui correspond à la miniature qu’en présente Add. (pl. 1). Un possesseur aux environs de 1400 a dû avoir été troublé par l’absence de miniature à cet endroit et a fait ajouter en bas de page une miniature montrant cette scène (pl. 2)7. Il a dû reconnaître l’importance de ce moment pour Lancelot et tenait à le mettre en avant, redoublant le signal placé dans le texte – l’initiale en début du paragraphe – par une image narrative. La comparaison d’images dans d’autres parties du Lancelot s’avère plus complexe et les différences entre les stratégies illustratives sont plus marquées. Le Lancelot débute par l’histoire du roi Ban de Benoïc, père de Lancelot dont les terres ont été usurpées par le roi Claudas. Un même sort est réservé au frère de Ban, le roi Bohort de Gaunes, père de Lionel et de Boort, victime également des attaques du roi Claudas, de trahison, d’usurpation, de droits non respectés. La première page du Lancelot dans Add. met en avant la parenté des deux frères en insérant un double portrait dans une initiale historiée, accompagnée par une bordure pleine de motifs sans rapport direct avec le texte8. Amst., en revanche, illustre sans préliminaire l’attaque et la destruction par le roi Claudas du château-fort de Trèbes, propriété du roi Ban. On voit dans une double miniature le roi Ban obligé de fuir, accompagné de sa femme Elaine et de Lancelot. Cette image évoque un contexte beaucoup plus large, celui de la destruction de Troie, topos par excellence de trahison et d’usurpation illégale dont des échos se retrouvent dans de nombreux corpus littéraires et iconographiques9. La suite des événements, jusqu’à l’enlèvement de Lancelot par la Dame du Lac, se déroule plus lentement dans Add., suivant le fil narratif, à travers cinq images et deux initiales champies, alors qu’Amst. se limite à deux images et deux initiales champies. Amst. combine dans une miniature la chute du roi Ban, la détresse d’Elaine et le bébé posé par terre à côté du lac, alors qu’Add. y consacre deux miniatures et revient

7 Un total de 21 miniatures ont été ajoutées dans cette deuxième campagne d’illustration. Celle-ci est la seule à ne pas correspondre à une initiale champie dans le texte. Une vingtdeuxième addition a dû se trouver sur un folio manquant entre les folios 218v et 219, puisque les folios qui suivent conservent les traces de coupure dans les marges inférieures. 8 Un sujet analogue a été repris dans Paris, BnF, fr 118, représentant les deux rois accompagnés, cette fois, par leurs femmes et enfants. 9 Stones, ‘Seeing the Walls of Troy’, réimprimé dans ces essais.

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aussi sur le sort du roi Bohort et de sa femme qui prend le voile, marqué dans Amst. par une initiale champie seulement. Add. et Amst. aboutissent tous les deux à l’enlèvement de Lancelot par la Dame du Lac, sous les yeux de sa mère dans Add. Ce dernier manuscrit utilise une longue série de miniatures pour présenter la trahison du sénéchal du roi Ban ainsi que le sort du frère de Ban, le roi Bohort, et de sa femme, reprenant ainsi le double portrait du début et suivant le long déroulement des événements, alors que les images dans Amst. se concentrent sur la mort de Ban et sur le sort de Lancelot pour avancer plus rapidement dans l’histoire de ce dernier. L’annexe A à la fin de cet article résume la distribution et le contenu des images dans Add. et Amst. Un deuxième cas où l’on peut observer les mêmes différences stratégiques concerne l’épisode, également fondé sur des questions juridiques, de la Fausse Guenièvre. Dans la version non cyclique du Lancelot, ce récit est placé vers la fin du roman, juste après le songe de Galehot et mène à une fin dramatique où les deux malfaiteurs, la Fausse Guenièvre et son champion Bertholais sont brûlés vifs10, comme le montre l’image dans le manuscrit de la Pierpont Morgan Library M.806 au f. 119v11. Dans le Lancelot cyclique transmis par Add. et Amst., l’épisode de la Fausse Guenièvre est raconté dans la deuxième partie du Lancelot et mène à la mort de la Fausse Guenièvre par intervention divine et à la réhabilitation de la vraie reine grâce aux efforts de Lancelot et de Galehot. Amst. consacre 5 images à la Fausse Guenièvre, alors que le chiffre dans Add. atteint 28, ou 33 images si on compte les 5 miniatures qui racontent l’histoire du songe de Galehot et son explication (f. 134–141v), épisode qui n’est pas illustré dans Amst. Là encore, Amst. présente une sélection d’images reprenant les hauts points du récit dans des miniatures denses où de nombreux éléments significatifs s’accumulent, alors que dans Add. le narratif s’étend à travers une longue suite d’images dont chacune met en avant un seul point, de sorte que l’histoire picturale se déroule à travers l’ensemble de l’espace textuel. L’annexe B résume ces données. La première scène illustrée dans les deux manuscrits (pl. 3 et 4) représente l’arrivée à la cour du roi Arthur de la demoiselle envoyée par la Fausse Guenièvre et son compagnon Bertholais. Dans la version Amst., la Fausse Guenièvre et Bertholais se tiennent debout devant les membres de la cour du

10

Kennedy, Lancelot do Lac, pp. 606–607 ; Micha, Lancelot, vol. III, p. 60. Reproduit par exemple dans Morrison et Hedeman (dir.), Imagining the Past, pp. 121– 123, cat. n°. 10, ill. 10a, ainsi que sur le site Corsair. 11

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

1. Londres, BL Add. 10293, Lancelot, f. 196, Lancelot traversant le pont de l’épée (© Trustees of the British Library)

2. Collection privée (olim Amsterdam, BPH 1), Lancelot, vol. iii, f. 45 Lancelot traversant le pont de l’épée (photo: Lancelot-Grail Project)

793

794

3. Londres, BL Add. 10293, Lancelot, f. 131, La demoiselle de la Fausse Guevièvre et son compagnon devant la cour du roi Arthur (© Trustees of the British Library)

4. Collection privée (olim Amsterdam, BPH 1), Lancelot, vol. ii, f. 202, La demoiselle de la Fausse Guevièvre et son compagnon devant la cour du roi Arthur (photo: Lancelot-Grail Project)

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

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5. Londres, BL Add. 10293, Lancelot, f. 152, Le pape excommuniant Arthur (© Trustees of the British Library)

6. Arras, BM 46 (843), Gratien, Decretum, f. 82, Causa XV, L’évêque prononçant l’anathème (photo: auteure)

796

7. Collection privée (olim Amsterdam, BPH 1), L’Estoire del saint Graal, vol. i, f. 18, Josephé invitant son père Joseph à quitter l’arche (photo: Lancelot-Grail Project)

8. Cambrai, MM 619, Grégoire IX, Décrets, f. 123, Livre III, Acolyte détournant les fidèles de l’autel (photo: auteure)

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

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roi Arthur et de la reine Guenièvre qui sont tous assis. Comme dans le texte12, la demoiselle a jeté son foulard par terre et s’apprête à sortir d’un coffret cylindrique la lettre qui va expliquer toute l’affaire13. La reine Guenièvre est déjà présente à côté du roi. Dans Add., en revanche, la demoiselle, qui porte un foulard blanc autour du cou, explique à l’aide de ses mains de quoi il s’agit, parlant au roi et aux barons, tous debout. La demoiselle n’a pas encore abandonné sa guimpe et le roi n’a pas encore fait venir la reine Guenièvre. Une deuxième miniature dans Add. est consacrée à la lettre, scellée14, lue devant le roi, la reine et la cour par un clerc qui la tient entre ses mains de façon à ce que l’écriture soit visible (mais pas lisible). La demoiselle (portant sa guimpe), Bertholais et deux autres personnages se tiennent derrière le clerc. Suivent dans Add. 9 miniatures illustrant le songe de Galehot interprété par Hélias, sans illustration dans Amst. Ensuite, une image dans Add. représente la Fausse Guenièvre, soutenue par ses demoiselles, expliquant sa mission devant Arthur, la reine Guenièvre et la cour. Une miniature de transition dans Add. montre le roi Arthur pris par le roi Tholomer avant d’être emprisonné par la Fausse Guenièvre. On le voit par la fenêtre depuis l’extérieur du château jurant fidélité à la fausse reine. Cette dernière miniature trouve un pendant beaucoup plus explicite dans Amst., car la vue est prise dans la pièce même où le roi, assis à côté de la Fausse Guenièvre, lui jure fidélité en mettant la main sur un livre en présence de sa cour. Suivent deux miniatures parallèles où les barons du roi Arthur offrent la couronne à Gauvain en présence de la reine Guenièvre et du roi Galehot. Sept miniatures racontent le déroulement de l’affaire dans Add. sans avoir de pendant dans Amst. Elles ont pour sujet le débat entre Lancelot et Arthur menant au duel judiciaire entre Lancelot, champion de Guenièvre, et Aglodas, champion de la Fausse Guenièvre, duel gagné bien sûr par Lancelot qui pose le pommeau de son épée sur la tête nue de son ennemi vaincu en geste de triomphe militaire. Il s’abstient de le tuer grâce à l’intervention de la reine, agenouillée et en supplication depuis une fenêtre du château. Deux autres scènes de débat dans Add. concernent l’éventuel sort de la reine Guenièvre, culminant dans l’interdiction contre 12

«... si sake sa guimple de sa teste dont elle iert encore envelopee et le gete sor le pavement... » (d’après Sommer, Vulgate Version, IV p. 10. 28–29). 13 « ...La damoisele prent la boiste et le defferme et puis en traist hors unes lettres... » (d’après Sommer, Vulgate Version, IV p. 11. 14–15). 14 « ...unes lettres pendans a .j. seel dor... » (d’après Sommer, Vulgate Version, IV 11. 15). Le sceau est celui d’Arthur lui-même, envoyé selon Bertholais par Leodegan, père de la reine Guenièvre.

798

le roi Arthur et tout le royaume de Bretagne prononcée par le pape (pl. 5). Il tend vers Arthur une bougie allumée, geste de désapprobation qui accompagne l’excommunication courante dans le contexte de l’illustration de manuscrits juridiques, notamment ceux du Décret de Gratien, texte de premier importance pour le droit canonique et doté d’une solide tradition illustrative (pl. 6)15. Ce motif est à ma connaissance unique dans la tradition arthurienne et met en avant l’agenda juridique des illustrations d’Add. Au même emplacement textuel dans Amst., il s’agit déjà de la fin de la Fausse Guenièvre, peinte sur son lit de mort et accompagnée par Bertholais, faisant sa confession devant le roi Arthur et les barons. La suite des événements dans Add. n’est pas encore arrivée à ce point, car dans les deux miniatures qui suivent l’interdiction, il s’agit du repentir du roi Arthur et de sa confession à l’ermite Amustans, puis de la messe d’expiation, avant d’arriver à la mort de la Fausse Guenièvre dans une configuration picturale similaire à celle d’Amst. Cinq images dans Add. traitent de la réconciliation avec la reine Guenièvre, représentée dans une seule miniature dans Amst., qui met plutôt en avant le rôle de Lancelot dans l’affaire comme dans le choix d’images au début du Lancelot. Amst. montre Lancelot embrassé par le roi Arthur en présence de la reine Guenièvre et de la cour, alors que la dernière miniature dans Add. s’avère plus concernée par les relations entre Lancelot et Guenièvre qui, agenouillée devant Lancelot pour le remercier, se laisse relever par lui. Nous prendrons pour terminer un exemple tiré de l’Estoire del saint Graal concernant la liturgie du Graal dans les trois manuscrits Add., Royal, et Amst.16 On remarque d’emblée la proche parenté entre Royal et Amst. en ce qui concerne l’emplacement des miniatures ou autres signes de renvoi (les initiales champies, utilisées dans Amst. dans l’Estoire comme dans le Lancelot pour signaler un passage de texte qui est marqué par une miniature dans d’autres manuscrits). Si la descente du Saint Esprit est représentée dans Add. et dans Royal, l’emplacement est différent puisqu’une miniature 15 Consulter Melnikas, Decretum Gratiani. Ce motif se trouve représenté dans les illustrations des Causae X, XI, XV, XXI, XXIII, XXIV, XXVI, surtout dans les manuscrits confectionnés dans le nord de la France, comme le manuscrit conservé à Arras mais confectionné à Paris et illustré par deux artistes connus, le Maître Hospitalier et le Maître de Méliacin. Le texte de la Causa XXVI concernant la sorcellerie décrit la façon dont on utilisait les bougies allumées dans la cérémonie de l’anathème et de la damnation. Nous remercions Maria Alessandra Bilotta pour cette observation. 16 Stones, ‘Seeing the Grail’; eadem, ‘The Grail in Rylands French 1’, reprinted in these essays.

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

799

préliminaire introduit l’épisode dans Royal, mettant en avant l’importance des préparations spirituelles de Josephé. Ensuite l’exclusion du père de Josephé, représentée dans Royal et Amst. (pl. 7), peut surprendre, mais ce motif (textuel et pictural) est tiré d’un texte de droit canonique très largement répandu au XIIIe siècle, les Décrets du pape Grégoire IX (1227–1241), rédigés par Raymond de Peñafort d’après un grand nombre de canons issus depuis le Décret de Gratien composé avant 1150 et 1234, date de la promulgation des Décrets de Grégoire. Le livre III des Décrets concerne directement la question de qui a le droit d’accéder à l’autel d’où les laïcs sont formellement exclus. Les nombreuses illustrations de ce livre montrent un membre du clergé invitant un ou plusieurs laïcs à se retirer de l’autre côté d’une cloison (pl. 8). Josephé fait ce même geste envers son père à cet endroit dans l’Estoire. Manifestement, le texte comme les illustrations ont été fondés sur le texte de Grégoire ou sur ses sources. Cette fois, le droit canonique est invoqué non pas dans le manuscrit Add., où seule la miniature préparatoire montrant la descente du Saint-Esprit est illustrée, mais dans Royal et Amst. Dans ce dernier, le contexte, une église gothique, met en avant les liens entre l’Estoire et ses sources canoniques. Dans Add., un moment différent a été choisi : il ne s’agit pas de la messe du Graal mais de la consécration de Josephé comme évêque en une scène qui se rapporte à sa légitimité ecclésiastique, puisque c’est le Christ même qui le consacre, scène sans illustration dans Royal et Amst. Mais la légitimité de Josephé s’y exprime autrement, car les images montrent que le Christ soutient Josephé dans la distribution du sacrement au peuple. Cette fois l’objectif des illustrations dans les trois manuscrits semble être similaire : mettre en avant le rôle du Christ dans la mission de Josephé, alors que les moyens d’atteindre ce but, le choix de la scène, diffèrent entre Add., d’une part, et Royal et Amst., d’autre part. Que peut-on en conclure ? Il s’agit ici, on le sait bien, d’un long récit composé d’éléments ou d’épisodes entrelacés, fondés non pas sur une structure de livres et de chapitres dont chaque partie – livre ou chapitre – est dotée d’une illustration, comme c’est le cas dans la Bible ou encore dans les livres juridiques. Le Lancelot-Graal est beaucoup plus complexe. Sa structure épisodique permet toute une gamme de possibilités picturales, de nombreux choix de sujets, de situations, de personnages, de motifs. Ce n’est qu’en considérant ces choix dans un cadre comparatif que l’on peut faire ressortir les similarités et les différences dans les programmes d’illustration et formuler des conclusions. Il est évident que les lecteurs/commanditaires et les organisateurs/programmeurs/créateurs ont fait jouer dans une certaine

800

mesure leurs propres intérêts, en permettant aux images d’aller au-delà du texte, pour privilégier certains thèmes, pour en exclure d’autres en les laissant sans image, afin de créer un ensemble qui répondrait aux intérêts, désirs et moyens financiers des commanditaires.

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

801

Annexe A. Le début du Lancelot Éditions (citations complètes dans la Bibliographie) Sommer, Vulgate Version, vol. III, ms. de base Londres, BL Add. 10293 (S III). Kennedy, Lancelot do Lac, ms. de base Paris, BnF, fr. 768 (LK). Micha, Lancelot, , vol. VII et VIII, ms. de base Londres BL Add. 10293 et vol. III, pp. 2-69, ms. de base Paris, BnF, fr. 768 (LM VII, VIII).

Texte

London, BL, Add. 10293 (Add.)

olim Amsterdam, BPH 1, vol. ii (Amst.)

S III 3. 1 LK 1 LM VII 1

Add. f. 1 Sans rubrique Ban, roi de Bénoic et son frère Bohort, roi de Gaunes se parlant; sur les antennes: David, couronné, visant Goliath avec sa fronde; deux chevaliers; une nonne nourrissant un clerc ou moine ; un homme tenant une lance attire l’attention d’un roi à cheval vers ce couple; des musiciens jouant de l’orgue et de la vielle ; des cavaliers, des singes, un chien, un écureuil.

Amst. ii, f. 37 Sans rubrique La destruction de Trèbes par le roi Claudas et son armée campée devant le château ; le roi Ban accompagné par la reine Eiaine s’enfuient à cheval, le roi se tordant les mains, la reine tenant Lancelot, bébé, dans ses bras.

S III 8. 18 Add. f. 2 Rubrique : Ensi que li senes- Amst. ii, f. 39v Sans rubrique LK 4. 10 caus le roy Bant [sic] de Benoic parole ni espace LM VII 12 au roy Claudas par dehors j. castel. Q, initiale champie Devant le château de Trèbes, au bord de l’eau, le sénéchal du roi Ban complote avec le roi Claudas la ruine du roi Ban.

802 S III 12. 11 LK 12. 15 LM VII 21

Add. f. 3v Sans rubrique ni espace A, initiale champie

S III 12. 29 LK 12. 35 LM VII 22

Add. f. 3v Rubrique : Ensi que li roy Bans de Benoic chevaucha amont .i. tertre et vit son castel ardoir. Le roi Ban se sauve à cheval, regardant la destruction de son château en flammes.

S III13. 10 LK 13. 18 LM VII 23

Add. f. 3v Sans rubrique ni espace T, initiale champie

S III 14. 6 LK 14. 24 LM VII 26

Add. f. 4 Rubrique : Ensi que li roys Bans de Benoyc morut de duel por chou qu’il veoit son castel ardoir. La mort du roi Ban : il gît sur la colline à côté de son château en flammes ; la reine se penche sur lui, en présence de son écuyer; les chevaux s’échappent et le bébé Lancelot repose par terre à côté du lac.

S III 16. 29 LK 18. 5 LM VII 32

Add. f. 4v Rubrique : Ensi que Amst. ii, f. 42 V Sans rubrique li roy Claudas a assis le castel de C, initiale champie Gaunes. Et la royne s’en fuit a ses enfans. Le roi Claudas et son armée chevauchent en direction du château de Montlair, propriété du roi Bohort de Gaunes, d’où s’échappe à cheval la reine Evane (sœur de la reine Elaine de Benoic) tenant ses bébés Lionel et Bohort dans ses bras.

Amst. ii, f. 41 Sans rubrique ni espace Le roi Ban tombe de son cheval, mourant à la vue de son château en flammes ; la reine Elaine dépose Lancelot, bébé, à côté du lac pour se précipiter à son secours.

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

S III 3. 1 LK 1 LM VII 1

Add. f. 5 Rubrique : Ensi que . i. roine se rent en .i. abaiee et on li coupe les treches d’unes forchetes. La reine Evane entre au couvent où une nonne lui coupe les cheveux en présence de deux nonnes qui se tiennent au portail du couvent et une troisième qui lui tend son habit.

S III 19. 18 LK 21. 11 LM VII 38

Add. f. 5v Rubrique : Ensi que .j. damoisele porta Lancelot en le lach et la royne fesoit grant duel por son enfant. À côté du couvent, la reine Elaine regarde la Dame du Lac qui emporte le bébé Lancelot dans le lac.

803

Amst. ii, f. 43v Sans rubrique ni espace C, initiale historiée: La Dame du Lac emporte le bébé Lancelot dans le lac.

804

Annexe B. La Fausse Guenièvre Éditions Sommer, Vulgate Version, vol. IV, ms. de base Londres, BL Add. 10293 (S IV). Micha, Lancelot, , vol. I et III, ms. de base du vol. I : Cambridge, Corpus Christi College 45; vol. III est basé sur plusieurs manuscrits, ici Grenoble, BM 865 (LM I, III).

Texte

London, BL, Add. 10293

olim Amsterdam, BPH 1, vol. ii

S III 3. 1 LK 1 LM VII 1

Add f. 131. Rubrique : Ensi que li roys Artus et ses barons a cheles une damoisele i vint qui avoit vestu cote et mantel de soie et si fu ele bien trechie et si amenoit chevaliers plusor. La demoiselle envoyée par la Fausse Guenièvre et son compagnon Bertholais se présentent devant le roi Arthur et sa cour.

Amst. ii, f. 202. Rubrique : Chi aporte une damoisiele et . un chevalier lettres au roy Artu de grans merueilles. La demoiselle envoyée par la Fausse Guenièvre et son compagnon Bertholais présentent une lettre au roi Arthur, à la reine Guenièvre et à la cour. La demoiselle a jeté sa guimpe par terre, elle ouvre une boîte contenant la lettre et commence à la sortir.

S IV 11. 1 LM I 19

Add f. 131v. Rubrique : Ensi que li prestres list les lettres par devant le baronnie que li fause roine envoia a le roi Artu. Un clerc lit la lettre de la fausse Guenièvre devant le roi Arthur, la reine Guenièvre et la cour.

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

S IV 20. 1 LM 139

Add f. 134. Rubrique : Ensi que li rois Galahos et Lancelot et les clers qui parlèrent au roy en une capele. Dans sa chapelle, le roi Galehot interroge ses clercs au sujet de sa maladie étrange.

S IV 25. 26 LM I 51

Add f. 136. Rubrique : Ensi que li roys Galaad parole a maistre Helyes en une capele de son songe. Maître Helyes explique à Galehot (non pas Galaad) la signifiance de son rêve.

S IV 32. 1 LM I 66

Add f. 138. Rubrique : Ensi que maistre Helyes fait le conjurement devant le roy Galehot en le capele tout privement. Galehot tenant une pyxide et Helyes tenant une crosse lisent les inscriptions sur les murs de la chapelle.

S IV 33. 13 LM I 69

Add f. 138v. Rubrique : Ensi que j. espee rouge vaut ferir maistre Helye en le capele ou Galehot fu. Un bras tenant une épée rouge vise à abattre Helyes et le roi Galehot dans la chapelle.

S IV 36. 15 LM I 75

Add f. 139v. Rubrique : Ensi que Galehot parole a Lancelot en une chambre et li chevalier les atendoient en la sale. Le roi Galehot s’entretient avec Lancelot alors que les barons attendent dans la grande salle.

805

806 S IV 37. 21 LM I 78

Add f. 140. Rubrique : Ensi que li roys Galehot demande a ses barons pour savoir a qui il baillera sa tere a garder. Le roi Galehot demande à ses barons de choisir un représentant pour gouverner pendant son absence.

S IV 38. 37 LM I 80

Add f. 140v. Rubrique : Ensi que li roys Galehot fet iurer le roi Baudemagus qu’il tenra loyaument sa terre. Le roi Galehot demande au roi Baudemagus de lui jurer fidélité.

S IV 42. 21 LM I 88

Add f. 141v. Rubrique : Ensi que li roine Genieure festi le roi Artu [recte Galehot] et le roi Artu Lancelot. Le roi Arthur et la reine Guenièvre embrassent Lancelot et Galehot.

S IV 43. 27 LM I 92

Add f. 142. Rubrique : Ensi que Lancelot et Melyagant joustent ensanble a coup de lanche. Meléagant et Lancelot joutent.

S IV 45. 19 LM I 96

Add f. 143. Rubrique : Ensi que une damoisele ot .xiiij. pucheles vint parler au roy Artu. La Fausse Guenièvre et ses demoiselles apparaissent devant le roi Arthur et sa cour.

S IV 47. 29 LM I 102

Add f. 143v. Rubrique : Ensi comme Tholomes prent le roi Artu et ses veneours en j. forest. Le roi Arthur pris par les chevaliers du roi Tholomer dans la forêt.

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

807

S IV 50. 1 LM I 107

Add f. 144v. Rubrique : Ensi que une damoisele qui tenoit le roy Artu en sa prison et ele parole a lui en le prison. Le roi Arthur, prisonnier dans le château de la Fausse Guenièvre, lui jure fidélité.

Amst. ii, f. 218. Rubrique : Chi est li roys Artus en prison et iure a la damoisiele s’amour Le roi Arthur assis à côté de la Fausse Guenièvre, dont il est prisonnier, lui jure sur un livre ouvert qu’il lui sera fidèle.

S IV 51. 15 LM I 110

Add f. 145. Rubrique : Ensi comme li roys Galehot conseille a Gauvain que il reçoive l’onneur de la coroune par devant le royne Genievre. Les barons du roi Arthur offrent la couronne à Gauvain puisque Arthur est encore absent.

Amst. ii, f. 219. Rubrique : Chi presentent chil du pais couronne a monseigneur Gauvain pour chou que li roys Artus n’estoit mie ou pais. Les barons du roi Arthur offrent la couronne à Gauvain puisque Arthur est encore absent.

S IV 54. 31 LM I 118

Add f. 146. Rubrique : Ensi que li rois Galaad [recte Galehot] blame au roi Artu de chou kil a laissiet se femme pour un autre. Le roi Galehot accuse le roi Arthur d’avoir condamné la reine Guenièvre sans preuves.

S IV 56. 37 LM I 123

Add f. 146v. Rubrique : Ensi comme Lancelot s’est desvestus et demande le roy Artu ki le jugement auoit fait sour la royne Genieure. Lancelot, soutenu par le roi Galehot et les barons, demande au roi Arthur qui était responsable du jugement contre la reine Guenièvre.

808 S IV 59. 21 LM I 129

Add f. 147v. Rubrique : Ensi que li rois Artus rechoit les gages de Lancelot et de Bertelai le Vieus par devant lor baronie. Lancelot s’engage à combattre dans un duel judiciaire pour prouver l’innocence de la reine Guenièvre et Bertholais jure de soutenir la Fausse Guenièvre ; ils offrent leurs gants au roi Arthur.

S IV 61. 1 LM I 132

Add f. 148. Rubrique : Ensi que li rois Galehot parole au roy Artu et devise la bataille comment Lancelot le fera par devant lor baronie encontre Bertelai le Vieus. Le roi Galehot intervient auprès du roi Arthur pour le persuader que Lancelot doit combattre contre les trois chevaliers un par un plutôt que contre les trois en même temps. .

S IV 62. 1

Add f. 148v. Sans rubrique : les tours du château fort occupent l’espace de la rubrique. Lancelot sur le cheval de Galehot attendant le combat, Arthur commande aux chevaliers de garder les lices ; les barons observent depuis le château fort.

S IV 63. 37 LM III 72

Add f. 149. Sans rubrique : pas d’espace. Lancelot triomphe sur Aglodas devant la foule des spectateurs dehors et aux fenêtres du château ; il jette le heaume de son adversaire et tient son épée, lame en haut, sur la tête d’Aglodas

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

S IV 66. 15 LM III 77

Add f. 150. Sans rubrique : pas d’espace. Lancelot tient Aglodas en son pouvoir ; la reine Guenièvre, depuis une fenêtre du château, supplie Lancelot de l’épargner.

S IV 68. 1 LM III 80

Add f. 150v. Rubrique : Ensi que li parlemens del roy Artu et Gauvain parla au roy son onkle por la royne acheles et Bertelai li Vieus parole a lui et faisoit samblant de plorer. Les rois Arthur et Galehot débattent avec Bertholais du sort de la reine Guenièvre : Gauvain lui demande de la traiter avec courtoisie alors que Bertholais, pleurant, insiste pour qu’elle quitte le royaume.

S IV 69. 17 LM III 83

Add f. 151. Rubrique : Ensi que li rois Artus tint la roine Genieure par le main et la bailla a garder le roi Galehot par deuant lor baronie, et les barons en orent grant pitie. Devant les barons, le roi Athur confie la reine Guenièvre à la garde du roi Galehot.

S IV 72. 9 LM III 89

Add f. 152. Rubrique : Ensi que on gete sentence sour le roy Artu. Depuis le portail d’une église, le pape sert une interdiction au roi Arthur, lui tenant une bougie allumée en lui commandant de quitter sa nouvelle femme et de reprendre l’ancienne.

809

Amst. ii, f. 227v. Rubrique : Chi gist malade de meselerie li fausse royne et li roys Artus le vint veir. La Fausse Guenièvre sur son lit de mort, accompagnée par Bertholais, se confesse devant le roi Arthur et les barons.

810 S IV 75. 16 LM III 94

Add f. 153. Rubrique : Ensi comme li rois Artu se fist confesser d’un hermite en son hermitage. Le roi Arthur se confesse à l’ermite Amustans dans son ermitage.

S IV 76. 37 LM III 97

Add f. 153v. Rubrique : Ensi que li roys Artu et se baronie oirent messe en .j. hermitage. Le roi Arthur et ses barons assistent à la messe dans l’ermitage.

S IV 79. 4 LM III 101

Add f. 154. Rubrique : Ensi que li fause Genieure gist mesele et si vint li rois Artu parler a li. La Fausse Guenièvre sur son lit de mort, accompagnée par Bertholais, se confesse devant le roi Arthur et les barons.

S IV 80. 6 LM III 103

Add f. 154v. Rubrique : Ensi que li rois Galehot et Lancelot parolent a le royne et li conseillent le millor qu’il pevent. La reine Guenièvre demande conseil à Lancelot et au roi Galehot.

S IV 81. 23 LM III 106

Add f. 155. Rubrique : Ensi que les gens de Carmelide prient merci a leur droite dame en peur les chemises. Les barons de Sorelois, en chemise comme des pénitents, demandent merci à la reine Guenièvre.

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

S IV 82. 34 LM III 108

Add f. 155v. Rubrique : Ensi que li roy Artu donna en garde la royne Genievre au roy Galeholt Le roi Galehot cède la garde de la reine Guenièvre au roi Arthur (la rubrique indique le contraire).

S IV 84. 12 LM III 111

Add f. 156. Rubrique : Ensi que Galehot et Lancelot parolent a la roine en sa chambre. Le reine Guenièvre parlant à Lancelot et au roi Galehot dans sa chambre.

S IV 85. 29 LM III 114

Add f. 156v. Rubrique : Ensi que Lancelot relieve la roine qui estoit agenoillie par devant les baronnes. Lancelot relève la reine Guenièvre qui le supplie de rejoindre la Table Ronde en présence des rois Arthur et Galehot et des barons.

Amst. ii, f. 232. Rubrique : Chi baise li roys Lancelot Le roi Arthur embrasse Lancelot.

811

812

Annexe C. La Liturgie dans l’Estoire del saint Graal Éditions Furnivall, Seynt Graal, ms. de base Londres, British Library, Royal 14. E. III. Sommer, Vulgate Version, vol. I, ms. de base Londres, BL Add. 10292 (S I). Ponceau, L’Estoire del Saint Graal, ms. de base olim Amsterdam, BPH 1 (Amst.) jusqu’au f. 63 (Pon).

Texte

London, BL, Add. 10292 (Add.)

Londres, BL Royal 14 E III (Royal)

olim Amsterdam, BPH 1, vol. i (Amst.)

S I 29. 17-19 Pon 65. 99. 1+ var

Add. f. 8 Rubrique : Ensi que Ioseph et ses gens sont en orisons devant .j. autel et Dieu parla a eaus. La messe du Graal célébrée par Josephé à Sarras : la colombe du Saint Esprit, envoyée par le Christ, émet des rayons qui entrent dans la bouche de Josephé et de ses compagnons agenouillés devant l’autel où est posé le Graal (un calice).

Royal f. 14 Pas de rubrique Dieu bénit Josephé qui prie à côté de son lit.

Amst. i f. 15v Pas de rubrique O, initiale champie

Royal f. 14v. Pas de rubrique La messe du Graal célébrée par Josephé à Sarras : le Christ envoie des rayons de

Amst. i f. 16v Pas de rubrique A, initiale champie

S I 30. 16 Pon 69. 105.1

ILLUSTRATION ET STRATÉGIE ILLUSTRATIVE

813

sa bouche aux bouches de Josephé et de ses compagnons agenouillés devant l’autel où est posé le Graal (un calice d’or).

S I 34. 3 Pon 75. 116. 11

S I 36. 26 Pon 80. 124. 1

Royal f. 15v Pas de rubrique La messe du Graal célébrée par Josephé à Sarras : dans l’arc, Josephé détourne son père Joseph, l’empêchant d’approcher du Graal (une écuelle d’argent) posé sur l’autel.

Add. f. 9v Rubrique : Ensi que Diex sacra Iosephe le primier evesque et li bailla le croche en le main. Le Christ consacre Josephé comme évêque et lui tend sa crosse épiscopale.

Amst. i f. 18 Rubrique : Chi canta Iosephus messe et mist son pere hors du tabernacle. La messe du Graal célébrée par Josephé à Sarras : dans l’arc (une église gothique), Josephé détourne son père Joseph, l’empêchant d’approcher du Graal (une écuelle d’argent) posé sur l’autel.

814 S I 40. 4 Pon 86. 134. 1

Royal f. 17v col. d, ligne 8 Pas de rubrique A, initiale ornée

S I 41. 15 Pon 88. 138. 8

Royal f. 17v. Pas de rubrique La communion de la messe à Sarras : Josephé et le Christ qui tient une écuelle d’or (le Graal?), donnent l’eucharistie aux fidèles devant l’autel où repose un calice d’or (encore le Graal ?).

Amst. i f. 21 Rubric : Chi acummenie Dieus et Iosephus le sieucle. La communion de la messe à Sarras : Josephé et le Christ tiennent chacun une écuelle d’argent (le(s) Graal(s)?) et donnent l’eucharistie aux fidèles dans l’arc (une chapelle gothique) devant l’autel où repose un calice d’or (encore le Graal?). Des anges encensent les fidèles.

E Mort Artu

XXXI The Illustrations of the Mort Artu in Yale 229: Formats, Choices, and Comparisons

Y

ale 229 and its sister manuscript, BNF fr 95,1 share illustrative features that distinguish them among all the codices of the popular LancelotGrail romance. Immediately striking about these energetic miniatures is their distinctive format: miniatures one-column wide for the most part, usually divided into two superimposed registers, and accompanied by borders supporting all manner of figures, hybrids, animals and birds. This distinctive arrangement allows for two different components of an episode or for two stages in a sequential narrative to be depicted at once, and for the supporting border elements to offer, on occasion, a related detail or a reversal of elements shown in the main illustration.2 Then, too, there are smaller miniatures, with a single scene, and with a border often laden with motifs in similar manner to those accompanying the larger miniatures. At the opening of other branches of the text in BNF fr 95 and in the Agravain of Yale — but not for Yale’s Queste del saint Graal or Mort Artu — the single-column miniature format gives way to a large historiated initial, consistent with the general practice of distinguishing an opening illustration from those that follow in the body of a text or a branch. And from time to time (particularly in the Agravain, but not at all in the Mort Artu) small historiated initials First published in The Mort Artu in Yale 229, ed. E. Willingham, Turnhout, 2008, pp. 263–316. 1 Yale 229 is the Beinecke Rare Book and Manuscript Library MS 229 [Yale], BNF fr 95 is Paris, Bibliothèque Nationale de France, MS français 95 [BNF fr 95]. 2 The double-register arrangement is also found in Cology-Genève, Bodmer 147 (ex-Phillipps 1046) having the Estoire, Merlin, Queste, and Mort Artu. It is of uncertain provenance, perhaps Eastern or Southern France? See .

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appear in the body of the text, accompanied by borders like those of both types of miniature. This combination of illustrative formats is unusual. More often a large miniature or cluster of miniatures is to be found at the openings of branches, and illustrations of a reduced format in the body of the text or branch, so the practice followed in BNF fr 95 and Yale 229 for the Estoire, Merlin, and Agravain is a reversal of the usual situation. Retaining a large miniature for the Queste and Mort Artu is also an unusual feature of Yale 229.3 My aim here is to explore some of the ways in which this variety of formats impacts upon, or is exploited by what is selected to be shown in the illustrations in the Mort Artu, and to focus primarily on what it is that is depicted—which story elements are chosen, and where in the text the pictures are placed. Yale 229 is copiously illustrated, in all its branches, as is BNF fr 95. Of the forty-nine illustrations in the Yale 229 Mort Artu, twenty-six are large, one-column wide, divided into two registers (with one exception), and twenty-three are a half-column wide and contain a single scene; both have borders, as noted above. The total number of illustrations — seventy-four plus borders — is more than average.4 Is the selection of subjects equally original or unusual? What can be said about their placing in the text? What is distinctive about how the subjects are treated? What are the relative values of the different types of format in relation to choice of subject and placing? Can an examination of these points lead to general observations about who commissioned the book — or at least about what kind of take on the text the commission reflects? In order to attempt some answers to these questions, I compare Yale 229’s Mort Artu with the three copies made a decade or two later in a nottoo-distant region.5 Yale 229 and BNF fr 95 were most likely made in SaintOmer orThérouanne on the borders of Artois and Flanders sometime in the decade of the 1290s, because at least one of their artists also worked on the psalter-hours of Thérouanne, Paris BNF lat 1076 and Marseille BM 111,

See Stones, ‘”Mise en page’ in the French Lancelot-Grail’. See Stones’ bibliography at (now http://www.lancelot-grail.project. pitt.edu). 4 25 x 2 +1 + 23 = 74. See the table following this essay for the subjects and text references. See Stones, ‘Some Aspects of Arthur’s Death’ (esp. pp. 91–96). 5 See the table that follows this essay. For a broader set of comparisons presented in skeleton form, see the comparative lists in Stones, Illustrations of Lancelot (Chapter 10). 3

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made before 1297.6 Two artists participated in the illustration of Yale 229, but the pictures in the Mort Artu were executed almost entirely by the major painter (except f. 332). The group comprising London, BL Add. 10292–4, Royal 14 E.Ill, Amsterdam BPH 1/Oxford, Bodl. Douce 215/Manchester, The John Rylands University Library French 1, was made in Saint-Omer or Ghent c. 1315–25.7 In what follows, I draw substantially on the collaborative work of the Lancelot-Grail Project, especially the model for comparative tables first developed by Susan Blackman for Jacques d’Armagnac’s Lancelot-Grail manuscripts8 and adapted for the Saint-Omer/Ghent group by Martine Meuwese, † Elspeth Kennedy, and myself. From the detailed analyses done by Elspeth Kennedy and myself, we have learned that even in manuscripts made in the same workshop (where scribes, rubricators, decorators, illuminators can be said to be working in closely-related formal modes) there can be substantial dilferences of choice, placement, and treatment of subjects. In some cases these differences can be explained, we think, by the particular interests of the patrons, be they in the spiritual aspects of the text (especially for the Estoire and Queste del saint Graal in the Amsterdam-Douce-Rylands copy), or in legal aspects of the text (for instance, the usurping of King Ban from his lands at the beginning of the Lancelot, or the False Guinevere episode later in the Lancelot, for which a highly developed pictorial sequence is found in Add.). Here I expand that approach to examine some of the ways in which Yale 229 is similar to, and departs from, the three Saint-Omer/Ghent copies and to ask what conclusions can be drawn from the findings. It should be noted at the outset that only Add. and Yale contain the Mort Artu complete. Royal breaks off before the end, and Ryl. and Douce have many lacunae as well as ending incomplete. These manuscripts hereafter are referred to as follows: London, BL Add. 10294 = Add. London, BL Royal 14.E.III = Royal Amsterdam, BPH 1 = Amst. Oxford, Bodl. Douce 215 = Douce Manchester, The John Rylands University Library, French 1 = Ryl. See Stones, ‘Illustrations in BN fr 95 and Yale 229’, reprinted in these essays. The latter three manuscripts have formed the core cluster of the collaborative LancelotGrail project on which I have worked with other scholars for the past few years. See Stones ‘Another Short Note’ and http://www.lancelot-grail.project.pitt.edu. 8 See Blackman, Manuscripts and Patronage and ‘Pictorial Synopsis’. 6 7

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The Lancelot-Grail cycle is transmitted in two versions, and Add., Royal, Amst, Douce, and Ryl. all transmit the short version, while Yale has the long version.9 And there is the question of rubrics, altogether absent in Yale 229 and its sister manuscript, BNF fr 95, but present, or anticipated, in the Add.-Royal-Rylands group. Nevertheless, several points of comparison may be made. The large miniatures Of the twenty-six large miniatures in Yale’s Mort Artu, there are twentytwo instances which correspond in their placing in the text to a picture (or occasionally to a decorative champie initial) in the other three copies (see the diagram following this essay for comparisons among the manuscripts for each illustration in Yale). In each case, Yale’s use of the two-level miniature allows a sequential aspect of the narrative to be played out in the picture, and sometimes a further detail in the narrative is depicted shortly after, or occasionally before, in a small miniature. Examples are the lead-in to Arthur at Morgan’s castle where he sees the pictures painted by Lancelot, at Yale f. 287 (LM) and f. 289 (fig. 17) (SM); the lead-in to Lancelot rescuing Guinevere from the stake, Yale f. 307 (fig. 5) (SM) and f. 308 (fig. 6) (LM); the news of the deaths of Arthur’s men brought to him and Gauains, who is wounded, Yale f. 311 (LM), f. 313 (SM). In most instances, the subject of the upper scene is the same as, or closely related to, the subject of the miniature in the other three manuscripts. I consider some examples and deviations from this rule below. A parallel for the lower scene (or, less frequently, the upper scene) in one of Yale’s large miniatures may often be found in a separate miniature, placed at a later (or occasionally earlier) spot in the text, in one of the other three copies, most frequently in Add. Compare the subject of Arthur and his men setting out from Camelot in Yale f. 272v (fig. 1) (LM) with Add. f. 53 (fig. 2) (miniature and champie); see also the subject of Lancelot and the tournament at Winchester at Yale f. 276 (SM) and Add. 54v; and the tournament of Tanebourc at Yale f. 282v (LM 2) and Add. f. 59v. The opening sequence of miniatures in the Mort Artu begins with the subject of narration itself — whether of the past adventures of the Queste del saint Graal, or those to come in the Mort Artu — and continues through Lancelot’s victory at the Tournament of Winchester. For the first miniature, 9

See Frappier, Mort Artu, Introduction.

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the preferred subject is that of the telling of the story and the writing down of what is told: in Yale, Royal, and Ryl., (figs. 1, 3, 4) the pictorial emphasis is on the King (Henry II and/as/or/ King Arthur) commanding his scribe (as/ or/Walter Map) to write the Mort Artu/and/or/ the adventures of the Queste del saint Graal. The picture depends on either the opening words of the text, in which King Henry and Walter Map are the protagonists; or they draw upon what is said a little later, where Bohors returns to court and relates the adventures of the Queste del saint Graal to King Arthur who has his scribe write them down. The one picture may carry both meanings, in deliberate ambiguity. In Royal the gestures suggest that King Henry is commanding Walter Map to write the Mort Artu, while in Ryl., the differences in pose and gestures suggest that it is King Henry telling Walter Map that what he wrote in the Queste was not enough. Add.’s opening image (fig. 2) is also susceptible to a double interpretation: a man stands before a seated king, addressing the king. This man is either Gauain, who tells Arthur how many knights he killed in the Queste, or Bohors recounting the adventures of the Queste, or the one overlaid with the other. In either or both cases the subject of the illustration refers back to the previous branch of the cycle—as do the opening words of the text of the Mort Artu. On the same folio in Add., a champie initial (fig. 2) marks the narrative spot where Bohors is joyfully received at his return to Arthur’s court. Add. is the only copy to note this reception with a decorative element, and thus to link the opening scene to this moment of Bohors’ return, further reinforcing the notion of continuity between the branches of the Queste and Mort. In Add., that continuity is further emphasized by the fact that the end of the Queste and the beginning of the Mort are both placed on the same folio, the latter following on the former without a break, a feature not generally found in other manuscripts, where the usual practice is to begin a new branch of the text on a new folio. Yale also ends the Queste and begins the Mort Artu on the same folio, leaving just a few lines blank at the end of the Queste in order for the Mort to start at the top of the second column (f. 227v). In Yale the Agravain begins on the recto of a folio (f. l) at the opening of the first quire. The Queste opens on a recto (f. 187), but within a quire (quire 24 running from f. 184 – f. 191v). Where Yale differs from the later copies, of course, is in the lower register of the opening miniature of the Mort Artu, which shows King Arthur riding out from Camelot with his knights (fig. 1); curiously, he holds a whip. Most likely they are heading for the tournament of Winchester, which will be the subject of the next scene in Yale, one that is also matched (if at a different

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place in the text) in Add., but not in the other two copies. The border scenes in Yale respond to the lower register of the miniature. At the top, a frontal-facing knight on horseback (surcoat orange, housing or) brandishes a sword and shield against two ape terminals, one with a shield and sword, the other raising an axe — perhaps anticipating Lancelot’s victory to come at the tournament. At the bottom, the whip motif is picked up again, in the image of a hooded man riding bareback and brandishing a whip (left), accompanied by a horse-head terminal (right) — possibly a take-off based on the King Arthur image in the lower miniature. Add. lacks marginalia on this opening folio (unusually), and the marginalia in Royal and Ryl. are generic: figures, animals, birds, with no particular significance that can now be determined. Thus the affiliations among all four copies are complex, and no single pattern of allegiance emerges. This variety suggests a considerable degree of independence in the planning and execution of the illustrations for each copy, leading in turn to the notion that patron input was most likely an important factor in what was selected for illustration. At Yale f. 277, Gauains (Gauvains) and Gaheriet not only encounter the dead knight on the litter as in the other copies, but they continue on to Winchester and are greeted by King Arthur. Marginalia accompany the two scenes of the miniature, but bear no obvious relation to the main subjects.The idea of extending the narrative across more than one scene is also exploited in Add. where a follow-on miniature appears at a later point in the text; thus, on f. 56 in Add., Gauains and Gaheriet are shown talking to the Demoiselle d’Escalot and her father; this scene leads pictorially to the Lancelot-Demoiselle encounter which is shown next in all four copies. Royal and Rylands use champie initials to frame this important scene: Royal has one before the scene (f. 143v), the corresponding folio on Rylands is missing, and both show one after it (Royal f. 146v, Rylands f. 218r). For the apple-eating incident, on the other hand, it is the lower part of Yale’s miniature which finds its match in the other three copies (Yale f. 293, fig. 9, Add. f. 63v, fig. 10, Royal, f. 151v, fig. 11, Ryl. f. 223, fig. 12), preceded in Yale by King Arthur’s arrival at Camelot, as though to link the death scene beneath — cleverly depicted in Yale, where the queen’s gesture of passing the apple and Gaheru de Caheru dead with the apple in his mouth appear in same scene — with Arthur’s presence on the burial ship of the damsel of Escalot which follows a few miniatures later, in a small miniature to which I return below. Similarly, for Guinevere saved from the stake, Yale sets the scene in the top register, showing Guinevere between two groups

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of knights, while the combat and the fire are shown below, and find their match in Add. and Royal (missing in Rylands). For depictions of journeys, the two-register format obviously allows for showing the passage of time and different modes of transport, so at Yale f. 325 Lancelot and his men sail away from Logres at the top and (having landed), ride to Benoyc at the bottom.While only riding is shown in Add. f. 78v, Rylands f. 239v comes closer to Yale by showing the group riding towards a boat.The return by sea of Arthur and his men to Dover is detached, in Yale f. 348, from Gauain on his deathbed, while these scenes are combined as a sea-picture in Rylands f. 253v and as a horse-drawn procession in Add.f. 88. In Yale f. 347r (fig. 18), Guinevere is shown riding to the convent (brandishing a whip, cf. Arthur on the opening folio, 272v) where she is received by the nuns. The miniature thus emphasizes Guinevere’s physical transition of place and mode of life in Yale, while Add.f. 87v (fig. 19) and Rylands f. 252v (fig. 20) give only her reception at the nunnery. In its treatment of the reading of the false letter (Yale f. 329),Yale’s format allows the tension to be drawn out in anticipation by first showing the presentation of the letter, and only then moves down to show the various reactions to what it says as it is read out (Yale f. 329, Add. f. 80, Ryl. f. 242), while Add. and Ryl. simply concentrate on the actions of reading and listening, by the bishop and Guinevere respectively. Arthur’s premonition of his impending doom is handled similarly in the lower miniature of Yale f. 350 (fig. 21) and in Rylands f. 253v (fig. 22) where both show Gauvain’s warning to Arthur in a dream; Add. f. 89 (fig. 23), however, gives the unique (to my knowledge) scene of Arthur on Fortune’s wheel based on the splendid passage of question and answer between Fortuna and Arthur in the text.10 Yale’s upper register, showing Arthur and his men, seems a curious choice, made as though to present Arthur’s court as witnesses to Gauain’s predictions. The return of Arthur’s sword by Giflet (Yale f. 359, fig. 26), without Arthur present, may be compared to the single scene in Add. f. 94 (fig. 27), placed a little later in the text, where Arthur makes his final appearance, turning his back on the sword and on all that it had come to symbolize. In Yale, his story continues in a rare final miniature to which I return below, but in Add. this is the last miniature to show Arthur.

10

Stones, ‘Fortunes of Arthur’.

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1. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 272v, King ordering scribe to write, courtiers present; Arthur and his men setting out from Camelot (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

2. London, BL Add. 10294, Mort Artu, f. 53, King and courtiers (photo: British Library)

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3. London, BL Royal 14 E.III, Mort Artu, f. 140, King enthroned, ordering scribe to write (photo: British Library)

4. Manchester, The John Rylands University Library French 1, Mort Artu, f. 212, King, standing, commanding scribe to write (photo: Lancelot-Grail Project)

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5. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 307, Lancelot drags the body of Sauuagins into Guinevere’s chamber (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

6. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 308, Guinevere seized; Guinevere at the fire, Lancelot fights to come to her rescue (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

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7. London, BL Add. 10294, Mort Artu, f. 70v, Lancelot fights to rescue Guinevere from the fire (photo: British Library)

8. London, BL Royal 14 E. III, Mort Artu, f 158v, Lancelot fights to rescue Guinevere from the fire (photo: British Library)

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9. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 293, King Arthur and his knights arrive at Camelot; Gaheriet dies from a poisoned apple at Queen Guinevere’s table (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

10. London, BL Add. 10294, Mort Artu, f. 63v, Queen Guinevere at table hands an apple to Gaheriet (photo: British Library)

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11. London, BL Royal 14 E.III, Mort Artu, f. 151v, Queen Guinevere at table holds a basket of apples (photo: British Library)

12. Manchester, The John Rylands University Library French 1, Mort Artu, f. 223, Queen Guinevere at table hands an apple to Gaheriet (photo: Lancelot-Grail Project)

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13. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 297v, King Arthur and Lancelot discover the demoiselle d’Escalot’s body on the boat (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University) 14. London, BL Add. 10294, Mort Artu, f. 65v, King Arthur and his men approach the boat bearing the demoiselle d’Escalot’s body (photo: British Library)

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15. London, BL Royal 14 E.III, Mort Artu, f. 153v, King Arthur and his men approach the boat bearing the demoiselle d’Escalot’s body (photo: British Library)

16. Manchester, The John Rylands University Library French 1, Mort Artu, f. 226, The boat bearing the body of the demoiselle d’Escalot arrives at Arthur’s castle, where king and courtiers see it from their windows (photo: Lancelot-Grail Project)

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17. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 289, Morgan telling King Arthur about Lancelot’s paintings (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

18. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 347, Queen Guinevere and courtiers riding; she is received at a nunnery by the nuns (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

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19. London, BL Add. 10294, Mort Artu, f. 87v, Queen Guinevere and her ladies received by the abbess at a convent (photo: British Library)

20. Manchester, The John Rylands University Library French 1, Mort Artu, f. 252v, Queen Guinevere and her ladies received at a convent by the abbess and a nun (photo: Lancelot-Grail Project)

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834 21. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 350, King Arthur and his barons on horseback; King Arthur dreaming of Gauvain’s warning (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

22. Manchester, The John Rylands University Library French 1, Mort Artu, f. 255, Gauvain appearing to King Arthur in a dream, warning him (photo: Lancelot-Grail Project)

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23. London, BL Add. 10294, Mort Artu, f. 89, King Arthur on Fortune’s Wheel (photo: British Library)

24. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 357v, Mortal combat between Arthur and Mordred (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

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836 25. London, BL Add. 10294, Mort Artu, f. 93, King Arthur and Mordred mortally wounded (photo: British Library)

26. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 359, King Arthur praying; Arthur’s sword returned to the Lake (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

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27. London, BL Add. 10294, Mort Artu, f. 94, King Arthur’s sword returned to the Lake (photo: British Library)

28. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 359v, King Arthur entering Morgan’s ship, bound for Avalon (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

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The small miniatures in Yale The twenty-three small miniatures in Yale are, on the whole, reserved for additional detail in relation to a large miniature.This is not to say that the subjects chosen for the small miniatures are invariably secondary to those in the large miniatures, for there are instances where important scenes, on occasion depicting subjects unique to Yale, are illustrated through the vehicle of the small miniatures. Among most interesting is the body of the Demoiselle d’Escalot discovered by Arthur and Gauains in Yale f. 297v (fig. 13); the discovery is given in Add. f. 65v (fig. 14), in Roy. f. 153v Ryl. f. 226 (fig. 16), but the moment is different — in Yale the protagonists are actually on board whereas in the other copies they observe the boat and the body from windows or from the shore.This is one of several examples in Yale where an extremely important subject, one that is much favored in the illustrative tradition as a whole, receives a small miniature rather than a large one — indicating, I suggest, that there was no absolute hierarchy of value attached to the size of the miniatures. Another example of a small miniature depicting an important moment in the story is at Yale f. 289 where Arthur is shown sitting with Morgan in her castle (fig. 17).This scene is without illustration in the other copies, and the small miniature in Yale is as close as any of the four manuscripts under consideration here comes to depicting the famous and fascinating episode of Arthur’s discovery of Guinevere’s adultery through seeing Lancelot’s pictures and reading the accompanying captions.11 Arthur departing with Morgan for Avalon appears in a small miniature (Yale 359v, fig. 28), a miniature without parallel among the three comparisons shown here, and remarkable in the Mort Artu in general, anticipating pictorially Arthur’s eventual recovery and even his return, which are at variance with the ending in the Mort Artu text.12 Only one of Yale’s small miniatures — Mordred besieging the Tower of London (Yale f. 332r) — correlates in its placement in the text with that of a miniature in another manuscript, Add. f. 81v. In several instances Yale and another manuscript show a similar choice of subject for a small miniature, but they appear at different places in the text: the scenes of combat—mounted 11 The subject is discussed in Stones’ articles ‘Images ofTemptation’; ‘Illustrating Lancelot and Guinevere’; and ‘Seeing the Walls of Troy’, reprinted in these essays. 12 See Stones, ‘Aspects of Arthur’s Death’.

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combat between Lancelot and Mador in Yale f. 303v and foot combat in Royal f. 156v and Ryl. f. 230, placed later, and in Add. f. 68, placed earlier. The scene of Arthur receiving the “gages” of Gauain and Lancelot appears at Yale f. 337v and at Add. f. 82, but at different places in the text. An illustration in the text of Ryl. (f. 244v) correlates in placing with that of Add., but instead shows Arthur besieging Lancelot at Gaunes — a different scene altogether. These are examples of a fairly loose pattern of correlation between Yale’s small miniatures and scenes given in another manuscript. On the other hand, the depiction of Arthur’s killing the Emperor in Yale (f. 345r) gives a different moment in the battle from Add.(f. 86), where the body of the emperor is sent to Rome with the prisoners. The most striking differences in placement and subject between Yale and Add. occur in the final sequence beginning with Yale f. 352v to the end, by which time Royal and Ryl. have ended incomplete. There are many variants in the text between Yale and Add. in this section, but they tend to concern details about how many protagonists are present and so forth, and do not affect the main narrative. Yale has five large miniatures and nine small in these folios, of which only Yale f. 362’s lower register, showing Hestor embracing Lancelot at his hermitage, correlates in position and subject with Add. f. 95v. Yale f. 357v (fig. 24), showing Arthur killing Mordred, corresponds in subject, but not in placing, with Add. f. 93 (fig. 25). The treatment of this mortal combat is unusual, singling out the event for special attention: a single scene, depicting the deadly blow, is presented in a single register, in a large miniature occupying the full column width, but ten lines high rather than the usual twelve. The border decoration is fully developed, and a marginal scene shows a man in combat with a lion, perhaps a parody/ parallel for the main subject, with ambiguities—is Mordred the lion, or is Arthur? Yale has a total of fourteen miniatures for this final sequence, while Add. only offers five. Rylands/Douce (which are present up to Sommer’s text at VI 386. 33 and Frappier’s at 258.11) has not a single illustration, not even for Arthur’s mortal combat with Mordred, nor for the return of Excalibur to the Lake. Thus Yale’s attention to the final sequence of battle scenes and accompanying events is in sharp contrast to the other copies. In the case of Yale, someone was especially interested in seeing the details of all the military activities played out in pictures, what happened to Arthur and his famous sword in the end, how Lancelot fared, and who was left at the end of the story. This is compelling material, yet it is unillustrated except in skeleton form in Add., where Hector’s reunion with Lancelot is

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shown, as noted above, but not Lancelot’s death nor Bohors’ survival. Who specified these pictorial requirements in Yale? Most likely the patron paying for this “extra” series of miniatures. Were the battle scenes intended for the instruction of his son? Or did they reflect a period of battle in which the patron had himself participated? Did the patron have a special interest in issues of succession? At all events, these are telling differences which show that the dynamics of choice in illustration were to a large degree fluid and changing. The border motifs, as a whole, are difficult to generalize about. Sometimes there seem to be correlations, positive or negative, with what is shown in the main miniatures, but most of the time the rhyme or reason is elusive, and I leave further investigation for future studies, while listing them in the following comparative table.13 Suffice it to say that Yale and its sister manuscript, BNF fr. 95, stand out for their consistent use of the margins for hybrids, figures, and grotesques, related to or in opposition to the main subjects, and are unique in the Lancelot-Grail tradition. Add., Royal, and Rylands, with its Amsterdam and Douce components, reserve marginalia only for openings of branches, and these are the only pages sporting borders to support such motifs. The paradox is of course that the devotional books made by the same artists are the places where a much more prevelant distribution of marginalia of all kinds are a commonplace in the dioceses of Thérouanne, Tournai, and Cambrai in the last decades of the thirteenth and beginning of the fourteenth century when all these books were made. These varying relationships between Yale’s small miniatures and pictures in the other copies suggest on the one hand that the producers were to a large extent aware of a “tradition” in the placing and choice of subject for many of the major illustrations and were following it. That tradition is also reflected in many of the choices made in Add., Royal and Rylands, and in Yale, a further choice was made to elaborate upon it by including additional illustration, mostly in the form of the small miniatures. In Yale, the small miniatures are the ones that are not part of the “canon” of illustration that can be matched in the other copies. In Add., too, there are many illustrations for which the other two copies offer at times only a champie initial (which might be 13 The best repertory for visual parallels is still Randall, Images in the Margins; and for analysis, see Schmidt, ‘”Belehrende” und “befreiende” Humor’, esp. p. 23; fig. 13). See also Camille, Image on the Edge, pp. 107–08) and Engammare, ‘Le processus d’hybridisation,’ p. 450; fig. 3).

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thought of as a cheaper alternative to a full-scale narrative miniature), or else no corresponding decorative marker at all. This is not to say that Add., Royal and Rylands are dependent on Yale, nor that the chronological sequence of the three later copies necessarily follows the order Add., Royal, and Rylands, for the patterns of transmission are clearly far more complex than my comparative tables below, with their necessarily rigid grid structure, suggests. I have noted above that the text versions in Yale and the others is different; and numerous other copies should also be considered if a full picture of the transmission patterns is to emerge, especially Paris, BNF fr. 342, written in 1274, which transmits the long version and offers close similarities to Yale; and Bonn UB 526, written in 1286 and its sister manuscript, Paris, BNF fr. 110, both of which transmit the short version and are close to Add., Royal and Ryl. Even then, many manuscripts, and parts of manuscripts, are missing, so that retrieving the absolute sequence of transmission and adaptation is not an attainable goal. Despite that impossibility, the comparison has much to say about how complex the process of transmission and illustration of these texts was, and how much thought, time, and money went into the choices that were made. The results are varied and were clearly of interest to the patrons whose input most likely governed the end products in ways we are only beginning to discern.

842

La mort Artu: the Iconography of Yale and the Three Copies Made in Saint-Omer or Ghent c. 1310–25 Editions: Sommer, Vulgate Version, vol.VI, pp. 203–391 (SVI), based on London, British Library, Additional 10294 (Add.); Frappier, La mort le Roi Artu (F), based on Paris, Bibl. de l’Arsenal, 3347 (siglum A). S references are to page and line number. F references are to page, paragraph, and if necessary to line within paragraph (page numbers in other editions of Frappier differ from those in the 1964 edition used here).

S VI, 203391 F

new haven, yale, beinecke 229 ff. 272v–363, complete LM=large miniature (column width) SM=small miniature (half a column wide)

london, bl add. 10294 (Add.) ff. 53–96, complete

london, bl royal 14.E.III (Royal) ff. 140–161v ending incomplete

manchester, ryl.fr.l (Ryl.); oxford, bodl. douce 215 (Douce) Ryl. ff. 212– 257v with gaps; Douce ff. 40–44, ending incomplete

S VI 203.1 F 1.1

Yale f. 272v (fig. 1) LM:Top: King Henry II commands Walter Map to write the Mort Artu, in the presence of courtiers/ King Arthur commands his scribe to write the Queste del saint Graal; below: King Arthur and his men ride out of

Add. f. 53r (fig. 2) King Arthur asks Gawain how many knights he has killed in the quest, or Boort relates his adventures to King Arthur.

Royal f.140r (fig. 3) King Henry commands Walter Map to write the Mort Artu. A, monk’s head border: figures, bird, and animals on top border; figures and animals on margin below bottom border.

Ryl f. 212r (fig. 4) A, historiated initial: King Henry shows Walter Map that what he wrote in the Queste del Saint Graal was not enough; border supporting birds, animals, and figures.

843

THE MORT ARTU IN YALE 229

Camelot. Top border: a frontalfacing knight on horseback (surcoat orange, housing or) brandishes sword and shield against two ape terminals, one with a shield and sword, the other raising an axe. Bottom: a hooded man riding bareback and brandishing a whip (left); a horse-head terminal (right). S VI 203. F 1.2

Add. f. 53r (fig. 2) Q, champie initial

S VI 210.30 F 13.17

Add. f. 54v Lancelot excels in a tournament at Winchester.

S VI 211.11 F 15.19.9

Yale f. 276 SM: Lancelot enters the tournament at Winchester. Top border: bearheaded dragon terminal.

S VI 214.1 F 19.23

Yale f. 277 LM:Top: Gauvain and Gaheriet, on horseback, meet two squires on foot who carry on a litter a newly dead knight draped with a pink cover and wearing a knotted cloth around his head. Below: the two knights, having dismounted are greeted by King Arthur and a courtier at the entrance to Winchester. Bottom border: a hooded man

Add. f. 55v Gauvain and Gaheriet ride up to two squires carrying a dead knight.

Ryl. ff. 213v–214: 2 leaves missing, one of them illustrated.

Royal f. 142v Gauvain and Gaheriet ride up to two squires carrying a dead knight.

missing

844 man carrying a large harrow on his left shoulder plays bagpipes (left); a mask head (centre); a dancing woman (right); a bearded, orange-faced, armless creature draped in blue with hare’s ears sits on the terminal (right). S VI 216. 10 F 23.26

S 216.19 F 24. 26.14

S VI 225.21 F 40.38

missing

Add. f. 56r Gauvain addresses the damsel of Escalot while Mordret talks to another knight.

Yale f. 282v LM: Lancelot, recovering from the wound inflicted by Boort, is tended by a doctor, the damsel of Escalot and her brother; below: the tournament of Taneborc. Top border: a knight (surcoat orange) riding backwards on a cock, brandishing a whip (right); a bearded male terminal wearing a widebrimmed hat with a long point and orange finial at the tip (right). Bottom: two bearheaded dragon terminals with spread wings.

Add. f. 58v Lancelot lies wounded in bed, and is tended by the damsel of Escalot and her brothers, who talk to each other.

Royal f. 143v E, champie initial (hand 1)

missing

Royal f. 146r The damsel of Escalot and her brother in conversation without Lancelot.

Ryl f. 216v Lancelot tended by three doctors, one of whom takes his pulse, and two women (the damsel and her mother?).

THE MORT ARTU IN YALE 229

S VI 229.14 F 46.41.95

S VI 229.35 F 47. 41.124

Add. f. 59v The tournament of Taneborc.

S VI 234. 34 Yale f. 287 LM:Top: F 55.48 King Arthur rides with his knights in a wood in which they loose their way. Below: the party (surcoat orange, ailette and housing grey; surcoat, housing and shield pink; surcoat grey, housing and shield orange) enters Morgain’s castle. Top border: a man aims an arrow at a blue hare-like terminal with orange eyes (left) a man in gold short tunic and hood is suspended by the hood in the jaw of a dragon terminal that wields an axe in its paws. Bottom: a greyhound leaps towards a standing hare that carries a stick over his shoulder from which a young hare is suspended by the feet.

Add. f. 60v Sagremor tells Morgain’s porter that King Arthur desires quarters for the night.

SVI 239.14 F 62.18

Yale f. 289 (fig. 17) SM: Morgain and King Arthur sit next to each other on a draped bench (upper parts of the figures are badly rubbed).

845

Royal f. E, champie 146v initial (hand 1)

Ryl f. 218 E, champie initial (hand 3)

Royal f. 148 E, champie initial (hand 1)

Ryl ff. 218v219 2 leaves missing (S VI 231.17236.28): one had an added miniature in the bottom margin

846 Top border: eagle; two centaurs with dishevelled hair blowing fivesectioned trumpets.

SVI 242. 4 F 66. 55

S VI 242. F 67.57

Yale f. 290v LM:Top: Lancelot and the two brothers of Escalot ride towards Camelot where Guinevere looks out from a window, one hand raised. Below: the three knights in the castle gateway, Gauvain or Bohort and Guinevere, who explains she will not see Lancelot. Bohort tells Lancelot they should leave immediately. Top border: two bearded centaurs carry on their shoulders men who fight, one grabbing the hood of the other, the other grabbing the first one by the hair (left); two male-head terminals wearing long, pointed hoods with short peaks. Bottom: a female hybrid with spread wings, wearing a hair-net sits on the end of the terminal.

Add. f. 62v Lancelot and the damsel of Escalot: she tells him that she will die unless he loves her, which he refuses to do.

Royal f. 150r Lancelot bids farewell to the Dame of Escalot and one of the brothers of the damsel.

Ryl f. 220v Lancelot asks his doctor for permission to bear arms.

Royal f. 150 O, champie initial (hand 2)

Ryl f. 221 C, champie initial (hand 3)

THE MORT ARTU IN YALE 229

S VI 247.36 F 75. 62

Yale f. 293 (fig. 9) LM: Top: Arthur and his knights (surcoat orange, housing pink, shield pink a bordure white; two orange shields; shield and housing grey) arrive at Camelot Below: The poisoned apple: Queen Guinevere sits at table with three courtiers on either side of her and a seventh, Averlain, at the end of the table, passing a dish of green apples, towards which she reaches her hand; the courtier on the left, Gaheru de Caheru, sprawls dead on the table, the poisoned apple still in his mouth. Top border: a stag terminal with a very long neck through which is pierced an arrow; bottom: two dragon terminals (left); on the border, two men holding bowls watch a third man poise to throw his bowl towards a fourth man who stands beside two bowls already on the ground beside him. Right: a man poised on one foot on the cusp of the terminal holds his bow, having just fired the arrow that pierced the stag terminal above.

Add. f. 63v (fig. 10) Queen Guinevere unknowingly hands the poisoned apple to Gaheris de Kareheu.

Royal f. 151v (fig. 11) Queen Guinevere and the knights watch Gaheris de Kareheu die from eating the poisoned apple.

847 Ryl f. 223r (fig. 12) Queen Guinevere unknowingly hands the poisoned apple to Gaheris de Kareheu.

848 S VI 250. 9 F 78.64

Yale f. 294 LM:Top: Lancelot, unarmed, sleeps in a forest, where a huntsman trying to shoot a deer shoots Lancelot in the leg. Below: Lancelot rides to the hermitage where he has stayed since leaving Bohort, and is greeted by the hermit who leans on a staff in the doorway. Top border: two apes wearing gold helmets and holding shields (both or a bordure engrailed sable) aim lances at each other; a centaur terminal with a very long and twisted neck and a bearded and mitred head grasps its neck with one hand and wields a sword with the other.

Add. f. 64r Lancelot, wounded in the thigh by an arrow, wields his sword and runs after a huntsman who flees on horseback.

Royal f. 152 E, champie initial (hand 1)

Ryl f. 223v E, champie initial (hand 1) Added miniature: A huntsman aims at a stag who drinks at a fountain by which Lancelot lies asleep.

S VI 252. 9 F 81.66 (+var.)

Yale f. 295 LM:Top: Tournament at Camelot; below: King Arthur, standing in the doorway of the castle, tries to persuade Bohort, victor in the tournament, to stay at Camelot; Bohort’s horse awaits him, and Gauvain and Hestor, riding off to the right, look back. Top border: standing between two winged dragon terminals, a naked man wearing only a crown-like hat, carrying a shield or and a lance with which he pierces one of the

Add. f. 64v Mador accuses Queen Guinevere of treason as she and King Arthur sit at table being served.

Royal f. 152v Space for rubric left blank Mador accuses Queen Guinevere of treason as she and King Arthur sit at table.

Ryl f. 224v Tournament at Camelot in which Bohort is the victor.

THE MORT ARTU IN YALE 229

849

dragons in the jaw. A man carrying a buckler thrusts his sword into the jaw of the other dragon, and is himself bitten in the back by another dragon terminal; a bird of prey perched on the border (centre); below: a seated ape with a kerchief round its neck holds a bird- catching string attached to a post, from the top of which another ape takes a bird with spread wings; hanging from the string by the beak is another bird; an upside-down naked man with a very long terminal-neck and no head grasps his neck in one hand and a sword in the other (right). S VI 256.11 F 87.70

S VI 257.19 F 89.71.8

Add. f. 65v (fig. 14) A sailboat bearing the body of the damsel of Escalot is investigated by Gauvain and King Arthur at Camelot. Yale f. 297v (fig. 13) SM: Gauvain and King Arthur on board the burial ship of the damsel of Escalot. Bottom border: a bearded male- head terminal.

Royal f. 153v (fig. 15) A boat bearing the body of the damsel of Escalot is investigated by Gauvain and King Arthur at Camelot.

Ryl f. 226r (fig. 16) A boat bearing the body of the damsel of Escalot arrives at Camelot. King Arthur, Gauvain, and another courtier see it from the castle windows.

850 S VI 259. 20 F 92. 74

Yale f. 298v, LM:Top: Lancelot comes upon a knight asleep beneath a tree. Below: Lancelot and Hestor bid farewell to the hermit, who stands, hooded, leaning on a staff. Top border: bearheaded dragon terminals with wings; bottom: ape stands on border, holding situla and brandishing aspergillum (left); female headed hybrid terminal wearing hair-net and veil (right).

Add. f. 66v Lancelot and a knight rest at a fountain and Lancelot learns news of Arthur’s court.

Royal f. 154v T, champie initial

f. 227v T, champie initial (hand 2)

S VI 263.4 F 98.76

Yale f. 300v LM:Top: Bohort and Hestor ride into Camelot where they are greeted by King Arthur and Gauvain. Below: Queen Guinevere stands with a dog at her feet and tells Bohort of Mador’s treacherous accusations, against which he offers his help. Two other figures, one wearing gloves (Gauvain?) the other a hood (a squire?) are also present; neither is mentioned in the text at this point. Top border: David or Samson (?) astride a lion, one hand in its jaw; bottom: an ape-headed hybrid stands on the border (left); a woman wearing a wimple and hair- net and an apron over her robe, works a butter churn (right).

Add. f. 67r Queen Guinevere asks Bohort to be her champion, but he refuses.

Royal f. 155r Queen Guinevere kneels before Bohort and Hector, and Bohort raises her.

Ryl. f. 228r Bohort talks to King Arthur and Queen Guinevere.

851

THE MORT ARTU IN YALE 229

S VI 264. 26 F 100.79

Add. f. 67v Lancelot enters the hall still wearing his helmet, announcing that he has come to defend the queen.

S VI 267. 11 F 104.83

Add. f. 68r Lancelot in foot combat with Mador, watched by King Arthur, Queen Guinevere, and the court.

S VI 267.27 F 104. 84.8

Yale f. 303v SM: Lancelot and Mador fight in mounted combat with lances.Top border: centaur wearing a tall Jewish hat blows a hunting horn and brandishes a sword.

S VI 268.4 F 105.84. 28

S VI 268. 26 F 106.85

Add. f. 68v Arthur asks Gauvain and his brothers what they were talking about.

Royal f. 156v Lancelot engages Mador in foot combat and is watched by King Arthur, Queen Guinevere, and the court.

Ryl. f. 230r Lancelot and Mador engage in foot combat with swords.

Royal f. 156v No rubric Q, champie initial

Ryl. f. 230v Q, large party-bar penflourished initial

852 S VI 274.24 F 115.89.43

Add. f. 69v Lancelot kills Tanaguis at the door of Queen Guinevere’s chamber; the other enemies flee.

S 275.34 F 117.90.67 (+var)

Ryl. ff. 230v231 2 leaves missing (S VI 270.3279.13) one miniature cut out

Royal f. 158 E, champie initial

missing

S VI 276. 2 F 117.90.55

Yale f. 307 (fig. 5) SM: Queen Guinevere watches Lancelot drag into her bedroom the body of Sauuagins (Tanaguin) whom he has just killed with his sword; four knights armed with swords stand outside the room. Top border: a back-turned centaur with disheveled hair plays a rebec.

missing

S VI 277. note F 119.92.1

Yale f. 308 (fig. 6) LM: Queen Guinevere is rescued from the stake: top: Guinevere, in blue (not d’une reube de cendal vermeil cote et mantel, f. 309, F (1936) p. 97.22) standing between two groups of knights holding swords (left: surcoats orange, or, grey and an ailette orange; right: pink, or and a shield orange fretty in a darker shade of orange, grey), has her hands tied together.

missing

853

THE MORT ARTU IN YALE 229

Below: mounted combat before the fire. Lancelot (surcoat orange, ailette, shield and housing grey) pierces Agravain (surcoat and housing pink; shield orange fretty in a darker shade of orange) with a blow of his lance; behind him Bohort (surcoat orange) attacks Guerrehet (surcoat orange) with his sword, grasping him by the helmet; other knights on both sides. Queen Guinevere, her wrists bound, stands to the right of the fire. Top border: two addorsed birds of prey, heads affronted. Bottom: a knight (surcoat grey) holds up the lower frame of the miniature with both hands. S VI 277. note F 119.92.12

S VI 284. 6 F 127. 98

Yale f. 311 LM: Mador arrives on horseback at Camelot; a squire kneels before King Arthur, who stands in the doorway, announcing the news that all but three of his knights have been killed and that Lancelot has carried off the Queen.

Add. f. 70v (fig. 7) Lancelot and his knights fight Arthur’s knights to save Guinevere from the stake.

Royal f. 158v missing (fig. 8) Lancelot and his knights fight Arthur’s knights to save Guinevere from the stake.

Add. f. 71r King Arthur and his knights mourn the knights killed by Lancelot and Bohort.

Royal f. 159r King Arthur and his knights mourn the knights killed by Lancelot and Bohort.

Ryl. f. 231v King Arthur addresses Mordred who rides up to him.

854 Below: a squire holds the reins of two horses as King Arthur, supported by two men, grieves for the dead knights on the ground around him; the fire still burns on the right. Top border, left: a naked man. whose ‘tail’ is the border, drinks from a bowl into which a centaur pours liquid from a gold doublechalice- shaped vessel. Below: a cripple on crutches with his hand bandaged wears a round hat with upturned brim (center); a robed and mitred bishop terminal holds a crozier and blesses with a gloved, jewelled, hand. S VI 287.10 F 130. 100.31

Add. f. 71v King Arthur grieves over the bodies of Gaheriet, Agravain, and Guerrehes.

Royal f. 160 Q, champie initial

Ryl. f. 232v Q, champie initial

Add. f. 73r King Arthur and his men besiege Lancelot in Joyeuse Garde.

Royal f. 161r King Arthur and his knights gather at Camelot to prepare for war.

Ryl.ff. 232v– 233 2 leaves missing (S VI 287.29– 293.26); no evidence of cut marks.

S VI 288.30 Yale f. 313 F 132. SM: Gauvain, in bed, is 101.21 (+var.) tended by three men. Top border: a dragon terminal bites the top left corner of the miniature’s frame. S VI 293. 7 F 137.107

Yale f. 315 LM:Top: King Arthur and his newly elected knights ride out from Camelot (to lay siege to Joyeuse Garde). Below: Knights pitch tents before the castle of Joyeuse Garde. Bottom border: a male-headed terminal wearing a hat with triangular

855

THE MORT ARTU IN YALE 229

peak (left); knight (surcoat or, shield white) piercing an attacking lion with his sword; a mitred male head and a veiled female head touch cheeks (center); malehead terminal wears a cap (rubbed; right). S VI 294. 31 F 139.108.18

Add. f. 73v Lancelot sends a damsel with a message for Arthur.

S VI 295.25 F140.109.19

missing

Royal text ends incomplete at ... que dire non mie quil ait paour /

S VI 296.19 F 143.110 (+var.)

Add. f. 74r The damsel delivers Lancelot’s message to King Arthur at table.

missing

missing

S VI 299. 21 F 145.111.73

Add. f. 74v. King Arthur and his army in mounted combat against Lancelot and his men.

missing

Ryl. f. 235 E, champie initial

S VI 299. 27 F 145.112.5 (+var.)

Yale f. 318 SM: Mounted combat with swords at Joyeuse Garde. Top border: dragon terminal with an apple in its mouth.

missing

856 S VI 300. 6 F 146.112.26 S IV 304. 22 F 150.115.71

missing

Yale f. 320v SM: Mounted combat with lances. Left knights: surcoat and ailette orange; surcoat azure; surcoat and ailette green, housing pink, shield pink fretty in a deeper shade of pink. Right knights: surcoat orange, housing azure, shield azure a bordure white; housing pink, shield pink fessy in a deeper shade of pink; surcoat green, shield orange fretty in a deeper shade of orange enclosing circles in white. Both sides hold lances erect, with banners attached (left: azure, orange, azure; right: orange, grey). Bottom border: a unicorn on the terminal looks backwards (left).

S VI 305. 28 F var.

S VI 306.2 F 152.115. 117

missing

Add. f. 76r missing The pope threatens King Arthur with an interdict unless justice is done to the queen. Yale f. 321 SM: In mounted combat between their forces, King Arthur strikes Lancelot’s horse with his sword. Top border: dragon terminal.

Ryl. f. 235 E, champie initial

857

THE MORT ARTU IN YALE 229

S VI 310.26 F 157.119.12 (+var.)

Add. f. 77v Lancelot hands the reins of Queen Guinevere’s horse to King Arthur.

S VI 312.12 F 159.119.78

missing Add. f. 78r Gauvain urges King Arthur to fight Lancelot.

S VI 314.14 F 162.122

S VI 316. 4 F 164.127

Yale f. 325 LM:Top: Lancelot and his men sail away from Joyeuse Garde in three boats with white sails. Below: Lancelot and his men arrive on horseback in the land of Benoyc. Top border: two affronted rams prepare to butt; below, left: a centaur terminal aims his bow (no arrow); another centaur terminal, wearing a cap, wields two swords; a standing ape raises a birch rod to strike a small, crouching ape who holds an open book; another small ape, seated, also holds an open book.

missing

Add. f. 78v missing Lancelot and his army ride out of Joyeuse Garde and head for France.

missing

Ryl. f. 239v E, champie inital Added miniature: Lancelot and his men arrive at the shore where a sailboat awaits.

Ryl. f. 240 A, champie initial

858 S VI 316. 29 F 165.128

S VI 319.1 F 168.130.52

Yale f. 326 LM:Top: At the entrance to Logres, Queen Guinevere, supported by two ladies, is embraced by King Arthur; Mordret offers to take charge of Guinevere while Arthur and his men cross the sea in two boats. Below: Arthur and his men disembark and pitch five tents (cf. f. 315).Top border, centre: two pairs of female and male heads on dragon terminal bodies; left: female wearing a hair-net and male wearing a green academic hat; right: male bearded and wearing a mitre, female wearing a veil. Below: a lionhead hybrid wearmg an academic hat (left); a dog within the scrollwork (centre); a knight (surcoat or) wielding a sword and holding up one of his legs (right) (f. 326v, following the variant of MSS BRVOQ [F p. 142, n.2])

Add. f. 79r King Arthur and his army board ship to fight Lancelot; Queen Guinevere grieves, fearing that they will never meet again.

missing

Add. f. 79v Near Gaunes an old woman on a white palfrey addresses King Arthur and Gauvain and predicts their misfortune.

missing

Ryl. f. 240v King Arthur besieges Lancelot at Gaunes.

859

THE MORT ARTU IN YALE 229

S VI 321.11 F 171.134

Yale f. 329 LM: Top: Three courtiers (left, two wearing caps) watch as a messenger holding a spear, kneels before Guinevere (seated on a draped throne, right, wearing a vair- lined mantle), and hands her a sealed letter. She is attended by a standing woman wearing a hair-net (right).The letter is from Mordret, who is secretly in love with Guinevere, writing falsely as though from Arthur, sealing the letter with a false seal of Arthur. Below: the Bishop of Ireland (mitred, centre), supported by an acolyte, reads the letter, an unfurled scroll; to the left, Mordret, wearing a cap, falls in a feigned swoon before two couriers, one, wearing a cap, with his head on his hand, the other tearing his hair in gestures of grief. On the right, Queen Guinevere wrings her hands, supported by two ladies wearing veils and hair- nets, one of whom also wrings her hands. Top border: A knight and woman ride their horses on the backs of two dragon terminals. The woman, her veil flying, holds a shield, and charges with a distaff and flying spindle against the unarmed knight (surcoat and housing or).

Add. f. 80r A bishop, accompanied by a second bishop, reads the false letter to Queen Guinevere.

missing

Ryl. f. 242r A bishop, accompanied by a second bishop, reads the false letter to Queen Guinevere.

860 S VI 327.1 F 179.142.75 (+ var.)

Yale f. 332 SM: (Possibly the work of the assistant painter.) Mordret’s men (three knights on horseback with spears raised, a foot soldier aiming a bow and arrow, a sapper with pick) besiege the Tower of London; on the battlements a group of knights, one of whom prepares to hurl a rock. Top border: a dragon terminal bites the top left corner of the miniature’s frame.

Add. f. 81v Mordred assaults the Tower in which Queen Guinevere is imprisoned.

S VI 327. 8 F 180 (+var.) S VI 328.18 F 181.144

Yale f. 333. LM:Top: Sitting on a draped bench in a tent outside Gaunes, King Arthur asks Gauvain’s advice on how to put an end to the fighting. Below: King Arthur, between Gauvain and Carados arrive on horseback to meet Lancelot, Bohort and Hestor who ride out from Gaunes for a parley. Top border: two male centaur terminals, one wearing a cap, fight with swords and bucklers held in gloved hands. Bottom: two men wrestle; a lionheaded dragon terminal with spread wings and antlers on its head (right).

Add. f. 82r King Arthur receives the gloves of Gauvain and Lancelot who will fight a judicial duel.

missing

missing

Ryl. f. 244 L, champie initial

missing

Ryl. f. 244v King Arthur besieges Lancelot at Gaunes.

THE MORT ARTU IN YALE 229

S VI 335.24 F 191.148.20

Yale f. 337v SM: Supported by three of his men, Lancelot hands his glove to King Arthur, who stands with Gauvain, holding the glove Gauvain has already given him. Top border: a hybrid knight terminal holds a sword in one hand and a severed lion’s head in the other.

missing

S VI 337.27 F 195.150.6 (+var.)

Yale f. 339 SM: Mounted combat with lances between Lancelot (housing, ailette, shield, orange, a sleeve attached to his helmet) and Gauvain (surcoat white, housing pink/grey, shield pink fretty in grey); Gauvain’s lance is broken. Top border: dragon terminal with long coiled neck stands on top left corner of miniature’s frame.

missing

S VI 338.9 F 195.151

Add. f. 84r Gauvain and Lancelot fight a judicial duel on foot with swords.

S VI 338.18 F 195.151.12 S VI 342.6 F 200.156.15 (+var.)

missing

missing

Yale f. 341v SM, rubbed. Lancelot and Gauvain fight on foot with swords. Bottom border: maskhead terminal in profile.

861

missing

Ryl. f. 247v A, champie initial

862 S VI 342. 9 F 200.156. 19

Add. f. 85r Lancelot, resolved not to kill the exhausted Gauvain, tells King Arthur that he gives up the fight.

S VI 347.24 F 208. 161.23

missing Add. f. 86r King Arthur sends the Roman prisoners with the emperor’s body to Rome as tribute.

S VI 348.6 F 209.161.43

S VI 348. 25 F 210.163

Yale f. 345 SM: King Arthur, leading his knights in a mounted charge, kills the emperor (green crown) who flees with his men. Top border: a hybrid terminal wearing a green mitre perches with front paws on the top left corner of the miniature’s frame; it holds a gold ball in its orange beak.

missing

missing

Add. f. 86v. The squire whom Guinevere sent to Gaul finds King Arthur on the battlefield.

missing

THE MORT ARTU IN YALE 229

863

S VI 351.22 F 214.168

Yale f. 346 LM:Top: Mordred (surcoat pink/ brown, housing and shield grey), with his men (surcoat orange) on horseback, armed with spears, cross-bow and arrow, commands the Tower siege. Centre: two of Mordred’s knights activate a loaded catapult mounted on a tripod; they pull a rope on the raised end of the lever; two sappers wield picks. From the battlements, right, knights (surcoats white, orange, or) aim a crossbow and a rock. Below: a messenger kneels before Mordred (surcoat grey), announcing the arrival of King Arthur; three knights stand on either side. Bottom border: a small creature crouches within the central scrollwork.

Add. f. 87r A messenger announces Arthur’s return to Mordred, who is still besieging Guinevere in the Tower.

missing

Ryl. f. 252r A messenger announces Arthur’s return to Mordred, who is still besieging Guinevere in the Tower.

S VI 353.6 F 216.169

Yale f. 347 (fig. 18) LM:Top: Queen Guinevere, holding a whip, rides out of London accompanied by a squire (hooded) and a lady (?) (veiled), and preceded by two squires (one wearing a cap) on packhorses. Below (badly erased) the Queen and two ladies (?) are received at a convent by two nuns wearing white habits, brown cloaks, black veils.

Add. f. 87v (fig. 19) Queen Guinevere received at an abbey where she will take the veil.

missing

Ryl. f. 252v (fig. 20) Queen Guinevere received at an abbey where she will take the veil.

864 Top border: two knight terminals (surcoat azure, shield orange, ailette orange a black motif; no surcoat, shield white; a lion sa overpainted in silver. Bottom border: hooded man (badly rubbed); man plucks stringed instrument with fingers of both hands. S VI 355.14 Yale f. 348 F 219.171 LM:Top: In two boats with white sails, King Arthur and his men arrive at Dover Castle. Below: Gauvain, lying on a bed decorated with rows of billets, his head draped (?) (image badly rubbed), dying; Arthur, wringing his hands, and two courtiers stand behind the bed; groups of two more courtiers and a hooded monk stand at the head and foot of the bed, gesturing in grief. Top border: a bald, naked man, with a cloth draped over his shoulders, raises an axe and grasps by its tail a dragon with a male head (center); two addorsed goatheaded terminals (right). Bottom, left : a knight on horseback (surcoat maroon, shield and housing or, a sleeve attached to his helmet) charges with outstretched sword towards a naked bearded man with dishevelled hair and prominent backbone, whose tail is the terminal (cf. earlier).

Add. f. 88r King Arthur and a hundred knights bear Gauvain’s body to Camelot.

missing

Ryl. f. 253v King Arthur and his army, including the severely wounded Gauvain, cross the sea to England.

865

THE MORT ARTU IN YALE 229

S VI 357. 22 F 222.173.28

missing

S VI 358.3 F 222.174 (+var.)

S VI 360.1 F 225.176

Yale f. 350 LM:Top: King Arthur and his men. Below: in an open tent with five other tents behind it, King Arthur sleeps in a bed decorated with quatrefoils in medallions; he dreams that Gauvain, accompanied by un grant peuple (not de povre gent as F p. 199.13), appears. Gauvain warns King Arthur not to fight Mordred or he will die or be mortally wounded. Bottom border: two lionhead terminals bite their own hindquarters; a dog sits within the scrollwork (centre).

Add., f. 89r The lady of Beloe mourns over Gauvain s body; her husband mortally wounded her because she declared that she never loved any other man than Gauvain.

missing

Add. f. 89r King Arthur dreams that that he is on Fortune’s Wheel and is dashed to the ground.

missing

Ryl. f. 254r. The lady of Beloe mourns over Gauvain’s body; her husband mortally wounded her because she declared that she never loved any other man than Gauvain.

Ryl. f. 255r King Arthur sees Gauvain in a dream.

866 S VI 365.15 (+var.) F 232. 32

Yale f. 352v SM: Perhaps Ywain’s division against that Arcans, brother of the Saxon king, described just above. Mounted knights engage in combat at Salisbury with raised lances; none wears the white arms Ywain is described as wearing in the text. Top border: dragon terminal bites top left corner of the miniature’s frame.

missing

S VI 367. 23 F 233.182.41 (+var. as DVO n. 18)

Yale f. 353v SM: A further episode in the Salisbury battle: the campaign against the Irish, in which the foremost knight on the right (though not wearing a crown) is probably King Yon, overpowered by two knights on the left, one of whom charges at him with a lance, the other of whom raises his sword and grasps him by the helmet. Top border: a bearded man perches on one hen’s foot on the miniature’s frame and aims an arrow off into the left margin.

missing

S VI 368. 26 F 235.184. 6 S VI 371.29 F 239.186.4

missing

Ryl. ends f. 257v ...et quant chil qui deuant fuioient virent que chil estoient arest sour le cors, il sorent tantost que chestoit aucune haute personne/ (S VI. 368.

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THE MORT ARTU IN YALE 229

26, F 235. 184. 6); followed by Douce ff. 4044v missing 1 leaf at the beginning; f. 40 inc. /ent molt bien et ochistrent grant partie des gens le roi aguiscant.... (S VI 371. 29, F 239.186.4). S VI 370.1 F 239.185.51

S VI 373. 24 F 241.187.18 (+var. not in F n.l2)

Add. f. 91v King Karados is carried on his shield to a neighbouring hill to die. Yale f. 356 LM: Another Salisbury battle episode: King Arthur’s forces against those of Mordred. Same modulus of two knights on the left attack one on the right with lance, raising sword and grasping him by the helmet as on f. 353v; but more participants, banners, and dead knights lying on the ground, and this time the lance warrior is King Arthur and there is an additional knight leading the charge on the right. Bottom border: a tonsured male head and a veiled female head in the scrollwork (left); a bearded centaur holds up the miniature’s frame with both hands (center). No effort to emphasize Arthur’s standard.

missing

missing

missing

868 SVI 374.25 F 242.188. 33 (here the readings in Yale are those of A, not DV)

Yale f. 356v SM: King Arthur (left, surcoat grey, housing azure) raises his sword and grasps his opponent, Mordred (surcoat orange; housing pink, shield pink fretty in a darker shade of pink), by the helmet. Left knights: surcoats pink, white; banner orange; right knights: surcoat and housing grey, shield orange; surcoat and housing orange; surcoat green, shield pink fessy in a darker shade of pink; banners azure, pink with double vertical lines in black. Bottom border: lion-head terminal.

missing

SVI 375.12 F 242.189.9 (+var, text in Yale condensed, lacks D variants)

Yale f. 357 SM:To avenge the death of Galegantin le Galois, King Arthur attacks Mordred with his lance. Top border, left: winged terminal with squinteyed, grimacing lion’s head, wearing a blue academic hat with a central curved point.

missing

SVI 376. 24 F 244.190. 40 (+var. as V, n. 25; DV n. 26; ‘n’en eust’ at n. 27 ; DV at n. 34; DV at n. 38; DV in part at n. 39;V at n. 40)

Yale f. 357v LM: King Arthur kills Mordred by transpiercing him with his lance, as Mordred raises his sword. Dead knights litter the ground. In the top right corner, the sun is visible, surrounded by clouds (cf. the text refers to the

missing

THE MORT ARTU IN YALE 229

ray of sunlight passing through Mordret’s wound). Top border: a lionheaded dragon terminal with spread wings, not completely painted; bottom: bearded man wearing a pointed cloth hat raises a buckler in his gloved hand and sword in the other against a lion (centre); lionheaded terminal with spread wings (right), not completely painted. SVI 376. 28 F 243.190

SVI 379 n. 20 (+var.) F 248.192. 47 (with DV vars. nn. 39,40).

Add. f. 93r King Arthur and his son Mordred mortally wound each other on the battlefield. Yale f. 359 LM: Top: Three horses wait outside, as Girflet and Lucan li boteillier watch Arthur kneel in prayer before the altar (on which stands a draped chalice) in the Veroie Chapele. The chapel is framed with two pairs of double cusped arches surmounted by curved gables enclosing quatrefoils in medallions and topped by gold fleur-de-lis finials. This scene is based on the previous text passage.

missing

missing

869

870 Below: watched by his horse, Girflet has thrown Excalibur into the lake, where an outstetched arm has grasped it by the pommel. Top border, left: kingand-queen- headed dragon terminals with wings and very long intertwined necks. missing Add. f. 94r Giflet sees the hand in the lake holding Excalibur as King Arthur sits by the water, grieving.

S VI 380.14 F 249.193

S VI 381.16 (+var.) F 250.193.41 (+var. of D, abbreviated, at n. 27; var. of D and BNF fr. 758, at n. 28)

S VI 383.27 F 253.196.30 (+var.)

Yale f. 359v SM: Standing on the shore, holding his horse’s reins in one hand, and the hand of his sister Morgain in the other, King Arthur is invited onto the boat. Morgain stands, wearing a hairnet and wimple; another lady, wearing a hair-net, stands next to her and two more ladies sit on the right in the boat. Top border: bearded male terminal with wings attached to its head.

missing

Add. f. 94v After crossing the sea (not a river) to Great Britain, Lancelot’s army pitches camp on the shore.

missing

THE MORT ARTU IN YALE 229

S VI 384. 23 F 253/254 (+var.)

Yale f. 360v LM:Top: King Bohort together with Lyonel (not distinguished by a crown), Hestor and Lancelot, and their men (surcoats or, azure, sable), sail in five boats from Gaunes to Britain. Below: the Battle of Winchester, fought with lances.Top border: two pairs of intertwined male and female terminal heads on dragon bodies; the left pair wear a hair-net and wimple, and an academic hat; the right pair are crowned, the woman also wearing a hair-net.

missing

S VI 385 .13 F 256.198.4 (+var. as RBDO n. 1)

Yale f. 361 SM: Lancelot and his men pursue the youngest son of Mordred who flees with his men, using his shield as protection at his back. Bottom border: bear-headed dragon terminal.

missing

S VI 386.33 F 258.11

missing

871

Douce f. 44v ends incomplete. ...vne petite chappelle ancienne et il descent alentree et oste so heaume. Et quant il/ cw in 15c hand, ‘furent’.

872 S VI 387.2 (+var) F 258. 200.17 (+var., condensed; Cantorbie as in AO at n. 16)

Yale f. 361v SM: Lancelot, having left his horse outside, is embraced inside an ancient chapel by two hermits. They are robed, one in grey and one in white, and both wear academic hats; to the right is a draped altar (no vessels). Top border: a male hybrid terminal pours liquid from a doublechalice shaped vessel into a bowl to which he holds his lips.

S VI 387. 24 F 259.201 (+var. DV n. 1)

Yale f. 362r LM:Top: King Bohort and his men, holding swords, ride into Winchester. Below: Having dismounted, Hestor is embraced at his hermitage by Lancelot who has become a priest. Two other priests wearing academic hats, one holding a black book with strap and clasp, the other leaning on a staff, look on. Top border: hybrid male with wings grasps a longeared dragon terminal by the neck and raises his sword. Bottom: a kneeling knight aims a spear with grey banner towards a hybrid creature with knight’s head and long-beaked hindquarters (centre); a bearded male-headed hybrid terminal (right).

Add. f. 95v Hector finds Lancelot living as a hermit and joins him.

missing

missing

missing

missing

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THE MORT ARTU IN YALE 229

SVI 390.10 F 262.203.12

Yale f. 363r - a (1) SM:The body of Lancelot, in a white habit and hood, lies in a marble, arched tomb. Three priests (two wearing academic hats, one hooded) and Bohort stand behind the tomb, grieving. Top border: dragon terminal (rubbed), bites top left corner of miniature’s frame.

missing

missing

SVI 390. 30 F 263. 204 (+var. BO n. 24)

Yale f. 363r - b (2) SM: King Bohort tells the archbishop and Blioberis (wearing academic hats) that he will spend the rest of his life with them as Lancelot had done. Top border: a naked, crowned man stands on the upper frame of the miniature, holding a claw as bait in one gloved hand and falcon perched on the other; the man’s ‘tail’ is the terminal.

missing

missing

SVI 391.7 F 263.204 .13

Yale f. 363 , Text ends complete: nus reconter chose qu’il ne mentist. Explicit la mort au roi Artus et de Lancelot du Lac et des compaignons de la Table reonde.

missing

missing

Add. f. 96 col. d, line 43 Text ends complete: nus raconter chose quil ne mentist. (4 lines blank) Explicit de la mort le roi Artu.

XXXII Illustration and the Fortunes of Arthur

I

t is towards the end of the Mort Artu that the goddess Fortuna appears to King Arthur in a dream. She is the most beautiful woman he has ever seen. She takes him up the highest mountain and at the top she sits him on a wheel whose seats rise and fall; he sees that his seat is at the top. There follows a dialogue in which Fortuna questions Arthur, as though prompting him to realize for himself the meaning of the wheel and of the view of the whole world he sees from his place on high; but it is Fortuna who evokes the lordship that Arthur up till then has held over all this land — he has been the most powerful king ever to rule, she tells him. She goes on to say that the ways of the world are such that there is none who does not deserve to fall. Matching action to words, she dashes him cruelly to the ground; he then feels as though every bone in his body has been broken and he has lost all his strength in body and limbs; and he has understood this portent of the evil to come. ‘... quant il fu endormis si li fu auis que vne dame vint deuant lui la plus bele quil eust onques ueu el monde . Ele le leuoit de terre si le portait en la plus haute montaigne quil onques veist. Et illueques lasseoit en vne roe . et cele roe auoit sieges dont li un montoi[en]t et l[i] autre aualoi[en]t. Et li rois se regardoit en quel lieu de la roe il estait assis. et il veoit que ses sieges estait li plus haus. Et la dame li demandoit. Artus ou es tu. et il li respondi, dame ie sui en .j. haut roe mais ie ne sai que ce est ne quele senefie . Saces fait ele que cest la roe de fortune . Lors li redemandoit. Artus que vois tu. Dame fait First published in The Fortunes of King Arthur, ed. N.J. Lacy, Woodbridge, 2005, pp. 116–65.

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il me semble que ie voie tot le monde, voirs est fait ele que tu le vois. Ne il ni a mie grantment de chose dont tu naies este sires iusques chi. Et de toute la circuite que tu vois as tu este li plus poissans rois qui i fust. Mais tel sont li eur1 terrien quil ni a nul si haut assis quil ne le couiegne chaioir de la poeste del monde . et tu ten aparcheuras bien temprement. Lors faisoit la roe torner et le trebuchoit a terre si felenessement que al chaio[i]r li estait bien auis quil estait tos debrisies . et quil eust perdu tot le pooir del cors et des menbres. Einsi vit li rois artus les mescheances qui li estaient a auenir ...’2 [... when he was asleep it seemed to him that a lady came before him, the most beautiful he had ever seen in the world. She lifted him up from the ground and carried him to the highest mountain that he had ever seen. And there she sat him on a wheel, and the wheel had seats, some of which went up and others went down. And the king looked to see whereabouts on the wheel he was sitting, and he saw that his seat was the topmost one. And the lady asked him, ‘Arthur, where are you?’ and he replied, ‘My lady, I am on a high wheel but I do not know what it means’. ‘You know’, she said, ‘it is the Wheel of Fortune.’ Then she asked him again, ‘Arthur, what do you see?’ ‘My lady, it seems as if I can see the whole world,’ ‘Truly’, she said, ‘that is what you see. There is hardly anything over which you have not been lord up to now. And of all the length and breadth of what you see you have been the most powerful king there ever was. But such is earthly fortune that no one sits so high that it is not fitting that he fall from worldly power and you will see this in due course.’ Then she made the wheel turn and cast him to the ground so wickedly that he felt as if the fall had dashed him to pieces and sapped all the strength in his body and limbs. In this way King Arthur saw the evils that were yet to befall him...] In the British Library Additional 10294 manuscript of the Mort Artu, part of the complete Short Version of the Lancelot-Grail romance and the base manuscript of Sommer’s edition, this arresting passage is preceded by a single-column miniature, showing Arthur sitting at the top of Fortune’s wheel, with Fortuna (her eyes covered with a transparent blindfold) at 1 2

Other manuscripts give the variant ‘orgueil’ here (S VI p. 361, n. 11). Sommer, Vulgate Version (S), VI, p. 361. Translations are my own.

876

the centre (fig. 1).3 The image, in many ways, is much simpler than the subtle textual account of Arthur’s encounter with Fortuna; the artist has omitted the mountain and the vista of the world over which Arthur had held sway, nor is the dialogue between Arthur and Fortuna expressed in the miniature, let alone Arthur‘s crashing fall and his understanding of what all this was really about.4 But the image is an important one, as by its very presence on the page it underlines visually the significance of the passage and links it to the entire series of highlights singled out, marked, and given special emphasis, by the pictorial component of the manuscript as a whole. The Additional copy is important in the illustrative tradition of the cycle in general, as it preserves more pictures — 748 in all — than any other surviving copy of the Lancelot-Grail romance — although it is also the case that other copies have illustrations for episodes and subjects that the makers of Add., or whoever put its programme of pictures together, chose not to illustrate, so that the dynamics of illustration across the cycle as a whole are highly fluid and by no means static. Add. also contains a date, 12 February 1316 (1317 ns),5 carved on one of the Tombs of Judgement commissioned by Duchess Flegentine for Nabor, the seigneur de Karabel, and the giant, in the Estoire del saint Graal, which is most likely the actual date when that miniature was painted (Add. 10292, f. 55v, left column).6 And although no names of scribes, artists, or patrons, are given in the manuscript, Add. and its two sisters can be confidently attributed to the region of eastern Artois or western Flanders (most likely Saint-Omer, Tournai, or Ghent — but

The miniature is placed at S VI p. 360.1. It was first reproduced in Loomis and Loomis, Arthurian Legends in Medieval Art, fig. 245. 4 ‘Fortuna’ is evoked on numerous occasions in the Mort Artu, and by different people, as Norris Lacy has pointed out; but this is the only occasion where Fortuna appears in person with her wheel, and it is the only illustration. For Fortuna in the text, see Lacy, ‘Mort Artu and Cyclic Closure’, especially pp. 90–91. See also Höltgen, ‘König Arthur und Fortuna‘, trans. by Kennedy as ‘King Arthur and Fortuna’, in King Arthur: A Casebook, Kennedy, pp. 121–37. 5 In this period the New Year began on March 25, so dates given between Jan. 1 and March 24 refer to the following calendar year in modem reckoning, known as ‘new style’ (ns). 6 One could argue this otherwise, as with dates occurring in colophons — which were often simply copied, with their preceding text, into a later copy — so that manuscripts of the Image du monde, for instance, often carry the date of the 1265 redaction even though they were copied later; but in this case, 1317 is quite reasonable on paleographical and stylistic grounds by comparison with other manuscripts. The image was first reproduced in Loomis and Loomis, Arthurian Legends, fig. 248, and in colour on the cover of vol. 3 of Barral i Altet, Artistes, artisans et production artistique. 3

ILLUSTRATION AND THE FORTUNES OF ARTHUR

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its artists may have come there from further east), in the early years of the fourteenth century.7 At least six scribes, three or more pen-flourishers, two or more champie initial painters, and three major illuminators participated in the production of these copies, and one set also has pictures that were added in the late fourteenth century. These are some of the reasons why Add. and its related copies were selected for the Lancelot-Grail Project, and this essay draws in large measure upon the collaborative work of this project.8 What is also notable about the Fortuna image in Add. is that, so far as I know, it is the only depiction of the subject in the entire illustrative tradition of the Lancelot-Grail romance.9 That is not to say that similar images of Fortuna did not appear in other contexts in this period and earlier.10 There 7 The sister manuscripts are London, British Library, MS Royal 14 E.III, containing Estoire, Queste and Mort Artu, lacking Merlin and Lancelot (hereafter Royal); 3) olim Amsterdam, Bibliotheca Philosophica Hermetica, MS 1, in 3 vols, containing Estoire, Merlin and Lancelot up to the beginning of the Agravain section (hereafter Amst.); the Agravain, Queste and Mort Artu are found, interleaved, and with lacunae, in Oxford, Bodleian Library, MS Douce 215 (hereafter Douce), and Manchester, The John Rylands University Library, MS French 1, bound in 2 volumes but foliated continuously (hereafter Rylands). The major artist was, in all probability, the chief painter in all three copies (assuming a certain evolution in his stylistic mode over a period of some years). An assistant did large parts of Add. 10292 and Add. 10293; another assistant did parts of Douce and Rylands. All of them can be found working on other books, see Stones, ‘Another Short Note’. 8 See and now . 9 So unusual is the subject that I managed to omit it from my comparative investigation of the iconography of the Mort Artu: ‘Some Aspects of Arthur’s Death’. The subject is notably absent too in the manuscripts of Jacques d’Armagnac († 1477), of the early fourteenth and third quarter of the fifteenth century, Paris, Bibliothèque nationale de France, MSS français 112,113–116,117–120 (the last is the set made c. 1400 and inherited by Jacques from his great-grandfather, Jean de Berry); see Blackman, in ‘Pictorial Synopsis’; and, for fuller descriptions, Blackman, The Manuscripts and Patronage of Jacques d’Armagnac, pp. 182–245. French manuscripts in the Bibliothèque Nationale de France, fonds français are hereafter referred to as Paris, BNF fr, followed by their shelf number. 10 Of course images of Fortuna and her wheel had by then enjoyed a considerable vogue, in such distinguished contexts as the late twelfth-century Hortus deliciarum and Peter of Eboli’s Sicilian Chronicle; the early thirteenth-century Carmina Burana, where the opening poem is about Fortune, and the Roman de la Poire, of shortly after 1270, where the image is referred to in the text and placed second in the series of full-page portraits of famous lovers, unusually showing the lady of the couple seated at the top (in her unidentified heraldic robes), pulling up her fallen lover, naked except for his braies and cale, while the huge figure of Fortuna, crowned, holds the wheel (Paris, BNF fr 2186, f. 2v). For the Fortuna motif see particularly Pickering, Literature and Art, 1970; first published in German in 1966); and for

878

is even another example that may possibly be by the major artist of Add., illustrating the Preface to Brunetto Latini’s Trésor in Paris, BNF fr 566 (MS K), f. 10 (fig. 2).11 There is heraldry in MS K, which I think may point to the patronage or at least the entourage of Henry IV, Count of Luxemburg from 1288, Holy Roman Emperor (1312–13), and his wife Marguerite de Brabant (m. 1292, † 1311).12 In the context of Brunetto Latini’s Trésor, too, the Fortuna image is not at all common: to the best of my knowledge, MS K stands out as the only Brunetto Latini manuscript to use a Fortuna image for the preface, and the rest of K’s iconography, apart from its saints, prophets, and animal pictures, is in general unrelated to the main clusters of the Brunetto Latini tradition. A small group of earlier copies of the Trésor shows that the subject of Fortuna and her wheel enjoyed a brief moment of interest elsewhere in the pictorial cycle, and in its earliest manuscripts: fr 2186, Huot, From Song to Book, pp. 174–93, fig. 15, and for the date, Keller, ‘La Structure du Roman de la Poire’, p. 213. For Fortuna depicted in some other literary contexts, see Wirth, ‘L’Iconographie médiévale de la roue de fortune’, and Stones, ‘Seeing the Walls of Troy’, reprinted in these essays. 11 Brunetto Latini, Le Trésor, ed. Carmody (based on Paris, BNF fr 1110, MS T, supplemented by Chantilly, Musée Condé 288, MS C5); Paris, BNF fr. 566 is MS K, and transmits the First Redaction of the text; Holloway, Brunetto Latini: An Analytic Bibliography, no. 33. The manuscript has been connected with the Add. group by Judith Oliver and attributed to Liège, and indeed, our major artist would appear to have executed works for people living outside his region of eastern Artois and western Flanders; see Oliver, Liège, I, pp. 187–89, pl. 195–97, noting that the text includes interpolations of Aegidius de Columna’s De regimine principum in the translation of Henri de Gauchi, canon of Liège, composed c. 1296. The most recent list of Brunetto Latini manuscripts is Vielliard, ‘La Tradition manuscrite du Livre dou Trésor’. I thank Julia Bolton Holloway and Brigitte Roux for helpful discussion of Brunetto Latini issues at the Città e libro II conference in Florence in September, 2002. For the iconongraphy see now Stones, ‘A note on the North French manuscripts’, and Roux, Mondes en miniatures, and, for a newly discovered fragment, Giannini, ‘Un estratto inedito del Tresor’. 12 On f. 205, an initial E shows a king and bishop seated together, the king flanked by knight in heraldic robe quarterly 1 and 4 argent [white] a lion gules (Limburg), 2 and 3 sable a lion or (Brabant), the arms adopted by Jean I de Brabant on acquiring the Duchy of Limburg in 1287; the bishop is flanked by knight in heraldic robe barry argent [white] and azure, a lion gules overall (Luxemburg); on f. 249 is an emperor wearing chain-mail and surcoat or an eagle sable, holding a sword, between two knights, one with surcoat or three besants voided sable, holding a club; the other in a grey surcoat, holding a buckler and club; the latter arms are unidentified and it is to be noted that the couple depicted before Christ on f. 116 are not in heraldic robes, so that the question of direct patronage by Henri and Marguerite is not quite certain. For the family, see Europäische Stammtafeln, Neue Folge, 1.1, Taf. 82 and 1.2, Taf. 238.

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at Book II, Ch. 115, entitled Des biens de fortune, four copies, all made in or around Douai between about 1275 and 1290, include a Fortuna image: Paris, BNF fr 1110 (fig. 3); Brussels, BR 10228; Vatican, lat. 3203 (fig. 4), and, at some distance stylistically, Arras, BM 182 (1060). These are related to two Douai manuscripts, the martyrology of Notre-Dame-desPrés, O. Cist., Douai, now Valenciennes, BM 838, and the psalter-hours of Saint-Amé, OSB, Douai, now Brussels, BR 9391; and a large number of other manuscripts can be attributed to the major artist, called the Master of Valenciennes 838 after his most fully illustrated book.13 But this chapter is not illustrated at all in any of the later Brunetto Latini manuscripts, and Fortuna did not appear there again.14 How was King Arthur otherwise treated in pictures?15 I limit my investigation to manuscripts, and especially the Lancelot-Grail cycle in French and made in France, for it is there that the major corpus of Arthurian illustration, and illustrations of King Arthur, are to be found.16 I survey briefly some of the important aspects of Arthur’s rôle in the four branches 13 I listed some of these in Illustrations of Lancelot, ch. 3, and have made several additions in other publications. The fullest list is now in Gothic Manuscripts, Part I, vol. 1, pp. 60–61. Devotional books: Franciscan psalter of Saint-Omer, Oxford, Christ Church College 98, written before the death of Eleanor of Castile in 1290, including an opening Beatus initial by the artist of the Saint-Omer literary compendium of 1268, Paris, Bibl. de l’Arsenal 3516; psalter-hours of Amiens use, Philadelphia Free Library, Widener 9, Hours part; fragmentary legendary, St Petersburg Academy of Sciences, FN 403; Estoire del saint Graal, Le Mans MM 354, written by Walterus de Kayo who may also be the person who copied an Image du monde, Paris, BNF fr 14962, in 1282 (to which Terry Nixon kindly drew my attention); Estoire, Merlin, Histoire d’outre-mer et du roi Saladin, La fille du Comte de Ponthieu, Ordre de chevalerie, Paris, BNF fr 770; Agravain, Queste, Mort Artu, Oxford, Bodl. Digby 223; Prophéties de Merlin, London, BL Harley 1629; two copies of Marques and Laurin, with other Sept sages texts: Paris, Ars. 3355 and Cambridge, Fitzwilliam, McClean 179; a Crusading compendium, Paris, BNF fr 12203; Enfances Godefroi, Paris, BNF fr 795 (in collaboration with the artist of the psalter part of Widener 9); Vincent of Beauvais’s Speculum Doctrinale, owned by Ter Doest (O. Cist., diocese of Thérouanne), Bruges, SB 251. The well-known Agravain, Queste and Mort Artu, Paris BNF fr 342, written by a female scribe in 1274, is also related, but less closely. 14 For my comparative table, see now Gothic Manuscripts, Part II, vol. 2, pp. 129–42 and the Città e libro web site chttp://www.florin.ms/beth5.html>. See also Roux, Mondes en miniatures. 15 The fundamental study is still Loomis, Arthurian Legends in Medieval Art, and I surveyed the literature up to about 1990 in ‘Arthurian Art since Loomis’. It is time for another update: see now ‘Arthurian Art: the Past, the Present and the Future’, reprinted in these essays. 16 Arthur figures also in various of the Chronicle traditions, as noted by Loomis, Arthurian Legends; further study is needed.

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in which he appears, and then I focus on a few comparative examples of his treatment in the pictures, selecting examples which I hope are telling ones. As more descriptions and sets of illustrations become available, this survey will undoubtedly be supplemented; for the time being only relatively few manuscripts are fully described, reproduced, or on line complete, and the comparative work has been done only in part. I will take my examples mainly from manuscripts for which full subject-lists exist, and from the one case where all the illustrations are on line.17 A full understanding of the ways in which the images reinforce, embellish or detract from the presentation of Arthur in the text would require both a diachronic and a synchronic approach that would examine on the one hand the Arthur images in a particular manuscript in relation to all the other illustrations in that manuscript; and on the other hand, it would compare particular Arthur images across the manuscript tradition.18 Then all this would need to be examined in relation to a detailed reading of the text in each manuscript (because of variants that turn out to critically affect what is in the picture) to consider questions of placing and treatment of the images and sequences of images, including build-up and follow-on19 — and finally there is the question of artistic context: what else these artists illustrated and to what extent they used and re-used the same artistic models in different textual contexts.20 And all discussion of images must be accompanied by It is hoped that the manuscripts of the Lancelot-Grail Project may soon be posted on the web, pending copyright agreements; subject-lists are also forthcoming in print. New Haven, Yale University, Beinecke Library, MS 229 is on line with a subject-list at ; a subject-list for Paris, BNF fr 95 is available on the BNF site under the rubric ‘mandragore’, soon to be supplemented by images, and more BNF manuscripts are shortly to be made available; the Lancelot, Queste and Mort Artu sections of BNF fr 112,113–116,117–120 are published as a comparative table by Blackman, Manuscripts and Patronage and ‘Pictorial synopsis’, with full descriptions of all the illustrations; Bonn LUB 526 is on microfiche; Morgan M.805–6 is described in brief (no subject list) on the Morgan Library web site ; Morgan Library images are available (for a fee) through the Index of Christian Art, Princeton University . 18 An effort in this direction is ‘Some Aspects of Arthur’s Death’. 19 This is the approach Elspeth Kennedy and I have evolved in our examination of text and picture in the three early fourteenth-century copies. A collection of essays is in preparation, and the present analysis owes much to our research sessions in Oxford, Cambridge and Upper Bucklebury from 1999–2003. See now articles published since 2003. 20 I looked into this in ‘Sacred and Profane Art’. See also Meuwese, ‘Three illustrated Prose Lancelot manuscripts’ and ead., ‘Inaccurate Instructions’. 17

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a reproduction of the actual image — words alone simply will not do. It would require the best of all possible worlds to achieve all this, and here we are limited by space, time, and resources — so what follows is necessarily fragmentary. Arthur makes his appearance in the second branch of the cycle, the Merlin, where his conception and birth, his selection as King of Britain and his success as a peaceful king are related.21 Thereafter Arthur’s rule is not quite so peaceful, and what follows (usually without a break),22 the Suite Vulgate, is largely concerned with Arthur’s military activities, but also includes his marriage to Guinevere and some other amorous adventures.23 The focus in the Lancelot branch is of course the eponymous hero, but Arthur is an important foil and is depicted amidst the adventures of his knights, exercising the duties of kingship or failing to exercise them, in ways that are interesting pictorially.24 Similarly in Queste, Arthur’s place is in the background, but it is at his court and in his presence that the Grail makes its first appearance and the Grail Quest is launched;25 and at the beginning of Mort Artu he instructs his scribes to record the account of it that Boort gives on his return to court. Arthur’s failures, the destruction of his court and kingdom, the deaths of his cherished knights and eventually his own end, are recounted in the Mort Artu.26

21 Editions are S II, 3–88.19; Micha, Merlin (MM), based on Paris, BNF, fr 747 (Long Version); Le Livre du Graal, vol. I, ed. Poirion, Walter, et al., pp. 571–774, based on Bonn, LUB 526. Very regrettably, this edition does not list the illustrations nor place them in the text. 22 See Micha, ‘Les Manuscrits du Merlin en prose’. 23 Not to be confused with the Huth Merlin version. For Suite Vulgate, see S II, 88.19– 466.7, based on Add. 10292; and Poirion and Walter, pp. 809–1662. An edition of the Short Version is in preparation by Richard Trachsler. 24 S III–V, based on Add. 10293; Kennedy, Lancelot do Lac (hereafter LK), based on Paris, BNF fr 768 (siglum Ao in Kennedy’s edition); Micha, Lancelot, based on a number of manuscripts of Long and Short Versions (hereafter LM). 25 S VI pp. 3–199 and La Queste del Saint Graal, ed. Pauphilet (different page numbers in the 1965 edition), based on Lyon, BM, Palais des Arts MS 77 (siglum K in Pauphilet’s edition). 26 S VI pp. 203–391 and La Mort le Roi Artu, ed. Frappier, based on Paris, Ars. 3347 (siglum A in Frappier‘s edition) ; henceforth Mort Artu.

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Sword-Drawing It is by successfully drawing a sword from an anvil in a stone that Arthur’s right to the throne of Britain is affirmed in the Merlin, which ends with his coronation;27 later in the text, as Arthur draws his sword to defeat the rebel kings, we learn that it is called Excalibur, and it is referred to by name again as Arthur prepares to defeat the giant King Rion.28 The sword-drawing motif occurs again in relation to Galaad in the Queste — not the same sword, of course, and Galaad’s sword remains nameless. Among the most poignant moments at the end of Mort Artu is Arthur returning Excalibur to the lake.29 Many manuscripts of the Merlin branch, however, have only a single opening illustration, showing the Harrowing of Hell, often in conjunction with the council of the devils — even if other branches in the same set of volumes are fully illustrated. Thus, for instance the Amsterdam/Douce/ Rylands copy, and the manuscripts of Jacques d’Armagnac: Paris, BNF fr 112, 113–116, and 117–120 (the latter inherited from Jean de Berry, and a twin to Paris, Bibliothèque de l’Arsenal 3479–80), have only an opening

‘... ou milieu de cele piere auoit vne englume de fer de demi piet de haut largement, et parmi cele englume auoit vne espee fichie ius quau perron outre...’ (S II p. 81.20) [... in the middle of this stone there was an anvil made of iron, easily half a foot high, and in the middle of this anvil there was a sword stuck right through to the stone.] 28 ‘Quant li rois artus fu desestordis si traist lespee du feure qui ieta ausi grant clarte comme se doi chierge i eussent este alumees. et ce fu cele espee quil ot prinse el perron. Et les letters qui estaient escrites en lespee disoient quele auoit non escalibor et cest .j. non ebrieu qui dist en franchois trenche de fer et achier et fust si disent les lettres voir si comme vous orres el conte cha en arriéré ... (S II p. 94. 26–31) [When King Arthur had recovered, he drew from the scabbard the sword that shone as brightly as if two candles had been lit there. And this was the sword that he had drawn from the stone. And the letters written on the sword said that its name was Excalibur, and this is a Hebrew name that means in French ‘cutting with iron and steel and wood’, and the letters were correct, as you will see in the story to come.] And ‘... escalibor sa boine espee que il traist del perron ...’ (S II p. 230. 22–23) [Excalibur, his good sword that he had drawn from the stone]. When Arthur knights Gauvain he girds him with ‘sa boine espee quil osta del perron’ (S II p. 253.31) [his good sword that he had drawn from the stone]. King Rion’s sword is also distinguished: it was forged by Vulcan and used by Hercules (S II p. 230.33–43); it is won by Arthur when Rions is put to flight (S II p. 235.40), and successfully used by Arthur in his fight against the Saxons (S II p. 239). 29 For a note on which manuscripts illustrate this, see Stones, ‘Some Aspects of Arthur’s Death’ at 99–100. 27

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initial for their Merlin, even though their copies of Lancelot, Queste and Mort Artu have a sequence of miniatures.30 The case of Amsterdam/Douce/Rylands is especially interesting as its sister manuscript, Add., has a fully illustrated Merlin and Suite Vulgate; not only does Amst. lack Merlin pictures (apart from the opening scene), it also omits the Suite Vulgate text and starts the Lancelot on the same page as the end of the Merlin. The copy now in Bonn, Landes-und Universitätsbibliothek 526, written by Arnulphus de Kayo in 1286,31 on the other hand, has only two pictures in its Merlin but a full set of illustrations for its Suite Vulgate. So I here compare Add. with the important and slightly earlier copy that contains a fully illustrated Merlin: Paris, BNF fr 95, made c. 1290–1300.32 It has no rubrics, and the miniatures are either large, mostly in two registers, with borders, or small, and in a single register (sm); and it transmits the Long Version. I tabulate the sword-drawing episode in BNF fr 95 and Add. in Appendix, Table A. What is surprising is the difference in placing and emphasis between the two sets of pictures: BNF fr 95 concerned to emphasize pictorially Arthur’s repeated success at the sword-drawing activity, Add. depicting it a single time only, preceded by discussion of the issue and a failed attempt by another knight, and a demonstration of Arthur’s approach to the administrative issues of governing the country; only then do the pictures proceed to the successful sword-drawing, in combination with the coronation which marks the conclusion of the sequence, and the end of the Merlin text (fig. 5). By comparison, BNF fr 95 seems to reflect a mentality that is more concerned with decorative effect than logical progression, and which uses a multiplicity of pictures to reinforce essentially the same point — the legitimacy of Arthur’s right to the throne. As in Add., the final scene is a combination of There is no published list of the illustrations in Ars. 3479–80. This is much needed. For the others, see Blackman Manuscripts and Patronage and ead., ‘Pictorial Synopsis’. 31 Hereafter Bonn 526. For Arnulphus to say that he wrote it in Amiens most likely means that he was normally based elsewhere, a point not taken in most references to this colophon; also of interest is that the colophon is written in Latin, not French. There is an interesting confluence of names between Arnulphus and the Walterus mentioned above, suggesting they were possibly related to each other. See Bénédictins du Bouveret, Colophons, I, no. 1437 and Colophons V, no. 18579; there is no reference in Colophons to the Wautiers dou Kai who copied the Image du monde, Paris, BNF fr 14692, in 1282. 32 For its artistic context and date, see Stones, ‘The Illustrations in BN fr 95 and Yale 229’, reprinted in these essays. For an analysis of the marginalia see now Hunt, Illuminating the Borders. 30

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the coronation and the sword — not by having Arthur draw it again, but by placing it on the altar (fig. 6). Perhaps the profusion of male and female heads and naked figures in the margins is an indication of amorous events to follow — and possibly the heraldry indicates a patron in the circle of the counts of Flanders or Hainaut,33 and maybe the drinking from vessels is a reference to the Grail; but these are also common motifs in the work of this artist and I think they, too, are primarily used here as decorative embellishments to liven the appearance of a very large page — which is not to say that elsewhere in the manuscript there are not instances of a close correlation between marginal motif and main illustration. The marginalia are indeed the hall-marks of BNF fr 95 and Yale 229, which are the only extant Lancelot-Grail manuscripts to include such a profusion of secondary illustration (Add. and its sister manuscripts reserve marginalia for opening pages of branches only, see Appendices F and I) — and the commonest occurrence of the sword motif in BNF fr 95 is also in the context of these marginalia. The Sword, the Round Table, and the Grail In Queste, the sword-drawing test is part of the lead-in to the appearance of the Holy Grail before King Arthur and his knights at the Round Table at which the future Grail-Winner Galaad, son of Lancelot and of King Pelles’s daughter, takes his place in the Perilous Seat reserved for him. The manuscripts in which this episode is depicted are not the same as those that included Arthur’s triumphant retrieval of the sword in the Merlin. So, for instance, Bonn 526 (written in 1286) and Yale 229 (the latter most likely the continuation of BNF fr 95), have no illustration for any of this sequence in Queste, giving only the opening visit of the damsel and the knighting of Galaad; while BNF fr 342 (written by the female scribe in 1274),34 has only Gauvain’s failure (f. 61v), and no images of Galaad’s success or of the Grail’s appearance; Florence, Laur. Ash. 121, perhaps made for, or at least for someone in the entourage of, Pope John XXII in 1319, has Galaad’s

At one time I thought Guillaume de Termonde, son of Guy de Dampierre, Count of Flanders; now I am less sure that the Yale marginal image really refers to him; but if not him personally, then someone in the entourage of the counts of Flanders or Hainaut, is the most likely candidate (both counts bore arms or a lion sable). 34 Mentioned above in the context of the Brunetto Latini manuscripts. 33

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successful sword-drawing followed by the Grail’s appearance (ff. 5 and 6 respectively).35 A few other manuscripts also manifest an interest in the sword-drawing episode in Queste, including Jacques d’Armagnac’s books; but what is especially interesting about the comparative choices made in these manuscripts, is that Add., where Arthur’s sword-sequence is so prominent in Merlin, is not among those that depict Galaad’s success, nor does Add. depict the Grail’s appearance at the Round Table. Royal, on the other hand, combined the sword-drawing success of Galaad with the damsel appearing to tell Lancelot that he is no longer the greatest knight in the world (fig. 7). In Rylands the damsel is not shown at this point. Notable in the sequence in Rylands is the rôle of Guinevere in this sequence: Rylands is notable for including Guinevere at Arthur’s side, as in the text (S VI p. 10. 33, P p. 11, fig. 8) watching the success of Galaad at drawing the sword (but she is not included for Gauvain’s failure), and for being shown at table with Arthur both when Galaad takes his seat there and also at the Grail’s appearance (fig. 9). In neither of those instances is she present in the text, and the corresponding miniatures in Royal omit her as well. The table at which she and Arthur sit in Rylands is not the Round Table, more like a High Table and separate from the Table (shown as rectangular) at which sit the knights36 — but the depiction is important for the pictorial prominence it gives to Guinevere, unmatched elsewhere at this point in the story, so far as I know, and therefore suggesting, perhaps, that this copy was made for a female patron.37 Jacques d’Armagnac’s manuscripts tell an equally interesting story: the success of Galaad is omitted in BNF fr 112 and 116 in favour of the failure of Gauvain or Perceval (fig. 10). In BNF fr 120, made for Jean 35 This is not an exhaustive list. I compare copies of Queste made up to c. 1320 in Illustrations of Lancelot, pp. 307–36. On Florence, Laur. Ash. 121, see Walters, ‘Wonders and Illuminations’, esp. pp. 357–58; Stones, ‘Illustrations of BN fr 95 and Yale 229’, esp. pp. 322, 327, 331; and ead., ‘Illuminated Manuscripts of Popes Clement V and John XXII’, with reference to the related work of Bilotta, Haruna-Czaplicki and Manzari. 36 The Round Table is regularly depicted as rectangular until the advent of interest in spatial depth in painting in the fifteenth century, cf. Jean de Berry’s and Jacques d’Armagnac’s manuscripts; the phenomenon is excellently analysed by Baumgartner, ‘La couronne et le cercle’. 37 It may be significant that the first twelve miniatures, including this opening sequence in Rylands/Douce are illustrated by a second artist. There are other instances where Guinevere and the knights eat together, for instance at the opening of Queste where the damsel arrives to disturb a meal in most manuscripts, and later, during the poisoned apple episode in Mort Artu. For the latter, see Stones, ‘Images of Temptation’, reprinted in these essays.

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de Berry, Galaad’s success is shown as part of a sequential narrative — it can be seen happening in the distance, through the doorway of the room in which the Grail makes its appearance to King Arthur and the knights of the Round Table — thus underlining pictorially the important relationship between Galaad as chosen Grail Winner and the Grail itself and its physical presence at Arthur’s court (fig. 11). D’Armagnac’s other two copies of course also include the Grail at the Round Table, but without the emphasis on Galaad’s rôle in that appearance. I tabulate this episode in Add. and its sister manuscripts and in Jacques d’Armagnac’s books in Appendix, Table B. The final sword episode — Arthur returning Excalibur to the lake — is illustrated, so far as I know, in only three manuscripts: Yale 229, f. 359 (probably the continuation of BNF fr 95 and certainly produced by the same craftsmen), where a two-register miniature shows Arthur in the Noire Chapele with Lucan le Bouteillier and Girflet and, below, Girflet throwing Excalibur into the lake, to be received by an outstretched hand; Add. 10294, f. 94, showing Arthur deep in thought, seated head on hand, while Girflet throws Excalibur into the lake where it is received by the hand; and BNF fr 112, Jacques d’Armagnac’s Special Version, f. 229v, where Girflet, standing at the edge of the lake, holds Excalibur and debates what he should do.38 Arthur and Guinevere The amorous adventures of Arthur are various, beginning in the Suite Vulgate with his brief liaison with King Lot’s wife — his half-sister, Morgause, unbeknownst to both — in which Mordred is conceived (S IIp. 128.13–129. 33). This is depicted in Add. (f. 113, fig. 12) and Bonn (f. 88, fig. 13), both of which manifest a great deal of interest, in general, in depicting scenes of couples in bed — whether engaged in sexual intercourse or sleeping, dreaming, and discussing the meaning of a dream. In BNF fr 95, the conception of Mordred is avoided altogether, so that the beginning of this episode in the text is marked, unusually, by a historiated initial O, showing King Lot and his men riding back to Orcanie (f. 181); it is during Lot‘s absence that Arthur sleeps with Morgause. There is a parallel instance of the use of a small historiated initial, distinct from the usual miniatures, large or small, in Yale 229 (probably the companion volume to BNF fr 95) S VI p. 380.14, F p. 248. 75. Listed in Stones, ‘Some Aspects of Arthur’s Death’, pp. 99–100. 38

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for Lancelot‘s discovery of his deception with King Pelles’s daughter in the Agravain (f. 50); I have suggested this choice of format was a deliberate effort to de-emphasize the subject, perhaps with a juvenile audience in mind.39 In Bonn there is even the extraordinary depiction of the two royal couples, Kings Ban and Boors and their wives, re-united after the battle of Trebes, in foot-to-foot beds (f. 122v, S II p. 273.15, corresponding to the text at pp. 277–78); and a double wedding at the end — of Caesar and Avenable, and her brother Patrice and Caesar’s daughter.40 I tabulate this sequence in Bonn, BNF fr 95, and Add. in Appendix, Table C. The bed scene marks, for Ban and Elaine, the conception of Lancelot, which is followed by Elaine’s dream about the two herds each headed by a crowned lion, of which Merlin will give an explanation that is not fully understood. That dream-sequence is paralleled by Caesar’s dream of a sow with a band of gold on her head, and its explanation. In BNF fr 95 and Add. this sequence is also illustrated, but differently. BNF fr 95 omits the bed scene altogether and plays down Elaine’s dream by compressing its explanation into a historiated initial, while Add. omits the queens on the battlements of Trebes, does give Ban and Elaine in bed (fig. 14), and Caesar and his wife, but above all emphasizes Merlin’s role as interpreter of dreams — first Elaine’s, then Caesar’s, the latter played out across five scenes as against the three in Bonn and BNF fr 95. Add. also omits Avenable, to say nothing of the weddings that conclude the sequence in Bonn, including instead Merlin, not just shown once in disguise, but acting out his explanations, and his disguises, as a narrative sequence, ending with a written version of the explanation, posted above the door in Caesar’s palace. The events leading up to the marriage of Arthur and Guinevere, and her presence at court following the marriage (tabulated in Appendix, Table D), are pictorially de-emphasized in Add., but there is an important scene of Arthur’s first encounter with Guinevere in which she tends to him by washing his face (Add. f. 122, S II p. 156. 7, fig. 15) that is not illustrated in

See Stones, ‘The Illustrations in BN fr 95 and Yale 229’, p. 36. At the end of the En la marche de Gaulle section of Lancelot (S III p. 339.15, f. 254), there is another double bed scene with two couples depicted in two beds, a sequence not matched in Add., which marks the same place in the text, unusually, with a champie initial (Add. 10293, f. 119v); and in Amst there is no marker at all. The text in Bonn appears to diverge at this point to recount an amorous episode between King Arthur and the enchantress Camille, and between Gaheriet and a damsel. 39 40

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1. London, BL Add. 10294, Mort Artu, f. 89, King Arthur on Fortune’s Wheel (photo: British Library)

2. Paris, BNF fr 566, Brunetto Latini, Le Trésor, f. 10, Wheel of Fortune (photo: Bibliothèque nationale de France)

ILLUSTRATION AND THE FORTUNES OF ARTHUR

3. Paris, BNF fr. 1110, Brunetto Latini, Le Trésor, f. 106, Wheel of Fortune (photo: Bibliothèque nationale de France)

4. Città del Vaticano, BAV Vat. lat. 3203, Brunetto Latini, Le Trésor, f. 126, Wheel of Fortune (photo: Biblioteca Apostolica Vaticana)

889

890

5. London, BL Add. 10292, Merlin, f. 101, Arthur draws the sword and the bishop holds out his crown (photo: British Library)

6. Paris, BNF fr 95, Merlin, f. 159v, Arthur draws the sword and lays it on the altar as he is crowned (photo: Bibliothèque nationale de France)

ILLUSTRATION AND THE FORTUNES OF ARTHUR

891

7. London, BL Royal 14 E.III, Queste del saint Graal, f. 91, Arthur and Guinevere watch Galaad draw the sword and the damsel tells Lancelot he is no longer the greatest knight in the world (photo: British Library)

8. Manchester, The John Rylands University Library, French 1, Queste del saint Graal, f. 183v, Arthur and Guinevere watch Galaad draw the sword from the stone (photo: Lancelot-Grail Project)

892

9. Manchester, The John Rylands University Library, French 1, Queste del saint Graal, f. 184v, The Grail is brought before Arthur, Guinevere and the knights (photo: Lancelot-Grail Project)

10. Paris, BNF fr 116, Queste del saint Graal, f. 608v, Failure of Gauvain or Perceval to draw the sword (photo: Bibliothèque nationale de France)

ILLUSTRATION AND THE FORTUNES OF ARTHUR

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11. Paris, BNF fr 120, Queste del saint Graal, f. 524v, The Grail appears before King Arthur and the knights of the Round Table (photo: Bibliothèque nationale de France)

12. London, BL Add 10292, Suite Vulgate, f. 113, Conception of Mordred (photo: British Library)

894

13. Bonn, LUB 526, Suite Vulgate, f. 88, Conception of Mordred (photo: Landes- und Universitätsbibliothek Bonn)

14. London, BL Add. 10292, Suite Vulgate, f. 159, King Ban and Queen Elaine in bed (photo: British Library)

ILLUSTRATION AND THE FORTUNES OF ARTHUR

895

15. London, BL Add. 10292, Suite Vulgate, f. 122, Guinevere washes Arthur’s face (photo: British Library)

16. Bonn, LUB 526, Suite Vulgate, f. 129v-2, Marriage of Arthur and Guinevere (photo: Landesund Universitätsbibliothek Bonn)

896

7. Paris, BNF fr 95, Suite Vulgate, f. 152, Marriage of Arthur and Guinevere (photo: Bibliothèque nationale de France)

ILLUSTRATION AND THE FORTUNES OF ARTHUR

18. olim Amsterdam, BPH 1, Lancelot, ii, f. 202, Bertholais and the False Guinevere’s messenger challenge Guinevere’s legitimate status as Arthur’s wife (photo: Lancelot-Grail Project)

19. London, BL Add. 10293, Lancelot, f. 131, Bertholais and the False Guinevere’s messenger challenge Guinevere’s legitimate status as Arthur’s wife (photo: British Library)

897

898

20. London, BL Add. 10293, Lancelot, f. 154, Death of the False Guinevere (photo: British Library)

21. Bonn, LUB 526, Lancelot, f. 273v, Death of the False Guinevere (photo: Landes-und Universitätsbibliothek Bonn)

ILLUSTRATION AND THE FORTUNES OF ARTHUR

22. olim Amsterdam, BPH 1, Lancelot, f. 277v, Death of the False Guinevere (photo: Lancelot-Grail Project)

23. Bonn, LUB 526, Suite Vulgate, f. 160v, King Arthur’s combat with the Giant of MontSaint-Michel (photo: Landes-und Universitätsbibliothek Bonn)

899

900

24. London, BL Add. 10292, Suite Vulgate, f. 205v, King Arthur kills the Giant of Mont-Saint-Michel (photo: British Library)

25. London, BL Add. 10292, Suite Vulgate, f. 209v, King Arthur fights the Cat of Lausanne (photo: British Library)

ILLUSTRATION AND THE FORTUNES OF ARTHUR

901

26. London, BL Add. 10292, Merlin, f. 80v, The child Merlin dictating to Blaise (photo: British Library)

27. Bonn, LUB 526, Merlin, f. 129v-1, Merlin dictating to Blaise (photo: Landesund Universitätsbibliothek Bonn)

902

28. Paris, BNF fr 95, Merlin, f. 309-2, Blaise listening to Merlin (photo: Bibliothèque nationale de France)

29. London, BL Add. 10292, Suite Vulgate, f. 188-2, Merlin dictating to Blaise (photo: British Library)

ILLUSTRATION AND THE FORTUNES OF ARTHUR

903

30. London, BL Add. 10293, Lancelot, f. 315v, Gauvain relating his adventures to Arthur and the court (photo: British Library)

904

31. Manchester, The John Rylands University Library, French 1, Mort Artu, f. 212, King Henry commanding Walter Map to write the Mort Artu (photo: Lancelot-Grail Project) 32. Paris, BNF fr 116 Mort Artu, f. 678, Boort recounting his adventures to Arthur, or Arthur asking Gauvain how many knights he killed in the Queste; Agravain telling Arthur about Guinevere’s adultery (?) (photo: Bibliothèque nationale de France)

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Bonn or BNF fr 95. At that place in the text they give a battle, the feasting at Leodegan’s castle, or (as also in Add.’s second miniature) news about Gauvain transmitted by Merlin. Later, Bonn and BNF fr 95 both depict the marriage of Arthur and Guinevere (figs. 16, 17) — an event best known from the splendid wedding scene in the Chroniques de Hainaut, begun for Philip the Bold, duke of Burgundy, in 1449 and illustrated in 1468 by Willem Vrelant and others;41 while in Add. it is only when Arthur establishes his court at Logres that the presence of Guinevere, as queen, already married to Arthur, is shown, in scenes which are also paralleled in Bonn and BNF fr 95. Thereafter Guinevere weathers numerous challenges to her legitimacy as Arthur’s lawful wife, notably from the False Guinevere (also the daughter of King Leodegan by the wife of his senechal Cleodalis, conceived on the same night as the True Guinevere, S II p. 149, not illustrated in Add.), and her champion Bertholais, who plots to dispose of the True Guinevere and substitute the False Guinevere in her place. In Merlin, this plot is quickly defeated thanks to Merlin’s intervention (S II pp. 301–312, Appendix, Table D below), but it is much more serious a threat in the Lancelot, where Arthur renounces the True Guinevere for a time in favour of the impostor, even leaving the kingdom in such disarray that the barons elect Gauvain to replace Arthur, a scene depicted in Bonn, Add. and Amst. (Appendix, Table E). The champions of the True Guinevere, Lancelot and Galehot, finally prevail, and the sequence ends with the Queen begging Lancelot to rejoin the Round Table. This episode is treated pictorially at enormous length in Add. The entire sequence was clearly of very great interest, and extends in subtle detail over no fewer than twenty-four scenes, compared with what is done in Amst., where there are only five illustrations in the corresponding text. Both Amst. and Add. have an opening scene depicting the appearance of Bertholais and the False Guinevere’s messenger at court — treated with much more attention to detail in Amst. (fig. 18), where, for instance, the scarf flung on the ground and the box containing the letter are both clearly shown; and the setting, with its splendid tiled floor, is also shown in more detail than in Add. (fig. 19). Once again (cf. Arthur’s sword-drawing), Add. displays a concern to lay out over many scenes a long and complicated legal issue. Significant is its placing of the death of the False Guinevere (fig. 20), 41 Loomis and Loomis, Arthurian Legends in Medieval Art, pp. 125–26, fig. 343 (Brussels, Bibliothèque Royale Albert 1er, 9243, f. 39v). For the False Guinevere episode see now Stones, ‘Illustration et stratégie illustrative’, reprinted in these essays.

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not at the place it is given in the text by Bonn (fig. 21) and Amst. (fig. 22), but preceded and followed by additional scenes exploring numerous aspects of the legal situation faced by Arthur’s barons, the fate of Bertholais, the intervention of the pope, and concluding with the penitence of the barons of Sorelois, the repentance of Arthur, and the Queen handed back, and her begging Lancelot to remain at court. Royal lacks the Lancelot altogether, and the BNF fr 95/Yale 229 volumes lack the Lancelot except for the Agravain section (at the beginning of Yale 229), so no comparisons are possible; but it is noteworthy that Bonn aligns with Amst. here, giving only four scenes at corresponding places in the text, making even more striking the exceptional detail given to this sequence in Add. The treatment of the False Guinevere episode in Jean de Berry’s and Jacques d’Armagnac’s manuscripts is also interesting as scenes from it are spread out, as it were, among the three copies, no single copy giving as minute a pictorial account of the sequence as Add., and not always at quite the same places in the text, but a fuller account than those in Bonn and Amst. (Appendix, Table E). Arthur’s Prowess Much of Arthur’s reputation as king derives from the military victories in which he leads his army, depicted passim in many scenes of mounted combat with lances or swords, from his early defeat of the rebel barons with the help of Merlin, accompanied by the splendid fire-breathing dragon standard, to his valiant combats against Saxons, Romans, and Irish, extending to the end of the Mort Artu. There are also individual victories where Arthur triumphs, as does each of the knights, over particular persons in one-to-one combat on horseback or on foot. Two of Arthur’s battles are especially noteworthy, and both occur towards the end of Merlin: Arthur’s defeat of the giant of MontSaint-Michel (S II p. 429. 36) and his killing of the Cat of Lausanne (S II p. 442. 21). Both are part of Arthur’s campaign against Roman Emperor Lucius who attempts to make Arthur do homage and pay tribute; and in both, Merlin has an important part to play — assisting King Arthur for the last time before he succumbs to the wiles of Viviane and is imprisoned in a cave for the rest of the Merlin, to reappear no more in the Lancelot-Grail. As Arthur crosses the Channel, he has a dream about a dragon attacking a bear and killing it. In Merlin’s interpretation, Arthur is the dragon and a terrible giant is the bear. It is the giant of Mont-Saint-Michel, responsible

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for killing many people. Arthur kills it single-handed and has Bediver cut off its head, whose size suitably impresses Arthur’s knights. BNF fr 95 omits the combat with the giant altogether, giving at this place in the text a two-part miniature of Merlin advising Arthur and Arthur and his men sailing across the Channel (f. 334v). In Add. (f. 205v) and Bonn (f. 160v), the combat with the giant is compressed into a single scene, but differently placed: Bonn’s at S II p. 427. 9 (fig. 23), where in Add. (f. 204v) there is a lead-in miniature for the campaign against the Romans as a whole, depicting Merlin advising Arthur to prepare for war. The combat in Bonn shows Arthur with sword and shield standing on the top of Mont-Saint-Michel (shown as a bare hill), with the giant placed further forwards in the picture-plane but turning back and raising his club, his ugly face and curly hair shown in profile. In Add. (f. 205v, fig. 24), the giant, also clad in armour, is on the ground being pierced by Arthur’s sword; on the right is a blazing fire in which a chicken is roasting on a spit; and three of Arthur’s knights on the left are witnesses to their leader’s victory. Arthur defeating the giant of Mont-Saint-Michel was a subject popular in the chronicles, beginning with one of the earliest known depictions of Arthur altogether, in the well-known historiated initial in the twelfthcentury copy of the Historia regum britanniae of Geoffrey of Monmouth, owned by the Abbey of Anchin (OSB, dioc. Arras), Douai, BM 880, f. 66;42 and the combat figures splendidly later too, for instance in the Chroniques de Hainaut mentioned above;43 and a spectacular example is in the Bruges copy of Jean de Vignay’s translation of Vincent of Beauvais, Speculum historiale in Paris, BNF fr. 310, made c. 1455. It is also taken over into the Alliterative Mort Arthur as its only illustration, added at some later stage on the blank leaf preceding the text opening.44 There, King Arthur is shown bearing a shield with the three crowns — which in Add. and its sister manuscripts

42 Loomis and Loomis, ibid., fig. 340. See now the full-length line-drawn portrait of King Arthur discovered by F. Avril in another copy of Geoffrey of Monmouth’s Historia regum Britannie, of the mid-twelfth century, from Mont-Saint-Michel: Paris, BNF lat. 8501A, f. 108v (Delcourt, La Légende du roi Arthur, pp.82–83, no.10, by Marie-Françoise Damongeot). 43 Brussels, Bibliothèque Royale Albert 1er, 9243, f. 49v, and Loomis and Loomis, ibid., fig. 347; for Jean de Vignay in BNF fr 310, f. 221v see Delcourt, Légende du roi Arthur, cover illustration and p. 90, no. 17, by Marie-Hélène Tesnière. See also the illustration in Giovanni Colonna’s Latin Mare Historiarum, Paris, BNF lat 4915, f. 295v, ead., ibid., p. 92, no. 18. 44 Thornton Manuscript, on f. 52v. For more on the heraldry of Arthur and his knights, see Pastoureau, Armorial des chevaliers de la table ronde, and Stones, ‘Les Débuts de l’héraldique’.

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is just beginning to be used consistently for the first time (although often there are only two crowns, and painted in white for argent instead of yellow for or) — and the giant, who holds a mace, is also shown in armour, with three mask-heads 2 and 1 on his breastplate. In view of these parallels, it is surprising there are so few representations of Arthur’s combat with the giant of Mont-Saint-Michel in Suite Vulgate manuscripts. As for Arthur’s defeat of the Cat of Lausanne, the subject is still rarer: it appears only in Add. (f. 209v, fig. 25) and in a manuscript of c. 1410 now in private hands (Günther Cat. 3, 1995, lot 11). One might have expected this ‘cat-as-devil’ motif to have enjoyed a more robust tradition of representation in the Suite Vulgate, particularly as, around the time that the Lancelot-Grail was being written and the earliest copies made c. 1210–20,45 the cat motif symbolising heresy (cf. the etymology of ‘Cathar’) was depicted in connection with the Jews and infidels in the two earliest copies of the Bible moralisée, Vienna ÖNB1179 (with captions in Latin) and ÖNB 2554 (with captions in French), made in Parisian royal circles for Louis VIII and his family.46 The Rennes manuscript, I have argued, was also made in these circles. Arthur as Chronicler If Arthur plays an active rôle in much of the Merlin, Suite Vulgate and Mort Artu, he is also portrayed in what might be described as a passive rôle as well, as listener and as chronicler of the adventures related orally to him by his knights on their return from adventures. In Merlin and Suite Vulgate, the chronicler of events is Blaise, the ‘preudom’ confessor of Merlin’s mother, to whom Merlin recounts his adventures and tells his prophecies, and who commits them to writing, beginning with Merlin’s account of the events in Estoire. There, the story is itself the one written in the book given to the hermit-narrator by Christ (S 1 pp. 5, 8, 11, 12), and the sequence of For a date c. 1220 for Rennes BM 255 (Estoire, Merlin, Lancelot to S IV p. 220.33, ending incomplete and with a huge lacuna before the last leaf ), made most likely in Paris, see Stones, ‘The Earliest’, reprinted in these essays; and I think there is every chance that the Modena copy, Bibl. Estense E 39, containing a prose version of Robert de Boron’s Joseph and Merlin, followed by the Didot-Perceval, and a Lapidaire, is earlier (c. 1210?) and perhaps made in Champagne or the north of France. This dating means, of course, that the composition of the entire cycle is earlier than most scholars admit, as is the date of the pre-cyclic version; BNF fr 768, the base manuscript of Kennedy’s edition, could well support a date c. 1210. For the text of Joseph, see Robert de Boron, Joseph d’Arimathie, ed. O’Gorman. 45

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the hermit-narrator receiving the book and writing his own copy is popular in Estoire iconography — but not universal, as, for instance, there is no depiction of either hermit or book in BNF fr 95; and in Bonn two of these events — Christ giving the book to the hermit-narrator, and the latter writing — are included as second and fourth in the six-part opening miniatures, but not at their place in the narrative account. I compare Add. and its sister manuscripts with the Jean de Berry/Jacques d’Armagnac set in Appendix F. It will be seen that in terms of the placing of the hermit-narrator’s writing activities, there is overlap with the subject narrated, namely the Crucifixion which in Add. displaces the writing activity altogether: in Royal the copying is given much more prominence — both model and copy are depicted on the hermit-narrator’s desk in the image — and it is the Crucifixion which is displaced to a position corresponding to the actual account of it given in the text. In Amst., the use of a champie to mark the corresponding point is noteworthy — as in Add., the Crucifixion is given pride of place, but like Royal at its place in the narrative. Of Jacques d’Armagnac’s manuscripts, the only one with a narrative cycle for Estoire is BNF fr 113–116, in which the opening composite miniature (f. 1) includes in the top left quadrant a displaced image of Walter Map/Arthur’s clerk presenting his book to King Henry/King Arthur; and the second miniature (f. lv) shows Christ appearing to the hermit but without a book: it is a vision of the Trinity (but one that lacks a depiction of the other two Persons).47 This is the background against which Blaise’s written account of Merlin’s activities should be read, a point that Blaise himself makes explicit: ‘si sera li liures ioseph adiouste au tien et quant tu auras ta paine achieuee et tu seras tels com tu dois estre en la compaignie del graal lors sera tes liures aioins al liure ioseph si sera la chose bien esprouee de ma paine et de la toie se en aura dieus merci sil li plaist et cil qui lorront proieront nostre seignor por nous. Et quant li doi livre seront

46 The literature on these is enormous. For Vienna, ÖNB 2554 see the facsimile and commentary by Haussherr, Bible moralisée, and his numerous articles; ÖNB 2554 was edited a second time (despite the continued absence of a facsimile of the no less important ÖNB 1179) by Guest, Bible moralisée: Codex Vindobonensis 2554. On the cat motif, see Lipton, ‘Jews, Heretics, and the Sign of the Cat’. I thank Sarah Bromberg for stimulating discussion of the cat issue. 47 See Blackman, The Manuscripts and Patronage, p. 505.

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ensamble si i aura .j. biau livre, et li doi seront .j. misme chose...’(S II p. 20.5–10) [... and Joseph’s book will be joined to yours, and when you have completed your toils as you should in the company of the Grail then your book will be joined to Joseph’s and the task will bear witness to your work and mine and God will be merciful if it pleases him and those who hear it will pray Our Lord for us. And when the two books come together there will be a single fine book and the two shall be one ...] Indeed, the narrative of Merlin and Suite Vulgate is punctuated at intervals with Merlin’s visits to Blaise in order for his account of the events to be recorded. At first Blaise is not eager to undertake the task of writing down what Merlin tells him because he knows the Merlin was conceived by the devil; but, in this version of the text, Merlin has been baptized, as he himself makes clear, convincing Blaise of the virtue of the writing enterprise: ... Et merlins dist il est coustume de tous maluais cuers que il notent plustost le mal que le bien ensi com tu ois dire que iestoie conceus del diable . ensi mois tu dire que nostre sires mauoit donne sens et memoire de sauoir les choses qui estaient a uenir et por ce se tu fuses sages deuses tu esprouer et sauoir al quel iou me uoldroie tenir ... (S II p. 18. 27–32) [... And Merlin said wicked hearts are accustomed to attribute to me evil rather than good, just as you have heard tell that I was conceived by the devil, and you hear me say that Our Lord gave me reasoning and memory so that I should know the things that are to come and because of that if you were wise you ought to test me and to know to what I would adhere ...] Blaise finally agrees to what Merlin asks, to write down what Merlin tells him — provided it is done in the name of the Trinity. Merlin promises not to do anything that is against the will of Jesus Christ his Saviour: ... et blayses respont ore me di ce que tu vels car ie ferai des ore mais tout ce que tu me commanderas de bien. Et merlins li dist ore quier encre et parchemin ades que iou te dirai moult de choses ce que tu quideroies que nus hon ne te peust dire. (S II p. 19.11–14)

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[and Blaise replied now tell me what you want, for from now on I will do all such good works as you command me. And Merlin said to him now fetch ink and parchment here so that I may tell you many things which you would think no man could tell...] This is followed by the first of several miniatures — and the only one in the Merlin — in which Merlin is shown dictating to Blaise. In this instance, which is the sequel to Merlin’s clearing of his mother’s name at the tender age of only two and a half years old, he is shown as a child — an interesting reversal of the usual teaching or dictating situation common in so many didactic texts (Add. f. 80v, S II p. 19.15, fig. 26).48 An element of this reversal is preserved in subsequent depictions in Add. (illustrating Suite Vulgate), since Blaise is depicted as the older of the two men, as he is in the text; but in Bonn and BNF fr 95, Merlin and Blaise are both shown as greyhaired, bearded men. In Add. f. 80v, Blaise is seated in an elaborate chair with tracery on the back and side, and a movable lectern attached; he sits wearing a hooded robe and writing, while Merlin holds the desk with one hand and points with the other. Comparisons for this image at this place in the text are not forthcoming: this is not one of the two miniatures that illustrate Merlin in Bonn, and it is also omitted from the picture cycle in BNF fr 95 although the trial of Merlin’s mother is shown (f. 120). In Suite Vulgate, Bonn and Add. each give three more pictures of Merlin and Blaise, and BNF fr 95 gives four; in two instances (at S II p. 292. 38, figs. 27, 28, 29; and S II p. 375. 3) all three copies place an illustration at the same line in the text; in one other case, BNF fr 95 and Add. align (at S II p. 206. 16); and BNF fr 95 and Bonn each have one additional Merlin and Blaise miniature placed, respectively at S II p. 180. 12 and p. 300. 38. These are tabulated in Appendix, Table G. In all Add.’s miniatures, great interest is shown in depicting the details of Blaise’s chair and its lectern attachment, and in the appearance of the page on which he is writing — sometimes shown as a folded leaf, sometimes as a single tall leaf; and Blaise himself is tonsured and wearing a hooded robe, regardless of which illustrator is at work. And Blaise’s sole activity, in Add., is to write. In BNF fr 95 and Bonn, on the other hand, there are several

48 Such as Brunetto Latini, Le Trésor; Vincent of Beauvais, Speculum historiale; Aristotle; Medical treatises; Thomas of Cantimpré, De rerum natura; Bartholomeus Anglicus, De proprietatibus rerum; Papias, Vocabularium, and the like.

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instances where Blaise is shown listening to what is being said by Merlin rather than writing it down, and, in these cases, he is shown either standing like Merlin (Bonn ff. 127v, 147), or sitting (BNF fr 95, ff. 309, 268; fig. 28); in one case (BNF fr 95, f. 268), he is even holding head on hand and resting his elbow and other hand on the written pages of his book as he listens. In BNF fr 95 his lectern is a separate desk, not an attachment to the chair as in Add., while in Bonn, the one occasion on which he is shown actually writing, is on a scroll held on his knee (f. 129v; fig. 27). In Bonn, Blaise is always shown wearing a hat, and on two occasions also in BNF fr 95 (ff. 210,268); it is of a type that is in general reserved for academics or for lawyers,49 thus endowing Blaise and his activities with an official status not accorded to Arthur’s scribes. In Add., the structure of Blaise’s seating arrangements is notable, as is the care and attention paid to the format of his writing on the page (fig. 29). Not every textual mention of Merlin relating his adventures to Blaise is illustrated, for on occasion what is shown instead is the actual fulfilment of Merlin’s prophecy. A case in point in Add. is at f. 87, S II p. 41 (not illustrated elsewhere, so far as I know), where the miniature shows the brothers Uther and Pendragon riding together; the text that follows gives the context: Pendragon has just met up with his brother Uther, and asks him whether the death of Augis had occurred in the way in which Merlin had prophesied to Pendragon that it would; to which Uther answers in the affirmative. The miniature underlines the textual confirmation that Merlin’s prophecies are to be believed; and for the reader too, they are authenticated by Blaise’s writing them down: ‘Lors prinst merlins congie al roy pandragon et sen ala a blayse si li dist ces choses. Et blayses les mist tout en escrit et par ce le sauons nous encore. Et pandragons chevalcha tant par ses iournees quil troua uter son frere. Et quant il virent lun lautre si entre fisent grant ioie et pandragons trait son frere a une part si li conta la mort augis si come merlins li auoit conte si li demanda sil fu ensi et uter li respond sire se dieus mait vous maves tel chose dite que iou ne quidoie mie que nus hons leust seu fors que diex et uns viex hons qui en conselle me dist ...’ (S II p. 41. 5–12) 49 It is commonly found, for instance, in the illustrations of Gratian’s Decretum, see Melnikas, The Corpus of the Miniatures.

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[Then Merlin took leave of King Pandragon and went off to Blaise and told him these things. And Blaise wrote all of them down and because of that we know them still. And Pandragon rode for many days till he found Uter his brother. And when they saw each other they rejoiced and Pandragon drew his brother aside and told him about the death of Augis just as Merlin had related it and asked him if it was so and Uter replied Sire, as God is my help, you have told me something that I would never have thought any man would know except for God himself and an old man telling me privately .. .] Subsequent images of Merlin telling and Blaise writing will thereafter carry these associations of authenticity and authority in the transmission of the narrative in its written form. In the remainder of the Lancelot-Grail, the person responsible for having events committed to writing is King Arthur. The methods he employs are more properly those of history writing, in that what is being recorded, and by Arthur’s court scribes, are the events that have taken place during Arthur’s reign. At the same time, the source of the information is the oral account each knight tells in turn — not information copied from written documents. In addition to providing the primary source for Arthur’s written chronicle, these oral witnesses to events also serve to inform the entire community of the court, directly and at first hand, about what they have accomplished. All this is different from the one-to-one accounting that Merlin gave to Blaise, to which Arthur and his court are not party. What is surprising about Arthur’s chronicling activities is the relative absence of illustrations depicting these important moments in the recording of the knights’ adventures. Much more attention is paid, in the illustrations in general, to another kind of communication — that of letter-writing, sending, and the reading of letters — a still more urgent and immediate means of relating events when the letter-writer is far away, since the reader need not wait for the writer’s return to learn what has happened, still less for the events to be officially chronicled. The rôle of letters, letter-writing, and the reading of letters, is an enormous topic that merits a study of its own, and I leave it aside here. In relation to the recounting and recording of the knights’ adventures, what is most often depicted is a scene from the adventure itself, not of its writing down: so at S V p. 191. 34, Add. is unusual in including an image showing Gauvain relating his adventures to King Arthur and the court, without a scribe present in the

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picture (f. 315v, fig. 30). This is preceded and followed by textual reference to adventures being written down — those of Lancelot, who had told his just before Gauvain, then the other knights. What is critical here is Arthur’s insistance that the oral accounts be true and complete — to the point that the knights must swear an oath on relics to that effect. First Arthur summons all the knights, and his clerks, and relics of saints on which oaths were to be sworn, and Lancelot must swear that what he will say is a complete account of all the adventures he has had since leaving court, omitting nothing; to which he swears (but in fact omits mention of his affair with King Pelles’s daughter). ‘Celui iour apres disner fist li roys uenir tous lez compaignons de la table roonde. Et quant il furent tout uenu deuant lui. si les fist asseoir ou renc . Lors apela ses clers qui metoient en escrit lez auentures de laiens et toutez lez auentures qui auenoient as cheualiers errans Et on aporta lez sains sor coi on faisoit le sairement Si dit li roys a lancelot oiant tous ceuls de laiens. lancelot il est ensi que vous partesistes de chaiens sans faire sairement. Et pour ce volons nous que vous iures. que vous nous conteres orendroit toutes les auentures qui auenues vous sont puis que vous uous partesistes de chaiens. Et que vous pour honte ne le laires a dire qui auenues vous soit. Ei il le iure tout ensi comme li roys li ot deuise ...’ (S V p. 190.15–24) [That day after dinner the king summoned all the companions of the Round Table. And when all had come before him, he had them sit down. Then he summoned his clerks to write down their adventures and all the adventures of the errant knights. And the relics of saints were brought forth on which they were to make their oaths. Then the king said to Lancelot in the hearing of all, Lancelot, is it true that you would leave this place without swearing an oath? For this reason we wish you to swear that from now on you will tell all the adventures you have had since you left here, and that you would be ashamed not to tell about any of the adventures that have happened to you. And he swore it just as the king had asked...] Lancelot’s adventures were so much more voluminous than anyone else’s that they had to be put in a special book all by themselves, which was found at Salisbury after Arthur’s death:

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‘... Ensi comme lancelot disoit sez auentures furent elles mises en escrit Et pour ce que si fait estaient greignor que nus de ceuls de laiens. lez fist li roys mettre par lui seul. Si que dez fais lancelot troua len .j. grant liure en lanmaire [not laumaire as S] le roy artu Apres ce quil fu naures a mort en la bataille de salebieres. Si come cils contes le deuisera cha auant... ‘(S V p. 191.29–33) [... Lancelot’s adventures were written down just as he had told them. And because they were greater than those of anyone else the king had them written separately. This is how it came about that the deeds of Lancelot were found in a big book in the [library] cupboard of King Arthur after he was mortally wounded at the Battle of Salisbury as this story already told ...] But, regrettably, neither Add. nor, so far as I know, any other manuscript, depicts any of Lancelot’s narration. What follows this passage is a picture of Gauvain’s account, the only one to depict the act of telling in the Lancelot; and again, Arthur has the events committed to writing immediately: ‘Quant les auentures lancelot furent mises en escrit ensi com vous poes oir . Si conta me sires Gauuain lez soies apres ...’ (S V p. 191. 34–35) [When Lancelot‘s adventure had been written down as you have heard, my lord Gauvain told his next.. .]. And ‘Quant mesires Gauuain ot toutes contees lez auentures qui li estaient uenues Si lez first li roys mettre en escrit ...’ (S V p. 192. 12–13) [When my lord Gauvain had told all his adventures the king had them written down ...] The rest of the illustrations surrounding these accounts depict, as was the case on occasion in Merlin, the actual adventures — so Add. gives Lancelot playing against the magic chessboard in the preceding miniature (f. 315), and Guinevere giving Lancelot her enchanted ring in the miniature that follows (f. 316v). This scene was also chosen for Bonn (f. 382) and BNF fr 95 (f. 85v), but none of it was included in the Jacques d’Armagnac manuscripts, whose only image of writing is at the opening of Mort Artu, and where even the chess and ring scenes are lacking. The opening of Mort Artu is most often illustrated with a scene depicting a king ordering a scribe to write (Bonn is exceptional in offering two different subjects; see Appendix, Table I). Sometimes the king and the scribe are alone, as in Rylands (f. 212, fig. 31) and Royal (f. 140); more usually others are present (Yale 229, f. 272v; Add. 10294, f. 53). The ‘historical context’ in which King Henry II and Walter Map are invoked at the beginning of the text

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suggests, of course, that it is they who are represented in the pictures; but it is equally likely that another obvious overlay of meaning is to be understood here — King Arthur and his scribe. In the case of Add., the seated king is clearly Arthur, and he is listening and even commenting (by pointing his finger) upon what his knights are recounting. The one speaking is likely to be Boort recounting the adventures of the Queste del saint Graal, as Arthur asks him to — but the miniature could also, or instead, depict what the rubric says it does, namely Arthur asking Gauvain how many knights he killed in the quest. I suggest these kinds of ambiguities are deliberate, allowing for a multi-valent reading in which the viewer could decide or weigh the alternatives. The same kinds of multiple readings may be found in Jacques d’Armagnac’s two copies; with the added dimension of a foretaste of what is to come, if indeed one of the miniatures shows Agravain telling Arthur about the adultery. The inclusion of a second miniature showing this subject, in BNF fr 112 (f. 183) makes it all the more likely that this is how the righthand component of the miniature in BNF fr 116, f. 1 (fig. 32), should be interpreted (see Appendix, Table I). Here it is of interest to note that Jean de Berry’s copy, BNF fr 120, has only two miniatures for its Mort Artu, and there is no scene at the opening, so that the preferences expressed in the choices in BNF fr 112 and 116 are likely to be those of d’Armagnac himself. Conclusions What has been learned from this rapid survey? First and foremost, that the reception of this text was a highly complex matter. The long episodic narrative was read, and interpreted, with enormous care — comparable to the beautiful handwriting, careful corrections, the paragraphing marked with penflourished initials in colours and sometimes also in gold, that could not be examined here. No two copies transmit the same pictorial emphasis, even when we know they were produced by the same or closely related craftsmen (perhaps women too, but we know that only in the case of BNF fr 342, which has been barely touched upon here); and there is no clear case of direct and precise copying. Comparisons within the same copy and between copies show that patrons and makers (or both) followed highly divergent paths as to which episodes and sequences they preferred, and in what ways they wished the selection, placing, and treatment of the illustrations to convey those preferences. The results show a mesh of complicated interrelationships whose significance only emerges in a comparative examination — and even

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then, only with difficulty, for we cannot always be clear as to just what the differences mean. Yet the manuscripts, and the images, have much to tell about what it was people found interesting and important in these stories. They are likely to fascinate us for some time to come, as they clearly did their medieval audience.

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Appendix1 Table A. Merlin: Arthur draws the sword Text

Paris, BNF fr. 95

London, BL Add. 10292 illustrations by two hands

S II 80.21 MM 264.52

Add. f. 99r Rubric: Ensi que vns archeuesques reuestus por canter messe parla a Antor par deuant le puple. The archbishop addresses the people about the sword in the stone; the stone is inscribed ‘ki cheste/espee hors/tria. roy sera/de la terre/ (hand 1). L, champie initial Text: Lots dist li uns a lautre que cest li mieudres consaus que nus i puisse metre...

S II 81.23 MM 268.8

Add. f. 99r Rubric: Ensi que Artu assaie por sakier lespee hors de lenglume de le perron, (a knight; not Arthur) A knight tries to draw the sword from the stone (hand 1). Q, champie initial Text: Quant cil le virent qui del moustier furent issu si en orent moult grant merueille...

1 The selections from Add., Royal, and Rylands, are adapted from the Tables of the Lancelot-Grail Project and include both rubric and text incipit below the miniatures; Bonn also has rubrics, as do BNF fr. 112,113-116,117-120, but full transcriptions have yet to be made, as for the text below the miniatures in those manuscripts and in BNF fr. 95/Yale 229 (which lack rubrics). In the transcriptions, proper names have been capitalized for ease of reading. We retain u and v, i and j, and do not supply the apostrophe or modern accents. Tirronian ‘et’ and ampersand are transcribed as ‘et’. We note discrepancies between what the rubric says and what is accurate according to the text that follows. Miniatures in BNF fr. 95/ Yale 229 are large unless otherwise stated (sm=small miniature, or historiated initial).

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S II 81.28 +var MM 273 +var

919

BNF fr. 95 f. 156v Sword in the anvil; bishop and crowds look at it; sword removed by Arthur, who rides up past watching knights on horseback (one shield Flanders or Hainaut: or a lion sable) and takes sword; top border: two sets of embracing male and female head terminals, entwined; bottom: hare holding banner or a cross sable. Text: Lors le comanderent a garder a .x. homes...

S II 82.30 MM 272.4

Add. f. 99v Rubric: Ensi que Antor fist iurer le roy Artu sor sains quil tenra loyaument conuenenche a Keus son fil. Arthur pledges to Antor to appoint Keu his seneschal: he lays his hand on a book inscribed ‘puer natus est nobis’; the sword is in the background, the stone inscribed ‘ki cheste/espee trete/ hors roy/ sera de la tere’(hand 1). L, champie initial Text Lore si assaierent tuit li vns apres lautre...

S II 84. 23 MM 278. 31

Add. f. 100r Rubric: Ensi que li archeuesques bailla lespee a Artu par deuant le puple. (Arthur hands over the sword, not the opposite). Arthur hands the sword he has drawn to the archbishop; the stone is inscribed ‘ki eheste es/pee hors oste/roy sera del/tere’ (hand 1). S, champie initial Text: Sire vees chi .j. mien enfant fait Antor qui nest mie cheualiers...

920 S II 84. 28 MM 280

BNF fr. 95 f. 157v sm: Arthur, on foot, removing the sword again, watched by bishop and men; dragon terminal. Text: Ensi le portent au moustier...

S II 86.17, MM 285

BNF fr. 95 f. 158v Sword removed from anvil again by Arthur, watched by bishop and crowd; top border: naked man chinchucks male and female head terminals; hooded male terminals; bottom: naked man sitting in border terminals. Text: Et lors le prisent et le leverent...

S II 87.21 MM 287.24

S II 88.14 MM 290

Add. f. 101r Rubric: Ensi que vns archeuesques tient .j. coronne dor pour donner au roi Artu qui sasaioit a lespee trere The archbishop holds a crown; Arthur draws the sword again; the stone inscribed ‘ki cheste/espee traira/hors roy/sara’ (hand 1). E, champie initial Text: Ensi assaierent Artu si quen mile maniere ne parent en lui trouer nule maluaise teche... BNF fr. 95 f. 159v Arthur draws the Sword again, in the presences of bishop, clerics, and people; Coronation of Arthur: he places the sword on the altar, on which is a covered chalice, and is crowned by a bishop; top border: 2 stork terminals hold jugs and drink from bowls; bottom: 4 biting dragon terminals. Text: Et quant il li ot mise si le sacrerent...

921

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S II 88.18 MM 290.57

Add. f. 101v col. d, line 3 Expl ...Ensi fu Artus esleus a roy e tint la terre et le regne de Logres lonc tans en pais.

Table B. Queste del saint Graal: Galaad draws the sword Text

Additional 10294 (miniatures by hand 1 throughout)

Royal 14.E.III

Rylands Fr. 1 (illustrations by two hands)

S VI 3.1 Pau 1.2

(f. Ir bound separately) Add. 10294, f.lr. No rubric Banquet at Camelot; damsel summons Lancelot (to knight Galaad). A, foliate initial containing human hybrid Text: A la veille de Pentecoste...

Royal f. 89r. No rubric Banquet at Camelot; damsel summons Lancelot (to knight Galaad). A, initial containing mitred head Text: A la veille de la Pentecouste...

missing

S VI 4.31 Pau 3.11

missing Royal f. 89r, col. c Space for rubric left blank Galaad knighted at the White Abbey by Lancelot. Q, undecorated ink capital Text: Quant il ot fait tout chou qui apartient a y estre fait a cheualier...

922 S VI 7. 6 Pau 6.21

Ryl. f. 182r No rubric Gauvain or Perceval tries in vain to draw the sword from the stone that floats in the river (hand 2). Q, undecorated ink capital Text: Quant li rois oi cheste parole si se repent de che que me sires G. a fait...

S VI 8.14 Pau 8.15

Ryl. f. 182v No rubric The preudome shows Galaad to the Perilous Seat (hand 2). S, undecorated ink capital Text: Sire cheuvaliers asseez vos ci, car cist sieges est vostres ...

S VI 8.15 Pau 8.18

Royal f. 90r Space for rubric left blank The preudome seats Galaad in the Perilous Seat. E, undecorated ink capital Text: Et salues moi tous chiaus del saint hostel...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S VI 11.1 Pau 12.15

Royal f. 91r Space for rubric left blank. Galaad draws the sword from the stone; the damsel appears, telling Lancelot he is no longer the greatest knight. L, penflourished initial Text: Lors met main a lespee et le trait ausi legierement de la pierre comme se elle ni tenist point...

S VI 13.11 Pau 15.19

Royal f. 91v Space for rubric left blank The Grail appears to King Arthur and his knights at the Round Table. L, penflourished initial Text: Lors entra laiens li sains Graaus. Couers dun blanc samit...

S VI 13.13 Pau 15.22

923

Ryl. f. 183v No rubric Galaad draws the sword from the stone, watched by Arthur, Guinevere, and courtiers (hand 2). L, undecorated ink capital Text: Lors met la main a lespee et le trait ausi legierement de la perre comme se elle ni tenist point...

Ryl. f. 184v Rubric: Chi aporte on le saint Graal devant la Taule Reonde The Grail appears to King Arthur, Queen Guinevere, and the knights at the Round Table (hand 2). E, undecorated ink capital Text: Et maintenant quil i fu entres fu li palais raemplis de si boines oudours ke se toutes les espisces del monde y fuissent entrees...

924 BNF fr 120

BNF fr 112

BNF fr 116

S VI 7.6 Pau 6.21

BNF fr. 112 f. 3 Gauvain or Perceval trying to remove the sword from the stone.

BNF fr. 116 f. 608v Gauvain or Perceval trying to remove the sword from the stone.

S VI 8.13 Pau 8.185

BNF fr. 112 f. 3v The BNF fr. 116 f. 609 preudome shows Galaad The preudome shows to the Perilous Seat. Galaad to the Perilous Seat.

S VI 11.1 Pau 12.15

BNF fr. 120 f. 524v Galaad drawing the sword from the stone and the Grail appearing to King Arthur and his knights.

S VI 11. 6 Pau 13

S VI 13.11 Pau 15.19

S VI 13.13 Pau 15.22

BNF fr. 116 f. 610 A damsel tells Lancelot he is no longer the best knight in the world.

BNF fr. 112 f. 5 The Grail appears to King Arthur and his knights. BNF fr. 116 f. 610v The Grail appears to King Arthur and his knights.

ILLUSTRATION AND THE FORTUNES OF ARTHUR

925

Table C. Merlin: Kings Ban and Boors reunited with their wives; the dream of Elaine and of Caesar and their interpretations Bonn 526 BNF fr. 95 rubrics unavailable no rubrics S II 260.18 f. 119 Battle of Trebes: King Arthur and his knights in mounted combat with swords.

S II 262. 31

S II 265.13 Bonn f. 120v Battle of Trebes: mounted combat with lances and swords.

f. 251 King Arthur and his army riding; battle of Trebes; mounted combat with lances; top border: hare, dog.

Add. 10292 rubrics Add. f. 153v Rubric; Ensi com li roys Artus cheualche et sa gent tout ordene et rengie. King Arthur’s army on horseback holding banners (hand 2). C, champie initial Text: Chi endroit dist li contes que quant Merlins sen fu partis du roy Artu. si fist li rois Artus monter toutes ses gens ... Add. f. 154v Rubric: Ensi com Claudas se combat au roy Ban. et li a li roys Bans ocis son cheual desous lui. King Ban fights in mounted combat with swords against Claudas; he kills Claudas’ horse under him (hand 2). D, champie initial Text: De loutre part se recombat li rois Bans as gens le roy Claudas...

926 S II 268.10 Bonn f. 121v Queens Elaine and Evaine watch Arthur’s knights set out from Trebes.

BNF fr. 95 f. 254 King Arthur (dragon standard) and his forces defend the castle of Trebes in which are the two queens, the sisters Elaine and Evaine, wives of kings Ban and Boors; battle of Trebes: mounted combat with lances; top border: hare mounting dog; beaked hybrid pecks rear of man playing pipe and tabor; bottom: woman with garland on her loose hair offers wreath to man in academic hat seated at desk, who turns back to look at her.

Add. f. 156r Rubric: Ensi que on se combat deuant .i. castel et .i. valles demande quel gent ce sont A messenger inquires who are the knights fighting against Claudas at Trebes; the two queens and their ladies watch from the battlements (hand 2). L, champie initial Text: Li contes dist chi endroit que chil del chastel de Trebes uirent le cri et le huee des gens dehors...

S II 270.6

BNF fr. 95 f. 255 sm: Battle of Trebes: mounted combat with swords.

Add. f. 156v Rubric: Ensi com lez batailles sont asamblees de ceuls de Benoyc. et de la gent au duc Frolles dAlemaigne. The people of Benoyc fighting in mounted combat with swords (hand 2). E, champie initial Text: En ceste partie dist li contes que moult fu fiere la bataille et li esiours mortels...

Bonn f. 122 Battle of Trebes, mounted combat with swords.

S II 273.15 Bonn f. 122v Kings Ban and Boort with their wives, Queen Elaine and Queen Evaine, lying in two beds placed feet-to-feet.

ILLUSTRATION AND THE FORTUNES OF ARTHUR

927

S II 275. 21

Add. f. 158r Rubric: Ensi com Gauuains abat le roy Claudas de cop de lance a terre ius de son cheval. Gauvain wounds Claudas and beats him to the ground in mounted combat with swords (hand 2). L, champie initial Text: Lors se met en la cache apres les autres si fu la cache moult grans ...

S II 278. 39

Add. f. 159r Rubric: Ensi com li rois Bans gist avec sa femme et songa .i. songe dont il ot grant paor. Queen Elaine tells King Ban in bed about her strange dream (hand 2). E, champie initial Text: En cel soigne ou li rois Bans estait li fu auis que quant la uois qui chou li ot dit sen parti

S II 279.22

Bonn f. 124 Merlin explains Queen Elaine’s dream to the seated King and Queen.

BNF fr. 95 f. 255 C initial, Merlin explaining Queen Elaine’s dream to King Ban of Benoic.

Add. f. 159v-1 Rubric: Ensi comme li roys Bans parole a Merlin et li conte sa vision de son songe. King Ban asks Merlin what his wife’s dream signifies (hand 2). C, champie initial Text: Chi endroit dist li contes que a .j. iour uint li rois Bans a Merlin et li dist...

928 S II 280.16

Add. f. 159v-2 Rubric: Ensi com Merlins a dit la senefiance dez so[n]ges et prent congie as trois rois. Merlin interprets the dream and takes his leave of the three kings (hand 2). A, champie initial Text: A tant sen parti Merlins des .iij. rois et sen ala a samie ki latendoit...

S II 281.15 Bonn f. 124v-l King Arthur and his knights at sea in a sailboat.

BNF fr. 95 f. 261 Gauvain and his knights ride up to Benoic; King Arthur and his knights at sea in 2 sailboats; top border: double-headed trumpeter terminal, hybrid creature; bottom: bagpiper turns back to look at mummer peeping out of tall hairy body with stag’s head; long-beaked bird; hybrid terminal with long horns.

S II 281.31 Bonn f. 124v-2 Emperor Julius Caesar lying in bed (alone), dreaming: by the bed are lions attacking a sow with a gold crown on her head.

BNF fr. 95 f. 261v Merlin as an old man in the forest; Julius Caesar in bed, dreaming: a hairy sow wearing a gold crown is by the bed; top: two men fight over a gaming board; bottom: falconer holding bird and lure; hybrid longbeaked terminal.

Add. f. 160r Rubric: Ensi com lenpereris gist avec lempereor Julius Caesar, lying in bed with his wife, has a strange dream (about a sow with a circle of gold on her head, not shown) (hand 2). O, champie initial

ILLUSTRATION AND THE FORTUNES OF ARTHUR

929

Text: Ore dist li contes que quant Merlins se fu départis del roy Artu quil sen ala es fores de Romenie... S II 283.1

S II 284. 7

Bonn f. 125 Emperor Julius Caesar sits (no table) and listens to Merlin in the guise of a stag.

BNF fr. 95 f. 262 Merlin in the guise of a stag before Caesar’s table at which sit Caesar, his empress and a courtier (Avenable disguised as Grisoledes ?); top border: bird, hybrid; bottom: female acrobat, hooded trumpeter.

Add. f. 160v Rubric: Ensi com li rois sist au manger et Merlins y uint en samblance dun cherf. Merlin in the guise of a stag on the table tells Julius Caesar, who is at table, that only the wild man can explain his dream (hand 2). C, champie initial Text: Chi endroit dist li contes que quant li emperreres seoit si pensis al mangier...

Hand 1 resumes from f. 161r-184v Add. f. 161r Rubric: Ensi com vns homs salvages est venus a vn fu ou len rostisoit vne haste, et il tolt au garchon le haste. Merlin in the semblance of a wild giant snatches a spit of roast meat from a man sitting by a table, watched by three hooded figures (hand 1). E, champie initial Text: Ensi pense Grisandoles et deuise en son cuer tout cheualchant...

930 S II 287.12

S II 292.1

Add. f. 162r Rubric: Ensi com li homs saluages est leues en estant et espont al empereour son songe. Merlin as an old man interprets Caesar’s dream (hand 1). Q, champie initial Text: Qvant vint al quart jor apres ce que li saluages hom fu umus...

Bonn f. 127 Double wedding: two bishops marry Emperor Julius Caesar to Avenable, and Caesar’s daughter to Avenable’s brother Patrice.

BNF fr. 95 f. 267v Avenable reunited with her parents, in the presence of Caesar and his men; Caesar receives a messenger from Greece; top border: female terminals tearing their hair.

Add. f. 163r Rubric: Ensi que li emperes siet au mangier et vns messages est a genouls deuant le roi et parole a li. A messenger from Greece kneels before Caesar and his wife at table; seeing the inscription above door (written by Merlin, it relates the previous events and explains his part in them) (hand 1). C, champie initial Text: Chi endroit dist li contes que quant li homs saluages sen fu partis del empereor de Romme...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

931

Table D. Merlin: King Arthur’s First Encounter with Guinevere and her threatened abduction

Bonn 526

BNF fr.95

Add. 10292 illustrations by two hands

S II156. 7

Bonn f. 94v King Leodegan of Carmelide and four courtiers at table, a servant hands the king a cup.

BNF fr. 95 f. 196v sm: Battle of Carohaise: rout of the Saxons.

Add. f. 122r Rubric: Ensi com la fille le roy Leodegan a laue le viaire et le col le roy Artu et puis lessue dun doublier. Guinevere washes Arthur’s face and neck (hand 2). E, champie initial Text: En ceste partie dist li contes que moult furent lie et joiant di del roialme de Carmelide

S II 159. 36

Bonn f. 95v Merlin informs King Arthur about Gauvain and his two companions who stand on the right.

BNF fr. 95 f. 198v Add. f. 123r Rubric: sm: Banquet at King Ensi com Merlins a trait a vne part lez trois rois Leodegan’s castle. et parole a euls a conseil. Merlin talks to the three kings privately (hand 2). O, champie initial Text: Ore dist li contes que moult furent bien assis al souper et senti de viandes et de uins...

932 S II 298.37

Bonn f. 129 King Arthur and three knights ride into Carmelide where they are greeted by King Leodegan.

BNF fr. 95 f. 272 sm: King Arthur sails back to England.

Add. f. 165v Rubric: Ensi que li rois Artus et si baron sont en une nef en mer. Arthur and his barons retum to England in boats (hand 1). C, champie initial Text: Chi endroit dist li contes que quant li rois Artu et li haut baron furent entre es nes. si siglerent tant.quil vindrent en la Bloie Bertaigne...

S II 300.1

Bonn f. 129 The rebel kings receive news of Arthur’s return from a man wearing an academic hat.

BNF fr. 95 f. 272v sm: Armies of the 10 kings separate; top border: bagpiper.

Add. f. 165v Rubric: Ensi que pluisor prince cheualchent et nouveles lor uienent del roy Artu. The rebel kings receive news of Arthur’s retum (hand 1). O, champie initial Text: Ore dist li contes que quant li .xij. prinche furent desconfit et furent repairiet cascuns a son repaire...

S II 300.38

Bonn f. 129v-l Merlin as an old man relates his adventures to Blaise (wearing academic hat) who sits by trees, writing them down on a scroll.

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S II 301. 4

Bonn f. 129v-2 The archbishop of Brice marries King Arthur and Guinevere, in the presence of King Leodegan.

BNF fr. 95 f. 273 The archbishop of Brice marries King Arthur and Guinevere, in the presence of King Leodegan; knights tilting at quintain; top border: frontal hare between pairs of dragons; bottom: man balancing on one leg, playing portative organ.

S II 303.35

S II 307.34

933

Add. f. 166r Rubric: Ensi com vns parlemens est pris et Merlins traisi a vne part Ulfin et Bretelet. Merlin tells Ulfin and Bretel about plans to substitute the false Guinevere for Arthur’s wife (hand 1). O, champie initial Text: Ore dist li contes ke Genieure le fillastre Cleodalis avoit de moult rices parens de par sa mere...

Add. f. 167r Rubric: Ensi com vne bataille sentresamble si y fait mesires Gavain meruelles donnes. Gauvain’s brilliant feats of arms at a tournament (hand 1). Q, champie initial Text: Quant chil furent monte et atourne si en vindrent les vns contre les autres ... Bonn f. 131 A group of six traitors seize Queen Guinevere in the garden.

BNF fr. 95 f. 277 King Arthur, Queen Guinevere, and courtiers at banqueting table; Ulfin and Bretel defend Guinevere in foot combat with swords; she is roped to a tree.

Add. f. 168r Rubric: Ensi com mesires Gauain et pluiseur autre chevalier sieent a table, et parolent de moult de cosez The knights sitting at the Round Table (hand 1). C, champie initial Text: Chi endroit disi li contes que quant li rois Artus en ot mene monsegnor Gauain el palais

934 S II 309.3

Add. f. 168v Rubric: Ensi com Ulfins et Bretel se combatent pour rescourre la royne. Ulfin and Bretel attack the traitors who seized Queen Guinevere (hand 1). Q, champie initial Text: Quant Ulfins et Bretel uoent cels que il tant desiraient a ueoir...

S II 312.14

Bonn f. 132 King Leodegan calls upon kings Arthur, Ban, Bors, and 7 knights (four kings and one man are shown) to pass judgement on Bertholais for having attempted to abduct Queen Guinevere: he will be sentenced to be banished and disinherited.

BNF fr. 95 f. 279v Bertolais and his men before King Leodegan and his courtiers; top border: dog.

Add. f. 169v-l Rubric: Ensi com li rois Artus li rois Bans et li rois Bohors. et lor baron, sont a vn iugement. et li rois Bans rent le iugement Bertholais is judged to be disinherited and banished by an assembly of knights (hand 1). C, champie initial Text: On endroit dist li contes que quant li rois Leodegans ot commande a son senescal quil menast sa fillastre hors du roialme de Carmelide...

S II 313. 26

Bonn f. 132v-l King Arthur tells his barons to prepare for the journey to Logres.

BNF fr. 95 f. 280v sm: Gauvain and his followers riding; border: hybrid lion creature holding banner sable a lion or (Brabant).

Add. f. 169v-2 Rubric: Ensi que li rois Artus traisi monseignor Gauain a consel a une part ensus des autres barons, et parole a lui. King Arthur bids Gauvain to ride to Logres and make preparations to receive the court (hand 1). E, champie initial Text: En cheste partie dist li contes que moult demena li rois Artus boine vie il et sa feme ...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

935

S II 314. 21

Bonn f. 132v-2 King Arthur and Queen Guinevere (loose hair, crowned, holding lapdog) ride with three followers.

BNF fr. 95 f. 281 sm: King Arthur (shield or) and Queen Guinevere (gold robe) riding with followers.

Add. f. 170r Rubric: Ensi com li rois Artus et sa feme et doi autre roy et lor compaignie cheualchent tout arme vers vne chite. King Arthur, Guinevere and their company follow Gauvain three days later (hand 1). O, champie initial Text: Ore dist li contes que al tierch iour apres que messires Gauvain sen fu partis del roy Artu...

S II 315. 8

Bonn f. 133 King Arthur and Queen Guinevere (veiled head, crowned, no lapdog) ride with three knights.

BNF fr. 95 f. 281v King Arthur and Queen Guinevere (holding lapdog) ride with army; battle of the forest of Sarpeine; top border: dragon terminal bites rear of naked man with lion’s head wielding sword.

Add. f. 170r Rubric: Ensi que lez gens le roy Artu et le gent le roy Loth se combatent et li rois Artus iouste au roi Loth. King Lot and his army attack Arthur and his company; Arthur and Lot in mounted combat with lances (hand 1). L, champie initial Text: Li contes dist chi endroit que quant li rois Artus se fu partis del roy Leodegan ...

S II 316. 34

Add. f. 170v Rubric: Ensi que li roys Loth est a genouls deuant le roi Artu et li rent sespee. King Lot surrenders to King Arthur, hands him his sword by the pommel, and asks him for mercy (hand 1). Q, champie initial Text: Qvant li rois Artus uoit son neueu si fierement uenir...

936 S II 322. 5

Add. f. 172r Rubric: Ensi que li roys a disne et il regarde volentiers sez gens qui menaient grant ioie. King Arthur greeted by his barons (no table) (hand 1). A, champie initial Text: A tant furent les napes ostees et les dois si ammencita la ioie par laiens...

S II 325.14

Add. f. 173r Rubric: Ensi comme on tornoie deuant vn castel et la roine estait as fenestres. A tournament is held in the meadows before Logres; Guinevere and her lady watch from windows (hand 1). Q, champie initial Text: Quant li campaignon de la Table Roonde uirent quil estoient tourne a la desconfiture...

S II 327.19

Add. f. 173v-174r Rubric: Ensi com vns tornoiemens est commenchies crueuls et felenes. ou Gauain faisoit meruelles darmes. f. 174r Gauvain in mounted combat with swords (hand 1). Q, champie initial. Text: Quant li chevalier la roine entendirent monsignor Gauvain ensi parler et il uirent la bele route des cheualiers qui al dos le sieuent...

S II 334. 7

Add. f. 175v Rubric: Ensi que li rois Artus sist entre sez barons et illueques virent chevalier et sagenoillent et ploient le pan de lor mantel par ame[n]de. A knight of the Round Table kneels and holds out the hem of his garment to Gauvain, Queen Guinevere and King Arthur, watched by other knights (hand 1). A, champie initial Text: A tant vindrent li compaignon de la Table Roonde devant le roy...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S II 335.21 Bonn f. 137v King Lot and his sons riding (wrongly placed ? cf. SII 339. 7).

BNF fr. 95 f. 291 King Ban (or King Lot), accompanied by falconers, debates with King Arthur, supported by Queen Guinevere (holding lapdog) and courtiers; top border: affronted centaurs holding swords and shields or fretty azure and or; bottom: knights, one wielding sword, the other drawing sword, wearing circular cusped ailettes.

937

Add. f. 176r Rubric: Ensi que .iiij. roy sont assis a vne table, et de lautre part sont li compaignon de la Table Roonde. King Arthur, King Ban, King Bohort and King Lot being served at one table and the Knights of the Round Table at another (hand 1). O, champie initial Text: Ore dist li contes que moult furent li compaignon de la Table Roonde lie quant il furent acorde a monsignor Gauain...

Table E: The False Quinevere episode in Lancelot

S IV 10.14 LM I 18

Bonn 526

Add. 10293

Amsterdam 1, vol. ii

Bonn f. 260v King Arthur’s wise men (maistre) explain Galehot’s dream to him and Lancelot.

Add. f. 131r. Rubric: Ensi que li roys Artus et ses barons a cheles vne damoisele i vint qui avoit vestu cote et mantel de soie et si fu eie bien trechie et si amenait cheualiers plusors. A lady (the False Guinevere’s damsel messenger), accompanied by an old knight (Bertholais),

Amst ii, f. 202r. Rubric: Chi aporte vne damoisiele et .vn chevalier lettres au roy Artu de grans merueilles. A lady (the False Guinevere’s damsel messenger), having flung her veil to the ground, accompanied by an old knight (Bertholais), brings a letter to King Arthur and Queen Guinevere, having flung down her veil which

938 addresses King Arthur (having flung her veil to the ground and brought a letter for Arthur, not shown) (hand 1). O, champie initial Text: Or dist li contes que quant li message Galeholt se furent parti de lui quil errerent tant quil vindrenat au roy Artu en la cite de Camaaloth... S IV 11.1 LM I 19

lies on the ground, and holding a box (which contains the letter). C, champie initial Text: Chi endroit dist li contes que quant li message Galeholt furent venu au roy Artu en la cite de Camaaloth ...

Add. f. 131v. Rubric: Ensi que li prestres list les lettres par deuant le baronnie que li fause roine enuoia a le roi Artu A clerk reads the unfurled letter to King Arthur, Queen Guinevere, and the assembled court (hand 1). Q, champie initial Text Quant li rays ot dit tout son plaisir a la damoisele si li respont et dist au roy en ceste maniere...

SIV18-45 The Helias episode follows here, illustrated by 9 miniatures in Add.

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S IV 45.19 LM I 96

Add. f. 143r. Rubric: Ensi que one damoisele ot .xiiij. pucheles vint parler au roy Artu. The False Guinevere and her ladies received by King Arthur, Queen Guinevere, and the court (hand 1). E, champie initial Text: En ceste maniere vint la damoisele a court au ior de la Candelier...

S IV 47.29 LM I 102

Add. f. 143v. Rubric: Ensi comme Tholomes prent le roi Artu et ses veneours en .j. forest. King Arthur seized by King Tholomer’s knights in a forest (hand 1). Q, champie initial Text: Quant li rays Artus qui de riens ne se parchut que cil le uolsist deceuoir...

S IV 50.1 LM I 107

Bonn f. 268v The False Guinevere (in hair net and veil) talks to King Arthur who looks out of his prison window and swears to acknowledge her.

Add. f. 144v. Rubric: Ensi que une damoisele qui tenoit le roy Artu en sa prison et ele parole a lui en le prison. King Arthur shown with the False Guinevere in the window of her prison, swearing to acknowledge her (hand 1). O, champie initial

939

Amst ii, f. 218r. Rubric: Chi est li roys Artus en prison et iure a la damoisiele samour King Arthur, imprisoned by the False Guinevere, sits with her on a bench and swears to acknowledge her, watched by barons. O, penflourished initial

940 Text: Or dist li contes Text: Or dist li contes que quant la damoi- que quant la demoisele fu sele fu au roy uenue reuenue en son pais... Si li dist sire or vous ai iou en ma prison si ne isteres iamais ... S IV 51.15 LM I 110

S IV 54. 31 LM I 118

Bonn f. 269 Arthur’s knighs, bereft of their king, begin to fight: Mounted combat beween two knights armed with swords, both facing right, one grasping the other round the waist, both raising swords.

Add. f. 145r. Rubric: Ensi comme li roys Galehot conseille a Gauuain que il recoiue lonneur de la comune par devant le royne Genieure. Queen Guinevere and King Galehot debate, and the barons offer the crown to Gauvain because of Arthur’s continued absence (hand 1). C, champie initial Text: Ce dist li contes que quant li baron de Bertaigne se virent sans seignour si commenchierent a guerroier li vn encontre lautre... Add. f. 146r. Rubric: Ensi que li rois Galaad [sic] blame au roi Artu de chou kil a laissiet se femme pour vn autre King Galehot (not Galaad) reproaches King Arthur for condemning Queen Guinevere without proving her guilty (hand 1).

Amst ii, f. 219r. Rubric: Chi presentent chil du pais couronne a monseigneur Gauvain pour chou que li roys Artus nestoit mie ou pais. The barons offer the crown to Gauvain because of Arthur’s continued absence. O, penflourished initial Text: Or dist li contes que tantdemora li roys en prison el royaume de Carmelide que li baron de Bertaigne quidoient quil fust mors. Et quant il virent quil estoient sans seignor si commencherent a guerroier li vn encontre lautre...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

E, champie initial Text: Ensi conforte Galehot la royne... S IV 56. 37 LM I 123

Add. f. 146v. Rubric: Ensi comme Lancelot sest desuestus et demande le roy Artu ki le iugement auoit fait sour la royne Genieure Supported by King Galehot and the barons, Lancelot takes off his cloak and asks King Arthur who had brought judgement against Queen Guinevere (hand 1). E, champie initial Text: Ensi demoura la royne en le garde monseignor Gauuain dusques au ior de Pentecoste...

S IV 59. 21 LM I 129

Add. f. 147v. Rubric: Ensi que que li rois Artus rechoit les gages de Lancelot et de Bertelai le Vieus par devant lor baronie. Lancelot pledges to fight for the Queen’s innocence, and Bertholais pledges to uphold the False Guinevere’s claims; both hand a glove to King Arthur (hand 1). Q, champie initial Textr: Quant Lancelot ot gete ius son mantel ensi com vous poes oir si li auint moult bien quil estoit en cote ...

941

942 S IV 61.1 LM I 132

Add. f. 148r. Rubric: Ensi que li rois Galehot parole au roy Artu et deuise la bataille comment Lancelot le fera par deuant lor baronie encontre Bertelai le Vieus. King Galehot persuades King Arthur that it would be unfair for Lancelot to fight all three knights at once, but rather one by one (hand 1). E, champie initial Text: Ensi furent li gage donne dune part et dautre apres dist Galehot que che nest pas drois de combatre .i. chevalier en contre iij ....

S IV 62.1 LM I 135

Add. f. 148v. No rubric; hoardings of castle in rubric space. Lancelot is mounted for the duel on Galehot’s horse; King Arthur orders knights to guard the field. Onlookers, including Queen Guinevere, watch from the upper hoardings of the castle behind (hand 1). Q, champie initial Text: Quant Lancelot fu armes si monta sor .i. cheual qui fu moult boins et estoit a Galehot son compaignon...

S IV 63. 37 LM III 72

Add. f. 149r. No rubric, no space Having defeated Aglodas in front of crowds outside and at the castle windows and battlements, Lancelot has taken off Aglodas’s helmet and flung it away, holding his sword by the pommel on Aglodas’s head (hand 1). L, champie initial Text: Lors descent Lancelot de son cheual et latache a .i. arhre. Et oste la guiche de son escu de son col...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S IV 66.15 LM III 77

Add. f. 150r. No rubric Lancelot holds Aglodas at his mercy; Queen Guinevere, from the battlements, begs Lancelot to spare his life (hand 1). Q, champie initial Text: Quant Galehot et les autres gardes uirent le chevalier a si grant meschtef si en orent pitie...

S IV 68.1 LM III 80

Add. f. 150v. Rubric: Ensi que li parlemens dei roy Artu et Gauvain parla au roy son onkle por la royne acheles et Bertelai li Vieus parole a lui et faisoit samblant de plorer King Arthur, King Galehot, Bertholais and the court debate the fate of Queen Guinevere; Gauvain urges King Arthur to treat her well, while Bertholais, feigning tears, insists she be exiled (hand 1). Q, champie initial Text: Quant li rays ot la royne ensi parler si li demande Dame et ou gist cele terre...

S IV 69.17 LM III 83

Add. f. 151r. Rubric: Ensi que li rois Artus tint la roine Genieure par le main et la bailla a garder le roi Galehot par deuant lor baronie, et les barons en orent grant pitie. King Arthur entrusts Queen Guinevere to King Galehot, witnessed by the barons (hand 1). L, champie initial Text: Lors prent li roys la royne et en uait a Galehot et li liure par le main...

943

944 S IV 72. 9+ var in Bonn LM III 89

Bonn f. 273v The False Guinevere, who lies dying with Bertholais at her side, makes her confession to King Arthur. Text: Or dist li contes que a lentree des auensque li rois Artus ot une court tenu a Kalion...

Add. f. 152r. Rubric: Ensi que on gete sentence sour le roy Artu. The pope enjoins King Arthur to leave his new wife and take the old one back (hand 1). O, champie initial Text: Oor [sic] dist li contes que ensi est li roys Arthus départis de sa femme par le desloiaute de lautre Genieure...

S IV 75.16 LM III 94

Add. f. 153r. Rubric: Ensi comme li rois Artu se fist confesser dun hermite en son hermitage King Arthur confessing to the hermit Amustans in his church-like hermitage (hand 1). T, champie initial Text: Tant dist mestres Gauvain au ray Artus son oncle...

S IV 76.37 LM III 97

Add. f. 153v. Rubric: Ensi que li roys Artu et se baronie oirent messe en .j. hermitage King Arthur and his men hear mass in an elaborate, Gothic, hermitage where a priest elevates the host (hand 1). Q, champie initial Text: Quant li roys ot ensi parler lermite si giete vn souspir...

Amst ii, f. 227v. Rubric: Chi gist malade de meselerie li fausse royne et li roys Artus le vint veir. The False Guinevere, who lies dying with Bertolais at her side, repeats her confession to King Arthur and the barons. O, penflourished initial Text: Or dist li contes que ensi est li rois Artus partis de sa femme par le desoiaute de lautre Genieure...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S IV 79.4 LM III 101

Add. f. 154r. Rubric: Ensi que li fause Genieure gist mesele et si uo vint li rois Artu parler a li. The False Guinevere, who lies dying with Bertolais at her side, repeats her confession to King Arthur and the barons (hand 1). D, champie initial Text: Dame vous gisies en si dolereuse carire comme cele qui a tout le pooir du cors perdu...

S IV 80. 6 LM III 103

Add. f. 154v. Rubric: Ensi que li rois Gatehot et Lancelot parolent a le royne et li conseillent le millor quil peuent. Queen Guinevere sits with Lancelot and King Galehot and asks them to advise her (hand 1). L, champie initial Text: Li roys se seigne moult durement et a moult grant meruelle li vient...

S IV 81.23 LM III 106

Add. f. 155r. Rubric: Ensi que les gens de Carmelide prient merci a leur droite dame en peur les chemises. The barons of Sorelois, dressed in their undershirts as humble sinners, ask Queen Guinevere for mercy, in the presence of bishops and the court (hand 1). Q, champie initial Text: Quant li baron de Carmelyde orent pris conseil ensamble comment il yroient a la royne lor dame...

945

946 S IV 82. 34 LM III108

Add. f. 155v. Rubric: Ensi que li roy Artu donna en garde la royne Genieure au roy Galeholt King Galehot hands Queen Guinevere back to King Arthur (hand 1) (not the opposite, as in the rubric). Text: Lors saparelle pres ce la royne et sa compaignie et si monterent et sen vont en la Grant Bertaigne ...

S IV 84.12 LM III 111

Add. f. 156r. Rubric: Ensi que Galehot et Lancelot parolent a la roine en sa chambre. Queen Guinevere talking to Lancelot and King Galehot in her chamber (hand 1). E, champie initial Text: En ceste partie dist li contes que li roys Artus est rassanbles a sa femme...

S IV 85.29 LM III 114

Add. f. 156v. Rubric: Ensi que Lancelot relieve la roine qui estoit agenoillie par deuant les barounes. Lancelot raises up Queen Guinevere, who knelt and begged him to rejoin the Round Table, watched by King Arthur, King Galehot, and the barons (hand 1). L, champie initial Text: Lors se met la royne a genouls deuant lui...

Amst ii, f. 232r. Rubric: Chi baise li roys Lancelot King Arthur embracing Lancelot. C, penflourished initial Text: Chi endroit dist li contes que li rois Artus est rassanbles a sa feme...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

BNFfr. 117-120 S IV 10.14 LM I 18

BNF fr. 112

BNF fr. 118 f. 264 The False Guinevere’s female messenger, accompanied by Bertholais le Vieux, gives a letter to King Arthur

947

BNFfr. 113-116 BNF fr. 114 f. 300 The False Guinevere’s female messenger before King Arthur’s court

S IV 11.1 LM I 19 S IV 13.12 LM I 15

BNF fr. 112 f. 158v Galehot talking to wise clerks

S IV 32.1 LM I 66

BNF fr. 118 f. 269-1 Helias of Toulouse expounding Galehot’s dream

SIV 33.26

BNF fr. 118 f. 269-2 Helias and Galehot in a chapel see an arm holding a bloody sword

SIV 40

BNF fr. 112 f. 164 A knight standing between the ‘Pont d’espée’ and the ‘Pont dessous l’eau’

S IV 49.25

S IV 51.15 LM I 110

BNF fr. 114 f. 313v King Arthur addressing the False Guinevere from his prison window and promising fidelity BNF fr. 112 f. 167 King Arthur handing a letter to a messenger

BNF fr. 114 f. 314 King Arthur’s barons electing Gauvain king

948 S IV 56.37 LM I 123

BNF fr. 118 f. 275v Bertholais le Vieux swearing on behalf of the False Guinevere.

S IV 63.37 LM III 72

BNF fr. 112 f. 171 The barons of Carmelide rejecting the True Guinevere as Arthur’s lawful wife

BNF fr. 112 f. 172 Lancelot defeating the barons

BNF fr. 114 f. 321v The False Guinevere on her deathbed makes her confession to Arthur and Gauvain

SIV 72.9+ var in Bonn LM III 89

SIV 82.34 LM III 108

S IV 83.19

S IV 84.12 LM III 111

BNF fr. 112 f. 211v Queen Guinevere returning from Sorelois

BNF fr. 118 f. 283 Lancelot, Galehot, Guinevere and an attendant talking BNF fr. 114 f. 325v Guinevere kneels before Lancelot, begging him to remain at court

ILLUSTRATION AND THE FORTUNES OF ARTHUR

949

Table F: Narrating, Writing, and the Book in Estoire

S I 3.1 Pon 1.3.1

Add. 10292 illustrations by hand 1

Royal 14.E.III

Amsterdam BPH1 illustrations by hand 1

Add. f.lr No rubric. Miniature in 2 cols., left: Priestnarrator saying the night office at an altar with a chalice on it; blessed by Hand of God; right: Christ in a cloud gives book to priest narrator in bed; C, woman playing rebec (badly rubbed); border (badly rubbed): left: hooded male terminal playing bagpipes; a blessing hand on the end of the point of his hood holds a crozier; top: mitred head terminal holds portative organ; right: 2 bells on a long robe pulled by creature (ape ? cut off) wearing a sword (?), a moth (?) below; bottom: a duck in a cage is attached (?) to the bar of the cage by

Royal f. 3r No rubric Priest-narrator saying the night office at an altar with a chalice on it; blessed by Hand of God; C, youth holding dog; in adjacent space: 2 fighting monkeys with heraldic cloaks: paly of 6, gules and checky argent and azure; and argent a cross moline azure semé of lis argent, overall a bendlet gules; left border: bird hybrid terminal plays a gold and silver portative organ; bagpiper and female dancer; ape playing portative harp; hare; stork in cloak; bottom: in border: hare, hunter spearing boar, 2 dogs chasing hare; below: mounted hunter blowing horn, greyhound, hunter on foot with spear; longeared owl, stag (cut); on border: trumpeter with banner argent a cross moline azure semé of lis argent, overall a bendlet gules;

Amst. i f.lr No rubric The priest-narratorhermit saying the night office in a church at an altar with a crucifix on it; borders: left: ape terminal juggling with sticks; bottom: figure (human ?) sitting by bird cage; animal terminal; hybrid with swordtail; later shield of La Rochefoucauld barruly argent (rubbed) and azure, 3 chevrons gules overall, topped by a helmet and crest of a peacock’s tail; right: bishop/hybrid holding portative organ; bird; man on very tall stilts (badly rubbed); C, champie initial. Text: Chil ki la hauteche et la signourie de si haute estoire com est chele du graal...

950 a youth, watched by another youth; a man embraces a woman who holds a falcon on her gloved hand; 2 youths wrestle over a gaming board with pieces on it; below border: an ape hybrid blows a trumpet; another ape rides on the shoulders of a man (?) and aims a lance at a backturned ape holding buckler and raised sword; snail terminal (?). Text: Chil ki se tient et iuge au plus petit et au plus peceor du monde...

youth playing pipe and tabor; trumpeter with banner gules a chevron vert [sic] between 3 mullets or; trumpeter (holding bagpipes) and banner (indecipherable); a herald in party az and or tunic holds 2 banners: gules a chevron vert [sic] between 3 mullets or (on the left) and (badly rubbed) sable bendways 3 alérions or between 2 bendlets argent, between 2 knights riding, on left in housing, surcoat azure with white dots around a central boss and around the border; ailette overpainted; right knight in surcoat and housing or, shield and ailette or in dexter chief a mullet (star) gules, an eagle sable; right border: a three-storey arched structure with tall pinnacles: (bottom) a frontal-facing angel in gold dalmatic playing a gold psaltery; (middle) the Virgin and Child; and angel playing a rebec and looking over to the adjacent scene in col. c; top: woman in knotted headscarf, tucked-up robes, and heavy buttoned boots, carrying a distaff over her shoulder; a knight in white housing lined with red, pink surcoat, shield and ailette argent a cross crosslet gules (badly corroded) raises his sword to fight a bat-winged horse/human/hybrid wearing a knotted headscarf, holding a basket of eggs and raising a scimitar. Text: Chil ki la hauteche et la signourie de si haute estoire comme est chele du graal...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S I 4.12; Pon2.4.3

S I 12. 30 Pon 22. 31.1

S I 14.5 Pon 25.35. 6

Add. f. 3v Rubric: Ensi que Ioseph recuelle les goutes de sanc en .j. esquiele Crucifixion with Mary and John, two thieves, their souls taken by an angel and a devil, and Joseph collecting Christ’s blood in the Grail (as a silver bowl). A, champie initial Text: Au ior que li salueres du monde souffri mort...

951

Royal f. 3r-2 col. c. Rubric: Ensi que Dieus en une nue parole a i hermite qui est devant son autel At an altar with a draped chalice on it, Christ standing in a cloud gives book to priest-narrator in bed. D, one-line ink capital Text: De trois coses vne et dune cose trois...

Amst. i f.lv Rubric: Chi endroit parole Dieus en une nue au saint ermite Christ appearing in a flaming cloud to the priest-narratorhermit outside his ‘petit habitacle’. D, one-line ink capital Text: De trois coses une et dune cose trois ...

Royal f. 6v Space for rubric left blank Before a draped altar, the priest-narrator copies the book. A, penflourished initial Text: Av iour que li sauueres du monde souffri mort...

Amst. i f. 5v Rubric: Chi parole comment Joseph saprocha de Jhesucrist No miniature f. 6 A, champie initial (hand 1) Text: Av iour ke li sauveres du monde souffri mort...

Royal f. 7r Rubric: E, penflourished initial; Ensi que Josephs recoilli le degout du sanc qui issoit des plaiies Nostre Seigneur qui puis fu apeles li saint Graalz. Crucifixion with Mary, John, two thieves, and Joseph collecting

Amst. i f. 6v Rubric: Chi est ensi que Joseph rechut le sanc Nostre Seignour qui puis fu apeleis Graalz Crucifixion with sun and moon, Mary and John, and Joseph collecting Christ’s blood in the

952 Christ’s blood in the Grail (as a sliver bowl). E, penflourished initial Text: Et quant il vint au cors si conquelli le dégout du sanc...

Grail (as a silver bowl). E, one-line ink capital Text: Et quant il vint au cors si concuelli le dégoût du sanc...

Table G: Narrating and Writing in Merlin and Suite Vulgate: Merlin and Blaise

Bonn UB 526

Paris, BNF fr. 95

S II 19.15 MM 60. 9

S II 180.12

Add. 10292 Add. f. 80v Rubric: Ensi que Merlins fait escrire .i. livre plain de merveilles a Blase sen clerc. Merlin as a child dictates to his clerk Blaise (hand 1). L, champie initial Text: Lars quist Blaises ce que mestier li fu ...

BNF fr. 95 f. 210 C initial: Merlin as old man relating his adventures to Blaise, wearing an academic hat and sitting, listening, in his doorway. Border: batwinged tonsured male terminal.

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S II 206.16

S II 292. 38

Bonn f. 127v Merlin as an old man recounts his adventures to Blaise, who stands listening, wearing an academic hat and holding a book.

S II 300.38

Bonn f. 129v Merlin as old man dictating to Blaise, who wears an academic hat and sits by trees, writing on a scroll.

953

BNF fr. 95 f. 223 sm: Merlin as old man in a hooded robe stands and dictates to Blaise, bareheaded, who sits in his doorway, writing in a book on a lectern; top border: affronted knight terminals fight with lances; bottom: hooded dragon terminal.

Add. f. 137r Rubric: Ensi que Gauain est deuant maistre Blaise et li conte lez auentures et il les mist en escrit (Merlin, not Gauvain) Merlin (young) dictates to Blaise who writes in vertical columns (hand 2). E, champie initial Text: En cheste partie dist li contes que quant Gauuain et si compaignon se furent melle a Thaurus . . .

BNF fr. 95 f. 268 sm: Merlin as old man recounts his adventures to Blaise, sitting in his doorway, wearing academic hat, listening with his hand on his chin, his elbow and his other hand resting on the open, written, pages of the book on his lectern; top border: ape eating bread; centaur wielding sword, holding shield gironny or and azure; bottom: archer aims at knight who holds up tall tabernacle.

Add. f. 163v Rubric: Ensi com Merlins est devant maistre Blaise et li fiat mettre lez auentures en escrit. Merlin as young man dictates to Blaise who sits writing in a book at a desk with movable lectern attached (hand 1). E, champie initial Text: En cheste partie dist li contes que ausi tost ke Merlins fit departis de Iulius Cesar kil se mist au chemin vers la Grant Bertaigne a Blaise son maistre...

954 S II 375. 3

Bonn f. 147-2 Merlin as old man recounting his adventures to Blaise who stands listening, wearing academic hat, both hands raised.

BNF fr. 95 f. 309-2 sm: Merlin as old man, hooded, and Blaise, bareheaded, sitting in his doorway, one hand on chin, the other on lap, listening.

Add. f. 188r Rubric: Ensi com Merlins conte a maistre Blaise lez auentures et il les mist en escript. Blaise, tonsured and wearing a hood, sits in profile at his desk with a movable lectern writing in an open book. Merlin also sits, opposite, pointing on his hand (hand 2). C, champie initial Text: Chi dist li contes que a leure que Merlins se fu partis del roy Artu...

Table H: Telling and Writing in Lancelot Bonn UB 526

Yale 229

Add. 10293

S V 190. 8 LM IV 393

Add. f. 315r Rubric: Ensi que Lancelot joua as esches ou palais le roy a la royne. Lancelot plays against the magic chess-board and wins the game, watched by Queen Guinevere, King Baudemagus and a courtier (hand 2). Q, champie initial Text: Quant Lancelot ot dit au roy Bandemagu [sic] que ia pour paour destre mates...

S V 191. 34 LM IV 397

Add. f. 315v Rubric: Ensi ke Gauuain conte au roy et as autres cheualiers ses auentures. Gauvain relating his adventures to King Arthur and his court (hand 2). Q, champie initial Text: Quant les auentures. Lancelot furent mises en escrit...

ILLUSTRATION AND THE FORTUNES OF ARTHUR

SV 192.29 LM V 1

S V 194. 6 LM V 4

Bonn f. 382 Leaning out of her window, Queen Guinevere hands a ring to Lancelot who stands outside.

955

Yale f. 85v Top: Gauvain in bed (?) attended by Bohort; Gauvain, Bohort and Gaheriet announce their departure to King Arthur, who sits on a throne covered with a green knotted cloth. Bottom: In her chamber, Queen Guinevere hands Lancelot the ring given her by the Lady of the Lake. Top border, left: woman terminal wearing hair net carries swaddled baby (the Lady of the Lake and Lancelot ?); right: donkey. Bottom, left: man with an arrow sticking out of his shoulder cranks a crossbow; right: centaur aims an arrow. Text: Or dist li contes que quant cil qui compaignon orent este de la queste orent contes lor auentures ... Add. f. 316v Rubric: Ensi ke Lancelot et la royne sont a .j. fenestre et la royne li donna .j. anel d’or. Queen Guinevere gives Lancelot a ring that has the power of disclosing enchantments to its wearer (hand 2). L, champie initial Text: Longement deuiserent ensi ensamble entre Lancelot et la royne...

956

Table I: Telling and Writing at the opening of Mort Artu

S VI 203.1 F 1936:3.1; 1964:1.1

Bonn 526

Yale 229

Bonn f. 445 Left: The Demoiselle d’Escalot gives Lancelot a sleeve; right: Lancelot triumphs at the Tournament of Winchester in mounted combat with sword.

Yale f. 272v Top: A clerk (Arthur’s scribe/ Walter Map) sits at a desk, writing, knife in one hand, pen in the other. King Arthur/ King Henry II, seated on a faldstool holding a sceptre, raises a pointed finger towards the scribe and turns towards a group of standing courtiers. Below: King Arthur, wearing a grey robe and holding a whip, rides out from Camelot (portcullis gate, rose window on side facade), accompanied by his knights (surcoat and housing or; surcoat and ailettes orange, shield pink, housing pink with cross-hatching in a darker shade of pink; surcoat orange, shield and housing grey, housing drawn back in a knot behind the horse’s ears). Top border: a frontal-facing knight on horseback (surcoat orange, housing or) brandishes sword and shield against two ape terminals, one with a shield and sword, the other reusing an axe. Bottom: a hooded man riding bareback and brandishing a whip (left); a horse-head terminal (right).

ILLUSTRATION AND THE FORTUNES OF ARTHUR

S VI 203.1 F 1936:3.1; 1964:1.1

957

Add. 10294 illustration by hand 1

Royal 14.E.III

Rylands Fr. 1 illustration by hand 1

Queste ends complete f. 53 col. b, Mort Artu follows after the Explicit. Add. f. 53r Rubric: Ensi que li roy Artu enquiert a mon signeur Gauain quans chevaliers il auoit ochis en len queste. King Arthur asks Gauvain how many knights he has killed in the quest, no borders A, champie initial Text: Apres che que maistres Gautiers Map ot traitie des auentures del saint Graal asses souffisaument si comme il fu auis al roi Henri son signor que ce quil auoit fait ne deuoit pas souffire...

Royal f. 140r No rubric King Henry commands Walter Map to write the Mort Artu/King Arthur, enthroned, holding green sheep’s head (? devil) sceptre, commands his scribe to write down the story of the Queste. borders: long-eared owl ape in hat blowing trumpet, holding club, riding border terminal; greyhound chasing 2 hares; fox, 2 heralds, a heraldhybrid and a hedgehog watch 2 men fight with swords and bucklers; bird; snail. A, historiated initial containing hooded head Text: Apres che que maistres Gautiers Map ot traitie des auentures del saint Graal asses souffissaument si come il fu auis au roi Henri son seignor ke che quil auoit fait nen deuoit pas souffrir...

Ryl. f. 212r Rubric: Chi commenche li liures des mors Artus Gauain et tous les autres compaignons de la Taule Reonde et toute la fins. A, historiated initial: King Henry/King Arthur stands before a seated scribe/ Walter Map holding a book, the king points to what has been written; borders: woman holding baby, ape eating and scratching rear; archer aiming at hybrid; bird of prey; nun nursing ape; ape in hat priming border foliage; birds, hybrids, embracing couple; figure holding urine flask (part cut). Text: Apres che que maistres Gautiers Map ot traitie des auentures del saint Graal asses souffissaument si comme il fu auis au roi Henri son signour ke che quil auoit fait nen deuoit pas souffrir [sic]...

958

S VI 203.1 F 1936:3.1; 1964:1.1

S VI 205

BNF fr. 117-120

BNF fr. 112

BNF fr. 113-116

Queste ends complete f. 53 col. b, Mort Artu follows after the Explicit. Add. f. 53r Rubric: Ensi que li roy Artu enquiert a mon signeur Gauain quans chevaliers il auoit ochis en len queste. King Arthur asks Gauvain how many knights he has killed in the quest, no borders A, champie initial Text: Apres che que maistres Gautiers Map ot traitie des auentures del saint Graal asses souffisaument si comme il fu auis al roi Henri son signor que ce quil auoit fait ne deuoit pas souffire...

BNF fr. 112 f. 182 Boort recounting the adventures of the Queste to King Arthur and his court, or King Arthur asking Gauvain how many knights he had killed.

BNF fr. 113, f. 1 (S III 3.1), Left quadrant: King Arthur receiving the book of his knight’s adventures/King Henry II receiving Walter Map’s translation of the Queste (or his version of Mort Artu) BNF fr. 116, f. 678 Left: Boort recounting the adventures of the Queste to King Arthur and his court, or King Arthur asking Gauvain how many knights he had killed; right: King Arthur asking Gauvain how many knights he had killed, or Agravain telling Kmg Arthur about the adultery of Lancelot and Guinevere.

BNF fr. 112 f. 183 Agravain telling King Arthur about the adultery of Lancelot and Guinevere.

XXXIII Aspects of Arthur’s Death in Medieval Illumination

T

he vogue enjoyed in the Middle Ages by tales of the final episodes in the story of Arthur and his knights of the Round Table is documented by its widespread inclusion in the chronicle tradition, and by the existence of several ‘literary’ versions that concentrate on Arthur’s last exploits.1 Illustrations appear both in the chronicle and in the literary traditions, although there is considerable chronological and regional variation as to whether the texts were illustrated and, if they were, which episodes were selected for illustration.2 How the pictorial tradition originated and developed, and to what extent the pictures reflect or add meaning to the narrative of the text, and what the illustrations reveal about the cultural context which gave rise to them, are the subjects of the present paper. The Texts There can be little question that the story of Arthur must have circulated most widely in Geoffrey of Monmouth’s Historia regum britanniae, of which close to two hundred manuscripts survive from Britain and the continent: it First published in The Passing of Arthur: New Essays in Arthurian Tradition, edited by Christopher Baswell and William Sharpe (New York, Garland, 1988). 1 For the Latin sources the best survey is still Chambers, Arthur of Britain; see also Arthurian Literature in the Middle Ages, ed. Loomis, and The Romance of Arthur, eds. Wilhelm and Gross, and The Romance of Arthur II, ed. Wilhelm. 2 For a preliminary study of the iconography of the French prose Mort Artu see my doctoral thesis, The Illustration of the French Prose Lancelot. For the fifteenth-century MSS, I draw, with kind permission, on the work of Blackman, The Manuscripts and Patronage of Jacques d’Armagnac, and ‘Pictorial Synopsis’.

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was clearly among the most widely read of any medieval text that includes Arthur, as more MSS survive than of any of the other chronicles that mention him, and it numerically far outweighs the vernacular versions.3 In this context the relationship between Geoffrey’s popular Historia and the manuscript tradition of the Arthurian romances is somewhat comparable to that of the still more popular Pseudo-Turpin Chronicle in which the story of Charlemagne’s exploits in Spain circulated much more widely than in the literary vernacular versions.4 But Geoffrey’s Historia, like the PseudoTurpin chronicle, was illustrated only rarely. The combat between Arthur and the giant of Mont-Saint-Michel in the twelfth-century manuscript of Geoffrey’s Historia from Anchin is possibly the earliest surviving Arthurian illumination, but it has long been considered the only Arthurian illustration in that, or apparently in any manuscript of Geoffrey’s Historia.5 Even in the more fully illustrated vernacular chronicles of the thirteenth, fourteenth, and fifteenth centuries, Arthurian subjects are represented in no more than a handful of manuscripts, only two of which include an episode from Arthur’s final moments.6 3 See the chapters by Loomis in Wilhelm and Gross, The Romance of Arthur; and Parry and Caldwell in Loomis, Arthurian Literature; for the manuscript tradition see Chambers, p. 30. For the historical context in general, see Gransden, Historical Writing in England. One should be wary, though, of judging popularity only on the basis of surviving MSS, as it is also possible that much-used books fell to pieces and were discarded. 4 There are some 300 extant manuscripts of the Latin, to say nothing of the French translations: for the former, see André de Mandach, Naissance et développement, Appendix G. By contrast, the Chanson de Roland, in French assonanced laisses, enjoys an extremely limited manuscript tradition and is most frequently edited from Oxford, Bodl. Digby 23, the only manuscript of its version. 5 To my knowledge, no thorough investigation has been made; in addition to the giant episode in Douai 880, f. 66v, reproduced in Loomis and Loomis, Arthurian Legends in Medieval Art, Fig. 340, see London, BL Royal 13 A.III (early 14th c.), which has marginal drawings of towns and shields, but no Arthurian illumination, and Cotton Claudius B.VII, a miscellany which includes Book VII of Geoffrey’s Historia, the Prophetia Merlini, with a mid-thirteenth-century miniature showing Merlin and Vortigern (reproduced in Loomis, Arthurian Legends, Fig. 384). See now the portrait of King Arthur in Paris, BNF lat 8501A, f. 108v, a copy of Geoffrey’s Historia regum britanniae discovered by F. Avril and attributed to Mont-Saint-Michel, included in La Légende du roi Arthur, ed. Delcourt, pp. 82–83, no. 10, by M.-F. Damongeot. 6 They are the Hague MS of Jacob van Maerlant’s Spiegel Historiael, c.1330, and the Lambeth MS of the St. Alban’s Chronicle, c.1470. Jacob van Maerlant’s Spiegel Historiael, The Hague, KB, KA XX, f. 163v includes a scene showing the final battle between Arthur and Mordred, with Arthur ignominiously carried away in a cart (reproduced in Loomis,

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By comparison with the enormous corpus of manuscripts of Geoffrey’s Historia, relatively few manuscripts preserve the vernacular romance versions of Arthur’s death, and still fewer of them are illustrated. The English manuscript tradition is extremely limited: only five manuscripts survive, two of Layamon’s Brut and one each of the stanzaic and alliterative verse versions

Arthurian Legends, Fig. 342). Jacob van Maerlant’s text is based on Vincent of Beauvais’ Latin Speculum historiale, composed for Louis IX, where Arthur is discussed in Book 21, chapter 56, and Book 22, chapter 74, ending with Arthur wounded in the battle with Mordred, his journey with Morgan to an island, and Vincent’s report that there is uncertainty about whether he died or lived after that. Vincent manuscripts, if illustrated at all, include one historiated initial for each Book. There is no complete study of the corpus of Vincent illustration; among the earliest illustrated MSS are Boulogne 130 and Boulogne 131, the latter one of two surviving volumes written in 1297 for Eustache Gomer de Lille, abbot of Saint-Bertin at Saint-Omer; Boulogne 130 is a two-volume direct copy of Boulogne 131, but neither illustrates the Arthurian section. See Stones, Illustrations of Lancelot, pp. 448–49, and The Minnesota Vincent of Beauvais Manuscript, pp. 7, 22, and, now, ‘Prolegomena’ and ‘Entre Cambrai et Saint-Omer’. For Arthur in Jean de Vignay’s translation see Delcourt, ed., Fortunes of Arthur. The most extensive illustrative treatment of Arthur in the chronicle tradition occurs not in England but on the Continent, in Hainaut, in the Brussels manuscript of Jean Wauquelin’s Chroniques de Hainaut. Jean Wauquelin translated and copied this French version of the Annales hannoniae by Jacques de Guise in Mons between 1448 and 1453 for Philip the Good, Duke of Burgundy, and the three volumes now in Brussels were illustrated in the 1460s by a number of illuminators, including Guillaume Wielant or Vrelant (volume 2) and Loyset Liedet (volume 3), both of whom were paid for their work in 1468. BR 9242–4 contains seven Arthurian scenes but avoids Arthur’s death. See Loomis, Arthurian Legends, pp. 126–27, figs. 343–48; La Librairie de Philippe le Bon, Catalogue, eds. Dogaer and Debae, nos. 188–89; Cockshaw, Chroniques de Hainaut, pl. 104–17. The only other chronicle that illustrates a scene from Arthur’s end is the St Albans Chronicle, Lambeth Palace 6, written in English by a Flemish scribe and illuminated by a Fleming c. 1470; there are nine Arthurian scenes including, at f. 66v, the battle between Arthur and Mordred. Still to be thoroughly investigated is the role of Arthur in such late medieval compilations as the Trésor des histoires and Boccaccio’s De casibus virorum illustrium in Laurent de Premierfait’s 1409 translation, made for Jean de Berry; some examples that include Arthur’s final combat are given in Meiss, French Painting in the Time of Jean de Berry, I); in his The Boucicaut Master, especially pp. 108–13, Fig. 298, and The Limburgs and Their Contemporaries. See also Gardner, Arthurian Legend in Italian Literature, frontispiece; and the Appendix below. These compilations, like that of Vincent of Beauvais, tend to include one illustration, if that, for the Arthur section, and some MSS prefer a scene of Arthur and his knights seated at the Round Table, for which see the Laurent de Premierfait MSS Geneva, Bibl. Pub. et Univ. 190, f. 139; Paris, Arsenal 5193, f. 349v (Meiss, French Painting I, p. 283), and London, BL Add. 35321 (Gardner, facing p. 234). The English chronicles tend to show, if anything, Arthur’s coronation.

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and of Malory’s prose Morte Arthur, none of which is illustrated.7 Malory’s version owes its popularity to the fact that it was published by Caxton, and circulated in editions based on his; Wynkyn de Worde’s editions of 1498 and 1529 contain illustrations.8 On the Continent, there is one illustrated Italian compilation, written in 1446, that depicts Arthur’s end; and Wace’s AngloNorman verse version, Le Roman de Brut, includes an important account of the death of Arthur, but the most copiously illustrated manuscript of it includes only a single scene of Arthur’s death.9 7 Layamon’s Brut, composed between 1189 and 1204, is the earliest Arthurian legend written in English; it exists in two mid- or late thirteenth-century manuscripts, London, BL Cotton Caligula A.IX and Cotton Otho C.XIII. See Layamon, Brut, eds. Brook and Leslie. The Stanzaic Morte Arthure, composed in the late fourteenth century, exists in one late fifteenth-century manuscript, London, BL Harley 2252. I quote this text and the Alliterative Morte Arthure from King Arthur’s Death, ed. Benson. The Alliterative Morte Arthure, composed c.1400, survives in Lincoln Cathedral Library MS 19, a miscellany written c.1440 by the Yorkshire scribe Robert Thornton. See The Thornton Manuscript (Lincoln Cathedral MS 97), eds. Brewer and Owen. The manuscript of Malory’s Morte Darthur now in the British Library, was discovered in 1934 at Winchester College as MS 13; see The Winchester Malory: A Facsimile, ed. Ker. Caxton’s version, printed at Westminster in 1485, is based on another manuscript, now lost. Surviving copies of Caxton’s printing are in the Pierpont Morgan Library and Museum, New York, see Le morte d’Arthur, printed by William Caxton 1485, ed. Needham; Manchester, The John Rylands University Library; and there was once a single leaf at Lincoln Cathedral Library, which is now lost. I am grateful to Jeanne Krochalis for her help with the English MSS and text versions. 8 For Wynkyn de Worde’s editions of 1498, preserved in the the John Rylands University Library, Manchester, and 1529, see Loomis, Arthurian Legends, p. 143, and Hodnett, English Woodcuts 1480–1535). The series includes four scenes of battle, of which Hodnett nos. 1274 and 1287 include a crowned figure and might therefore show, in generalized terms, Arthur’s combat with Mordred. 9 This Italian compilation is Florence, Bibl. Naz. Pal. 556, illustrated with over 200 line drawings. See Gardner (16 plates) and Loomis, Arthurian Legends, p. 121, figs. 337–39. The MS is not in B. Degenhart and A. Schmitt, Corpus der italienischen Zeichnungen and a complete description of it was not available to me (since I wrote this I have enjoyed the privilege of consulting the manuscript at first hand). For Wace’s text, see Le Roman de Brut, ed. Arnold. Arnold lists 23 MSS and fragments and notes the presence of a miniature showing five standing kings in Montpellier, BIU Fac. Méd. 251, f. 207v. Does it include Arthur? The famous and copiously illustrated mid-fourtcenth-century manuscript in the British Library, Egerton 3028, contains an abridged version of Wace’s text and is not included in Arnold’s list. This remarkable book, whose text ends with the beginning of the Hundred Years’ War in 1338, includes 118 illustrations which are listed in the Catalogue of Additions, 1916–1920, pp. 338–42. It has 17 scenes in the Arthur section—more than any of the chronicles— starting with Arthur’s coronation (f. 37) and ending with Arthur’s battle with Mordred (f. 53). Wace’s unabridged version includes the Breton hope of Arthur’s return, not found in the

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It is only the French prose version of the story, the Mort Artu, the last of the five branches of the Vulgate Cycle, which attributes its authorship to Walter Map writing at the behest of King Henry II,10 that preserves an illustrative tradition that is both numerically significant and fully developed as a narrative sequence.11 Of the 50 or so partial or complete manuscripts of the Mort Artu, some 34 are illustrated, and 25 contain more than one illustration.12 The success of this version was widespread: illustrated copies of this French text were made by scribes and illuminators for patrons who lived in England, Italy, France, and Flanders; the chronological range spreads over two centuries, from the second quarter of the thirteenth to the end of the fifteenth centuries. The case of Italy is particularly interesting as French texts were copied there, variant versions in French were composed, Egerton abridgement. For more on the Egerton manuscript see Stones, ‘The Egerton Brut and its Illustrations’. 10 References given here are to Frappier, La Mort le Roi Artu. Translations are from The Death of Arthur, trans. Cable. The attribution to Walter Map, court satirist to Henry II and author of De nugis curialium, occurs in the opening sentence (Frappier, p. 1). It has never been taken seriously since the supposed date of composition of the Mort Artu, c.1220 (arrived at without substantial reasoning), would preclude Map’s actual authorship, as well as the patronage of Henry, who died in 1189. But Henry and Eleanor were the patrons of Gerald of Wales and of Wace, both of whom treat Arthur, although with different endings to the story. Wace’s Brut, completed in 1155 and dedicated to Eleanor (Chambers, pp. 101–05), has Arthur’s possible return, while Gerald describes the discovery of Arthur’s tomb at Glastonbury, thus precluding any hope of Arthur’s return (Chambers, pp. 112–14). Gerald is ambiguous about whether the discovery occurred in Henry’s reign or after his death in 1189, and indeed the De principis instructione which describes the discovery, was probably composed between 1193 and 1199. Nevertheless, the possibility that Walter Map († c. 1208–1210) had also written a text about Arthur for Henry can not be dismissed out of hand, although no twelfthcentury MSS of the French prose Mort Artu survive, nor is there an extant Latin version by Map. A hint that there might have been a Latin version is perhaps provided by the opening illustration in BNF fr 342 (f. 150), which shows Map writing at King Henry’s command, and where the words that we read in the book Map writes are not those of the French text, but are in Latin: ‘Hic incipit de mortuo Artus regis et sociorum suorum‘ (reproduced in Loomis, Arthurian Legends, Fig. 215). A version that includes Arthur’s death and tomb would be appropriate for the king who may have excavated that tomb, or who is likely to have known that such an excavation was planned. 11 See note 2, above. 12 See Appendix at the end of these essays for my list of manuscripts, their geographical distribution, and the density of their illustration, based on Woledge, Bibliographie and Supplément; Micha, ‘Les manuscrits du Merlin’, ‘Les manuscrits du Lancelot en prose’; Ponceau, Etude de la tradition manuscrite de l’Estoire; and now Chase, Delcorno-Branca, Fabry-Tehranchy, Meuwese, Middleton.

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and Italian versions were also written, one of which is important for its illustrations.13 Moreover, Boccaccio’s inclusion of Arthur in his De casibus virorum illustrium also gave rise, largely through its French translation by Laurent de Premierfait, to illustrations showing Arthur’s death.14 An examination of the illustrative treatment of the death of Arthur must necessarily be primarily concerned, then, with the manuscripts of the Mort Artu in French prose, and with the few further illustrations supplied by the chronicle traditions that precede and follow it, together with the illuminations in the Italian manuscript versions. Were there a body of illustrations in other media that depict the death of Arthur, one would surely wish to take it into consideration as well, but the material surveyed by the Loomises shows that the death of Arthur was not a subject favored in the sculpture, wall painting, textiles, or portable objects that have survived.15 Methods The nucleus of this study is the list of Mort Artu manuscripts assembled in the Appendix at the end of these essays from secondary sources and primary observation. The stylistic arguments that have led to the attributions of date and place cannot be presented in detail here for reasons of space, but I emphasize now how fundamental this work is to what follows here. For the MSS that emerge as the most important, either in terms of density of illustration, or for their treatment of a particular episode, or both, I include lists of manuscripts that are comparable stylistically, with major references.

13

See note 9 above. No illustrated manuscripts survive from Spain or Catalonia; the Tristan, BNF fr 750, signed by Pierre de Tiergeville in 1278 and attributed to Spain in Loomis, Arthurian Legends, pp. 91–92, has recently been reattributed to Italy or the Holy Land; see Avril and Gousset, with Rabel, Manuscrits enluminés d’origine italienne, no. 194. I thank François Avril, Marie-Françoise Damongeot, Marie-Thérèse Gousset, and Patricia Stirnemann for their generous assistance at the Bibliothèque Nationale de France. 14 Meiss, Patronage of the Duke, p. 47 notes that the illustrative tradition begins with the MSS of Laurent de Premierfait’s translation, second version, made in 1409. For the text see Laurent de Premierfait’s “Des Cas des nobles hommes et femmes,” ed. and trans. Gathercole. See also note 6 above. 15 Loomis, Arthurian Legends. Most subsequently discovered Arthurian material illustrates scenes from Tristan or Iwain. Interesting in this connection is the description of walls painted with Arthurian subjects that surround the wounded Arthur in Guillem Torella’s La Faula, discussed in Loomis, Arthurian Legends, p. 24.

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1. Oxford, Bodleian Library, Rawlinson D. 899, Mort Artu, f. 206, A knight addressing King Arthur; Lancelot approaching Queen Guinevere in bed; King Arthur watching the defeat of Gauvain (?); Lancelot (?) riding (photo: Bodleian Library)

2. Paris, BNF fr 12580, Mort Artu, f. 223v, Funeral of King Arthur (photo: Bibliothèque nationale de France)

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3. Paris, BNF fr 25520, Mort Artu, f. 91, Mortal combat of King Arthur and Mordred; Funeral of King Arthur (photo: Bibliothèque nationale de France)

4. Paris, BNF fr 15104, Roman de Judas Machabé, f. 72, Mourners grieving the death of Judas (photo: Bibliothèque nationale de France)

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5. Princeton University, Garrett 125, Gautier de Belleperche, Roman de Judas Machabé, f. 70v, Automaton of Moses on the tomb of Judas (photo: Princeton University Library)

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6. Paris, Bibl. de l’Arsenal 3482, Mort Artu, p. 638, King Arthur’s dream of Gauvain’s warning (photo: Bibliothèque nationale de France)

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7. Paris, BNF fr 344, Mort Artu, f. 544, Four scenes of battle (photo: Bibliothèque nationale de France) 8. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 357v, Arthur and Mordred in mortal combat (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

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9. Cologny, Fondation Martin Bodmer, Cod. Bodmer 147, Estoire Del Graal (interpolated), f. 344r, Boort returning to King Arthur’s court; scene of battle (http://www.e-codices.unifr.ch/ en/list/one/fmb/cb-0147)

10. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 359r King Arthur praying; Arthur’s sword returned to the Lake (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

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11. New Haven, Yale University, Beinecke Library 229, Mort Artu, f. 359v King Arthur entering Morgan’s ship, bound for Avalon (Arthurian Romances. General Collection, Beinecke Rare Book and Manuscript Library, Yale University)

12. London, British Library, Add. 10294, f. 94r (photo: British Library) King Arthur’s sword returned to the Lake

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There is still much to be done to confirm many of the attributions, and the list is intended as a guide rather than a definitive study. The approach I take is diachronic in the sense that, for the first time, every illustrated Mort Artu manuscript is taken into consideration here. The questions that emerge are those of frequency and distribution, in terms of the numbers of manuscripts produced, and the quantity of illumination they contain. Here I examine a small component — two or three scenes — within a pictorial cycle, reserving the rest of the cycle for more detailed treatment elsewhere. The method, however, is the same as for a complete cycle, and its major purpose is to enable a range of observations and conclusions to be made about the totality of an illustrative tradition that cannot be made on the basis of ‘single case studies’ in which one randomly selected manuscript or illustration is picked, as it were, out of a hat. Of course, the observations and conclusions based on the totality of surviving illustrations must still be provisional since we inevitably lack links in the chain of transmission, but we can only come close to reconstructing its history by taking all the surviving evidence into account.16 The questions that I wish to raise could be classified as largely functional: who was interested in Arthur’s death, and why? To what extent do the illustrations contribute overlays of meaning that differ, or complement, those of the text? With some notable exceptions, few of the books considered here were made for patrons who are known by name, and there is much that

16

This is not the place to launch into polemic about the lack of methodological models for the study of illustrated non-liturgical manuscripts in Latin or the vernacular. Buchthal, Historia troiana, and Hindman, Christine de Pizan’s ‘Epistre d’Othéa’, are examples of studies where the relatively small number of surviving manuscripts (less than 20), and the relatively small number of illustrations in each, makes a comparative examination or diachronic approach possible. But the more popular stories, those of Alexander, Arthur, and the Roman de la Rose exist in hundreds of illustrated copies, and each manuscript may contain hundreds of illustrations; for texts like these, the sheer volume of illustration has impeded thorough investigation. For Arthur see Loomis, Arthurian Legends; Ross, Alexander historiatus; Stones, Illustrations of Lancelot; Busby, Nixon, Stones, Walter, Les Manuscrits de Chrétien and ‘singlecase’ studies, such as Baumgartner, ‘La couronne et le cercle’. For an ahistorical or synchronic treatment of some illustrations in Roman de la Rose manuscripts see Fleming, The Roman de la Rose. Very many studies of the Roman de la Rose have appeared since I wrote this: see particularly the works of Braet, Bel, Brownlee, McMunn, and the Roman de la Rose web site run by Nichols. The semiotic approach is represented by Pickering and Schapiro, see note 50 below.

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is uncertain about the interrelations between production team and patrons, and about the process of transmitting, transforming, and inventing the illustrations. Although the names of the individuals, both producers and patrons, may in most cases remain elusive, the illustrations can inform us in large measure about what role these books played in the cultural history of the period. For texts like the Mort Artu, which were illustrated with some frequency, a simple one-to-one relationship between picture and text cannot be taken for granted, although it clearly occurred at some stage in the proceedings, and often more than a single time. The exact circumstances of the production of books and their illuminations in the thirteenth century, when illustrative cycles for Arthurian texts begin, are still poorly understood. It is unclear to what extent the locus of production in the provinces was fixed, as was the case in Paris, where tax records indicate that parchmenters, scribes, illuminators, and dealers (libraires) lived and worked in adjacent streets, and how common was the practice of the manuscript makers working on commission at the castles of their artistocratic patrons and patronesses.17 Similarly we know little about just how the pictorial cycles of vernacular manuscripts, newly worked out in the thirteenth century, were devised and transmitted. Evidence from the manuscripts themselves shows that intermediaries in the form of marginal notes and sketches aided the process of invention and transmission, and it is also likely that rubrics played a part; we rarely know how many individuals took part in the complex process of deciding upon an illustrative sequence, placing the scenes in the text, writing, decorating, and illuminating, and who was in charge of the operation. I raise this issue here because one of the workshops whose products are discussed here — Add.10292–4 and related books — left many traces of marginal notes

17

For Paris see Branner, ‘Manuscript Makers’; Baron, ‘Enlumineurs, peintres et sculpteurs parisiens’; Branner, Manuscript Painting in Paris, pp. 1–21. See now Alexander, Medieval Illuminators; Rouse and Rouse, Manuscripts and their Makers; Busby, Codex and Context; and, for Arthurian manuscripts, Middleton, ‘England and Wales’, and ‘The Manuscripts’. In the thirteenth-century accounts of the count and countess of Flanders, there is evidence that the various skills involved in the making of books were paid for separately, perhaps with the implication that the work was done by the craftsmen at the castle, as still occurred with Jean de Berry and his illuminators, the Limburg brothers among others. Relevant documents are listed (but not transcribed) in Bautier and Sornay, Les sources de l’histoire économique et sociale. For Jean de Berry’s practice of retaining painters in his household as ‘valets de chambre’ see Meiss, Patronage of the Duke, pp. 43–5, and Boucicaut and Limburg Brothers, passim.

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both to the rubricator and to the illuminator, as I have shown elsewhere, and because the process of transmission is one that is often overlooked in discussions of text-picture relationships.18 Comparative examination of the picture cycles — every illustration in every manuscript of a given text, here the Mort Artu — shows too that the cycles were not fixed: some manuscripts have a single illustration, others have a short cycle of pictures, others have a long cycle, and the relationship between the possibilities is not altogether a chronological one.19 Other factors, such as the cost of each illustration, the extent to which gold was used, and the availability of suitable pictorial models, must have governed the choice, and in the absence of documents one cannot be sure of the precise circumstances that explain what appears in each particular instance. Arthur’s Death: The Mort Artu Account The preface to the fifth and final branch of the Vulgate Cycle explains that when Walter Map had written it for his patron King Henry, he named it La Mort le roi Artu because it ends with Arthur’s wounding at the Battle of Salebieres, and his taking leave of Girflet, after which he was never seen 18

For a review of the situation affecting the illustration of vernacular texts in thirteenthcentury France see my ‘Indications écrites et modèles picturaux’. The use of notes and sketches is not confined to vernacular or secular texts, but two situations are particularly noteworthy: the use of notes and sketches as intermediaries is especially common at the beginning of an iconographical tradition. This seems to be the case with the Roman de la Rose, Vatican Urb. lat. 376 of c.1285–1300 (see Stones, Illustrations of Lancelot, pp. 277, 279, 303; and now, König and Bartz, Der Rosenroman des Berthaud d’Achy), and the Jacobus de Voragine Legenda Aurea, San Marino, Huntington Library HM 3027 of about the same date (on which see now Easton, The Making). François Avril notes the same phenomenon much earlier in the Virgil MS of c.1200, BNF lat 7936; see his ‘Un manuscrit d’auteurs classiques’. Branner, Manuscript Painting, p. 21, n. 66, cites references to illustrated Aristotle MSS with notes and/or sketches, and Elizabeth Peterson tells me that the Aristotle MS in Erfurt can be added to his list. The other situation is among manuscripts that were mass-produced, as in the Paris workshops of the early fourteenth century that made such MSS as the Roman de la Rose BNF fr 802, the Saints’ Lives BNF fr 241 and Munich, clm 10177, and many others (see Stones Illustrations of Lancelot, p. 303 and now ead., ‘The Stylistic Context of Fauvel’). The Histoire ancienne at Princeton, MS Garrett 128, is another book with marginal notes that has gone unnoticed, and I thank Jean Preston for drawing it to my attention. For some examples of notes and sketches as intermediaries in biblical illustration see Alexander in Barrai i Altet, cited above, and now id., Medieval Illuminators. 19 See Stones Illustrations of Lancelot and below.

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alive again.20 The preface points immediately, if cryptically, to moments that are among the most poignant in Arthurian romance: the final dialogue between Girflet (Bedevere in the English versions) and Arthur, the speeches to the sword, the hand receiving the sword back into the lake and Arthur sailing away with Morgan, then Girflet’s discovery of Arthur’s tomb, which he recognizes because of its splendor and its identifying inscription.21 Girflet dies of grief, and the story ends with Guinevere’s retirement to an unspecified convent and her death, the deaths of the sons of Arthur’s treacherous son Mordret, killed by Lancelot and his friends at the Battle of Wincestre, in which Lionel also dies; Hestor and the penitent Lancelot die at a hermitage, leaving Boort, who will renounce the kingdom in the end and follow their footsteps to a hermitage. Omitted altogether, in the Mort Artu, is the idea of Arthur’s healing and ultimate return.22 The emphasis on the Girflet’s discovery of Arthur’s tomb is what aligns the Mort Artu with the late twelfth-century Latin accounts composed in England by Gerald of Wales and Ralph of Coggeshall, both of whom describe the discovery of the actual tomb at Glastonbury c.1191, although the locus of the tomb in Mort Artu is the ‘Noire Chapele’ (place unspecified) rather than the abbey of Glastonbury.23 In all three accounts, the tomb is recognized by an inscription, which for Ralph and Gerald is located on a lead cross on the tomb and refers to Avalon. The Mort Artu account differs from these not only by the omission of reference to Avalon or Glastonbury, but also by associating the tomb of Arthur in position, splendor, and identifying inscription, with that of Lucan le Bouteillier, whom Arthur had killed by crushing him with an embrace.24 Girflet finds both tombs in the Noire Chapele:

20

Frappier, Mort Artu, p. 1. Frappier, Mort Artu, p. 251, quoted below. 22 The account given by Burns in the entry on the Vulgate Cycle in Arthurian Encyclopedia, ed. Lacy et al., p. 613, is misleading in this respect. 23 For Ralph see Chambers, Arthur of Britain, p. 268; Gransden, Historical Writing, pp. 322–23. The chronicle covers the years 1066–1224, but the date of the compilation is uncertain, as is its attribution to a single author. For Gerald see Gransden, pp. 242–46; the discovery of Arthur’s tomb is recounted in De principis instrucione, begun c.1193; see Chambers, p. 269. For uncertainties about the date of the excavation and the question of whether Henry II had an interest in it, see note 10 above. 24 Frappier, Mort Artu, pp. 246–47. 21

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‘...il trova devant l’autel deus tombes moult beles et moult riches, mes l’une estoit assez plus bele et plus riche que l’autre. Desus la meins bele avoit letres qui disoient: “ci gist lucans li bouteilliers que li rois artus esteinst desouz lui”. Desus la tombe qui tant estoit merveilleuse et riche avoit letres qui disoient: „ci gist li rois artus qui par sa valeur mist en sa subjection .xii. roiaumes”.’ [Before the altar he found two rich and beautiful tombs, but one of them was far richer and more beautiful than the other. On the less beautiful one there was an inscription saying: ‘here lies lucan the butler, whom king arthur crushed to death.’ On the very splendid and rich tomb there was written: ‘here lies king arthur, who through his valor conquered twelve kingdoms’.]25 This account, like those of Gerald and Ralph, presents no hint that Arthur will return, and it has been suggested that the Plantagenets had political reasons for wishing to suppress the legendary return of Arthur; at the same time, Glastonbury stood to gain, by analogy with centers of pilgrimage dedicated to the cult of a saint.26 Gerald, Ralph, and Mort Artu present an account of Arthur’s death that stands in sharp contrast to the majority of twelfth-century versions, whether romance or chronicle: William of Malmesbury, Geoffrey of Monmouth, Wace, Langtoft, and Layamon all, to a greater or lesser degree, include the return, as do many of the later chronicles; the Stanzaic Morte Arthur, based on the Mort Artu, stands out similarly in the English tradition as omitting Arthur’s return, but the Alliterative Morte Arthure and Malory’s version combine the dicovery of the tomb with hope of the return in the wording of the inscription they both cite, ‘Hic jacet Arthurus, rex quondam rexque futurus’.27 In an examination 25

Frappier, Mort Artu, p. 251. The translation is drawn from The Death of King Arthur, tr. Cable, p. 225. 26 Chambers, Arthur of Britain, p. 123. 27 William of Malmesbury, c.1125, provides the first written testimony that legends existed about Arthur’s return; see Chambers, Arthur of Britain, pp. 17, 250. Geoffrey of Monmouth perpetuates the myth, see Chambers, pp. 39, 256. Wace’s version, in his Roman de Brut, is more explicit, relating the Breton view that Arthur will return (Chambers, p. 104). Peter Langtoft’s account is similar (The Chronicle of Pierre de Langtoft, ed. Wright, vol. 2, p. 224). Layamon’s Brut presents an account that is also similar (Chambers, p. 106), as are the numerous other Latin accounts of the twelfth century drawn together by Chambers; see also Vincent of Beauvais’ treatment of the subject mentioned in note 6 above. It would be

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of pictorial representations of Arthur’s death, the most interesting question becomes whether the illustrations reflect the fact that the story had more than one ending, and to what extent the ending of Mort Artu is reflected in turn in the other illustrated versions of Arthur’s death. The Manuscripts: Cycles and Scenes I begin by considering the manuscript tradition of Mort Artu. The chronology of the manuscripts has not been established with certainty. The composition of the text is not dated and most of the manuscripts also lack firm dates. Frappier suggests an approximate date of 1230 for the composition of the text, based on a rough sequence in which Mort Artu follows the Lancelot proper (c. 1215–20) and Queste (c. 1225); none of the extant MSS have been put earlier than the second quarter of the century, nor have they have ever been subjected to close scrutiny on palaeographical and codicological grounds. It remains to be seen whether Frappier’s somewhat vague dating of the text is valid.28 Whether a sequence of illustrations was planned from the beginning is also unclear. The earliest manuscripts tend, as do those of the French prose Queste del Saint Graal, to contain a single miniature or historiated initial at the opening, but the ‘break points’, even in these early manuscripts, are often marked with a champie or pen-flourished initials at the places in the text where later books have a historiated initial or miniature; and the earliest illustrated prose Estoire, which can be dated c.1220, includes a developed sequence of narrative images.29 It is possible, then, that an early, fully illustrated Mort Artu, is lost. But manuscripts that are unillustrated or interesting to see the extent to which the other chronicles — by Maerlant, Wauquelin, and the St Albans chronicler — are as explicit as Vincent of Beauvais. The Stanzaic Morte Arthur progresses from Sir Bedivere witnessing Arthur’s departure to Aveloun with Morgan, to his discovery of his tomb ‘that was new dight / And covered it was with marble gray, / And with riche lettres rayled aright...’ (Benson, Stanzaic, p. 99), although the words of the inscription are not given in the text. For Arthur’s burial at Glastonbury in the Alliterative Morte Arthure and the inscription see Benson, p. 238; for Malory see The Works of Sir Thomas Malory, ed. Vinaver, III, pp. 1242 and 1655. 28 Frappier, Mort Artu, p. viii. What is needed is a thorough paleographical analysis, demonstrating how these MSS relate to dated books; MSS that seem to be particularly early are Chantilly 476(644), Copenhagen Thott 1047, BL Royal 19 C.XIII, Paris, BNF fr 25520, and Modena E 39. 29 Does the use and placement of large minor initials at ‘break points’ mean that placement sequences had been already thought out in the very earliest manuscripts, even

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contain a single illustration continue to be produced throughout the period. The earliest surviving MSS with a cycle of images date roughly from the middle of the thirteenth century, when a short cycle of some 22 illustrations is devised; this cycle also continues to be copied, with a few variations, until the end of the period. (What I imply with the term ‘cycle’ is a sequence of illustrations whose subjects and whose textual locations were relatively firmly fixed.) The third development is the emergence of a long cycle of miniatures: an expanded version of the short cycle, which is sporadic both in date (1274, c. 1290–300, c. 1315–25, and 1470) and in numbers of illustrations, ranging from 30 to 47. The unillustrated and sparsely illustrated books, and those with the short picture-cycle, are widespread in their distribution. The long cycle manuscripts, however, group into two major regions, with some probably produced at the same center: the region of northeastern Artois (Arras, Saint-Omer, Thérouanne) and western Flanders (Douai) on the one hand, and central France, in the orbit of Jacques d’Armagnac, duc de Nemours, great-grandson of Jean de Berry, for whom BNF fr 112 and BNF fr 113–116 were made, on the other.30 The events that surround Arthur’s death in the Mort Artu for which images were developed are the following (listed here in the order in which they occur in the narrative): Arthur’s death anticipated in his dream of the dead Gauvain warning him that he will die if he fights Mordret; Arthur’s final battle with Mordret in which each mortally wounds the other; Girflet handing back Arthur’s sword Excalibur to the lake, where it is received by an outstretched hand; Arthur weeping; Arthur and Morgan setting sail in a boat, watched by Girflet from the shore; Arthur‘s tomb. I now analyze their distribution and emphasis within the corpus of the 25 MSS that contain a though they more often than not lack historiation? Or are they simply by-products of a chapter-division invented to facilitate reading, and which are then co-opted for illustration? Often they start with the formula ‘Or dist li contes...’, which includes the letter ‘O’, the most convenient letter of the alphabet for inserting historiation in an initial. But they do not simply break up the texts into units of equal length; they are sometimes very closely spaced, on the same or adjacent pages. This raises the issue of the extent to which they function to emphasize the particular episodes they introduce, rather than others. My working chart shows that the placing of the large pen-flourished or foliate initials corresponds closely to that of the historiated initials or miniatures in manuscripts containing the short cycle of 22 miniatures. The only discussion of the question is in Pickford, L’Evolution, pp. 154–75, where the issue is touched upon in relation to compositional procedures in BNF fr 112. For more on this question see now Stones, ‘Un schéma d’emplacement’, reprinted in these essays. 30 The most detailed study is Pickford.

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sequence of illustrations and the nine that have only one, and trace the ways in which these scenes reappear in other versions of the story. The distribution of scenes within manuscripts is presented in the Appendix. The first point to emphasize is that the majority of the manuscripts of Mort Artu (31 of the 52) omit scenes of Arthur’s death altogether. Either no illustration of the death or any other episode was preferred (15 MSS), or a single illustration showing an episode from another part of the story (five of the MSS with one illustration only), or a narrative sequence of images that excludes any pictorial reference to Arthur’s death (11 MSS, including two where the relevant text passages are missing). Of those that do include illustration of Arthur’s death, there are variations in how many and which episodes are selected, and in how the same episode is treated in the different manuscripts for which it was selected. As described above, the final episodes of Arthur’s death are presented twice in the text of Mort Artu, once in the opening paragraph and again toward the end. The emphasis is not quite the same each time: at the beginning, King Henry wants to hear about ‘la fin de ceus dont il avoit fet devant mention et conment cil morurent...’ [the rest of the lives of those he (Map) had previously mentioned (i.e. in the Queste, the previous branch of the cycle), and the deaths of those whose prowess he had related in his book.]. Map gives the title La Mort le roi Artu to the work he has written: ‘por ce que en la fin est escrit conment li rois Artus fu navrez en la bataille de Salebieres et conment il se parti de Girflet qui si longuement li fist compaignie que apres lui ne fu nus hom qui le veist vivant’. [because the end of it relates how King Arthur was wounded at the battle of Salisbury and left Girflet, who had long been his companion, and how no one ever again saw him alive.] This paragraph, then, taken on its own, could reasonably be supposed to present a number of possible choices of subject which would be appropriate for an opening miniature. By the end, on the other hand, it becomes clear that there was a deeper level of meaning in the opening words ‘ne fu nus hom qui le veist vivant’ as Girflet discovers, by finding his tomb, that Arthur had actually died.31 31

Frappier, Mort Artu, p. 1; tr. Cable, p. 23.

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The Tomb There is not a single representation showing the discovery of Arthur’s tomb by Girflet in the context of its occurrence in the narrative sequence (at the end, rather than at the beginning), even though the tomb is described as ‘merveilleuse et riche’ and has the identifying inscription quoted above. The avoidance of the subject would already seem to suggest a reluctance, on the part of the patrons of manuscripts, and perhaps their manufacturers as well, to accept the death of Arthur as final. The contrast with the death of Judas Maccabeus and its illustrations in the late thirteenth-century Princeton MS of Gautier de Belleperche’s version of La Chevalerie de Judas Machabé, Garrett 125 (Fig. 5), and in the BNF MS of Pierre du Riés’ version, BNF fr 15104 (Fig. 4), is striking: in both, the final illustration is that of mourners at the tomb of Judas, which in BNF fr 15104 is shown as an enormous tomb chest draped completely with a patterned cover.32 The description of it by Pierre du Riés is summary, but Gautier de Belleperche’s version is extremely detailed and includes mention of the statue of Simon Magus as Moses that stood on it, and which, as an air-based automaton, spoke the words commemorating Judas which normally would be those of an inscription incised on the tomb itself. The illustration, as Robert McGrath has noted, could be based only on a close reading of the text.33 Such attention to the text’s description of the tomb of Arthur is not reflected in the two illustrations that do treat the subject. Both of them place 32 BNF fr 15104 has a reference to Guillaume de Flandre in the text and is thought to have been the presentation copy of Guillaume de Termonde, son of Gui de Dampierre, count of Flanders; see Smeets, La noble chevalerie. It was illuminated by a painter from a workshop based in Hainaut or Flanders and making books for patrons associated with Cambrai, Mons, Tournai, and Saint-Omer (see Stones, Illustrations of Lancelot, ch.3, with previous literature, and see now ‘Bute Painter’). Princeton, Garrett 125, which also contains texts by Chrétien de Troyes, was connected with the Boisrouvray Psalter (use of Amiens) by McGrath, ‘Newly Discovered’; also by the same painter are the Vulgate Cycle, BNF fr 12573 and part of a psalterhours of Amiens in the Philadelphia Free Library, Widener 9. For the Maccabees component see McGrath, The Romance of the Maccabees, and Smeets, Le Fragment de la Chevalerie de Judas Machabé. For the Chrétien component see now Busby, Nixon, Stones, Walters, eds., Manuscrits de Chrétien, vol. I, pp. 1–2, 11–12, 14, 30, 227–28, 242, 251–53, 267, 287, 288, 332–33, 343, 352, 384, 458–60, 467, 477, ; vol. II pp. 2, 11, 13, 15, 17, 56–57, 89, 104, 132–33, 146–47, 254, 266, 269–71. 33 McGrath, The Romance, pp. 266–67.

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their image of it at the beginning of the text; in Paris, BNF fr 25520 (Fig. 3) it is part of a composite miniature in which the final battle of Arthur and Mordret is also shown, while in Paris, BNF fr 12580 (Fig. 2), the death alone is represented. In both manuscripts, the opening miniature is the only one in the book. Paris, BNF fr 25520 (Fig. 3) may date as early as the second quarter of the thirteenth century; the rubbed condition of the miniature makes an attribution difficult.34 The painter of BNF fr 12580 is a lesser light among the group of painters associated with Folda’s Hospitaller Master, whose roots are in the Paris-made censier of Sainte-Geneviève, Paris, Archives Nationales, Pièce S 1626, made in 1276.35 Comparison with death scenes among the oeuvre of the shop makes clear that what is shown here is not simply Arthur on his deathbed, although his pose is similar to those of Fulk, Amaury, or Baldwin in two MSS of the History of Outremer from the same workshop.36 The recumbent Arthur lies with hands crossed and head resting on a cushion on a three-arched stone tomb, with four chanting clerics, a cross, and candles behind the king. It is the stone arches that make this look like the actual tomb rather than simply a bier such as would figure in a funeral scene, of which there are many examples in the work of this painter and his shop. The stone-work base, with its shrine-like arches, suggests that the recumbent figure of the king is more likely to be the sculpted (and painted) effigy which by the 1280s had become an expected component in fashionable royal tomb design in France and England.37 34

It was probably made in Northern France or Flanders rather than England, although for an English patron, as the arms of England are used for Arthur, on which sec below. Avril and Stirnemann did not include it among the English MSS in Paris, see Avril and Stirnemann, Manuscrits enluminés d’origine insulaire. Woledge ascribes it to the thirteenth century. See note 28 above, where I recognize the need for more work on the ‘early’ MSS. 35 For the censier see Folda, Crusader Manuscript Illumination, figs. 33–36. The workshop also illustrated the Vulgate Cycle MSS Tours 951 (in collaboration with an Italian (?) painter, Folda, pp. 122–23). It contains Estoire, Merlin, and the catchword for Lancelot, and is illustrated with historiated initials. I attribute the Lancelot Vatican Reg.lat. 1489 to this workshop, as well as the Queste and Mort Artu BNF fr 12580 (Stones, Illustrations of Lancelot, ch.2). The three are similar in dimensions and page layout and might possibly have constituted parts of the same set, were it not for the fact that the Vatican and BNF MSS each contain two miniatures only, while the Tours MS has a cycle of historiated initials, in which the Italian (?) painter also participated. 36 Paris, BNF fr 9084, ff. 197, 290v, 249v, and Florence, Laur. Plut. LXI.10, ff. 126v, 246 (Folda, figs. 109,114,136,151,160). 37 For an account of French royal funeral practices and tombs to the end of the thirteenth century see Erlande-Brandenburg, Le Roi est mort, and, for the later period, Brown, ‘The

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The stone arches of the tomb in BNF fr 12580 (Fig. 2) lead one to press the analogy with royal tomb design still further, and wonder whether, in addition, there is a deliberate association here with ideas not only about contemporary royal burial practices, but also about the canonization of defunct kings. King Louis IX died in 1270, and this book was made in Paris some time in the period after his death and in all probability before his 1297 canonization. The tomb shown here is quite different from the plain marble tombs that occur most frequently in the illustrations of Vulgate Cycle MSS of the thirteenth and fourteenth centuries, and which would have also suited the text’s neutral description of Arthur’s tomb, needing only the addition of the inscription.38 The notion of canonization was already present, implicitly, in Gerald of Wales’ account of Arthur’s translation at Glastonbury,39 but here the impending contemporary canonization would add another level of meaning to an image commissioned by a Parisian patron, especially if he or she were themselves members of the royal family.40 Arthur’s ‘return’ Ceremonial of Royal Succession’. For England see Stone, Sculpture in Britain in the Middle Ages. 38 See Loomis, Arthurian Legends, figs. 248, 250, 252, 274, for other representations of tombs in Vulgate Cycle MSS. The famous example with the date of 1316 (1317 ns), showing tombs commissioned by Duchess Flegentine, in Add. 10292, f. 55v (Loomis, Fig. 248), is exceptional in showing both an engraved image and an inscription; the same episode is shown in Royal 14 E.III, but without the date, and the scene is omitted in the third MS illustrated by the same painter, Amsterdam/Rylands Fr. l/Douce 215. See Stones, ‘Another Short Note’, p. 188, n. 15. In the thirteenth and early fourteenth century, tombs in Vulgate Cycle MSS tend to be shown as if made of plain marble, shaped like coffins, and unadorned either with inscriptions or images. Paul Binski has suggested to me the interesting idea that these unadorned tombs might have provided the model for Edward I’s plain marble tomb, which would be an interesting corollary to these examples where it is life that influences art. At the same time it is worth noting that Edward had Arthur’s tomb opened in 1278 and the remains of Arthur and Guenevere moved before the high altar of Glastonbury. (Chambers, Arthur‘s Britain, p. 125.) They seemed to have been reburied in the same tomb (made c. 1189) which Leland saw in 1534 and 1539, and described as being of black marble, with two lions at each end and an image of the king at the foot; it also had epitaphs with the name of Abbot Henry (1189–1193); Chambers, p. 125. 39 Chambers, p. 269, and above. 40 The evidence for connecting Arthurian MSS with the patronage of the French royal family is entirely circumstantial. It is possible that Rennes 255 was a royal commission, but only because it comes from the same workshop as devotional books that clearly were (Stones, ‘The Earliest’). More is known about the vernacular books owned by the counts of Flanders and Hainaut, although it is hard to match up the surviving books with the documents. For collectors of later Arthurian MSS see Pickford, pp. 252–90, and, now, Middleton, ‘The

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would be equated with his eternal presence in the ranks of sainthood, and intermediary, like Charlemagne, between great rulers of France in history and legend and the present and future of the Capetian dynasty. Even if the arches are accidental, and the scene is meant, after all, to show Arthur on his deathbed (a common enough subject in the historical MSS made in the same workshop), the image would still present an emphasis that depends not on a close reading of the text, but rather on the particular cultural milieu in which it arose. For an English patron, the associations with royal burial and canonization would not have been so very different, with the rebuilding of Westminster Abbey and the shrine of St Edward providing the major focus of artistic activity from the second quarter of the thirteenth century.41 Heraldic evidence in BNF fr 25520 (Fig. 3) suggests that the book was in all likelihood made for an English patron as one of the protagonists in the combat scene that accompanies Arthur’s death bears the arms of England on crest and shield (the shield clearly shows two leopards, but I assume a third, obscured by the arm that couches the lance)42. Presumably this knight is Arthur. The shield of the other protagonist, Mordret, is too rubbed to be readily identified; the crest is a pair of wings. The death scene is similar to the one in BNF fr 12580 but shows Arthur recumbent, draped except for his crowned head, with a cloth that reaches the ground, with two candles in front and a candle and a cross behind. Clearly the scene is that of the king himself on his deathbed and not an effigy. Did the artist (or his manager) simply read the first paragraph of the text and select from a standard stock of deathbed scenes? Two figures stand behind the dead king; their treatment suggests that the Manuscripts’. Another book that is probably of Parisian manufacture (although it has no demonstrably royal connection) is Oxford, Rawl. D. 899 (Fig. 1). It is included as French in Pächt and Alexander, Illuminated Manuscripts in the Bodleian Library, Oxford, 1, no. 559, and dated s. XIII ex. A mid-thirteenth century date may be more likely. 41 See, most recently, the catalogue The Age of Chivalry; and, now, Binski, Westminster Retable. 42 For texts that include the arms of England, particularly as borne by Tristan, as flattery, see Brault, Early Blazon, pp. 19–23. The only illustrated Mort Artu MSS that were made in England are BNF fr 123, made in all probability for Blanche of Artois and Edmund Crouchback, Earl of Lancaster, whose marriage took place in 1275 and whose arms appear in the backgrounds of the initials (see Avril and Stirnemann, no. 152); and BL Royal 20 C.VI, attributed to a London workshop c.1280 by Bennett, ‘A Late Thirteenth-Century PsalterHours from London’, esp. p. 26. I am grateful to Adelaide Bennett for helpful discussion of the English MSS.

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image depends on a more careful reading of the text and that its components were deliberately chosen. The accompanying figures are not tonsured clerics singing the Office of the Dead, as in BNF fr 12580; although the paint layer is missing, both have substantial heads of hair. They are likely to Girflet (grieving, with clasped hands and bowed head) and the hermit who shows him Arthur’s tomb. Why, then is not the tomb shown, either plain, as the text describes it, or with an effigy, as in BNF fr 12580? Could it be that by choosing the death-bed image, an English patron, probably someone with royal connections, was consciously rejecting both the possibility of Arthur’s eventual return and also that of his apotheosis? The Warning Another image that makes use of the motif of Arthur lying in bed illustrates his dream of Gauvain’s warning that he will die if he enters combat with Mordret. There are seven examples in the illustrative tradition. The text describes this occurrence taking place in a forest while Arthur and his men are encamped prior to the battle. Arthur is therefore often shown lying in bed in a tent (Yale 229, f. 350; Paris, Arsenal 3482, f. 638v [Fig. 6]; BNF fr 116, f. 734); but the tent is sometimes omitted (Rylands fr. 1, f. 255; Rawl. D. 899, f. 206 [Fig. 1]). Gauvain appears, according to the text, with a group of paupers; the number of figures included with Arthur is irregular. As a literary and visual topos, the image of the dream has a long history, within which two particular associations are of interest here. One is with the other great ruler, Charlemagne, whose call by St James to fight the Saracens in Spain occurs in a dream and is the main focus of illustration of the PseudoTurpin account of Charlemagne’s Spanish campaigns. There, of course, it is Roland who will die, not Charlemagne, and Roland’s death is not the point of the vision, nor even mentioned in it. The Charlemagne image is based on a standard episode in saints’ lives and is particularly close to the image of Christ appearing to St Martin in the Life of St Martin, and there are Old Testament parallels in eleventh-century Bibles and Gospels. More interesting here are models like Christ appearing to St Ambrose to announce his death on the altar of Sant’Ambrogio, Milan, or an angel appearing to St Millán to announce his death on the ivory casket of San Millán de la Cogolla.43 None 43 For references see Stones, ‘Four Illustrated Jacobus Manuscripts’, p. 207, n. 14. Harris, 1989, 1991.

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of these examples, however, is sufficiently close visually to be the undisputed source for the Arthurian image, particularly for those images that include the tent, although the literary sources in saints’ lives again inform the Mort Artu text and the inclusion of the illustration accentuates that association, if only in general terms. Arthur’s Battle Against Mordret The final combat between Arthur and Mordret, of which two different versions occur in Rawl. D.899 and BNF fr 25520, is by far the most popular image of Arthur’s death in the manuscript tradition as a whole. It is shown in 14 Mort Artu MSS, in Wace’s Brut, and in the chronicles and treatises. Several of the Mort Artu MSS devote more than one image to the battle: four are grouped together in BNF fr 344 (Fig. 7), four separate images are included, on sequential pages, in Yale 229 (Fig. 8), and there are two images in Geneva, Bodmer 147, one at the opening of the text (Fig. 9) and the other toward the end; BNF fr 112, where Mort Artu is part of a special compilation of the text commissioned by Jacques d’Armagnac in 1470, has two miniatures showing the combat. The use of the device of repetition as a means of emphasizing the subject is an interesting feature of BNF fr 344, Yale 229, Geneva, Bodmer 147 and BNF fr 112, but in other respects their cycles are not particularly close; BNF fr 344 and Bodmer 147 have short cycles, while BNF fr 112 is closer to the long cycle, but they have fewer illustrations than Yale 229, which is the longest of the long cycle MSS. In Rawl. D. 899 (Fig. 1), Arthur is shown to the left of the combat, presumably watching and about to enter it, although he lacks a helm. This version may result from a compression of the battle scene with another episode that shows Arthur and his men riding through a forest on their way to fight Mordret (Oxford, Bodl. Rawl. Q. b. 6, f. 399v; Yale 229, f. 350; Paris, Arsenal 3482, f. 638v (Fig. 6]). The treatment of the battle in these copies of Mort Artu is often somewhat bland and generalized: it is not always clear, in a general melee, or even in single combat, which figure is Arthur, as crowns and shields are frequently omitted, in single scenes as well as in multiple representations. Arthur wearing the arms of England, as in BNF fr 25520 (Fig. 2), is rare, and there is only one representation of him bearing the arms of the Virgin Mary, as described in Geoffrey of Monmouth and illustrated in Langtoft’s

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chronicle, of the mid-fourteenth century.44 By the late fourteenth century, Arthur’s arms are well known as az 3 crowns or (with the crown increasing to 15 in the rolls of arms), but these arms become standard only gradually. The three crowns emerge in the late thirteenth century in the region of eastern Artois or western Flanders, in the Arras- or Douai-based workshop that made BNF fr 770 and Oxford, Bodl. Digby 223 in the 1280s–90s, then in the workshop of Add. 10292–4, Royal 14.E.iii and Amsterdam / Rylands fr. 1 / Douce 215 in the period 1315–30, although both groups of MSS show Arthur with the ‘wrong’ tinctures: pink or azure for the field, but white rather than or for the crowns (Fig. 12), or or 3 crowns sable in the Hague Spiegel historiael of Jacob van Maerlant, KA XX.45 In the later Mort Artu MSS, as opposed to the chronicles, interest in the final combat declines somewhat, to the point where, in the fifteenth century, the subject occurs only in two books, BNF fr 111 and BNF fr 112.46 It is as if the chronicles and treatises had by then taken over the role of projectors of Arthur’s image that once was the domain of the romance tradition, and in so doing polarized it to emphasize its negative aspects, the ultimate destruction of the kingdom, and by implication, through the lack of another scene to present a more positive ending, Arthur’s resulting death. This emphasis seems to begin in the fourteenth century, and the Hague image is a particularly interesting instance because of its unusual emphasis on the ignominy of Arthur’s death, showing his wounded body taken away in a cart after the battle. Even in the Egerton MS of Wace’s Brut, made after 44

BL Royal 20 A. II, f. 3v (Loomis, Arthurian Legends, Fig. 386); see note 6 above. For BNF fr 770 and Oxford, Bodl. Digby 223 see Stones, Illustrations of Lancelot, pp. 340–42, and Brault, p. 44 for BNF fr 770. Jean-Bernard de Vaivre wonders whether the crowns in BNF fr 770 might not be later additions, but the existence of another book from the same workshop with the same feature suggests that they are indeed contemporary, and of interest in Arras or Douai, where the books were probably made. See Jean-Bernard de Vaivre, ‘Les trois couronnes des hérauts’, esp. n. 26. For later Arthurian heraldry in the Rolls of Arms see Pastoureau, Armorial des chevaliers de la table ronde. For the workshop of Add. 10292–4, Royal 14 E.III, Amsterdam/Rylands/Douce and The Hague KA XX, see Stones, ‘Another Short Note’, with previous bibliography, and note 6 above. 46 For BNF fr 112 see note 58 below; BNF fr 111 is unpublished apart from its mention in Paris, Les Manuscrits françois de la bibliothèque du roi, I, p. 151; Woledge, Bibliographie, p. 74; and Micha, ‘Manuscrits du Lancelot‘, pp. 150–51. It contains a substantial cycle of miniatures and a shield of ownership that is so far unidentified. See now for the identification of these arms as those of Yvon du Fou († 1488), grand veneur de France and sénéchal de Poitou in the service of Louis XI, see Avril in Avril and Reynaud, Manuscrits à peintures 1440–1520, p. 409, no. 233 and Delcourt, Légende du roi Arthur, pp. 60–61, 75, no. 7. 45

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1338, which devotes 17 of its 118 illustrations to Arthur’s reign, and whose text normally ends with Wace explaining that legends about Arthur’s return exist, but about which he himself will not take a position, has the combat between Arthur and Mordret as its final illustration.47 To focus on Arthur’s death in battle and the resulting destruction of the kingdom fits the aims of Boccaccio’s and Laurent de Premierfait‘s moralizing purpose, as that of the Trésor des histoires in which Arthur’s final combat also occurs, and may be anticipated in the chronicles, although it is also notable that Arthur’s return plays a part, on occasion, in the texts of the chronicles, and that more neutral scenes of Arthur and his knights sitting at the Round Table sometimes provide an alternative illustration for Laurent de Premierfait’s text.48 The Sword and the Lake, and Avalon What, then, of the sword and the lake, and Arthur’s departure to Avalon (or, more properly, in Mort Artu to an unnamed location)? The manuscripts are enlightening about who it was that considered this part of the story interesting enough to demand illustration. These episodes do not appear with illustrations in the chronicle traditions, so far as I have been able to determine; their absence suggests that the psychological complexity which this part of the story presents, and which its illustrations underline, was not felt to be appropriate to the aims of the chronicle, even if the text contained hints of Arthur’s return. By the same token, the subtleties of the royal burial associations that emerged in a few of the Mort Artu MSS similarly play no part in the chronicles or treatises. Although the text of Mort Artu disclaims the possibility of Arthur’s ultimate return, the events that lead up to his departure with Morgan are accorded a significant place in the narrative and make an important contribution to the complexity of Arthur’s psyche and to the pathos of his end. Only three Mort Artu manuscripts reflect this in their illustrations, Yale 229, BL Add. 10294, and BNF fr 112. They are among the most fully illustrated Mort Artu MSS in general, and, as discussed above, the Yale MS 47

See note 9 above. See note 14 above. Arthur and his knights at the Round Table is the subject in the Laurent de Premierfait MS, BL Add. 35321, reproduced in Gardner, facing p. 234. How Arthur is otherwise treated in the illustrations of the Trésor des histoires and similar texts would be a fruitful topic for further investigation. Mary Robertson kindly informs me that Arthur does not appear in the Huntington MS of Lydgate’s Fall of Princes, HM 268. 48

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and BNF fr 112 also have multiple scenes of Arthur and Mordret’s battle.49 The Yale MS has three scenes of the final episodes, the first a two-register miniature, f. 359 (Fig. 10), showing, at the top, Arthur in a chapel with Lucan le Bouteillier and Girflet, and, below, Girflet throwing Excalibur into the lake, where it is received by an outstretched hand in the water; on f. 359v (Fig. 11) Arthur and his horse are invited by Morgan and her ladies aboard her ship. Add. 10294 has one scene, on f. 94 (Fig. 12), the only one to show Arthur weeping, in a seated pose, with head on hand, while Girflet throws back Excalibur to the lake, where it is received, as in Yale 229, by an outstretched hand.50 In BNF fr 112, Girflet stands on the shore of the lake holding the sword and Arthur himself is excluded. A particularly striking connection between Yale 229 and Add. 10294 is that both come from the same region. The provenance of neither is absolutely certain, as the MSS themselves contain no written evidence, but both can be attributed for stylistic reasons to workshops making books for patrons who lived or were associated with northeastern Artois, specifically St. Omer and Thérouanne; western Flanders (Ghent); and southwest Hainaut (Cambrai). Yale 229 is by two painters, one of whom made a book of hours of the use of Thérouanne, Marseille 111, and the other of whom illustrated the so-called Psalter of Gui de Dampierre, count of Flanders, Brussels, B.R. 10607, attributed to the patronage of Gui on the basis of the heraldic shields on its borders, although close examination of the MS shows that the shields have been overpainted at least once, and I do not think there can be a conclusive interpretation in the absence of a technical analysis.51 I have suggested that 49 See Appendix. For a description of the Yale MS and list of subjects, see Shailor, Catalogue of Medieval and Renaissance Manuscripts, no. 229. See now Stones, Gothic Manuscripts, Part I, vol. 2, Cat. no. III–124 and several of the essays reprinted in these volumes. 50 Reproduced in Loomis, Arthurian Legends, Fig. 249. The visual topos is more akin to Pickering’s David/Walter von der Vogelweide lamenting figure than to Christ weeping over Jerusalem (Luke 19:41–44), which would involve a standing figure but which must be the model for the literary topos. For the question of the extent to which transference of visual motif also implies transference of meaning see Pickering, Literatur und darstellende Kunst, and English trans. by the author; and Schapiro, Words and Pictures. These works also informed my discussion of Arthur’s tomb, above. For further examples of the transfer of imagery from sacred to profane contexts and vice-versa see my ‘Sacred and Profane Art’, reprinted in these essays. For the textual sources of the sword motif see Grisward, ‘Le Motif de l’épée jetée au lac’. 51 The currently accepted view is based on Stijns, ‘Het Psalter van Gwijde van Dampierre’, who dates the book between 1266 and 1275; these dates are actually quite reasonable,

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the shield Flanders a bend gules in the margins of Yale 229 might indicate the patronage of Guillaume de Termonde, son of Gui de Dampierre and noted in other contexts as a patron of contemporary literature, but the attribution must remain tentative in the absence of confirmation from documents, and because of the inconspicuous location of the shield, tucked away in a border rather than prominent on an opening page.52 None of the books related to Yale 229 is securely dated, and the omission of St Louis (canonized in 1297) from the calendars and litanies of the devotional books provides the main chronological anchor in the period, if one that is of doubtful value.53 Add. 10294 is one of three Vulgate Cycle MSS produced in the same shop, and that shop may be, a generation later, the one that made BNF fr 95/ Yale 229. The other two sets associated closely with Add. 10292–4, are olim Amsterdam, Bibl.Hermetica/ Manchester Rylands fr. 1/ Oxford, Bod. Douce 215, and London, BL Royal 14 E. III54 The Amsterdam/Rylands/ Douce MS is less fully illustrated than Add. 10294, and, although there are gaps in the text, it is possible that no scene of Arthur’s death was included originally. Royal 14 E. III on the other hand presents a pattern, for the parts of the text that it preserves, that is extremely close to that of Add. 10294; the whole of the last part of the text is missing, and it is very likely that this section was also densely illustrated. Add. 10294 is part of the three-volume set, Add. 10292–4, edited by Sommer, and dated in or after 1316 by the inclusion of that date on the incised tomb shown in the miniature on f. 55v of Add. 10292.55 Other illuminations made by the same painter as the chief artist of Add. 10292–4 include the frontispiece to the psalter, St. Omer particularly c.1275, although the condition of the shields presents insoluble problems. There is still a great deal to do to sort out stylistically the products of the shop that made BNF fr 95/ Yale 229 and BR 10607. See now ‘The Illustrations of BN fr 95 and Yale 229’ reprinted in these essays, and Hunt, ‘Illuminating the Borders’. 52 Stones, ‘Secular Manuscript Illumination’, esp. p. 87. I do say there that the owner ‘may perhaps be traced’—not to disclaim the tentative nature of the suggestion! Guillaume de Termonde is otherwise known as the patron of Pierre du Riés’ Judas Machabé; see Smeets, La Chevalerie, and above for the tomb of Judas Maccabeus. 53 The basic reference books are by Leroquais: Les Bréviaires; Les Pontificaux; Les Psautiers manuscrits; Les Sacramentaires et les missels manuscrits. What is not clear is the extent to which the canonization of St Louis was observed among lay circles in the provinces, particularly in Artois, Flanders, and Hainaut, and how quickly it entered books made for private devotion in that region. 54 Loomis, Arthurian Legends, pp. 97–98. For the workshop see Stones, Illustrations of Lanelot, ch.VI, and ‘Another Short Note’, reprinted in these essays.

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270, added in 1323 by Guillaume de Sainte-Aldegonde to commemorate his presentation of the book, a psalter of the use of Tournai (Flanders) to the chartreuse of Longuenesse, near St. Omer (diocese of Therouanne, and county of Artois).56 Other books illustrated by the three painters whose distinct styles appear in Add. 10292–4, Amsterdam/Rylands/Douce, and Royal 14 E. III, include other books written in French, Dutch (among which is the much-mentioned Spiegel historiael, The Hague KA XX),57 and books in Latin made for patrons in St. Omer, Ghent, Cambrai, and points farther east. The third manuscript that includes the Girflet-Excalibur episode is BNF fr 112, made in 1470 for Jacques d’Armagnac, duc de Nemours, and written by Micheau Gonnot, who completed the writing on 4 July of that year.58 The text of this is a special version that draws on the Vulgate Cycle and other texts, and also includes material unknown elsewhere, as Pickford and others have shown, and it is thought that the scribe Micheau Gonnot was also the compiler.59 Jacques d’Armagnac’s collection of Arthurian manuscripts included the Vulgate Cycle sets BNF fr 117–20, which he inherited from his great-grandfather Jean de Berry, and whose paintings he had altered c.1470, and BNF fr 113–6, which was his own commission.60 Jean de Berry’s book had none of the scenes that are under discussion here; BNF fr 116 includes only Arthur’s dream of Gauvain’s warning, while BNF fr 112 has Girflet returning the sword to the lake.61 Jacques d’Armagnac’s books, together with the understudied volume BNF fr 111, are the most important of the fifteenthcentury Mort Artu MSS in general; BNF fr 116 has the short cycle of 23 miniatures, while the other two MSS show the influence of the long cycle, although their cycles are shorter than those in Yale 229 and Add. 10294, as BNF fr 111 has 28 miniatures and BNF fr 112 has 30. Further study is

55

Sommer, Vulgate Version. Reproduced in Loomis, Arthurian Legends, Fig. 248. Reproduced in Leroquais, Psautiers, p. 203, pl. III, and Stones, ‘Another Short Note’. 57 See note 6 above. 58 Paris, Manuscrits françois, I, p. 151, was the first to observe that the inscription which now reads ‘Micheau Gantelet, prêtre, Tournai’ contains two alterations, ‘Gantelet; and ‘Tournai’; for the identification of Gonnot’s hand in other manuscripts see Pickford, L’Évolution, pp. 19–24. 59 Pickford, ibid., pp. 19–24. 60 Pickford, with extensive bibliography; see particularly Thomas, ‘Jacques d’Armagnac, Bibliophile’. See now Blackman, Manuscripts and Patronage and ‘Pictorial Synopsis’. 61 See Appendix. 56

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required to determine the extent to which, overall, the miniatures in BNF fr 111 and 112 depend on the earlier Artesian-Flemish books, Yale 229 and Add. 10294. Jacques d’Armagnac’s painters are not directly associated with Artois or Flanders, and regional factors would not explain the iconographical links between BNF fr 112 and Add. 10294 and Yale 229. The density of illustration in these books in general shows a greaterthan-usual interest in the subject matter of the text as a whole, and in addition, Yale 229, Add. 10294, and BNF fr 112 are distinct from the rest of the tradition in including the most detailed treatment of the complexity of Arthur’s death. Whether one can go so far as to say that the patrons of these three books were more interested than others in Arthur’s return may be pressing the evidence too far, particularly as it is the Add. 10292–4 workshop that also produced the miniature that most emphazises the ignominious aspects of Arthur’s end. At the same time, it is in Hainaut, which borders on Flanders and Artois, that the fifteenth-century chronicle BR 9243 preserves, again, an exceptionally full sequence of Arthurian miniatures, even if it is a sequence in which aspects of Arthur’s death do not play an important role.62 Political tensions between the counts and countesses of Artois and Handers and the French crown were important issues in the thirteenth and fourteenth centuries, while Hainaut occupied the border position of being a political fief of the Empire but owed ecclesiastical allegiance to the Archbishop of Reims; and the major cities, Arras, Douai, Tournai, Cambrai and Mons were linked by important rivers and road systems, which meant they belonged to the same commercial and cultural network. It was a milieu in which, by the late thirteenth century, bourgeois patronage had begun to play a role in the collecting of Arthurian manuscripts, as the will of Jean Cole of Tournai attests in 1303.63 It is in fact to this region, centered on the River Scheldt, that most of the surviving Mort Artu and other Vulgate Cycle MSS can be attributed. Did Arthur have a particular appeal as a legendary hero because this was a region in which the reality of kingship left much to be desired? Trade and dynastic links with England would surely have helped to encourage the positive reception of the Matter of Britain in Artois and Flanders, while the

62

See note 6 above. See de la Grange, ‘Choix de testaments tournaisiens’, p. 38, cited in Stones, ‘Another Short Note’, pp. 190, 192. 63

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Chroniques du Hainaut even claim Arthur as legendary ruler of Hainaut.64 Jacques d’Armagnac, although his lands were in La Marche in central France rather than in Artois, Flanders, or Hainaut, is a specific case of an adversary of the king with a distinct interest in Arthur. His antagonistic position in relation to the crown culminated in his execution by Louis XI for treason in 1477, whereupon his books were seized by the king. A common link, then, between the three manuscripts that include the Girflet-Excalibur-Avalon scenes is an adversarial standpoint vis à vis the French crown. The only other place, to my knowledge, where Arthur’s departure to Avalon in Morgan’s ship occurs, is in the Italian Tavola Ritonda compilation in Florence, Bibl. Naz. Cod. Pal. 556, written in 1446, and attributed to Venice.65 It shows Girflet on horseback watching Arthur sail away, alone, while an outstretched hand brandishes Excalibur; Sir Ivain lies dead on the ground beside Girflet. It is interesting to speculate about whether this image, and the rest of the cycle in this MS, might be in any way dependent on models from the region that produced Yale 229 and Add. 10294, or might depend on the special version BNF fr 112. François Avril has shown that a painter from the Add. 10294 workshop was active in Italy in the early fourteenth century, although at Naples rather than Venice; it is not impossible that the Venetian draughtsman had access to a model from the Artois/Flanders region.66 In other respects, however, the pictures in the Florence MS seem to depend directly on a reading of the text of that MS; the Girflet/Excalibur scene includes the dead Ivain whose presence at the lakeside occurs only in that text. Another instance of the originality of both text and picture is that 64

For Arthur’s ownership of Hainaut see Loomis, Arthurian Legends, p. 126. Gardner, Arthurian Legend, p. 153, gives its text as a variant, deriving from the same source as the Tavola Ritonda. For reproductions see the pages facing pp. 26,112,122,174,178,180,190, 208, 268, 272, 286; Loomis, Arthurian Legends, p. 121, figs. 337–39. See also now a further little-known example that includes King Arthur, the sword received by the hand in the lake, and the ship (without Morgan and her ladies): in Boccaccio’s De casibus virorum illustrium in Laurent de Premierfait’s translation, copied by Boniface de Remenant for Jean Paumier, tax collector (receveur des finances) of Lyon, made c. 1435–1440 in Lyon — thus lying far outside the geographical perimeter of the northern manuscripts considered above (Paris, BNF fr 229, see Delcourt, Légende du roi Arthur, p. 94, no. 20, by Marie-Hélène Tesnière. 66 Avril, ‘Un atelier “picard”’. A Brunetto Latini Trésor from the workshop of Add. 10292–4 and its group that was written before 1327 when it was already in the possession of Henry of Ventimiglia, is Vatican Reg. lat. 1320, on which see Stones, ‘Another Short Note’, p. 189. 65

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of the death of Guinevere. This is the only manuscript, and the only text, to portray Guinevere dying in the arms of Lancelot.67 The textual accounts of Arthur’s death, in their romance and chronicle versions, bear witness to shifts in emphasis and meaning between the twelfth and fifteenth centuries, governed by a complex network of factors in which political aims played a significant role. Many of the same factors, particularly the political sympathies of the patrons, seem also to have created a parallel network of links among the illustrations. While the Florence MS may, after all, be exceptional for manifesting a direct dependence of picture on text, the treatment of Arthur‘s death in French-speaking lands shows that the illustrations may present a variety of perspectives on the text‘s narrative. Their range is from relative disregard, in the unillustrated copies, to the alteration or even distortion of its meaning, in the illustrated copies where the pictures provide an overlay or gloss created not only from the repertoire of visual sources which the artists had available, but also, to some degree, from the variant interpretations of other textual versions, and often reflect contemporary regional or personal concerns as well. Perhaps this analysis of what seems to be on the one hand an overt interest in Arthur and his knights among the adversaries of the crown in France, and on the other hand, in Paris, a subversion of the story to Capetian goals, may help to explain one of the puzzles of the Arthurian manuscript tradition in Britain, namely its relative absence. Was there a deliberate suppression? It is hoped that future study of the illustrative cycles in these manuscripts, their pictures and their patrons, will elucidate the question further.

67

Gardner, Arthurian Legend, facing p. 268.

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Appendix: An Iconographic Survey of Manuscripts Illustrating Arthur’s Death For my working list of Mort Artu manuscripts see now the general Appendix at the end of these essays. MSS are grouped below according to their textual contents, and within texts in approximate chronological order of production. Arthur’s dream of Gauvain’s warning that he will die if he fights Mordret (Frappier, Mort Artu, p. 225) Oxford, Bodl. Rawl. D. 899, c. 1250, Paris ? f. 206: two-register miniature in one text column (Fig. 1) Top right: Gauvain appears to Arthur who lies in bed (cf. also Arthur’s final battle with Mordret). Yale 229, c. 1290–1300, Saint-Omer or Thérouanne f. 350: two-register miniature in one text column, Arthur sets out through a forest to fight Mordret; Arthur, in bed in a tent, sees Gauvain and a group of paupers in a dream. Ryl. fr. 1, c. 1315–25, Saint-Omer or Thérouanne f. 255 single-column miniature, Arthur, in bed in a forest, sees Gauvain and a group of paupers in a dream. BNF fr 1424, c. 1330–40, Tournai f. 117v initial ‘O’, Arthur, in bed, sees Gauvain and the paupers in a dream. Ars. 3482, c. 1325–50, Paris f. 638v one-column miniature (Fig. 6) Arthur and his men ride through a forest (to fight Mordret); Arthur, in bed, sees Gauvain in a dream.

ASPECTS OF ARTHUR’S DEATH

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BNF fr 111, c. 1480–85, Poitiers f. 294v single-column miniature. Arthur in bed, guarded by a group of knights. BNF fr 116, c. 1470, Central France f. 734 single-column miniature, Arthur in a tent, asleep in bed. Arthur’s final battle with Mordret (Frappier, Mort Artu, pp. 231–245) Paris, BNF fr 25520, second quarter 13th c.? France or Flanders f. 91 miniature in 2 text columns (very badly rubbed) (Fig. 3) Left: mounted combat between 2 knights, left one with a shield gules three lions passant guardant or and a helmet with a crest a lion passant guardant; the right one with a rubbed shield and a helmet with a crest of 2 wings (cf. also Arthur’s death). Oxford, Bodl. Rawl. D. 899, c. 1250, Paris? f. 206 two-register miniature in one text column (Fig. 1) Lower register: Arthur about to enter the final combat? (cf. Oxford, Bodl. Rawl. Q.b.6, f. 399v). Brussels, BR 9627–8, c. 1260–70? Paris ? f. 143 initial ‘O’, Arthur, surrounded by dead bodies, kills Mordret. Paris, BNF fr 123, c. 1275–80, England f. 257v initial ‘O’, Final battle between Arthur and Mordret. Chantilly, Musée Condé 649 (1111), written in 1288, Italy, Genoa or Modena f. 1 initial ‘A’ and border (very badly rubbed) Initial shows an equestrian knight (Boort ?); border includes foliage scrollwork forming two medallions containing two mounted knights confronting each other (Arthur and Mordret?). Bonn LUB 526, written in 1286 in Amiens, Thérouanne or Cambrai f. 482v single-column miniature, combat between Arthur and Mordret.

996

Yale 229, c. 1290–1300, Saint-Omer or Thérouanne ff. 356, 356v, 357, 357v four miniatures, two in one text column, two in half a text column. Final combat between Arthur and Mordret and their armies (Fig. 8). London, BL Add. 10294, c. 1316, Saint-Omer, Thérouanne, or Ghent f. 93 single-column miniature. Arthur and Mordret mortally wound each other. Cologny-Genève, Bodmer 147, c. 1300, Eastern or Southern France? f. 344 bottom part of opening miniature in one column (Fig. 9): generalized battle scene: final battle between Arthur and Mordret ? f. 381 single-column miniature. Two groups of mounted knights face each other (including Arthur and Mordret ?). Paris, BNF fr 344, c. 1290–1300, Metz f. 544 a four-part miniature (Fig. 7) showing four different scenes of combat, in which the only distinguishable event is the death of King Yon, whose severed head is shown in the bottom right miniature. Possibly part of this may be intended to show the combat between Arthur and Mordret. Oxford, Bodl. Rawl. Q.b.6, c. 1300–1310, Paris? f. 399v Arthur leads his men on horseback into combat with Mordret, Mordret not shown, (cf. Rawl. D.899, f. 260 and Yale 229, f. 350). Paris, BNF fr 111, c. 1480–85 for Yvon du Fou, or his son Jacques, Poitiers. f. 296 single-column miniature, Arthur and his men in mounted combat against Mordret and his men. Mort Artu in BNF fr 112 special version, 1470, made for Jacques d’Armagnac, Central France f. 226 single-column miniature, mounted combat between Arthur and Mordret and their men. f. 228v single-column miniature, mounted combat in which Arthur spears Mordret with his lance. Mort Artu in the Pseudo-Robert de Boron version, Paris, BNF fr 343, c. 1385–90, Italy, Milan or Pavia The only illustration in the Mort Artu section is a generalized scene of combat

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in which Arthur is in no way distinguished. Wace, Le Roman de Brut (abridged version, with an addition up to the beginning of the Hundred Years’ War in 1338, text in Anglo-Norman) London, BL Egerton 3028, second quarter or mid 14th c. (after 1338), made in England f. 53 miniature in one text column, Arthur‘s final battle with Mordret. Chronicles Jacob van Maerlant, Spiegel historiael, The Hague, K.B. K.A.XX, c. 1325–30, text in Dutch, made in Flanders: Ghent ? f. 163v: miniature across three text columns, Arthur’s final battle with Mordret: surrounded by mounted knights, Arthur (left) strikes Mordret (right) square down the spine with his sword; Mordret’s sword strikes Arthur between his shield (or 3 crowns sable) and right arm; to the right Arthur, still crowned but lying beneath his shield, is borne away in a horse-drawn cart, followed by his men. St Albans Chronicle, London, Lambeth Palace Library 6, c. 1470, text in English, illuminated by a Fleming f. 66v miniature in one text column, Arthur’s final battle with Mordred: in front of a hillock, with their men grouped on either side, Arthur and Mordred in mounted combat confront each other with couched lances. Boccaccio, De casibus virorum illustrium, French translation by Laurent de Premierfait, Le cas des nobles hommes et femmes, London, BL Royal 14 E.V, mid-fifteenth century, Paris? f. 439v Arthur and Mordret in single foot combat (Gardner frontispiece). Boccaccio, De casibus virorum illustrium, French translation by Laurent de Premierfait, Le cas des nobles hommes et femmes, Paris, BNF fr. 236, midfifteenth century, Paris ? f. 175, single-column miniature, King Arthur and three knights at table; final combat between King Arthur and Mordret and their armies. Trésor des histoires Paris, Ars. 5077, c. 1415, style of the Boucicaut Master f. 298 Arthur (shield azure 3 crowns or) and Mordret in single foot combat

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Girflet throwing Excalibur back to the lake Mort Artu (Frappier p.249) Yale 229, c. 1290–1300, Saint-Omer or Thérouanne f. 359 two-register miniature in one text column (Fig. 10). Arthur with Lucan le Bouteillier and Girflet in the Noire Chapele (Frappier p. 246); Girflet throws Excalibur into the lake where it is received by an outstretched hand. London, BL Add. 10294, c. 1316, Saint-Omer, Thérouanne, or Ghent f. 94 single-column miniature (Fig. 12). Arthur deep in thought, seated, head on hand, while Girflet throws Excalibur into the lake where it is received by an outstretched hand. Mort Artu special version BNF fr 112, 1470, made for Jacques d‘Armagnac, Central France f. 229v Girflet, standing at the edge of the lake, holds Excalibur; a distant city (Salesbieres?) in the background. Arthur sailing away to Avalon Mort Artu (Frappier p. 250) Yale 229, c. 1290–1300, St.Omer or Thérouanne f. 359v one-column miniature (Fig. 11). Morgan and her ladies in a boat invite Arthur on board. Mort Artu in the Italian adaptation based on Tavola Ritonda Florence, B. Naz. Cod. Pal. 556, written in 1446, Italy, Venice? f. 171 Arthur setting sail in a boat, watched from the shore by Girflet on horseback, with Sir Ivain lying dead on the ground beside him (Gardner facing p. 272) Combined scenes: Sword received in the lake, Arthur standing by a ship Boccaccio, De casibus virorum illustrium, French translation by Laurent de Premierfait, Le cas des nobles hommes et femmes, c. 1435–40, Lyon, copied by Boniface Remenant for Jean Paumier, tax collector of Lyon, Paris, BNF

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fr 229 f. 342v, single-column miniature, Arthur standing by a ship, looking at the hand holding the sword in the lake. Arthur’s Death (Frappier, Mort Artu, pp. l, 251) Paris, BNF fr 12580, c. 1275–80 Paris, Workshop of Folda’s Hospitaller Master f. 223v miniature in one text column (Fig. 2), Crowned effigy of King Arthur on his death bed/tomb, with cross, candles, and singing clerics. Paris, BNF fr 25520, second quarter 13th c.? France or Flanders f. 91 miniature in 2 text columns (very badly rubbed) (Fig. 3) Right: King Arthur, crowned, on his death bed, three candles in front, two figures standing behind, flanked by a candle and a cross. MSS containing one or more images, with none of these scenes illustrated Modena, B. Estense E 39, second quarter 13th c., France? Paris, Ars. 3347, c. 1250, Paris Paris, BNF naf 1119, c. 1275–80, Paris, Workshop of the Hospitaller Master Paris, BNF fr 339, c. 1260–70? Paris? Paris, BNF fr 342, written in 1274, Arras or Douai London, BL Royal 20 C. VI, c. 1270–80, England London, BL Add. 17443, c. 1275–1300 France or Flanders Oxford, Bodl. Digby 223, last quarter 13th c., Arras or Douai Paris, BNF fr 12573, c. 1290–1300, Arras or Amiens Paris, BNF fr 110, c. 1290–1300, Thérouanne or Cambrai, text of Arthur and Mordret’s battle is missing; none of the other scenes above is illustrated London, BL Royal 14 E. III, Saint-Omer, Thérouanne, or Ghent, c. 1315– 25, textual lacunae Paris, BNF fr 122, 1344, Tournai Paris, Ars. 3480, c. 1405, Meiss’s Master of the Cité des Dames, Paris ? Paris, BNF fr 120, c. 1410, repainted c. 1470 central France Cologny-Genève, Bodmer Library 105, c. 1480, for Guyot le Peley de Troyes, Champagne ?

XXXIV The Lancelot-Grail Project: Chronological and Geographical Distribution of Lancelot-Grail Manuscripts

I

use the symbol + to indicate manuscripts which I consider were made by the same craftspeople or are closely related to each other stylistically.  Justification of the stylistic groupings of thirteenth and early fourteenthcentury manuscripts can be found in Stones, The Illustrations of Lancelot and Avril in Fastes du gothique; for the late fourteenth-century copies see Meiss, French Painting in the Time of Jean de Berry, I; for Jacques d’Armagnac’s manuscripts, see Blackman, The Manuscripts and Patronage of Jacques d’Armagnac and ead. ‘Pictorial Synopsis’; and for other fifteenth-century copies, see Avril and Reynaud, Les manuscrits à peintures en France 14401520. Many of these manuscripts were included in the exhibition La Légende du roi Artur, ed. Delcourt. Carol Chase verified the Estoire list; Irène Fabry verified the Suite Vulgate manuscripts and reviewed the entire list; Martine Meuwese and Roger Middleton gave valuable assistance. I thank all of them here. I have published several partial lists (1977, 1988, 2000, 2003) which the present list supercedes. The on-line site, http://www.lancelot-project.pitt. edu, includes links to Gallica, Mandragore, Enluminures, the British Library site, e-codices, and to the Lancelot-Grail project itself and its comparative pages. Textual components are indicated as follows: E=Estoire, M=Merlin, SV=Suite Vulgate du Merlin, L=Lancelot (L1=En la marche de Gaulle; L2=Journey to Sorelois, L3=Conte de la Charette, L4 Suites de la Charette, L5=Agravain); Q =Queste, MA=Mort Artu. Other Versions: [J]=Joseph in prose, based on Robert de Boron’s verse version, often copied as selections interpolated into Estoire; for details, see O’Gorman’s edition; SM=Suite du

CHRONOLOGICAL AND GEOGRAPHICAL DISTRIBUTION

1001

Merlin (Huth Version, not to be confused with Suite Vulgate du Merlin), Didot-Perceval; Post-Vulgate Queste. For editions see Text Editions in the Bibliography at the end of these essays.  Square brackets [ ] enclose references to manuscripts containing non-Lancelot-Grail texts. Many library sites now include digital images but the links are unstable and are not included here. See however the on-line version of this list on http://www.lancelot-project. pitt.edu.

Date

Place

Library and Text Branches Shelf Number

Number of Illustrations

[c. 1210–20 North France: Modena, Bibl. [J, M, Didot-Per- 15 ?] Champagne ? Estense E 39 ceval, Lapidaire] c. 1220

North France

Nottingham, UL WLC Lm7

E (beginning incomplete) M fragment

unillustrated

c. 1220

Paris ? Champagne ?

Rennes, BM 255

EML1 L2 incomplete L3 incomplete

64

c. 1220

Champagne ? attr. England

Paris, BNF fr 752

L1

unillustrated

c. 1220

Champagne ?

London, BL Landsdowne 757

L1

unillustrated

c. 1220

North France

Berkeley, UCB 73 (ed. Bogdanow)

QMA

1

c. 1220

Champagne ?

Paris, BNF fr 768

L1 (MS de base of Kennedy’s edition of the non-cyclic Lancelot) L2 Q (late 13c)

1

1002 c. 1220–30 Savoie ?

Copenhagen, KB MA Thott 1087

unillustrated

c. 1230–40 North France ?

Paris, BNF fr 337 M[Livre d’Artus]

unillustrated

c. 1230–50 North or East France

London, BL Royal 19 C.XIII

1; distinctive penflourishing

c. 1230–50

Paris, BNF fr [J]M L1 748 + Paris, BNF incomplete fr 754

15

c. 1230–50 North France

Paris, BNF fr 747 EMSV, L1 announced but absent [MS de base of Micha’s ed. of M]

3

c. 1230–50 North France

Paris, BNF fr 751 L1L2L3L4L5 incomplete, QMA

1

c. 1225-50

Paris, BNF naf 4380

unillustrated

Thérouanne or South France ?

North France

L1L2L3L4L5QMA

MA

c. 1240–50 North France

Paris, BNF fr 771 L5Q

2

c. 1250

Oxford, Bodl. Rawl. D. 899

2

Soissons or Laon ?

L5QMA

CHRONOLOGICAL AND GEOGRAPHICAL DISTRIBUTION

1003

mid-13th c. ?

North France

Paris, BNF fr 423 [J]M unillustrated abridged, fragments Gautier de Coinci, Miracles de Nostre Dame and Hélinand de Froidmont, Vers de la Mort

mid-13th c. ?

Cistercian ?

Paris, BNF fr 1430

L1

unillustrated; distinctive penflourishing

c. 1250

Paris ?

Berkeley, UCB 107 (ex-Phillipps 1279)

L1L2L3L4

5

c. 1250

Paris ?

Paris, BNF fr 339 L1L2L3L4L5QMA

120

c. 1250

Paris ?

London, BL Royal 19 C.XII

E

unillustrated

c. 1250

Paris

Brussels, BR 9627–8

QMA

37

c. 1250

Paris

Chicago, Newberry f21Ry.34 12261+ Paris, Ars. 3347

L1L2L3L4L5QMA

3 3

c. 125075 ?

Paris ?

London, BL Add. QMA 17443

2

1004 c. 1250–75 ? Jumièges ?

Berkeley, UCB 106 (ex-Phillipps 3643)

[Vies des pères] 21 EMSV

13th c., England ? second half

Cambridge, Corpus Christi College 45

L1L2L3L4L5 (copied in BL Roy. 19 B. VII)

unillustrated

13th c., England ? second half

London, BL Royal 20 B. VIII

L5

unillustrated

13th c., North France second half

Paris, BNF fr 20047

Robert de Boron, Estoire in verse

unillustrated

[Image du unillustrated monde, Health Treatise] EQMA

1271 ns Image du monde written by Jacquemin d’Acre

North France

Chantilly, Musée Condé 476(644)

c. 1275 for Blanche d’Artois and Edmund Crouchback

London

Paris, BNF fr 123 L5QMA

90

1274 written by a female scribe

Douai ?

Paris, BNF fr 342 L5QMA

92

c. 1280

Douai

Oxford, Bodl. Digby 223

12

L5QMA

CHRONOLOGICAL AND GEOGRAPHICAL DISTRIBUTION

c. 1280 written by Walterus de Kayo

Douai

Le Mans, MM 354

E with J interpolations

17

c. 1285

Douai

Paris, BNF fr 770

EMSV[Histoire 140 d’Outremer et du roi Saladin, La fille du Comte de Ponthieu, L’Ordre de chevalerie]

c. 1285

Douai ?

Oxford, Bodl. Douce 303

E

2

1284 written by Michael nomine felix

Champagne ?

Paris, BNF fr 12581

Q [literary miscellany]

1

c. 1275–85 Saint-Omer or Thérouanne

Paris, BNF fr 19162

EMSV

83

c. 1275–85 Saint-Omer or Thérouanne

Paris, BNF fr 24394

EMSV

71

1286 written by Arnulphus de Kayo

Amiens Bonn LUB and Cambrai or 526 Thérouanne

EMSVL1L2L3L4L5QMA

346

c. 1270– 1300

Bologna ? Venice ?

EMSV

162

Oxford, Bodl. Douce 178

1005

1006 1288 written by Bonifacio de Gualandis for Brexianus de Salis, Podesta of Modena

Genoa ? Modena ?

Chantilly, Musée Condé 1111(649)

MA

4

c. 1280– 1300

Genoa

Berlin, DSB Ham. 49

L1 incomplete 24

c. 1280– 1300

Genoa

London, BL Harley 4419

L1L2L3L4

c. 1280– 1300

Genoa

Paris, BNF fr 354 L4 22 L5 incomplete

c. 1280– 1300

Genoa

Venice, Marciana L5 incomplete Fr.11 (olim XI 254)

c. 1280– 1300

Genoa

Venice, Marciana L5 incomplete 2 Fr.12 (olim XII 255)

c. 1290

Genoa

Udine, Bibl. Arcivescovile 64/177 Facsimile

Q

34

c. 1290

Genoa

Paris, BNF fr 16998

L2L3L4

39

1

22

CHRONOLOGICAL AND GEOGRAPHICAL DISTRIBUTION

1007

c. 1290

Bologna

Paris, BNF fr 773

L1L2L3 incomplete

3

c. 1300

Tuscany

Paris, BNF fr 767

L1L2 incomplete

unillustrated; foliate initials

c. 1300

Naples ?

Venice, BMarciana Fr.Z.15 (228)

[Roman d’Artus]

c. 1300

Naples ?

Private Collection

L fragment

1

c. 1280– 1300

London

London, BL Roy. 20 C. VI

L5QMA

3

c. 12901300

England

Paris, BNF fr 25520

QMA

1

c. 1300

England

Cambridge, UL Add. 7071

EMSM

unillustrated; distinctive penflourishing

c. 1300

England

London, BL L1L2L3L4L5 unillustrated; Royal 19 B.VII ending distinctive incomplete penflourishing

c. 1300

England

London, BL Egerton 2515

Hue de unillustrated; Rotelande, distinctive Ipomedon and penflourishing Prothesiliaus; L5 ending incomplete

1008 copied from a MS that says on f. 293 it was made for Philippe Auguste († 1223)

Paris ?

Paris, BNF fr 2455

E incomplete, unillustrated fragments of [J] and M

c. 1290– 1300

Metz or Verdun Private Collection (Lebaudy, olim Phillipps 1047)

EM

129

c. 1290– 1300

Metz or Verdun Paris, BNF fr 344 (see also Private Collection Lebaudy)

EMSVL1L2L3L4L5QMA

344 (sic)

c. 1290

Acre, Cyprus, or Italy ?

Tours, BM 951 EJMSV catchword for L1

133 by the Hospitaller Master and a Mediterranean artist

c. 1290

Paris or Acre ?

Paris, BNF fr 12580

L5QMA

3 by the Hospitaller Master

c. 1295

Thérouanne or Cambrai

Paris, BNF fr 110

EMSVL1L2L3L4L5QMA incomplete

99

c. 1295

Thérouanne or Cambrai

London, BL Add.5474

[Tristan] Q interpolations

23

CHRONOLOGICAL AND GEOGRAPHICAL DISTRIBUTION

1009

c. 1290– 1300

Thérouanne or Cambrai

Paris, BNF naf 5237

ML5MA fragments

elegant penflourished initials

c. 1290

Thérouanne

Paris, BNF fr 95 (+Yale 229)

EMSV[Sept Sages, Pénitence Adam]

163

c. 1290

Thérouanne

New Haven, Yale Univ. Beinecke 229 (+BNF fr 95)

L5QMA

166

c. 1300

Thérouanne or Ghent

Oxford, Bodl. Ash. 828 (see Bologna AS b.1.bis and Turin BN L.III.12)

L1 incomplete

40

c. 1300

Thérouanne or Ghent

Paris, BNF fr 749

E[Jfragments] MSV

126

c. 1300

Thérouanne or Ghent

Bologna, AS b.1.bis

E, fragments

c. 1300

Thérouanne or Ghent

Turin, BN L.III.12

E burnt in 1904 20 MSV

c. 1300

Arras ? East France ? South France ?

GenevaCologny, Bodmer Foundation 147 (ex-Ph.1046)

E[Gospel 167 extracts, Genesis extracts and other interpolations including J interpolations] M[Histoire de Troie]SV[interpolations] [Maurice de Sully, Sermons] QMA

1010 c. 1300

Arras

Darmstadt, HLB 2534

EMSV

3

1301

Normandy ?

Paris, BNF naf 4166

[J]M [DidotPerceval, Prophécies de Merlin]

unillustrated

c. 1300–10 Paris

St Petersburg, NLR Fr. F.v.XV.5

E with J interpolations

43

c. 1300–10 Paris written by Ernoul d’Amiens

Oxford, Bodl. Rawl.Q.b.6

L1L2L3L4L5QMA

212

c. 1310

Laon or SaintQuentin ?

Paris, BNF fr 12573

L5QMA

78

c. 1310

Laon or SaintQuentin ?

London, BL Add. 38117 (Huth)

[J]MSM incomplete

67

c. 1310–20 Amiens, Laon, Noyon or Saint-Quentin

New York, The Pierpont Morgan Lib. M.805-6

L1L2L3L4L5 ending incomplete

175

c. 1315

Arras

London, BL L3 incomplete, Royal 20 D. IV L4L5 incomplete

c. 1317 ns

Saint-Omer, Tournai or Ghent

London, BL Add. 10292-4

12 by the Maître aux Mentons fuyants

EMSVL1L2L3- 747 L4L5QMA

CHRONOLOGICAL AND GEOGRAPHICAL DISTRIBUTION

1011

c. 1310–20 Saint-Omer, Tournai or Ghent

olim AmsterEML12345dam, BPH 1 QMA (ex-Phillipps 1045/7[numbering problematical], and 3630)/Oxford, Bodl. Douce 215/Manchester, Ryl.fr.1

c. 1310–20 Saint-Omer, Tournai or Ghent

London, BL Royal 14 E. III.

EQMA

116

1319

Avignon

Florence, Laur. Ash. 121(48)

Q

62

c. 1320

England

London, BL Add. 32125

EMSV

unillustrated; distinctive penflourishing

c. 1320

England

London, BL Royal 20 A. II

L2 fragment; unillustrated Q incomplete

c. 1320

Paris

Paris, BNF fr 333

L5

36

c. 1320–30 Paris

Paris, BNF fr 105

EMSVL1 announced but absent

127 by the Sub-Fauvel Master

c. 1320–30 Paris

Paris, BNF fr 9123 + Paris, Ars. 3481

Rubric List, EMSV

167 78 by the SubFauvel Master, the Maubeuge Master and the Montbaston Master

Rubric List, L1

189

1012 c. 1320–30 Paris

Oxford, Bodl. Douce 199

L5Q

32

c. 1330–45 Tournai

Paris, BNF fr 1422-4

L5incomplete, QMA

73

c. 1340 ?

Tournai and England ?

Paris, BNF fr 769

E

5 and unfinished later drawings

1345

Tournai

Paris, BNF fr 122

L3 incomplete, L5QMA

120

1351 writ- Tournai ten, illuminated and bound by Pierart dou Thielt

Paris, Ars. 5218

Q

3

1357 writ- Tournai ten by Jean de Loles

New Haven, Yale Univ. Beinecke 227

JEMSV

164

mid-14th c.

Paris, Ars. 2996

[J]M both incomplete

unillustrated

c. 1340–50 Paris

Paris, BNF fr 16999

L1L2L3L4

115

c. 1340–50 Paris

Bourgen-Bresse, Médiathèque Vailland 55

E mutilated

40–50 originally; 6 miniatures and 36 rubrics survive

c. 1350

Paris, Ars. 3482

MSVL5 incomplete, QMA

136

North France

Paris

CHRONOLOGICAL AND GEOGRAPHICAL DISTRIBUTION

14th c.

North France or England ?

14th c.

1013

Paris, BNF fr 341+ Paris, BNF fr 24367

L1L2 incomplete MA

unillustrated; elegant penflourishing

Aberystwyth, NLW 5018

L5

unillustrated

14th c.

France

Chantilly, Musée Condé 643(307)

E with J interpoplations MSV

1 miniature, 3 spaces for illustrations

14th c.

Spain

Escorial, RealBibl. P.II.22

L1 fragment

unillustrated

c. 1380

Milan

Paris, BNF fr 343

Post-Vulgate Q [Tristan] MA

119

late 14th c. Milan

Oxford, Bodl. Rawl. D. 874

Post-Vulgate Q MA

1

late 14th c. Western France ?

Paris, BNF naf 934 no. 28

M fragment

1

c. 1400– 1410

Paris ?

Private EMSV [Vie de Collection du Guesclin] Switzerland (olim Bodmer unnumbered, Günther Cat. 3 no. 11; Tenschert Cat. 16, no. 6-7, Kraus Cat. 165 no. 9, olim Clumber, Newcastle 937)

1402

France

Turin, BN L5 L.V.30 (*1688)

36 3

1014 c. 1406 Paris sold by Jacques Raponde to Jean Duc de Berry

Paris, BNF fr 117-120

EMSVL1L2L3- 131 by L4L5QMA the Master of Berry’s Cleres Femmes c. 1470 repainted for Jacques d’Armagnac

Paris 1405 sold by Jacques Raponde to Jean Duc de Bourgogne?

Paris, Ars. 3479-80

EMSVL1L2L3L4L5QMA

130 various artists

c. 14251450

Metz ?

Paris, BNF fr 98

EMSVL12345QMA

Decorative borders for EML no miniatures

c. 1440–55

Angers or Poitiers

Paris, BNF fr 96

EMSVL1L2L3

36 + spaces by the Maître d’Adelaïde de Savoie

c. 1450

Paris

olim London, Alpine Club now dispersed

L1L2L3L4L5QMA for Prigent de Coëtivy, Admiral of France (d. 1450)

34 by the Dunois Master, Jean Haincelin

c. 1450–60

Tours-Angers

Dijon, BM 527 Facsimile + Chantilly, Mus. Condé 648(404)

Q[Tristan]

45 by the Master of Charles du Maine (younger brother of René d’Anjou)

CHRONOLOGICAL AND GEOGRAPHICAL DISTRIBUTION

1015

1466, paper, watermark similar to Briquet 10005–60

Paris ?

Paris, Ars. 3349

E

unillustrated

c. 1470

Central France ?

New York, Morgan Lib. M.807

QMA

2

c. 1470 written by Michel Gonnot

Central France ?

Paris, BNF fr 112

Special Version for Jacques d’Armagnac (ed. Pickford)

258 by Evrard d’Espingues

c. 1475 written by Michel Gonnot

Central France

Paris, BNF fr 113–116

EML1L2L3L4L5QMA for Jacques d’Armagnac

209 by Evrard d’Espingues

1479 written by Lois Daymereyes

Bruges

New York, Pierpont Morgan Lib. M.38

Graal abrégé for Ysembert des Rolin (d. 1528), seigneur de Rymeries, bailly Dayweryres, chancellor of the Duc de Bourgogne

unillustrated

c. 1480 paper

Champagne ?

GenevaCologny, Bodmer Foundation 105

L1L2L3L4L5QMA owned by Guyot le Peley de Troyes (d. 1485)

45 miniatures on parchment added, 43 in L, one each in Q and MA

1016 1480–82

Bourges ?

Brussels, BR 9246 Paris, BNF fr. 91

E MSV Guillaume de la Pierre’s adaptation for Jean-Louis de Savoie, Bishop of Geneva

52 16 in part attr. to Jean Colombe and the Maître de Charles de France; sketches from fr. 91, f. 94v onwards

c. 1480–85 Poitiers for Yvon du Fou, sénéchal de Poitiers, grand veneur de France (d. 1488) or his son

Paris, BNF fr 111

L1L2L3L4L5QMA

over 50 by the artist of BNF fr 22500

15th c.

West France

Paris, BNF fr 121

L1L2L3 incomplete

1

15th c.

France

Aberystwyth, NLW 445

L

unillustrated

15th c.

France

Chantilly, Musée Condé 643 (3307)

EMSV

unillustrated, spaces left blank

15th c. paper, no watermarks

France

Paris, Ars. 3350

An abridged version of the whole cycle (cf. Morgan M.38)

unillustrated

15th c. paper France

Paris, BNF fr 1469

[J]M

unillustrated

15th c. paper France

Paris, BNF fr 753

L1 incomplete

unillustrated

CHRONOLOGICAL AND GEOGRAPHICAL DISTRIBUTION

1017

15th c. paper France

Paris, BNF fr 1426 + Paris, BNF fr 332 (different format from 1426)

E MSV

unillustrated; note for a miniature on BNF fr 1426, f. 158v

15th c.

France

Giessen, UB 93-94

L1L2L3L4 with unillustrated fragments of QMA

15th c.

France

London, BL Harley 6340

MSV

unillustrated

15th c. paper France (watermark Lyon 1483– 84, Briquet 13042)

London, BL Harley 6341–2

L2L3L4L5, Q announced but absent

unillustrated

1504, writFrance ten by F[r]. J. de Rochemeure, paper

Paris, BNF fr 1427

E

unillustrated, distinctive penflourishing

F Chrétien de Troyes, Wace, Luce de Gast

XXXV Les manuscrits de Chrétien de Troyes Introduction

T

he literary fame of Chrétien de Troyes has earned him a special place in medieval studies. Commissioned by distinguished patrons, drawn upon by other writers, transmitted in extant copies within a generation of his lifetime and into the Renaissance, owned by notable collectors during the centuries of the enlightenment, studied from the beginnings of the revival of interest in medieval literature in the nineteenth century, the texts of Chrétien still figure prominently in contemporary critical writing and translation. Yet the manuscripts that transmit the texts of Chrétien de Troyes have been 1 drawn together only once before, and never illustrated as a corpus. Although there are numerous editions of all that Chrétien wrote, the methods and results still present problems, as Tony Hunt’s essay points out. There is far more to be said about the physical aspects of the manuscripts, in particular their script and writing systems, their decoration and illumination, which have not been analysed in any comprehensive way, still less illustrated. Few editors or commentators have included photographs of the text on which First published in The Manuscripts of Chrétien de Troyes: Les Manuscrits de Chrétien de Troyes, eds. Busby, Nixon, Stones and Walters (here abbreviated to MSS of Chrétien). 1 The indispensable study is Micha, La tradition manuscrite des romans de Chrétien de Troyes. It has no plates. Several fragments, and the Princeton manuscript, have come to light since Micha’s publication, bringing the total number of known manuscripts to 45, of which two fragments, Paris, Bibl. Ste-Geneviève 1269 and Modena, Arch. di Stato, Arch. d’Este, Ministero Affari Esteri, Atti segreti, F. 6, are now lost. Some of the Annonay leaves published by Pauphilet are also now lost. For a complete list, with bibliography for each manuscript, see the Catalogue of Manuscripts by Nixon in vol. II of MSS of Chrétien. And see now Jefferson, ‘A New Fragment’ for the 46th manuscript, a fragment of the First Continuation of Perceval at the PRO, E122/100/13B.

1022

their editions are based, or of the decoration and illustration that punctuates, 2 enlivens, and comments upon that text. Notions about the reception of the texts have consequently been based, up to now, on analyses of the textual variants and dialectal traits, to the exclusion of the other aspects of the physical appearance of the manuscripts. What we aim to do in these volumes is to bring those other aspects of the manuscripts to bear on the reception and interpretation of Chrétien’s texts. No manuscripts survive from Chrétien’s own time, and we cannot hope, as for instance in the case of John Gower, to recover from a study of them new aspects of Chrétien’s own thinking as presented by the 3 author himself; nor can we hope to see, as with Christine de Pizan, the participation of the author in devising the illustrations for the manuscripts 4 of her texts. Another case is that of Olivier de La Marche, Le chevalier

Editions are listed in the Catalogue of Manuscripts and in the Bibliography in MSS of Chrétien. One early edition includes engravings after illustrations: Perceval le Gallois ed. Potvin. Notable among the text editions for their inclusion of photographs are Pauphilet, Chrétien de Troyes. Le manuscrit d’Annonay; Stigall, ‘The Prague Fragment of Chrétien’s Perceval’; Jodogne, ‘Fragments d’un manuscrit inconnu du Conte du Graal: Les fragments de Lannoy’; Chrétien de Troyes, Lancelot or The Knight of the Cart (Le Chevalier de la Charrete), ed. and trans. Kibler, with illustrations from Princeton University Library, Garrett 125—and also from Morgan M.805, Lancelot in the prose version; de Riquer, ed., Chrétien de Troyes, Li contes del graal. El cuento del grial, with colour illustrations of four initials from Paris, BNF, fr 12576; Nixon, ‘Amadas et Ydoine and Erec et Enide’; Carroll, ed. Chrétien de Troyes, Erec and Enide; id. ‘Text and Image: The Case of Erec et Enide’. Studies that include some reproductions of the illustrations in Chrétien manuscripts are the pioneering work by Loomis and Loomis, Arthurian Legends in Medieval Art; McGrath, ‘A Newly Discovered Illustrated Manuscript of Chrétien de Troyes’s Yvain and Lancelot’; Mentré, ‘Remarques sur l’iconographie des romans arthuriens’; Walters, ‘Paris, BN, fr 1433: the Creation of a “Super Romance”’, and Stones, ‘Arthurian Art Since Loomis’. In general, few editors concern themselves with what the manuscripts look like: one model study is Walpole, The Old French Johannes Translation of the Pseudo-Turpin Chronicle, which has a photograph from every manuscript, and MarchelloNizia’s edition of the Roman de la Poire reproduces the illustrations in Paris, BNF, fr 2186. 3 See particularly Macaulay, The Complete Works of John Gower); Fisher, John Gower, Moral Philosopher and Friend of Chaucer, esp. Ch. 3 and Appendix A; Pearsall, ‘The Gower Tradition’, esp. pp. 183–84; Griffiths, Confessio Amantis: The Poem and its Pictures’. See also the on-line Gower Bibliography < http://gowerbib.lib.utsa.edu/view/subjects/subjects.html>, 4 See Ouy and Reno, ‘Identification des autographes de Christine de Pizan’; de Winter, ‘Christine de Pizan: ses enlumineurs et ses rapports avec le milieu bourguignon’; Kennedy, Christine de Pizan: A Bibliographical Guide; Willard, Christine de Pizan: Her Life and Works; Hindman, Christine de Pizan’s “Epistre Othéa”. See now http://www.arts.ed.ac.uk/french/ christine/cpstart.htm by James Laidlaw. 2

LES MANUSCRITS DE CHRÉTIEN

1023

délibéré.5 But we can present some fresh analyses of what the manuscripts show, and begin a comparative study of the codicological, palaeographical, and decorative features to suggest a new chronology and distribution among what remains. The sequence of extant manuscripts probably begins 6 with the Tours manuscript, made perhaps as early as c. 1200, within a generation of Chrétien’s life, and extends in continuous sequence into the 7 second quarter of the fourteenth century. We can to some extent use these physical features to trace where the manuscripts came from and supplement 8 what has been suggested from dialectal variation; and in several cases we can relate the Chrétien manuscripts to a particular orbit of production and patronage by comparisons with other literary and devotional or even liturgical manuscripts. The Catalogue of Manuscripts in vol. II describes 9 all the extant manuscripts of Chrétien de Troyes; the reproductions in volume II illustrate each one. This corpus of photographs provides the evidence for our reordering of the chronological and geographical sequence of the reception of Chrétien’s texts, as best it can be reconstructed from the manuscripts that have come down to us. The number of surviving manuscripts and fragments, of which we can now list a total of 43 manuscripts and fragments of Chrétien texts, less two 10 fragments that have been lost since their publication, plus one fragment Olivier de La Marche, Le Chevalier délibéré, ed. Carroll, tr. Wilson and Carroll. The attribution is Terry Nixon’s; see MSS of Chrétien, Cat. no. 1, vol. II. 7 After this there is a gap until the Pierre Sala manuscript, Paris, BNF, fr 1638, in the sixteenth century, not strictly speaking a Chrétien manuscript, see MSS of Chrétien, Cat. no. 45 and Elizabeth Burin’s contribution. On lost copies, see van Mulken, ibid. 8 See Micha and, more recently, Dees, Atlas des formes linguistiques. Attributions are listed in the Catalogue of Manuscripts in MSS of Chrétien. They cannot be taken as absolute, given the mobility of medieval society which embraced scribes, artists, patrons, and books alike. 9 The criteria are discussed in MSS of Chrétien, Catalogue Introduction. 10 Paris, Bibl. Ste-Geneviève 1269 (Cat. no. 5), a fragment from Erec, last edited, without a photograph, by Misrahi in 1941, perhaps misplaced when the manuscript in which the fragment was inserted was rebound in the 1960’s, and certainly now lost, as confirmed by Madame Françoise Zehnacker, Conservateur en chef de la Réserve, Bibliothèque SteGeneviève; Modena, Archivio di Stato, Archivio d’Este, Ministero Affari Esteri, Atti segreti F. 6 (Cat. no. 22), a fragment of Yvain, edited, without a photograph, by Bertoni in 1914 and unaccounted for since then. A search is being made in the Bertoni papers, recently bequeathed to the Biblioteca Estense, Modena. We thank Dr. Ernesto Milano, Director of the Biblioteca Estense, and Dr. Spaggiari of the Archivio di Stato, for their assistance. What has been said about these fragments is summarized in MSS of Chrétien, Catalogue of Manuscripts. Some of the Annonay leaves are also now lost, see Gregory and Luttrell, and Cat. no. 3, ibid. 5 6

1024 11

12

from a Continuation of Perceval and one adaptation by Sala, is already some indicator of the relative popularity of the texts, although we cannot know how many others have disappeared without trace. Those that remain are preserved in greater numbers than other vernacular literary texts composed in the twelfth 13 century, but, judging by what survives, Chrétien’s texts were not medieval best-sellers. Their numbers are substantially less than those of the Latin PseudoTurpin epic of Charlemagne’s Spanish wars, composed at least a generation 14 earlier and surviving in close to 200 manuscripts; or the later vernacular romances and histories in prose and verse, like Guillaume de Tyr’s Histoire de 15 16 la Guerre sainte, and the Lancelot-Graal, the most popular vernacular texts of the thirteenth and early fourteenth centuries, or the Roman de la Rose, which 17 dominated French literary manuscript-making in the fourteenth. No manuscript of any work by Chrétien survives from the twelfth century, a situation not unlike that of other French texts composed then 18 or earlier. The very complicated textual history of Chrétien’s romances, their influence in other writers’ works, and the existence of fairly substantial 11 Brussels, BR IV 852; see Cat. no. 20. We omit Bern, Burgerbibliothek 113 (Second Continuation of Perceval) as evidence suggests it is complete as it stands and never included Chrétien’s Perceval. 12 Paris, BNF, fr 1638; see MSS of Chrétien, Cat. no. 45. 13 See the lists of manuscripts in Woledge and Short, ‘Liste provisoire de manuscrits du XIIe siècle contenant des textes en langue française’; Woledge and Clive, Répertoire des plus anciens textes); Woledge, Bibliographie and Supplément. 14 Manuscripts of the Pseudo-Turpin are most fully listed (if with numerous errors) in de Mandach, Geste de Charlemagne et de Roland, to which should be added Pistoia, Archivio di Stato, Doc. vari 27, briefly described, with bibliography, in the exhibition catalogue Santiago de Compostela: Mil ans de pèlerinage européen,no. 44, by Lucia Gai. The distribution of the Latin text was extremely widespread and translations into most European vernaculars attest to its popularity. 15 See Folda, Crusader Manuscript Illumination at Saint-Jean d’Acre. 16 Listed in Woledge, Bibliographie and Supplément. 17 The most complete list of Romance of the Rose MSS is still the one in Langlois, Les manuscrits du ‘Roman de la Rose’ . Studies of the iconography are Müntz, ‘Iconographie du Roman de la Rose’; Kuhn, Die Illustration des Rosenromans; Fleming, The Romance of the Rose; Huot, ‘Vignettes marginales’; König and Bartz, ed., Der Rosenroman des Berthaud d’Achy; Walters, ‘A Parisian Manuscript of the Romance of the Rose’ ; ead. ‘Illuminating the Rose: Gui de Mori’, and ‘Author-Portraits and Textual Demarcation in Manuscripts of the Romance of the Rose’. Some of the stylistic analogies are listed in Stones, The Illustrations of Lancelot’. See now the Johns Hopkins University Roman de la Rose site http://rose.mse.jhu.edu/pages/ intro_frameset.htm 18 No twelfth-century romance text survives from the twelfth century in more than one or two manuscripts. See Woledge and Short.

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numbers of manuscripts in the thirteenth and fourteenth centuries, are all factors that strongly suggest that his texts were frequently copied in the twelfth century. But the case for ownership of any surviving manuscript by 19 its original patron is limited to very few examples. Chrétien manuscripts had fallen out of favour by the heyday of French secular manuscript making and collecting under the great patrons of the later Middle Ages like Jean de Berry and Jacques d’Armagnac, figuring only in the library of Marguerite de Flandre, wife of Philippe le Hardi, from where the manuscript passed to the 20 21 collection of Philippe le Bon, and in the Library of Marie de Luxembourg. A Chrétien text was to reappear a final time, in Sala’s version, preserved in a 22 single sixteenth century manuscript. The later history of the manuscripts is one that includes careful collecting, as the evidence of later ownership marks attests, as well as destruction and rescue, as shown by the presence of several binding fragments among what remains. The evidence contained in the manuscripts themselves about the circumstances of their production and early ownership is extremely limited. The evidence is listed in the Index of Former Owners and Additional Notes on the History of Selected Manuscripts in vol. II. Only a few scribes and editors are named in the manuscripts. In two cases there is reasonable certainty that the names are those of the scribes of the manuscripts in which 23 they appear: Guiot, copyist of Paris, BN, fr. 794, and Colin li Fruitier, who is named at the end of the Fergus section of Chantilly, Musée Condé 472, on 24 f. 122. Perrot de Nesle, named at the end of the summaries in Paris, BNF, See below. The only one with a note of ownership that might be medieval is Paris, BNF, fr 1450; Chantilly 472 has a contemporary note about debt, but not of ownership; BNF, fr 12576 has notes about debts and tithes that were added very soon after the manuscript was made, but does not mention the owner. See the MSS of Chrétien, Index of Former Owners by Middleton, and Cat. nos. 9, 14, and 23. 20 Paris, BNF, fr 12560, as noted by de Winter, La Bibliothèque de Philippe le Hardi, cat. no. 32, pp. 250–52. See also MSS of Chrétien, Index of Former Owners and Cat. no. 12. 21 Paris, BNF, fr 1376, f. 144. We thank François Avril for identifying the signature under ultra-violet light. See MSS of Chrétien, Index of Former Owners and Cat. no. 34. 22 Paris, BNF, fr 1638, see MSS of Chrétien, Cat. no. 45 and Burin, ibid. 23 See Roques, ‘Le manuscrit fr. 794 de la Bibl. nat. et le scribe Guiot’; idem, ‘Pour une introduction à l’édition du Chevalier au lion’; Woledge, Commentaire sur Yvain, I, pp. 2–3, with reference to his earlier work; Reid, ‘Chrétien de Troyes and the Scribe Guiot’. For further discussion see Hunt, Stirnemann, Gasparri, Hasenohr, and Ruby, in MSS of Chrétien. 24 Not f. 112 as in Micha, p. 38. Guillaume le Clerc, The Romance of Fergus, ed. Frescoln, p. 6, thinks the lines that include the name were copied from the model; see also the views of Gasparri, Hasenohr and Ruby, and Cat. no. 14 in MSS of Chrétien. 19

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fr 375, and Jehan Madot, named in the explicit of the Roman de Troie part of 25 the manuscript, however, are more likely to be names copied from models. No artists sign their work in Chrétien manuscripts, but in several cases other manuscripts by the same hand or closely associated artists can be cited, some of them among the few named painters of the period: possibly illumination in the Mons Perceval may be attributed to a painter in the entourage of the illuminator Henri, whose name, and the date 1285, appear in Paris, BNF, fr 412; and Paris, BNF, fr 12577 and BNF, fr 1453 were painted by Parisian artists whose work can be closely matched among manuscripts made in Paris 26 in the second quarter of the fourteenth century. Other manuscripts can be grouped around painters to whom no name can be attached, but whose distinctive style can also be seen in other manuscripts and where the degree of similarity is such that it is likely the same individual was responsible. 27 Evidence for medieval patrons and owners is still more scanty. Despite what is known about Marie, Countess of Champagne (1138–1198) and Philippe d’Alsace, Count of Flanders (1168–1191) as patrons of Lancelot and Perceval, no surviving manuscript can be directly associated with either, although Stirnemann makes a convincing case for ownership of surviving 28 Chrétien manuscripts by their immediate descendants. Paris, BNF, fr 12576 includes notes about its owner’s debts and lists a number of names 29 of people of the bourgeois class, but does not tell who that owner was; another note about debt, with the name of Simon de Mons (?) occurs in 30 Chantilly 472/626; but again, Simon is probably not the owner, but the owner’s debtor. The other specific indications of ownership are later than the manuscripts, like the note with the name Mos Betm [Monseigneur Bertram] syre de Matignon on f. 202v, towards the end of Cligés, in Paris, BNF, fr 1450; the hand is later than that of the scribe of the text, as is See François, ‘Perrot de Neele, Jehan Madot et le ms. B. N. fr. 375’; Walters, ‘Le rôle du scribe’; Huot, From Song to Book, pp. 22–27; the discussions by Gregory and Luttrell and by Gasparri, Hasenohr, and Ruby, and Cat. no. 33 in MSS of Chrétien. 26 MSS of Chrétien, Cat. nos. 39 and 40. 27 Summarized in MSS of Chrétien, Index of Former Owners; an avenue for further research is suggested by Pastoureau in his ‘Les armoiries arthuriennes’. 28 See Benton, ‘The Court of Champagne’; Stirnemann, ‘Quelques bibliothèques princières’, esp. pp. 31–36; Stanger, ‘Literary Patronage’; and particularly Stirnemann in MSS of Chrétien. 29 On f. 262. For discussion, see MSS of Chrétien, Index of Former Owners and Cat. no. 23. 30 See Gasparri, Hasenohr, Ruby, in MSS of Chrétien. 25

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the individual, identified as Bertrand Goyon, Seigneur de Matignon and Baron de Thorigny (d. 1480), chamberlain and advisor to Charles VII and 31 Louis XI. Medieval accounts, inventories, and wills make scant reference to Chrétien manuscripts, and none of the extant manuscripts or fragments 32 can be specifically identified in contemporary documents. One manuscript 33 appears in a late medieval inventory; one manuscript includes later arms, 34 perhaps of ownership, and many have notes of later ownership, from the fifteenth to the early twentieth century. Questions as to when, where, how and why the manuscripts were made, in so far as they can be answered at all, can only be addressed from the physical aspects of the manuscripts themselves. The essays in volume I present a variety of approaches to the manuscript evidence. Terry Nixon’s essay opens the collection with an examination of the context of Chrétien texts in romance manuscript collections. The problems of establishing textual editions is outlined by Tony Hunt. Margot van Mulken presents a 31 The manuscript probably remained in the Matignon family until Foucault acquired it from Jacques de Matignon, see Middleton, ‘Chrétien’s Erec’, p. 152, n. 6. See also Gregory and Luttrell, and Gasparri, Hasenohr, and Ruby, in MSS of Chrétien and the Index of Former Owners, and Cat. no. 9, ibid. 32 Several references to romances among those cited in Dehaisnes, Documents et extraits, are given by title, but would seem to refer to the prose Lancelot, such as the ones in the 1304 inventory of Jean d’Avesnes, Count of Hainaut, ‘Premiers uns grans roumans à rouges couvertures ki parolle de Nasciien de Mellin et de Lanchelot dou Lach’ (p. 156), and in the inventory of the goods of Robert de Béthune, count of Flanders, at his death in 1330, ‘un livre de Merlin’. Others are unspecified, such as the mention in the wills of Gérard Mulet, bourgeois of Douai, in 1272 and 1287 of ‘un petit volume’ (p. 65); the entry in the accounts of the execution of the will of Philippine, countess of Hainaut, 1311–1313 ‘Item pour rommans que me sires eut qui ne sont mie en le prisié de l’inventoire iic xxv lb’ (p. 195); and the ‘plusieurs autres hystores’ mentioned in the invoice of Thomas de Maubeuge to Mahaut of Artois in 1328. See also the Merlin listed among the books in the will of Jean Cole, bourgeois of Tournai in 1303 edited by de la Grange, ‘Choix de testaments tournaisiens’, p. 38. However, one reference in the accounts of Mahaut of Artois, a payment on 30 Nov., 1308, for the purchase of manuscripts in Arras by Jehan de Courceles, her chaplain, included a Histoire de Troyes and a Perceval le Galoys for vii lb x s; see Richard, Une petite-nièce de saint Louis, p. 100. See also, now, Rouse and Rouse, Manuscripts and their Makers, I, p. 122. 33 Paris, BNF, fr 12560, owned by Marguerite de Bourgogne. BNF, fr 1376 contains the name of its fifteenth-century owner, Marie de Luxembourg, and its early history may be conjectured; see Stones, the Index of Former Owners, Cat. no. 34, and nn. 19 and 20 in MSS of Chrétien. 34 London, BL, Add. 36614. The arms in Mons, BU 331/206 are probably associated with the binder. See the Index of Former Owners and Cat. nos. 4 and 26 in MSS of Chrétien.

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computer-based reconstruction of the stemma of Perceval manuscripts. Four essays treat different aspects of scribal characteristics and the implications of various palaeographical features: Keith Busby presents the case for the attribution of two manuscripts, Paris, BNF, fr 12576 (T) and naf 6614 (V) to the same scribe; Stewart Gregory and Claude Luttrell examine the manuscripts of Cligès; Françoise Gasparri, Geneviève Hasenohr and Christine Ruby consider the implications of systems of abbreviation, punctuation and decoration in Erec et Enide manuscripts; Roger Middleton looks at the function of decoration in relation to structure in manuscripts of Erec et Enide. Patricia Stirnemann, Alison Stones, and Elizabeth Burin present a frame-work of comparative production for some of the earliest decorated manuscripts, the illuminated books of the late thirteenth and early fourteenth centuries, and the Pierre Sala manuscript. The relation of text, rubric, and picture is the focus of Keith Busby’s analyses of Perceval and the Continuations, while Angelica Rieger examines the iconography of the Montpellier manuscript. The last three contributors, Lori Walters, Laurence Harf-Lancner, and †Emmanuèle Baumgartner examine aspects of the pictorial layout, selection of subjects for illustration, and iconographical treatment. A comprehensive bibliography has been compiled by Françoise Vielliard and the editors. The essays all draw upon the visual data we present in volume II, whose plates were selected to illustrate the points made in the essays; the colour illustrations were selected to show representative examples of decorated initials and of the iconography of all four Chrétien texts for 35 which illustrations survive: Lancelot, Yvain, Erec et Enide, and Perceval. The plates also present ample raw material for further observations, which we encourage others to make.

35 No illustrated Cligès survives, which makes the inclusion of Cligès and Fénice among the famous lovers in the Roman de la Poire (Paris, BNF, fr 2186, f. 3v) all the more interesting. Much has been written on this manuscript, summarized in Stones, Gothic Manuscripts, Part I, Cat. no. I–10.

XXXVI The Illustrated Chrétien Manuscripts and their Artistic Context 1

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f the 45 (now 46) extant manuscripts and fragments of the works of Chrétien, 11 contain historiated illumination and offer a corpus of 2 some 250 illustrations. Yet they have played a relatively minor role in the history of French illuminated manuscripts and scarcely figure in studies of it. 1 The writing of this essay was completed while I enjoyed visiting status at the Center for Medieval and Renaissance Studies at the University of California, Los Angeles. It is a pleasure to express my thanks to Dr. Michael Allen and his staff for their support. I am also indebted to the Institut francophone for assisting my work in Paris. This article was first published in Busby et al., The Manuscripts of Chrétien de Troyes: Les Manuscrits de Chrétien de Troyes (here abbreviated to MSS de Chrétien). 2 The count includes the Prologues and Continuations of Perceval and Sala’s version of Yvain, not strictly speaking by Chrétien, but certainly part of his Nachlaß. Listed in approximate chronological order, with a note of the Chrétien and related illumination only, they are: Paris, BNF, fr 794 (one historiated initial); Bern, Burgerbibl. 354 (one historiated initial); Paris, BNF, fr 12576 (27 historiated initials and miniatures in one text column and one composite 2-column miniature); Montpellier, BIU, Sect. Méd. H 249 (55 miniatures in one text column); Mons, BU 331/206 (41 illustrations: the opening miniature, for the Elucidation, in two columns, the rest miniatures and historiated initials in one column); Princeton UL, Garrett 125 (8 miniatures and a historiated initial in one text column); Paris, BNF, fr 24403 (three miniatures in one text column); Paris, BNF, fr 1376 (one historiated initial); Paris, BNF, fr 1433 (an opening historiated initial, 8 miniatures in two text columns); Paris, BNF, fr 12577 (an opening three-quarter page composite miniature with border; 51 miniatures in one or two text columns); Paris, BNF, fr 1453 (52 miniatures in one text column with borders, but the opening page is missing); Paris, BNF, fr 1638 (three miniatures in one column and space for a fourth). The illustration in Paris, BNF, fr 794 is discussed supra by Patricia Stirnemann; those in Paris, BNF, fr 1638, the Sala adaptation, are discussed by Elizabeth Burin in MSS de Chrétien. There is one illustration to Guillaume d’Angleterre, a text authored by ‘Chretien’, sometimes thought to be Chrétien de Troyes, in Cambridge, St John’s College, MS B. 9, at the opening of Guillaume on f. 55 (fig. 12). See MSS de Chrétien, vol. II, Appendix III.

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Only one of them, Paris, BNF, fr 1433, was included in Jean Porcher’s great exhibition of French Gothic manuscripts held at the Bibliothèque nationale 3 in 1955, and only two, Paris, BNF, fr 12576 and Mons, BU 331/206, were 4 included in the Arthurian exhibition held in Leuven in 1987. Even the monumental study of Arthurian art by Laura Hibbard Loomis and Roger Sherman Loomis mentions only five Chrétien manuscripts and illustrates 5 only four of them among the plates. Supplementary studies have been 6 extremely few in number and variable in quality. [Since 1993 the literature on Chrétien manuscripts and their illustrations has doubled.7] If no new Chétien manuscripts have come to light the comparative context has expanded remarkably so that a far more nuanced picture of production and reception may be offered. The purpose of this essay is to assess the place of the Chrétien manuscripts and their illustration in the history of the French manuscript illumination of the medieval period by reconstructing, as far as is possible from what survives, the cultural context in which each Chrétien manuscript was Les manuscrits à peintures, ed. Porcher, no. 49, p. 29. It was open at the full-page miniatures illustrating L’atre périlleux, not Yvain. 4 Arturus Rex, I, nos. 4.2 and 4.3, pp. 207–09. Photographs of Paris, BNF, fr 12577 were included. 5 Loomis and Loomis, Arthurian Legends in Medieval Art). The manuscripts included are: Mons, BU 331/206 (p. 74, no fig.); Paris, BNF, fr 24403 (p. 100, fig. 258, f. 119); Paris, BNF, fr 12576 (p. 90, fig. 204, f. 261); Paris, BNF, fr 1433 (pp. 79, 100–01, figs. 259–62, ff. 60, 67v, 69v, 90); Paris, BNF, fr 12577 (pp. 100–02, figs. 263–66, ff. 1, 18v, 45, 169). 6 McGrath, ‘A Newly-Discovered Illustrated Manuscript of Chrétien de Troyes’; Mentré, ‘Remarques sur l’iconographie des romans arthuriens: à propos de quelques exemples’. For a survey of recent studies of Arthurian art see Stones, ‘Arthurian Art Since Loomis’, based in part on The Illustrations of Lancelot, particularly p. 9, n. 10 and 11. See also Busby, ‘The Illustrated Manuscripts of Chrétien’s Perceval’, rpt.in MSS de Chrétien; Rushing, Adventures Beyond the Text; Rieger, ‘Neues über Chrétiens Illustratoren’; Walters, ‘Paris, BN, fr 1433: the Creation of a “Super Romance”’; Hindman, ‘King Arthur, His Knights, and the French Aristocracy in Picardy’; Rushing, ‘The Adventures of the Lion Knight’; Van D’Elden, ‘Specific and Generic Scenes’; Black, ‘The Language of the Illustrations of Chrétien de Troyes’s Le chevalier au lion’. 7 Gehrke Saints and Scribes; Neaman, ‘Romanticizing the Past: Stasis and Motion’; Hindman, Sealed in Parchment; ead., ‘Perceval à l’image de Saint Louis’; Carroll,’Text and Image: The Case of Erec et Enide’; Doner, ‘Scribal Whim and Miniature Allocation in the Illustrated Manuscripts of the Continuation-Gauvain’; Curschmann, ‘Wort-Schrift-Bild’; Doner, ‘Illuminating Romance: Narrative, Rubric and Image’; Muehlemann,’Die Erec-Rezeption auf dem Krakauer Kronenkreuz’. For ‘Chrestien’, likely author of la Vie de saint Guillaume, see Rouse and Rouse, Manuscripts and their Makers,I, 168, 369 n. 157. 3

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produced. I present a stylistic analysis of each of the Chrétien manuscripts in turn in relation to a range of comparative material drawn from all kinds of illuminated books made in France in the two or three generations between c. 1250 and 1350 when Chrétien manuscripts were at the height of their popularity, and I assess the contribution these related books make in clarifying what can be said about where, when, by whom, for whom, and 8 why, illustrated manuscripts of Chrétien’s romances were made. These are questions about which the surviving Chrétien manuscripts themselves reveal very little; while the names of four scribes are preserved (Guiot in BNF, fr 794, Colin li Fruitiers in Chantilly 472; Perrot de Nesle in the preface of BNF, fr 375 and Jean Madot at the end of the Roman de Troie with the date 1289 almost certainly copied from an earlier model), not one of the artists signs or dates his work, nor does any contain written information about its original owner; so we must, by default, rely heavily on what can be deduced about Chrétien’s manuscripts from other books that were produced by the same craftsmen and women as the copies of Chrétien. Comparative stylistic analysis, primarily of the illustrations, but also at times of the minor decoration, is the method which allows those related manuscripts to be most readily identified and the cultural context reconstructed. How Chrétien’s romances were read and interpreted, which episodes were selected for illustration, and how their treatment differs across the iconographical tradition, are aspects that I leave aside here as they are addressed by other contributors to this volume. The task of identifying stylistic comparisons for the illumination of Chrétien is still a daunting one. Not only are the manuscripts widely dispersed, but so are the materials needed for research on them. As our lists show, copies of Chrétien’s texts are now housed in most of the major collections of Europe and the U. S. A. as well as in the provincial libraries of France and Belgium close to where they were made. But similar distribution patterns apply to other kinds of medieval books as well, and there are few convenient reference 9 tools to guide a search that extends beyond the boundaries of a single text. 8 I leave aside the early manuscripts associated with the Courts of Champagne and Flanders, addressed in MSS of Chrétien by Patricia Stirnemann, and the sixteenth-century illustrations in Pierre Sala’s version of Yvain, which is the focus of Elizabeth Burin’s essay. 9 The editions of Chrétien’s texts are the places where the present locations are noted and from where complete lists have been compiled; see the Bibliography in MSS de Chrétien, vol. II. For liturgical books the works of Leroquais provide the indispensable resource: Les sacramentaires et les missels manuscrits; Les livres d’heures manuscrits; Les bréviaires manuscrits;

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Of course there are also important studies of French literary manuscripts that facilitate the task of finding vernacular illustrated books, particularly 10 the invaluable bibliographies of Bossuat, Woledge, and Jauss; but these reference works omit mention of illustrations, which are nowhere listed, described, and reproduced, text by text, manuscript by manuscript, image 11 by image. Studies of individual illustrated texts, like those of Buchthal, Folda, Ross, Oltrogge, Hedeman, and the plates in those books, provide an invaluable, if restricted, corpus of comparative material; and such studies are 12 still few in number. Stylistic analysis, on a comparative basis, still remains a difficult tool to apply. Even if the search for the comparative context has been long and diligent, there is always the chance that another comparison, more relevant than those already found, will turn up and alter the reconstructed picture. It

Les pontificaux manuscrits; Les psautiers manuscrits latins. The late Middle Ages fare better than the thirteenth and early fourteenth centuries thanks to the valuable studies of Millard Meiss, in which vernacular illuminations figure large: French Painting in the Time of Jean de Berry, I, II III. 10 Bossuat, Manuel bibliographique and Suppléments; Woledge and Clive, Répertoire; Woledge, Bibliographie and Supplément; Woledge and Short, ‘Liste provisoire de manuscrits du XIIe siècle contenant des textes en langue française’; Jauss, Grundriss. 11 No research in this field is possible without the indispensible resources of the microfilm collection at the IRHT, Paris, and the photograph, slide and videodisk collection at the IRHT, Orléans. Over twenty years later, much of this material is available on line through the CNRS-IRHT web sites Enluminures and BVMM. My work has been greatly assisted by the kindness of the heads of the Section romane, Section héraldique and Section iconographique and their staff. I am especially grateful to François Garnier, Geneviève Hasenohr, Odile Lépinay, Hélène Loyau, Christine Ruby, and Françoise Vielliard. Other collections of visual resources important for this field are the photograph collections of the Conway Library at the Courtauld Institute of Art and the Warburg Institute, University of London, the Index of Christian Art, Princeton University, and the photo archive at the J. Paul Getty Center, Los Angeles. 12 Buchthal, Historia Troiana; Folda, Crusader Manuscript Illumination at Saint-Jean d’Acre; Ross, Alexander Historiatus id., Illustrated Medieval Alexander-Books in Germany and the Netherlands Oltrogge, Die Illustrationszyklen zur ‘Histoire ancienne jusqu’à César’; Hedeman, The Royal Image. Stylistic studies of importance for the analogies drawn here are: Vitzthum, Die Pariser Miniaturmalerei; Branner, Manuscript Painting; Avril, ‘Manuscrits’ in Les Fastes du Gothique; Diamond Udovitch, The Papeleu Master; Lacaze, The ‘Vie de saint Denis’ Manuscript, Paris, Bibliothèque nationale, ms. fr. 2090–2092; Chavannes-Mazel, The Miroir historial of Jean le Bon; The ‘Roman de Fauvel’ in the edition of Mesire Challou de Pesstain, eds. Roesner, Avril, Regalado). See now Bent and Wathey, eds., Fauvel Studies, and Morrison and Hedeman, eds., Imagining the Past.

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must also be remembered that stylistic association may not necessarily allow a book to be tied to a particular city or town; sometimes the manuscripts that can be associated with a Chrétien book will contain evidence pointing to a single place, but at other times the geographical hints that related manuscripts provide are quite inconclusive about where a group of books was made and used, allowing us only to group them within a stylistic framework whose geographical distribution is essentially movable. We cannot be too cautious in our interpretation of what an indication of place may mean in terms of the home of the patron, the place of manufacture, or the original training of the craftsmen or women, for we know from other cases that the mobility of medieval society applied to patrons, artisans, and portable objects alike. So the identification of a related manuscript or group of manuscripts will not necessarily tell us specifically where or for whom a Chrétien book was produced, nor where the craftsmen came from or received their training; but it will point us towards the right cultural orbit. The styles of Chrétien illumination, coupled with the codicological, palaeographical, and linguistic evidence assembled by others, will show that the patterns of commission and ownership, in so far as they can be deduced, are more broadly distributed than previously thought. While several Chrétien manuscripts of the “first generation” have been shown to emanate from Champagne and Flanders, home of the best-known of Chrétien’s patrons, 13 Marie de Champagne and Philippe d’Alsace, those of the second, third, and fourth generations can be associated — with varying degrees of certainty — with patrons living as far apart as Hainaut, Artois, Amiénois, Burgundy, 14 Paris, and possibly further south as well. The patrons of related books include the religious and the secular clergy alongside lay people. Almost all the patrons who can be identified come from an aristocratic milieu; but one Chrétien manuscript appears to have been in bourgeois hands very soon after its manufacture and may possibly have been made for a member of that class. At times, the closest comparisons are with other manuscripts of romance, epic, or song, but in other cases the range of material illustrated by the same painters includes books for private devotion and liturgical books See Stirnemann in MSS de Chrétien and now ead., in Splendeurs de la Cour de Champagne. 14 Conclusions based on the notion that most Chrétien manuscripts were made in Picardy, as assumed in Hindman, ‘King Arthur, His Knights’, are thus open to question. 13

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as well. Sometimes the artistic level in the related manuscripts is the same as that of the illumination in Chrétien books; in other cases the Chrétien manuscripts can be placed on a scale of qualitative value in which other kinds of manuscripts may take artistic precedence. Some manuscripts form part of a complex network of interrelated books on which several different painters worked; in other cases the stylistic affiliations are extremely clear-cut and tightly defined within a very few examples. There are also manuscripts of Chrétien that are so difficult to match stylistically that they can hardly be 15 placed at all. I present, in what follows, an artistic framework for each of the illustrated Chrétien manuscripts. Those whose stylistic classification has not yet been fully resolved are included as well as those for which more substantive attributions can be justified. The manuscripts are treated in roughly chronological order, grouped together where appropriate. For descriptions of the format — historiated initials or miniatures, and the presence of borders, grotesques and the like, see the Catalogue of Manuscripts in vol. II; for descriptions of the iconography, see Appendix IV in vol. II. Complete reproductions of all the miniatures are in vol. II; selected illustrations accompany this article; unless otherwise specified, figure numbers are to the illustrations immediately following this article. Montpellier, BI, Sect. Méd. H 249: Perceval, First and Second Continuations, Manessier’s Continuation (figs. 1–9; vol. II, Pl. IVc); Cambridge, St. John’s College B. 9: Guillaume d’Angleterre (fig. 12); and Paris, BNF, fr 12576: Perceval, First and Second Continuations, Continuations of Gerbert de Montreuil and Manessier, Miserere and Carité of the Renclus de Moiliens (figs. 15, 18–22; vol. II, Pl. IVb). The two copies of Perceval and its Continuations, BNF, fr 12576 and Montpellier H 249, are both extremely difficult to classify stylistically, not because of the small amount of illumination they contain — they are among the most densely illustrated of all the Chrétien manuscripts — but because their illumination is poorly preserved, and was of rather inferior quality to 15 Little can be said about the style of Bern 354 for this reason: both historiated initials, one of which is the opening initial of Perceval, are too damaged for stylistic attribution to be made, although Perceval can be identified on horseback, dressed as a ‘galois’ and holding three darts, and a broad approximation of likely date can be suggested.

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begin with. The Guillaume d’Angleterre, part of the compilation St. John’s B. 9, has only a single miniature for the Guillaume text, with few distinguishing features. The difficulty is that one ineptly painted and imperfectly preserved miniature tends to look much like another; manuscripts with this level of illumination are normally excluded, on grounds of inferior quality, from stylistic studies, and so comparative material is extremely difficult to locate. I can do no more than suggest rather tenuous parallels, which permit only the broadest outline of likely dates and places of production for these three books. Throughout its illustrative programme, Montpellier H 249 has singlecolumn miniatures, without borders, but with simple, usually unpatterned, frames (figs. 1–9). As is the norm since the beginnings of historiation in vernacular French manuscripts, the opening miniature is treated a little 18 differently from the rest: the miniature on f. 1 (fig. 1) is slightly bigger than the others and its frame includes wavy-line and twisted-thread pattern-motifs which are occasionally used later as well, and are not unlike the motifs on the opening miniature and the single-column miniatures in BNF, fr 12576 (figs. 15, 18, 20–22; vol. II, Pl. IVb); and there is a rounded cusped arch enclosing the figure of Perceval. The single miniature in St. John’s B. 9 is at the opening of the Guillaume text, but is not the first item in the volume; it has no architectural framing devices (fig. 12). In Montpellier H 249 the backgrounds to the miniatures are in gold alternating with coloured grounds patterned with a three-white-dot motif, indicating that this was a reasonably luxurious product. The colour 16 I list in these headings only the sections that are illustrated; for complete textual contents, see MSS de Chrétien Catalogue of Manuscripts. I return below to the question of relative quality and the degree to which modern notions of quality may or may not reflect medieval values. 17 Authored by ‘Chrétien’ (‘Crestien’), see n. 1. Discussed by Meyer, ‘Les manuscrits français de Cambridge, I’, pp. 309–24, and James, A Descriptive Catalogue of the Manuscripts in the Library of St. John’s College, Cambridge, pp. 40–44, where the 47 illustrations in the compilation are listed. The text was edited by Foerster in vol. IV of the Grosse Ausgabe, Der Karrenritter (Lancelot) und das Wilhelmsleben (Guillaume d’Angleterre); and by Holden, Chrétien. Guillaume d’Angleterre. 18 In Rennes, BM 255, Estoire, Merlin, and Lancelot, c. 1220, for instance, the opening historiated initial in each branch is larger than the others, and in one case it is subdivided into two registers. See Stones, ‘The Earliest Illustrated Prose Lancelot Manuscript?’, and the general remarks in Stones, ‘Secular Manuscript Illumination’, at p. 93. See also Walters, ‘Multi-Compartment Opening Miniatures’, in MSS de Chrétien.

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range is predominantly the blue, grey, and maroon colours widespread throughout northern France in the period; the bright orange-reds and 19 yellows occasionally encountered in the north-east are lacking here. The miniatures are generally accompanied by a champie initial, usually with the frame rounded to accommodate the initial enclosed inside (figs. 4, 6, 9). The figure style is uniform throughout, the figures short but not particularly squat, their most distinguishing feature being their straight-sided faces that do not quite show the sallow curves that might help to classify them clearly as Parisian products, but which nevertheless distinguish them from the more rounded faces of northern and eastern provincial styles. It is probably in Parisian manuscripts, or provincial manuscripts that derive their stylistic impetus from Paris, and among manuscripts of a rather secondary qualitative level, that the closest analogies are to be found, although I know of no other manuscript that can clearly be shown to have been painted by the same hand. Among other vernacular romances, two prose Lancelot manuscripts may be suggested as fairly close parallels: both have illustration in single-column miniatures accompanied by champie initials, with differentiated treatment for the opening miniature that includes an arched frame; they also have gold backgrounds and a similar palette (fig. 10). The Lancelots are lesser products of a stylistic sub-group that is featured in detail in Folda’s study of Crusader manuscripts in Paris and at Acre as 20 works of the Hospitaller Master, whose stylistic origins are to be found in the Paris of the late 1270s in the Censier of 1276 made in Paris for the 21 Abbey of Ste-Geneviève. His career in Acre is marked by the illustrations in the copy of Cicero’s works translated into French by Johan d’Antioche in 1282 for Guillaume de Saint-Étienne, knight of the Hospitallers of St. John

Green and yellow are dominant colours in much of the illustration in Paris, Ars. 3516, for instance, whose prefatory calendar associates it with Saint-Omer; its date is disputed as the computistical tables at the beginning are dated 1268, whereas f. 3v is dated 1245; the contradictions are noted by Hamburger, The Rothschild Canticles, p. 256, n. 44. See also below for possible links between one of the miniatures in Ars. 3516 and BNF, fr 12576. On Ars. 3516 see now Guggenbühl, Recherches sur la composition et la structure du ms. Arsenal 3516, and Stones, Gothic Manuscripts, Part I, vol. 2, Cat. no. III–113. 20 Folda, Crusader Manuscript Illumination, esp. chapters 3, 4 and 5. The Lancelot manuscripts are mentioned on p. 120, n. 20. 21 Paris, Arch. Nat., Pièce S. 1626.1; Folda, Crusader Manuscript Illumination, pp. 52–58, cat. no. 4, pl. A, figs. 33–36. 19

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of Jerusalem; and his impact in Paris is felt in a large number of undated manuscripts of varying artistic quality. Presumably these were made largely after the fall of Acre in 1291, unless they are by a close colleague who stayed behind in Paris, continuing the style of the Censier already attested there in 1276. Of the products attributed by Folda to the Hospitaller Master, those that provide the best parallels for the illumination in Montpellier H 249 are the manuscripts which Folda considers the later group, beginning with the 23 full-page drawings of Joinville’s Credo, Paris, BNF, lat 11907, ff. 231–232v; the two Outremer manuscripts, Lyon, Bibl. de la Ville, Palais des Arts 29 24 25 (fig. 11) and Brussels, BR 9492–3; the Roman de Marques de Rome, Paris, 26 BNF, fr 19166; parts of the compendium that includes Gautier de Coincy’s 27 Miracles de Notre Dame, Paris, BNF, fr 1533; the prose Tristan, London, 28 BL, Royal 20 D. II; the French parts of the prose Lancelot, Tours, BM 29 30 951, and the Histoire universelle, Brussels, BR 18295. I would also include the Garin le Loherain, Brussels, BR 9630, here, and the other manuscripts 31 discussed in Folda’s opening chapters might also be considered. It will be noted, however, that the unmistakable treatment of arms and armour, especially helmets and mail, is not quite so distinctive in Montpellier H 249 (cf. figs. 5–7, 9, with Folda, figs. 204, 215, 232, 244, 257–59), and Chantilly, Musée Condé 590; Folda, Crusader Manuscript Illumination, pp. 42–48, cat. no. 6, figs. 24–32. 23 Folda, Crusader Manuscript Illumination, cat. no. 11. For reproductions see Friedman, Text and Iconography for Joinville’s ‘Credo’ 24 Folda, Crusader Manuscript Illumination, cat. no. 22 , fig. 250. 25 Folda, Crusader Manuscript Illumination, cat. no. 17, figs. 221–49. The last two historiated initials in this manuscript, though badly worn, seem to me quite similar to the main initial style in the Grandes chroniques de France, Paris, Bibl. Ste-Geneviève 782, offered to Philippe le Bel in 1274. See Hedeman, The Royal Image, figs. 3–15. 26 Folda, Crusader Manuscript Illumination, cat. no. 13, figs. 198–99. 27 Folda, Crusader Manuscript Illumination, cat. no. 14, figs. 200–02. See now Gautier de Coinci, Miracles, Music and Manuscripts, ed. by Kathy M. Krause and Alison Stones (Texts and Cultures of Northern Europe 13) (Turnhout: Brepols, 2006), MS H, pp. 22 n 2, 26, 26 n 7, 92, 240 n 16, 242 n 18, 347 351, 353, 367, 369, 375, 397, 411, 433. 28 Folda, Crusader Manuscript Illumination, cat. no. 15, figs. 203–07. 29 Folda, Crusader Manuscript Illumination, cat. no. 16, figs. 208, 210, 212–15, 218, 220. 30 Folda, Crusader Manuscript Illumination, cat. no. 23, figs. 251–59. 31 For BR 18295 see Gaspar and Lyna, Les principaux manuscripts à peintures de la Bibliothèque Royale de Belgique, cat. no. 61, pp. 150–52, pl. XXXIII; compare the faces with Folda, Crusader Manuscript Illumination, figs. 205–06. 22

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other motifs prominent among the Hospitaller Master’s later works, like the boats and crenellated buildings, are rather differently treated in Montpellier H 249. For instance, buildings in the Montpellier manuscript tend to have openings on the left side, (figs. 6–7) while the Hospitaller Master’s buildings are entered from the front; and the tent on f. 150 (fig. 8) is rather unlike those of the Hospitaller Master (cf. Folda, figs. 222, 223, 254); but the Joinville Credo illustrations are also somewhat rudimentary in their treatment 32 of supplementary elements of buildings, furniture, land- and seascapes. Another difference between Montpellier H 249 and the Hospitaller painter’s manuscripts is that the latter group includes illustrations whose format is historiated initials, or which combine miniatures and historiated initials, for which Montpellier H 249 again offers no parallel. The St. John’s College manuscript (fig. 12) has a single miniature for its Guillaume d’Angleterre section, with a gold background and geometrically patterned frame, containing a representation of King Guillaume and 33 his queen walking with sticks; a champie initial opens the text. No architectural or landscape elements are included in the miniature, so the decoration of frame and champie, together with the figure style, are the basis for the attribution. On all these dimensions, the illustration is certainly more competently executed than in the Montpellier manuscript, although the closest parallels are again with members of Folda’s Hospitaller group. This time, however, the best comparisons are to be made with late manuscripts, 34 in particular the French Bibles in Copenhagen, KB, Thott 7. 2 (fig. 13), 35 and Morgan M.494. These books, in turn, await detailed study, and an attribution to Paris is certainly not guaranteed for either one. See n. 23 above. The marginal note, transcribed by James, says ‘un Roy et une reine qui vont empelerinage’. Note the error of ‘slaves’ for ‘staves’ in James’ description of the Guillaume illustration. 34 Gyllene Böcker, ed. Olsen and Nordenfalk, no. 40; Stones, The Illustrations of Lancelot, p. 405; Folda, Crusader Manuscript Illumination, cat. no. 27. The use of architectural canopies over all the miniatures would tend to be a late feature, and Folda dates it c. 1300. 35 Folda, Crusader Manuscript Illumination, p. 68, n. 113. There is no discussion of the several hands, nor of the stylistic and chronological place of the book; one of its hands seems to me to reappear in the Hebrew Miscellany, London, BL, Add. 11639, which has been connected with Amiens, Paris, and Troyes; see Metzger, ‘Les illustrations bibliques d’un manuscrit hébreux’; Ameisenowa, ‘Die hebräische Sammelhandschrift Add. 11639, esp. p. 45; Sed-Rajna, ‘The Paintings of the London Miscellany, British Library, Additional MS 32 33

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Parisian painting of a more high-class level would appear to be rather less pertinent, either in relation to St. John’s B. 9 or Montpellier H 249. The manuscripts are both likely to be later than most of what is considered in the study by Robert Branner, which currently provides the most extensive photographic coverage in print for the period c. 1220– 36 1270. The most relevant antecedents would seem to be those associated with Branner’s “Bari atelier,” particularly manuscripts with a rather simple program of single-column miniatures like the law-book, Paris, BNF, fr 37 20118. Among devotional books of Paris, a relevant comparison may be with the Hours of Paris use, Baltimore, Walters W. 97, where the full-page miniatures have plain outlined and coloured frames without decorative 38 motifs and figures with elongated (if more competently treated) faces. But similar long faces coupled with a maroon/grey-based palette occur also in painting associated with centres outside Paris, perhaps most 39 pertinently in the missal made for St-Nicaise, Reims, and the related 40 psalter of Scandinavian use in London (fig. 14), parallels which serve to further complicate rather than to resolve the difficulty of attributing Montpellier H 249, while the more robust figures of St. John’s B. 9 suggest that it is substantially later than the Reims manuscripts. Unfortunately the linguistic identification is similarly inconclusive. For Montpellier H 249, Hilka and Micha prefer ‘francien’, while Dees sees the dialect as 41 ‘Nièvre, Allier’; artistic production in or around Moulins and Nevers in

11639’; I reserve further study on this group for another occasion, noting here that I consider Paris, BNF, naf 16251, compared by Sed-Rajna with the work of the Aaron Master in Add. 11639, rather a red herring in that context; see its links with the Mons Perceval, discussed below. For the BL manuscript see now Stones, Gothic Manuscripts, Part I, vol. 2, Cat. no. III–131, with further references. 36 Branner, Manuscript Painting in Paris. 37 Branner, p. 229, fig. 229. 38 See Wieck, Time Sanctified, no. 2, p. 171, fig. 48, and Randall, Medieval and Renaissance Manuscripts,I, no. 41, pp. 97–100. Not in Branner. 39 Reims, BM 230, reproduced in de Lemps and Laslier, Trésors de la Bibliothèque municipale de Reims, no. 40 (unpaginated), and attributed there (rather implausibly), to the XIVth c. See also Leroquais, Sacramentaires, II, p. 242. 40 BL, Add. 17868, once well known from the postcards at the BL, but inadequately analysed in Branner, French Painting, pp. 105–06, 229, figs. 290, 291. 41 Hilka, ed., Der Percevalroman; Micha, La tradition manuscrite des romans de Chrétien de Troyes; Dees, Atlas des formes linguistiques.

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the thirteenth century, if any, is uncharted. For St. John’s B. 9, Holden 43 has suggested ‘eastern’. BNF, fr 12576 (figs. 15, 18–22) has been characterized as the earliest 44 copy of Perceval. The claim may possibly be correct, but it is difficult to 45 substantiate either way, either on iconographic or on stylistic grounds. I would now argue for a later date for BNF, fr 12576 than for Montpellier H 249 largely because of the inclusion, at the beginning, of a multicompartment miniature across two of its three columns (fig. 15), rather than the single miniature that opens the picture cycle in Montpellier H 249 (fig. 1), although we do not know what the chronological evolution was of the The libraries of these regions will eventually be covered in the photographic campaigns of the IRHT, Section iconographique, which houses in Orléans the most complete pictorial resouce for this kind of comparative stylistic inquiry, see n. 9, noting now the IRHT web resource Enluminures and BVMM and the BNF web sites Mandragore, Banque d’Images, and Gallica. The region is, of course, well known in the late twelfth century for the books associated with the Cluniac priory of Souvigny, now housed at Moulins: the Bible, Moulins, BM 1 and the Sacramentary, Moulins, BM 14. For the former, see Cahn, Romanesque Bible Illumination, p. 273, cat. no. 76; for the latter see Leroquais, Sacramentaires, I, pp. 322– 24, no. 161, pl. XLI. It is unclear whether the region supported comparable patronage and production in the late thirteenth century. 43 Holden, Guillaume d’Angleterre, p. 12. 44 Rieger, ‘Neues’; in ‘The Earliest’, p. 21, I dated it c. 1250. 45 Much of the argument hinges on the ‘preferable’ iconographic treatment of the opening scene in BNF, fr 12576 as against Montpellier H 249; but neither copy is as ‘satisfactory’ or ‘unambiguous’ in its presentation of the opening events as BNF, fr 12577, which could reflect a better model than either just as easily as a desire for a different emphasis on the part of its patron or planner; see the analysis by Walters,’Multi-Compartment Opening Miniatures’, and Appendix IV in MSS of Chrétien. Nor is it necessarily the case that manuscripts without rubrics are earlier than those that have them; among the Lancelot-Grail manuscripts, for instance, is BNF, fr 95 and its ‘pendant’ Yale 229, which are rubricless, are later, in all probability, than Bonn ULB 526 (written in 1286); it is possible that BNF, fr 95/Yale 229 transmits an earlier model, but the argument cannot be proven. Nor is there necessarily a correlation between unrubricated manuscripts and short picture-cyles, as, again, the rubricless Yale 229 transmits a much more densely illustrated picture-cycle than Bonn 526 which is rubricated. Similarly, the extensive, but unrubricated, cycle of illustrations in the earliest extant illustrated Estoire, Rennes, BM 255, is another instance where an early picture-cycle is more dense (particularly for the Estoire and Lancelot) than most of the later tradition. Yale 227, written in 1357, has a considerably shorter cycle of Estoire miniatures than Rennes 255; but the Merlin illustrations tell the opposite story: Yale 227 is much more densely illustrated than Rennes 255. Do less extensive picture-cycles precede fuller ones, or vice-versa? The question of precedence must clearly be handled with a great deal of circumspection, particularly in traditions like Chrétien 42

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multiple-miniature format and its origins are difficult to trace. By the 1280s the multiple miniature in two columns and two registers, with arched frames over each component, had become a characteristic of an important group of manuscripts centred on the Estoire manuscript Le Mans MM 354 (fig. 16), copied by Walterus de Kayo. Terry Nixon has recently identified a man named Walter de Kayo (the same man ?) at work in another manuscript, an Image du monde, Paris, BNF, fr 14962, which he copied and signed in 1282, a date which must provide a significant anchor for this group; already by 1274 a simpler version, a two-column miniature in one register, had been 47 used in a related manuscript, BNF, fr 342 (fig. 77). By 1286, the Lancelot, Bonn, LUB 526, and the closely related if somewhat later BNF, fr 110, have adapted this formula to present sets of small miniatures in two or three text columns to mark the opening of the branches of the five-part cycle which 48 both manuscripts transmit complete. What is unclear is where and how early the idea begins. Two other prose Lancelot manuscripts, indeterminate manuscripts where there are so few examples. For discussion of some of these issues see Stones, The Illustrations of ‘Lancelot’, for an analysis of the Queste and Mort Artu cycles, ead., ‘The Earliest Illustrated Prose Lancelot manuscript?’ and ead., ‘Aspects of Arthur’s Death’, all reprinted in these essays. 46 The points I raise here on this issue were presented in a paper ‘”Mise en page” in the Illustrated Prose Lancelot’, given at the Second Conference of The Seminar in the History of the Book to 1500, held at Oxford in 1988. The structure and purpose of this multicompartment miniature is discussed from the iconographical point of view by Walters, infra. See now Stones,’”Mise en page”, reprinted in these essays. 47 Its Mort Artu opening miniature is in two registers. It is also notable that BNF, fr 342 was written by a female scribe, as its colophon, containing the 1274 date, reads ‘pries pour celi ki l’escrist’ (not ‘cil’). For BNF, fr 342 and other members of the group see Stones, The Illustrations of Lancelot, ch. 3, and below. I thank Terry Nixon for the important reference to BNF, fr 14962. Might Walter be in some way related, several generations back, to the important literary patron of the same name, Guillaume de Cayeux, who commissioned (after 1206) a version of the Pseudo-Turpin in French from Pierre de Beauvais? See Walpole, ‘Charlemagne’s Journey to the East’, and Tyson, ‘Patronage of French Vernacular History Writers’, at p. 204. But the stylistic affinities of the illumination point to Amiens, Arras, and Douai, as I show below. The term ‘le style Graal’ is used for BNF, fr 342 and related books by de Winter in La Bibliothèque de Philippe le Hardi, pp. 78–79; but I think the distinctions among related manuscripts can be somewhat more subtly refined and discuss them further below. 48 BNF, fr 110 may be as much as a decade later than Bonn 526 because its borders are closer to those in the Guillaume d’Orange, Boulogne, BM 192, written in 1295; see Stones, The Illustrations of ‘Lancelot’, ch. 5; ‘Sacred and Profane’, pp. 108–10; see now Stones, ‘Entre Cambrai et Saint-Omer.’

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in style and date, have opening multi-compartment miniatures in a single 49 text column; and multi-compartment miniatures, usually divided into four, and placed in single text columns, are also characteristic of the early 50 illustrations of the Histoire ancienne jusqu’à César; two undated Miracles of the Virgin manuscripts that are fairly closely related to Le Mans, BM 354 51 also have multi-compartment miniatures in one text column (fig. 17); and 52 the same feature can be found in Lives of the Saints manuscripts. But there are no dating anchors, and these manuscripts do little to clarify the question 53 of the date of BNF, fr 12576. The clearest markers for it are the date of

49 Notably Berkeley, Univ. of California-Berkeley 107 (ex-Phillipps 1279; Sotheby’s 28. xi. 1967, lot 93), attributed to c. 1300 (!) in the Sotheby catalogue, an example that is also not quite comparable as the five-part miniature is in one column, not two as in BNF, fr 12576; UCB 107 is similar to the three-part miniature, originally drawn in four compartments, accompanied by a historiated initial, and also in one text column, in the Mort Artu, Oxford, Bodleian Library, Rawlinson D. 899, reproduced as fig. 4.1 in my ‘Aspects of Arthur’s Death’ and attributed there, for little good reason, to ‘ca. 1250’, a date I retract herewith on grounds of unprovability, although the absence of architectural arches within the rectilinear frame are what may indeed suggest an earlier date for the Oxford manuscript than for the other manuscripts discussed here. 50 See Oltrogge, Die Illustrationszyklen: the feature is found in The Hague, KB 78 D 47; Pommersfelden 295; London, BL Add. 19669; BNF, fr 17177, all undoubtedly products of the same team: plates in Oltrogge. 51 Paris, BNF, fr 22928 and St. Petersburg, NLR, Fr. F.v.XIV, 9, discussed in Stones, The Illustrations of the French ‘Lancelot’, pp. 421–22. See also Gautier de Coinci, for BNF fr 22928 (MS L), pp. 10. 22 n. 2, 26, 27, 30, 32–33, 35 n. 27, 67. 70 fig. 4, 72, 73, 75, 76, 79, 80, 81 fig. 13, 82 83 fig. 17, 90, 149, 150, 158–62, 240 fig. 2, 240 n. 16, 242 n. 18, 258 n. 12, 260 n. 16, 347, 353, 353, 367, 368, 375, 431, 434, 440; for St. Petersburg (MS R), pp. 22 n. 2, 24, 26, 27–28, 31, 32–33, 35 n. 27, 72, 73, 79, 80 fig. 12, 82 fig. 16, 90, 149, 150, 158–62, 240 n. 16, 347, 353, 367, 369, 373, 408, 426, 428. 52 Paris, BNF, naf 23686, reproduced in Oltrogge, figs. 6, 14, 16. Apart from these examples like these Lancelots and the Miracles of the Virgin manuscripts, one must turn to the biblical illustration from which, ultimately, the idea probably derives, and where the use of multiple small miniatures goes back to the beginnings of biblical illustration with the Quedlinburg Itala in the fifth century. More immediate thirteenth-century models would be examples like the Moralized Bibles and the related royal psalters of the second quarter of the century; but these latter examples use roundels rather than squares which makes them somewhat inappropriate as comparisons here. 53 Branner’s date of c. 1250 for BNF, naf 23686 is likely to be too early, as it is argued on the basis of BNF, lat 8865 (between c. 1250 and 1270) and Saint-Omer, BM 174 (between 1257 and 1266), neither of which in my view is even remotely related to any of the above manuscripts. See Branner, ‘Note on the Style of the Kansas City Leaf ’, cited in Oltrogge, ‘Die Illustrationszyklen’, p. 16.

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1274 for BNF, fr 342 and, quite likely, that of 1282 when Walterus de Kayo signed his Image du Monde. A date in the late 1270s or the early 1280s, would accord well with Middleton’s interpretation of the dates when the townspeople of Amiens, to whom the owner of BNF, fr 12576 was indebted, whose names and debts are listed on the originally blank leaves between the end of the Continuations and the texts by the Renclus de Moiliens, were 54 flourishing. The rest of the illumination in BNF, fr 12576 is varied in format. Singlecolumn miniatures (figs. 18, 20–22) and historiated initials (fig. 19) make up most of the rest of the illumination, with a notable change after the start of Gerbert’s Continuation to smaller miniatures in three-quarters of a column and simpler coloured frames with a single white line, and a corner cut out to accommodate the first initial of the following word. Below the end of the text of the Continuations, is one larger miniature, bigger than the other single-column or half-column miniatures in the manuscript, with a folded acanthus motif on the frame, showing Perceval before the Grail (fig. 55 21; vol. II, Pl. IVb). Miniatures in half a column with the frame cut to accommodate the following initial would seem to be relatively unusual, so it is probably quite significant that those in BNF, fr 12576 can be parallelled most closely in the Lancelot-Grail, Yale 229 (fig. 24), which most likely dates 56 in the 1290’s, and where small miniatures in this format are interspersed with full-column miniatures in one or two registers, and with small or large historiated initials. Half-column cut-out miniatures also occur in the Roman 57 de Jules César, Rouen, BM 1050 (U. 12) (fig. 23). But these three manuscripts are not obviously related to each other as far as other aspects of style The earliest possible date is 1267, the latest likely date c. 1290. See Middleton, Index of Former Owners, in MSS de Chrétien. As Middleton rightly points out, the date of the poem on the death of the Count of Hainaut is considerably later, not contemporary as interpreted by Hindman, ‘King Arthur, His Knights’. 55 For a discussion of its iconography see Stones, ‘Arthurian Art since Loomis’, p. 23; Hindman, ‘King Arthur, His Knights’, pp. 128–29; Baumgartner, ‘Les Scènes du Graal’ and below. The frame motif is quite widespread, so its reappearance in the London psalter of Scandinavian use cited above in relation to Montpellier H 249, may or may not be significant. 56 See Stones, The Illustrations of Lancelot, ch. 4. 57 Alison Stones, ‘L’atelier artistique de la Vie de sainte Benoîte’, fig. 12. I see the participation of more than one painter in this manuscript, with a lesser role given to the Master of the Vie de sainte Benoîte; the other painter would seem to be closest to Parisian painters of vernacular manuscripts in the 1290’s, but there may also be unexpected echos of his style in one of the hands of Yale 229. These links need a more detailed study, which 54

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are concerned — figures, costume, furnishings, landscape, etc. — and their stylistic affinities point in different directions: to somewhere in the diocese of Thérouanne, possibly Ypres, for Yale 229, and to Saint-Quentin and perhaps also to Paris for Rouen 1050, so it is difficult to be sure exactly what this formal link between them means. One thing is clear: as these halfcolumn miniatures with cut-outs occur only in Gerbert de Montreuil’s and Manessier’s Continuations in BNF, fr 12576, they are most likely to be a feature taken over from a separate model, not the one used for Chrétien or the first two Continuations. Any formal link with Yale 229 or Rouen 1050 would not, then, be a direct one, but at least it is some kind of link. The other formal feature of BNF, fr 12576 that is striking has not, so far, reappeared elsewhere: the scenes in some miniatures are surmounted by triple arches articulated with moldings (fig. 18); those on ff. 19 and 25 have curious openings in the spandrels, surely a hall-mark of their painter, or a distinctive 58 feature in his model, but one that I have been unable to parallel exactly. The predominance of the historiated initial format rather than the miniature for most of the illumination in BNF, fr 12576 is not a significant factor in determining location or date, as both Parisian and provincial painting of the years around 1300 still offer many examples of the historiated 59 initial. Paris, BNF, fr 12576 has undeveloped bud-like foliage motifs on the terminations of the initial bars, accompanied by gold balls (fig. 19), motifs 60 that reappear in the Mons Perceval, for which I posit a date in the 1280s. The figure style of BNF, fr 12576, described by the Loomises as “grotesquely 61 ugly,” is characterized by round faces, ‘hairpin-loop’ noses, round wideI reserve for consideration elsewhere. See now Collet, Etude sur le Roman de Jules Cesar, pp. 5–21; Busby, Codex and Context, pp. 163–64; Castronovo, La Biblioteca dei conti di Savoia, pp. 61, 75 n. 58 They may be a simplification of openings in arch frames of the type that appears in many of the miniatures in BL, Add. 17868 referred to above in relation to Montpellier H 249; see n. 40 above and fig. 14. 59 The feature is characteristic of, but not restricted to, the early Vincent of Beauvais manuscripts, and is used well into the fourteenth century for the illustration of that compilation; see Stones, ‘Prolegomena to a Corpus of Vincent of Beauvais Illustration’. A Grandes chroniques manuscript by the painter of the early fourteenth-century Parisian group of Vincent manuscripts is Cambrai, BM 682, reproduced in Hedeman, The Royal Image, pp. 204–05, figs. 16–17, and other Grandes chroniques manuscripts, notably Paris, Bibl. SteGeneviève 782, made in or shortly after 1274, also prefer the historiated initial (Hedeman pp. 257–58, figs. 3–15). 60 Discussed infra. 61 Arthurian Legends, p. 90, discussed in Stones, ‘Arthurian Art Since Loomis’, p. 3.

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open eyes and generally curly hair, all drawn with a very thin line; the figure style remains the same throughout BNF, fr 12576 despite the changes in format, or even of text, as the same figures reappear in the illustrations to the Renclus de Moiliens texts as well. The continuity of the figure style reinforces the notion that the model with single-column miniatures and historiated initials did not include these Continuations where the change in format occurs. Parallels for the figure style are of a general nature rather than offering firm points of comparison, as I have found nothing that can confidently be attributed to the same painter. Unfortunately his work does not fit with the Le Mans Estoire which provided the best parallel for the format of the opening miniature (figs. 15–16), nor with Yale 229 or Rouen 1050 where the half-column miniatures can be matched to some degree (figs. 23–24). Two manuscripts from north-eastern France may provide some clues, of different sorts, about the origins of BNF, fr 12576. The first is Paris, Ars. 3516, an important literary miscellany prefaced by a calendar based on the 62 use of St-Omer. Several hands did the illuminations, one of which (fig. 25) presents striking formal analogies to the final miniature in the Continuations in BNF, fr 12576 (fig. 21; vol. II, Pl. IVb): it is a large rectangular miniature, a format also unusual in this manuscript, showing a jongleur performing acrobatics before a statue of the Virgin and Child on an altar (f. 127, fig. 25). Both the format of this miniature and also the figure style — particularly the face of the Virgin — present striking parallels with BNF, fr 12576, although there are also differences, notably the use of colour rather than gold in the background. It is difficult to know how to interpret these similarities and differences. This hand’s work in Ars. 3516 remains stylistically relatively isolated, both within that manuscript and in the region. It is not until the last quarter of the thirteenth century that extensive manuscript production can be associated with St-Omer and its ecclesiastical metropolitan, Thérouanne; and this illumination is not particularly like what we know of production in and for patrons at Arras, capital of the county of Artois in which St-Omer 63 was located in the thirteenth century. 62 For a list of the contents, see Catalogue général, and my essay in Wace, La vie de sainte Marguerite, p. 188, n. 8. See now Guggenbühl, cited in n. 19 above. 63 This manuscript contains painting by a number of different hands. For the jongleur, see Nelli, Troubadours et trouvères, p. 71. For the dating problems see n. 19 above. For SaintOmer manuscripts, see Stones, The Illustrations, chs. 4 and 5, and ead., ‘Sacred and Profane’, pp. 108–10. And see also, now, Nys and Gil, Saint-Omer gothique, pp. 57–76.

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Another manuscript that may be of relevance to BNF, fr 12576 again 64 points to Arras. It is a Lives of Saints, Paris, BNF, fr 17229 (fig. 26). In stylistic terms the relationship with BNF, fr 12576 is not an immediately obvious one. The illuminations are historiated initials, but they differ from those in BNF, fr 12576 by consistently having gold balls on the inner corners of the frames, and by using white pen-scroll decoration that is considerably more finely drawn. But there are perhaps some similarities about the treatment of the curls of the hair and the drawing of the faces that may provide a somewhat tenuous link between these illuminations and those in BNF, fr 12576; and there may be echos of the figures in the jongleur miniature of Ars. 3516 (fig. 25) as well. As with manuscript-making at St-Omer, however, it is difficult to establish a place for these books within the broader context of Arras illumination. The painting in neither manuscript is comparable to that of any of the several hands in the Arras Chansonnier, Arras, BM 65 657(139), part of which was written in 1278, nor can clear parallels be drawn with Arras manuscripts of the end of the thirteenth and the early 66 fourteenth century, which include several other Chrétien manuscripts, so that the comparison between BNF, fr 12576 and BNF, fr 17229 is again, unfortunately, somewhat ambiguous in its significance. Similarly, the possible links with Amiens suggested by the inclusion of the names of burghers associated with Amiens and its region in the notes added on the blank leaves between the Continuations and the Renclus de Moiliens texts are 67 not borne out on the stylistic dimension: Amiens illumination, as discussed below in relation to the Princeton manuscript, looks very different from the painting in BNF, fr 12576; but the annotations do suggest a early ownership by someone closely associated with the urban bourgeoisie.

64 See Roger Berger, Le Nécrologe de la confrérie des jongleurs et des bourgeois d’Arras (1194–1361). I: Texte et tables. II: Introduction, Mémoires de la Commission Départementale des Monuments historiques du Pas-de-Calais, 11.2 (1963); 13.2 (1970), I, pp. 41/249, 137/345– 156/364 (transcription of the account of the miracle). For the literary and musical scene in Arras see now Symes, A Common Stage, and Saltzstein, Musical Culture in the World of Adam de la Halle. 65 Vitzthum, Die Pariser Miniaturmalerei, p. 128; Jeanroy, Le chansonnier d’Arras. 66 Cf. BNF, fr 375, BNF, fr 12603 and BFN, fr 24403, discussed below. 67 See Middleton’s discussion in MSS of Chrétien, Index of Former Owners, vol. II; the manuscript must have come into the hands of its Amiens owners soon after its manufacture. Hindman’s conclusions about the social function of the manuscript are convincingly undermined by Middleton.

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The provenance of BNF, fr 17229 is not clearly documented, but it has Arras connections because it includes the only copy in French of the lengthy account of the Miracle of the Candle of Arras which occurred there in the last quarter of the twelfth century, together with a historiated initial showing that miracle, in which the Virgin quells an outbreak of ergotism. She appears holding a candle lit with celestial fire, which she presents, by prior arrangement, to two jongleurs in the Cathedral of Arras (f. 352v, fig. 26); the wax of her candle is mixed with water to produce a healing substance which is drunk by and applied to the wounds of the sufferers, all of whom are cured except one, who preferred to drink wine and died on the spot (the 68 illumination shows the Virgin’s appearance, with candle, but not the cure). This image of the Candle Miracle may help to elucidate one of the puzzles about the final miniature in BNF, fr 12576 (fig. 21; vol. II, Pl. IVb). At issue is the nature of the object that the figure wearing the short tunic holds in 69 his hand. It has been interpreted as being a lance, although I see red paint strokes at the top, going in an upwards direction, like flames, suggesting that 70 it is in fact not the Holy Lance, but a candle. Although conclusive proof is lacking, the visual associations between a prominently displayed candle at this final appearance of the Holy Grail, and the similarly displayed candle shown in the illustration of the Miracle of the Arras Candle in BNF, fr 17229 are striking. Such an allusion to the Arras Candle in the final miniature of the Perceval Continuations would have held particular resonance for an audience, particularly a literary audience, based in Arras. It may even be towards the jongleurs of Arras — looking at the image in the book in the real world of the late thirteenth century — that the candlebearing figure moves as he seems to step out of the frame towards the viewer, on the right of the 71 miniature. 68 For the date, see Berger, Le Nécrologe, I, p. 41/249, and for the transcription of the Miracle of the Candle, ibid., pp. 137/345–156/364. A splendid mid-thirteenth century niello and filigree candle reliquary is still extant at Arras, see Lestocquoy, ‘Deux reliquaires du XIIIe siècle’. 69 Hindman, ‘King Arthur,His Knights’, p. 128; Baumgartner, ‘Les scènes du Graal’, in MSS de Chrétien. 70 Stones, ‘Arthurian Art since Loomis’, p. 23. If the red strokes were blood, they would surely flow down, not up; and the lance does not burn in this text, as Hindman (p. 128) would like. 71 How can this figure be Perceval? I cannot agree with Hindman, ‘King Arthur, His Knights’, p. 129, that he has changed out of his clerical costume in order to bear off the lance, when he is supposed to end his days in a monastery; and in any case, I do not think the object

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Overall, the stylistic evidence, such as it is, would probably tend to support a date in the third or last quarter of the thirteenth century for BNF, 72 fr 12576 rather than in the middle of the century as I thought at one time; but the evidence provided by the names on the formerly blank leaves may suggest a date as early as c. 1267, and so BNF, fr 12576 might turn out to 73 be, after all, the earliest of the Perceval manuscripts; and a provenance in or around Arras would be fairly compatible with the general region to which 74 Micha and Dees have ascribed BNF, fr 12576 on the basis of its language. But these can be regarded as no more than conjectural conclusions that leave much unexplained. One further parallel has recently been drawn to my attention and may well be by the BNF fr 12576 artist: it is a pair of full-page miniatures depicting the Tables of Affinity and Consanguinity, but from a legal manuscript. Regretfully its early provenance is unknown so it does little to resolve the question of exactly where BNF fr 12576 was made; but it does show that the work of this artist is less isolated than previously thought.75 Mons BU 331/206 (4568): Elucidation and Bliocadran prologues, Perceval, First and Second Continuations, Manessier’s Continuation (figs. 27–39; vol. II, Pl. IVd, e). With the Mons Perceval one is on much firmer ground in terms of visual parallels, approximate date, and geographical associations. Although the illumination is little better qualitatively than that of BNF, fr 12576 and Montpellier H 249, the work of the Mons Perceval Painter can be clearly recognized in three other vernacular manuscripts, two of them works of epic and romance, the third a literary and devotional miscellany, and in a fourth manuscript, a psalter in French and Latin. One of these related books can be a lance. The candle-bearer cannot relate directly to the Renclus de Moiliens image on f. 263 as there are blank folios (part of the original quire structure) separating the two texts; and f. 263 begins a fresh quire, so the Renclus texts are unlikely to have been planned as a sequel to the Continuations. 72 Stones, ‘The Earliest’, p. 21. 73 See n. 54; a full analysis is given by Middleton in the Index of Former Owners,in MSS de Chrétien. 74 Micha, La tradition manuscrite, p. 47, ‘dialecte picard’; Dees, Atlas des formes linguistiques, p. 521, ‘Pas-de-Calais sud-est, coëff. 77’. 75 Vente Drouot, R.G. 31 March, 1977, no. 136, kindly drawn to my attention by F. Avril. It was exhibited in Angers in 1858 and was lent by M. le Chanoine Tardif according to a note on one of the leaves.

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contains evidence of provenance, while two others include illumination by a second artist whose work reappears in a number of other manuscripts in Latin and French, and can be approximately dated. These analogies allow the Mons Perceval painter to be situated in a more precise, and broader, artistic 76 context than could be substantiated by the Perceval alone. Five manuscripts, then, comprise the Mons Perceval artist’s œuvre: Mons 331/206, containing Chrétien’s Perceval, preceded by two prologues, Elucidation and Bliocadran, and followed by the First and Second Continuations and the Continuation of Manessier; the Guillaume d’Orange cycle, Bern, Burgerbibl. 296 (figs. 42–44), on which the Mons Perceval Painter collaborated with an assistant (fig. 44); the Roman d’Alexandre and Crusade Cycle, Paris, BNF, fr 786 (fig. 40), a manuscript that also includes a calendar of Tournai in French at the beginning, with calendar miniatures 77 78 by the same painter; the miscellany, Paris, Ars. 3527 (figs. 45–47), and the Book of Hours, Baltimore, Walters W. 39 (fig. 48), of the use of the 79 Collegiate Church of Saint-Pierre, Lille. In Ars. 3516 the Mons Perceval Painter again collaborated with another, and different, artist. The opening illumination in the Mons manuscript, preceding the beginning of the Elucidation prologue, is a two-column miniature, now badly rubbed, showing Perceval on horseback approaching courtiers at table, the figures enframed beneath a row of cusped and pointed arches, organized so that each figure is set off beneath his own arch; the miniature is bounded by a gold fillet and accompanied by a foliate initial (fig. 27). The rest of the illumination consists almost entirely of historiated initials occupying half a text-column, with circles, rows of ‘u’s or acanthus motifs on the bars, set against diaper backgrounds with simple white criss-cross motifs, the inner These manuscripts are grouped together here for the first time. See now Stones, ‘Bute Painter’. 77 I am grateful to the late D. J. A. Ross who made available to me his unpublished description of the illuminations in the Alexander section of BNF, fr. 786, which will appear in his study of the iconography of the Old French Alexander in verse edited by Simon-Pérez and Stones with Meuwese. The analysis of the calendar is mine. Particularly significant are the entries for Eleutherius (Lehire) in blue (20. ii) and his translation, in black (25. viii); the dedication of the Cathedral of Tournai (Li ducasse Nostre Dame) in red (9. v); Remi, Piat, Bavo and Vaast (Remi, Piat, Bavon, Vast) in blue (1. x); Francis (Francois) in black (4. x), Martin in blue (11. xi; but his translation 4. vii is omitted), Katherine (Kateline) in red (25. xi). 78 I thank François Avril for kindly drawing my attention to the Arsenal manuscript. 79 Randall, Medieval and Renaissance, I, no. 39. 76

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backgrounds in pink or blue, often patterned with a three-white-dot motif. The terminals of the initials end in foliage scroll-work with bud motifs, sometimes curled around gold balls. There is one single-column miniature (fig. 32), showing Gauvain (shield arg [white] a lion sa) sitting on the Perilous Bed. The use of an arch-frame also reappears in Bern, Burgerbibl. 296, as a single arch with finials, turrets and spires, framing the opening miniature of the Chevalerie Vivien (fig. 42); the outer thin gold fillet is also used here, and the historiated initial on f. 3v (fig. 43) has the same circle-motifs on the bar and white criss-cross diaper as Mons 331/206; these also reappear in the historiated initials in BNF, fr 786 (fig. 40). The illustrations by the Mons Perceval Painter in Ars. 3527 all adopt a slightly different format: a small miniature in half a text column, differently proportioned, but similar in treatment to the one single-column miniature in Mons 331/206 (figs. 45, 47). The miniatures in Ars. 3527 are also outlined with a gold fillet, and the backgrounds are painted pink or blue with the three-white-dot motif. The most striking shared characteristic in all four manuscripts is the figure style, particularly the slightly sallow faces with two or three tight curls at the brow and the rest of the hair drawn in a few curved lines that parallel the shape of the head, ending in waves around the ears. Chain mail is painted white with black dots. Landscape and architectural elements within the compositions are kept to a minimum; most distinctive are the trees, which have a rounded crown of leaves set on an undulating trunk (Mons, pp. 135, 434, figs. 33, 37; Ars. fig 47; W.39, fig. 48). Also distinctive in the Mons manuscript is the pen-flourishing (fig. 34), a dimension of the manuscript I cannot explore fully here; the curlicues are close to those in the Arsenal manuscript (fig. 46), while the appearance of the occasional pen-drawn fish motif (fig. 34) invites comparison with the (more developed) use of the motif in the distinctive style of the Cambron books of the 1270s and 1280s (fig. 41), of which the 80 Mons manuscript may be a pale reflection. The Mons Perceval Painter worked directly with two collaborators. In Bern, Burgerbibl. 296, the Mons Perceval Painter would seem to have been the more important of the two artists, as his work occurs at the beginning (figs. 42, 43) and is qualitatively superior to that of the second painter (fig. 44). Some of his work at the beginning of the manuscript is probably lost, as the opening of the text is missing, so his contribution to the manuscript consists now only of one historiated initial and a single-column miniature 80

For Cambron, see Stones, The Minnesota Vincent of Beauvais.

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(fig. 42, 43). His collaborator did the rest of the illumination, consisting of 12 miniatures (fig. 44), all in one text column and most in two superimposed registers beneath an arched frame bounded on left and right by turrets that look like a simplification of the ones on f. 9v by the Mons Perceval Painter (fig. 42). In addition, seven of the assistant’s miniatures are accompanied by dragon borders that are somewhat reminiscent of the dragons that are characteristic of the Epistle and Gospel Book made in 1266 for Nicolas de Fontaines, bishop of Cambrai, Cambrai, MM 189–190 and which are still a characteristic feature of the Pontifical of Cambrai in Toledo probably made 81 for Nicolas’ successor, Enguerrand de Créquy, c. 1275 (fig. 62). The work of this assistant has not so far reappeared elsewhere, although there are echos of his faces, with red dots on the cheeks, in the work of the assistant in the Hague, KB 76. J. 18, discussed below (fig. 63). In view of what would appear to be the Mons Perceval Master’s superior role in the manuscript, the Bern manuscript may be one of his latest efforts, perhaps as late as c. 1285 or later. In the Arsenal manuscript, the Mons Perceval Painter collaborated with a second artist whose work, in turn, can be identified in several other books that include devotional and vernacular texts in Latin and French. This time it is likely that the Mons Perceval Painter was the assistant of the other painter, as the Mons Perceval Painter’s work is qualitatively inferior in relation to that of the other painter; is found only in the last section of the manuscript, from f. 169v to the end (figs. 45, 47). The first artist of the Arsenal manuscript, whom I call the Bute Painter for reasons explained below, is primarily known for his distinctive miniatures in the Roman de Judas Maccabé, Paris, BNF, fr 15104, dated after 1285 (figs. 50, 52–53), familiar from the plates of 82 Porcher’s 1955 exhibition catalogue. This painter’s œuvre also includes other vernacular texts: BNF, fr 15106, a French translation of Thomas de Cantimpré’s Liber de monstruosis hominibus; BNF, fr 14970, Guillaume le Clerc’s Bestiary and Lapidary in French; Ars. 2510, Aldebrandin of Siena’s medical treatise in French; and a work in Latin, BNF, lat 18262, Martinus

81 For Cambrai 189–190, see Beer, ‘Johannes Philomena’ and now Stones, Gothic Manuscripts, Part 2, vol. 2, Table of Gospel Books. For the Pontifical, Toledo, Archivo de la Catedral MS 56. 19, see Janini and Gonzálvez, Catálogo de los manuscritos litúrgicos, no. 216; Stones and Steyaert, Minnesota Collections, p. 12, fig. 14; see also below and Avril in Rois maudits, no. 197; and Stones, Gothic Manuscripts, Part I, vol. 2, Cat. no. III–49 82 Porcher, Les manuscrits à peintures, no. 22; Avril in Rois maudits no. 201.

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Polonus’ Chronicle, complete up to 1277. Two more manuscripts in French may now be added to the Bute Painter’s oeuvre: Paris, BNF fr 1446, a Literary miscellany including Le Couronnement Renart and Marie de France, Ysopet, the latter illustrated with an author-portrait by the Bute Painter;84 and Turin, BN L.III.8, Le Roman de Cassidorus, d’Elkanus et Peliarmenus.85 Here I reproduce selections from BNF, fr 15104 (figs. 50, 52–53), where the mostly single-column miniatures with gold frames, pink or blue backgrounds with the three-white-dot motif, trees with rounded leaf crowns and undulating trunks all make their appearance again, underlining the close link with the moduli used by the Mons Perceval Painter, whom I see as the Bute Painter’s assistant and student. The historiated initials also have the circle motifs on the bars, the white criss-cross diaper (in BNF, fr 15104; Ars. 3527 [fig. 46] has white pen-flourishing instead) and foliage scroll-work with bud-leaves curled around gold balls. What is different from the work of the Mons Perceval Painter is the treatment of figures: the Bute Painter’s figures are characterised by a striking use of faces in profile, with hair drawn in a row of huge exaggerated curls framing the entire face (figs. 46, 49, 52–53), the draperies and motifs of architecture and landscape outlined in very thick black lines. It can almost be seen as a style of caricature and perhaps, in its most exaggerated form, as a mode deliberately selected as appropriate for manuscripts containing vernacular texts. The same painter was also responsible for the illuminations in the psalter formerly in the Marquis of Bute Collection and since October 1992 MS. 86 46 (92. 92) in the J. Paul Getty Museum (fig. 59); the illustrations in this psalter are in some ways this artist’s most original compositions, and so I call him the ‘Bute Painter’ after the former owner of the psalter. In 87 this manuscript he achieves a level of iconographical ingenuity and of 83 The last two manuscripts were brought to my attention by François Avril to whom I again express my thanks. See now Stones, Bute Painter, and Rois maudits, no. 201, by F. Avril, who shows that fr. 15104, 15106, and 14970 were once part of the same compendium. 84 See Busby, Codex and Context, 2002, pp. 212, 214, 474–79, fig. V, 21; the attribution is mine. 85 See Castronovo (note 57); for the attribution, see my review in Speculum, 79 (2004) pp. 462–64. 86 It passed through Sotheby’s on 13. vi. 83 as lot 4, and was for a time in private hands again. 87 Analysed and tabulated in detail by Elizabeth A. Peterson, Iconography of the Historiated Psalm Initials in the Thirteenth-Century Fully Illustrated Psalter Group; see also ead.’Scolastic Hermeneutics’.

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artistic poise and sophistication that clearly set this Latin psalter apart from his vernacular products, although his distinctive stylistic characteristics are still present in his vernacular works. The Bute manuscript contains no information relating directly to its first owner, but in the fourteenth century it belonged to the counts of Juliers, under whom an illuminated Office of the Dead was added. The book may have come into the hands of the Juliers family through Jeanne, wife of Guillaume V de Juliers and daughter of Guillaume I, count of Hainaut, and sister of Philippa who married Edward III of England; it is more than likely that a member of the same family 88 commissioned it in the first place. The Bute Psalter was not the Bute Painter’s only devotional product. He also painted the tiny psalter of Saint-Omer use in Baltimore, Walters W. 112 (fig. 49),89 and he did the only illustration in the notated Ordinary of Saint-Jean, Amiens (O. Praem.), Amiens, BM 190,90 but in all his other devotional or liturgical books he worked with a collaborator, as he had done with the Mons Perceval Painter in Ars. 3527. Each of these liturgical or devotional manuscripts shows him collaborating with someone different, and on various collaborative bases — a situation quite comparable to the varying circumstances in which the Mons Perceval Painter also worked. In Ars. 3527, as noted above, the division of labour is one of succession, where the work of the Mons Perceval Painter follows that of the Bute Painter and is quite separate from it both by textual division and by quire — as it comes at the end, one might envisage a scene in which the Bute Painter had died or moved on, and his lesser assistant, the Mons Perceval Painter, completed the job. In Rouen, BM A211 (185), the second volume of a two-volume bible in French, the nature of the collaboration is different: the Bute Painter is the second hand (fig. 61), and his work is clustered together in quires E-N, 88 The calendar is lacking, and there is nothing to clearly indicate whether the patron was clerical, monastic, or lay; nor is there any indication of date. I think the arms in the added miniatures (second quarter of the fourteenth century) are those of Juliers, not Namur as claimed in the entry for Sotheby’s 13. vi. 83, lot 4; but the rest of the book was probably made a generation earlier. For further discussion, see my study mentioned in n. 73, and for Philippa of Hainaut’s patronage, see n. 126 below. 89 Randall, Medieval and Renaissance, no. 38, citing the parallel with the Bute Psalter; Randall also notes a link with the psalter, St. Petersburg, Lat. O. v. I, 24, on which see Mokretsova and Romanova, Manuscrits enluminés français, I, pp. 206–11. It is certainly similar, but less competently painted, and its calendar and litany indicate points further east. 90 Illustrated on the IRHT web site Enluminures; see also Schmitt, ‘L’Univers des marges’, fig. 12. The attribution is mine.

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preceded and followed by that of the first painter and another assistant in 91 quires A-D and O-GG (fig. 60). Yet another collaborative relationship is attested by the Bute Painter’s last two books. Both are liturgical books and in both the Bute Painter’s creative talents and artistic sophistication are at their most fully developed; in them, his work achieves a level that surpasses his work on the Bute Psalter. They are both datable relatively early in his career, a decade or so before his work on the Roman de Judas Maccabé of 1285. In The Hague, KB 76 J 18, a Breviary made for an unknown patron of the Dominican order, whose original 9 calendar entries date before 1277, two additional painters participated. 2 93 One, of very inferior talent, was responsible only for ff. 1–4; but the second painter (fig. 63) worked so closely with the Bute Painter (fig. 64) that they in many cases both participated in the illumination of the same quire, although never the same bifolium. An intimate, within-quire cooperation of the same kind, is also found in the Pontifical of Cambrai probably made c. 1275 94 for Bishop Enguerrand de Créquy. This time the Bute Painter (fig. 62) is working with another, very superior, collaborator (fig. 58), to whom he would seem to be the assistant. Whether he is the assistant, the head man, or the only artist, it is in the Dominican Breviary and the Pontifical of Cambrai, 95 both books certainly made for ecclesiastical patrons, and in the Bute Psalter itself, that the Bute Painter’s style achieves its highest artistic level. In the St-Omer Psalter, W. 112, undoubtedly made for a member of the laity, and the vernacular bible, Rouen, BM A211 (185), probably also made for a lay man or woman, the artistic quality approaches that of his secular manuscripts discussed above. Sometimes he appears to have been cast in a secondary role, as in the Cambrai Pontifical and in the Rouen Bible; at other times, as in the Dominican Breviary and the Arsenal miscellany, he seems to be the primary

Vitzthum, Die Pariser Miniaturmalerei, p. 109; Stones, The Illustrations of Lancelot, pp. 154–55, 424; the identity of the collaborator is difficult to determine, and his work may be by two individuals rather than one. The closest parallels are with Branner’s Grusch atelier, although his Wenceslas atelier is also relevant, notably in the Rouen missal, Rouen, BM Y 50 (277). 92 Most recently in Boeren et al., Catalogus van de liturgische handschriften, no. 48. 93 Could he be the Mons Perceval Painter as in W. 39, discussed above? 94 For references see n.81 above; both catalogues mentioned there illustrate the work of the other painter. 95 We do not know who precisely commissioned the Breviary, but its liturgical use clearly points to a member of the Dominican order. 91

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artist; and in the Bute Psalter, the Saint-Omer Psalter and the Ordinary of Saint-Jean, Amiens, he works alone. His relationships with other painters suggest that he was first employed by, and was then himself in charge of, a large enterprise employing several different individuals. Perhaps he also moved from place to place, collaborating each time with whomever was on the spot. Whatever the actual working arrangements were, the geographical associations of the various liturgical and devotional manuscripts, discussed below, show that the patrons lived within a fairly broad area that cuts across both the political boundaries of the counties of Artois, Flanders, and Hainaut, and the eccesiastical boundaries of the dioceses of Amiens, Thérouanne, Tournai, and Cambrai. The work of the Bute Painter can also be linked, through the format of his historiated initials, his use of architectural framing devices, his backgrounds with the three-white-dot motif, and the treatment of his figures and faces, to one of the few named artists of the thirteenth century: “Henri,” whose name, and the date 1285, appear in the Lives of Saints and Richard de Fournival’s Bestiaire d’amour and Réponse au Bestiaire, Paris, BNF, fr 412 (figs. 51, 55, 56), which also includes an ungraded calendar in French, based on the use 96 of St-Bertin at St-Omer, like that of W. 112. It is almost as though the Bute Painter’s style is a take-off of the features that characterize the work of Henri, where the profile figures, curly hair, tree motifs, historiated initial format, all appear similar to those of the Bute Painter but are treated in a less exaggerated, more subtle, manner. To Henri’s hand can be also be attributed, I believe, one of the most important illuminated books of the thirteenth century, the Lives of Christ and the Saints, Paris, BNF, naf 16251, which has a very extensive series of full-page miniatures of the very highest 97 quality (figs. 54, 57). Most of these miniatures are much larger in scale than the historiated initials and small miniatures of Henri’s one signed

‘Henri’ was brought to prominence by Millar in The Parisian Miniaturist Honoré, p. 9, where his colophon was transcribed and reproduced, but the illustrations were neither shown nor discussed. For a comparison with the selection and sequence of saints’ lives in BNF, fr 17229 (containing the Arras Candle Miracle, discussed above) and other vernacular compendia, see Meyer, ‘Notice du ms. Bibl. nat. fr. 6447’, p. 468. 97 Boinet, ‘Extrait des procès-verbaux’; Art and the Courts, no. 12; Bibliothèque nationale: Catalogue des nouvelles acquisitions françaises, p. 168. See now Stones, Le livre d’images de Madame Marie, and, for another view, Bräm, Das Andachtbuch. The comparison is very clear as far as the draughtsmanship is concerned (cf. figs. 54 and 56) but there are significant colouristic differences between the two books. 96

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manuscript, BNF, fr 412, but on f. 52 the Last Judgement image (fig. 54) includes small figures, from which it is apparent that the same artist did 98 both. What Henri seems to be capable of doing is producing exceptionally high quality painting for his full-page devotional-image paintings in BNF, naf 16251, while reserving a more modest mode for the historiated initials and small miniatures in BNF, fr 412, his Lives of the Saints in French and Richard de Fournival manuscript (figs. 51, 56–57). This is also the kind of variation in artistic level that characterises the Bute Painter’s activities. There are further close links between the work of Henri, the Bute Painter, and the Mons Perceval Painter in their use of a pointed-arch framing device: the similarlity between BNF, naf 16251 (fig. 57), Rouen, BM A211 (185) (fig. 61), and Mons 331/206 p. 1 (fig. 27) is particularly striking; and in the use of blue or pink backgrounds with the three white-dot-motif in all three manuscripts, while BNF, fr 412 (fig. 51) has historiated initials with distinctive scroll-terminals and buds enclosing gold balls that are closely similar to the historiated initials in the Bute Painter’s work (figs. 49, 50, 59, 64). But the treatment of figures is sufficiently different, it seems to me, to conclude that the Bute Painter, Henri, and the Mons Perceval Painter are three different individuals. The chronology suggests that Henri, the Bute Painter, and the Mons Perceval Painter were contemporaries; Henri’s dated work, BNF, fr 412, was done in 1285, but we do not know when his career began or ended; the Dominican Breviary, The Hague, KB 76. J. 18, by the Bute Painter, probably dates c. 1277; the Martinus Polonus Chronicle dates after 1277, and the Cambrai Pontifical probably c. 1275, while the Judas Maccabé, BNF, fr 15104, was composed in 1285. The calendar of BNF, fr 786 provides only a general range of dates for the activities of the Mons Perceval Painter; St 99 Louis’ canonization of 1297 is excluded from its calendar, while St Peter Martyr (1253) is included. Neither feast is in BNF, fr. 412 or W. 112. None of the other three manuscripts by the Mons Perceval painter contain any indication of date. If the manner of the Mons Perceval Painter’s participation 98 Several other manuscripts can also be claimed as the work of Henri: see my list in ‘Arthurian Art Since Loomis’, p. 21, n. 2: Brussels, BR 582–9, 1787, 2512; The Hague, KB 74 G 31; Vienna, ÖNB s. n. 12771; see also Le livre d’images cited in the previous note. 99 His feast is an addition in the Tournai Cathedral Missal A 11, so we know this was a feast considered important in Tournai, and therefore its omission should mean that the calendar of BNF, fr. 786 predates its institution; and Peter Martyr (Piere Demelans), canonized in 1253, is in black (29. iv).

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in Ars. 3527, finishing off the illumination at the end of the book, might suggest he was a successor to the Bute Painter, the consistency of his work and the limiting date of before 1297 for BNF, fr 786 make it unlikely that he succeeded the Bute Painter or outlived him by very many years. The Mons Perceval Painter can therefore be shown to have worked in a circle that included an assistant of his own, in the Bern manuscript, as well as other more distinguished artists, of whom his colleague the Bute Painter and 100 his contemporary Henri are but two. About Henri, the absence of mention of clerical or monastic status in his colophon almost certainly means he was a lay craftsman. Nothing suggests otherwise in the case of the Bute Painter or the Mons Perceval Painter. The associations between these three painters and their assistants provide a rare insight into what place the Perceval and its associated manuscripts occupied within a qualitative hierarchy of bookmaking and illustrating. If the four vernacular manuscripts on which the Mons Perceval Painter worked rank, from our aesthetic point of view, rather low in that hierarchy, they nevertheless fill an important role in demonstrating something of the range and scope of collaborative artistic activity in the last quarter of the thirteenth century in Hainaut, southern Flanders, eastern Artois and Amiens. Geographical reference points in the manuscripts indicate a range of places, which are most likely where the clients of these painters lived because those reference points are the regional features of the liturgical use of their devotional books, made, it is assumed, for personal prayer or for formal liturgical use in a specific place: Amiens, metropolitan of its diocese and royal domain from 1185,101 for the Ordinary of SaintJean; Cambrai, metropolitan of the diocese of Cambrai and an episcopal city in the county of Hainaut, a fief of Empire, for the Cambrai Pontifical, probably made for its bishop Enguerrand de Créquy and partly the work of the Bute Painter; Mons, town in the diocese of Cambrai and the county of Hainaut, for Henri’s major product, BNF, naf 16251, whose selection of saints suggests that its patroness was a lay woman living there or close 102 by; St-Omer, town in the county of Artois and the diocese of Thérouanne, 100 Equally significant artistically is the first painter of the Cambrai Pontifical on which the Bute Painter also collaborated. 101 See Ronald Hubscher, Histoire d’Amiens (Toulouse: Privat, 1986), p. 318. 102 The inclusion of miniatures of St. Gertrude of Nivelles, popular throughout Hainaut and Flanders, and St. Waudru, patroness of the house of secular canonesses at Mons, at the end of the miniature sequence, must be highly significant. The Cistercian calendar I do not think is intrinsic to the book, see Stones, Madame Marie. For another

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because of the calendars in W. 112 and BNF, fr 412, the former by the Bute Painter and the Mons Perceval Painter and the latter by Henri, both made for unknown lay patrons who presumably lived in or near St-Omer; and, most important for the Mons Perceval Painter’s activity, Tournai, metropolitan of the diocese of Tournai and a city in the county of Flanders, because of the calendar of BNF, fr 786, made for another anonymous lay patron who presumably lived in or near Tournai. It is of considerable interest that Dees 103 also localized Mons 331/206 to Tournai. As to the clients of the romances and epics: we do not know whether they were clerics or lay people, nor to what level of society they belonged. Princeton, University Library, Garrett 125: Chevalerie de Judas Maccabee, Lancelot, Yvain, Garin de Monglane (figs. 65–71; vol. II, Pl. IVa, VIa). Although a relatively recent discovery, the Princeton manuscript has received a substantial amount of attention. In addition to the studies by Robert McGrath and Leonard Rahilly, a number of other scholars are 104 currently working on its illustrations. A convincing stylistic context was suggested by Robert McGrath, who pointed out the extremely close similarity between the illustrations of Garrett 125 and the Psalter of Amiens in the collection of Guy du Boisrouvray, noting that the comparison was not with other well-known romance manuscripts but rather with a devotional 105 book made for lay use. Two more devotional books illuminated by the same painter may now be added to the group: the Book of Hours of the

view, see Andreas Bräm, Das Andachtsbuch der Marie de Gavre, Paris, Bibl. nationale N.a.fr. 16251. Zur Buchmalerei der sweiten Hälfte des 13. Jahrhunderts in der Diözese Cambrai (Wiesbaden: Reichert, 1993). 103 Dees, Atlas des formes linguistiques, p. 524. 104 McGrath, ‘Newly Discovered’. Rahilly, The Garrett Manuscript; Rushing, The Adventures Beyond the Text, esp. pp. 101–24, and idem, ‘The Adventures of the Lion Knight’; Black ‘The Language of the Illustrations’; Van D’Elden, ‘Specific and Generic Scenes’. I thank Stephanie Van D’Elden who assisted me in identifying the iconography at an early stage of my work on this manuscript. See now Doner, ‘Scribal Whim and Miniature Allocation’ and ead.,’Illuminating Romance’. 105 McGrath ‘Newly Discovered’, p. 592, figs. 13 and 14. Formerly on loan to the Bibliothèque nationale, the Du Boisrouvray Psalter was auctioned at Sotheby’s on 5. xii. 89 as lot 82 and is now in private hands; see also Porcher, Manuscrits à peintures offerts ê la Bibliothèque nationale par le Comte Guy du Boisrouvray, no. 5, pp. 29–32, colour pl. IV and pls. 10–14.

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106

use of Arras in Baltimore, Walters W. 86, and the Psalter-Hours of the use of Amiens in the Free Library, Philadelphia, MS Widener 9, in which 107 a second painter also participated (figs. 73–76). Both were also made for unknown lay patrons, and they are related stylistically to a liturgical book, the Pontifical of Corbie, Amiens, BM 195.108 Three more vernacular manuscripts can now be added to the Princeton artist’s output: Bern, Burgerbibl. 115, Ernoul, Chronique des Croisades and Pseudo-Turpin, Chronique; the opening miniatures in Paris, BNF fr 795, Crusading miscellany, and one miniature in the Gautier de Coinci Miracles de Nostre Dame, Paris, Ars. 3517 (f. 6v); and there is also the Vies des saints, Paris BNF fr 422. The format of the illumination differs among these manuscripts: Garrett 125 has two historiated initials, a format used also for the liturgical divisions in the psalters, hours and pontifical; these show closely similar foliage terminals, scroll-work and cusping (cf. figs. 65, 75, 77, and Randall, fig. 97). In addition, the devotional books all have rectangular full-page miniatures, in one register in W. 86, in two registers in Widener 9 and the Guy du Boisrouvray Psalter, while Garrett 125 has smaller square or rectangular miniatures, occasionally of irregular shape to accommodate horses (fig. 71), set next to champie initials in one of the two text columns, a format also found in the other vernacular manuscripts, BNF fr 422, Bern 115, BNF fr 795 and Ars. 3517. But the figure style in all nine books — characterised by tall swaying figures with curly hair, painted in a palette of dark blue, maroon, grey, set against lavish gold backgrounds — is very closely comparable, suggesting that the work of the same painter is present in all of them. A second artist participated in the illustration of Widener 9 (fig. 76), and in BNF fr 795, but not in the other books. His figures are closer to those of the artists of the Mons Perceval and related manuscripts, without being identical to the work of any of those painters. His hand can however be identified precisely in some eighteen other manuscripts for he was an extraordinarily prolific artist, producing far more books than his collaborator See Randall, Medieval and Renaissance, cat. 47, pp. 113–15; Randall sees three hands: her figs. 96 and 97 show the one that is relevant here. 107 de Ricci, and Wilson, Census of Medieval and Renaissance Manuscripts, II, p. 2117. It was given brief mention in the exhibition catalogue Saints, Scribes and Scholars, p. 7. For the work of the second hand, see below. See now Leaves of Gold, ed. Tannis, pp. 54–56, no. 11. As this was in press, I stumbled upon another book by the Princeton painter, Paris, BNF, fr 422, Vies des pères. 108 I came across this manuscript on the IRHT website, Enluminures. 106

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— to judge by what survives — and two more books are closely related 109 stylistically. I survey his output briefly here. Central points are a cluster of devotional books, including two made for use in Douai, a psalter-hours made for a woman associated with the Collegiate Church of Saint-Amé (Brussels, 110 BR 9391), and the Martyrology and Obituary of the Cistercian nunnery of Notre-Dame-des-Prés (Valenciennes BM 838).111 Other devotional books are a Franciscan psalter for use at Saint-Omer before 1290 (Oxford, Christ Church College 98),112 and a Franciscan book of hours for use at Arras or Soissons (London, BL Add. 17444), a Vie des pères (Paris, BNF fr, 19531), a Legendary (St Petersburg Academy of Sciences FN 403),113 a rare copy 114 of Vincent of Beauvais’ Speculum doctrinale (Bruges, SB 251), the only For a more extensive treatment of this group, which also includes several copies of classical epics in French, of Arthurian romances in prose, of Crusading epics, Brunetto Latini’s Trésor, Miracles of the Virgin and Lives of the Saints, see Stones, The Illustrations of Lancelot, ch. 3. For further discussion, see below. 110 Vitzthum, Die Pariser Miniaturmalerei, p. 136; Gaspar and Lyna, Les principaux manuscrits, pp. 236–39, figs. 49–50; Stones, The Illustrations of Lancelot, pp. 416–17, 518–22; Hamburger, Rothschild Canticles, p. 75, figs. 139, 140. 111 Delmaire, ‘Deux récits versifiés’, 331–51, noting that Valenciennes 838 cannot have been made in the abbacy of Loucharde, 9th abbess (1308–1318), since St Louis, Aug. 25, an original entry, is given as, ‘Anniv. Ludovici regis Francorum’, a sure indication of a date between his death in 1270 and 1298, when the Cistercians adopted his feast; the anniversary of Margaret, Countess of Flanders (9 Feb.), also an original entry, narrows the date to after 1280; she died on 10 Feb., 1280 (Mas Latrie, Trésor de chronologie, col. 1601). The abbess in this period was Marie de Beuri, whose reign began in 1279 and lasted 32 years, according to Gallia Christiana, ed. Sammarthani, III, col. 458. The obit of Marie’s mother is recorded in the ‘seculares’ column on May 23, and Marie’s own name is added in large letters as ‘Marie de Insula, vi. abbatissa huius cenobii’ in the ‘Moniales’ column on 4 Nov. The money for making the book was provided by Marie de Muerchin, whose original obit is recorded in the ‘Seculares’ column on Aug. 17. She has not been identified any further. See Madot and Lemaitre, Répertoire des documents nécrologiques, II, no. 1807, pp. 779–80; and, now, Lachambre-Cordier, ‘Les moniales de Notre-Dame-des-Prés de Douai’ and Stones, Gothic Manuscripts, Part I, vol. 2, Cat. no. III–22. 112 Kitchin, Catalogus codicum manuscriptorum in bibliotheca aedis Christi, pp. 43–44 (attributed to the 14th or 15th c.); Alexander and Temple, Illuminated Manuscripts in Oxford College Libraries, p. 70, no. 702; the attribution is mine. 113 I add the badly damaged Legendary in the former Leningrad State Public Library, MS FN 403 to this group; see I. P. Mokretsova and V. L. Romanova, Les manuscrits enluminés français du XIIIe siècle dans les collections soviétiques, II, 1270–1300 (Moscow: Iskusstvo, 1984). 114 The Bruges manuscript was owned by Ter Doest (O. Cist.); see Vlaamse Kunst op Perkament (Brugge: Gruuthusemuseum, 1981), no. 50, pl. 7, and, I suggest, acquired from Douai through the Cistercian network. See also Stones, “Prolegomena,” p. 304. 109

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Latin work among a cluster of secular texts in French, comprising two copies of Marques and Laurin (Paris, Ars. 3355, with Jules César; and Cambridge, Fitzwilliam Museum McClean 179, with Sept Sages); five Arthurian romances in prose (Le Mans, MM 354, Estoire, fig. 16; Paris, BNF fr 770, Estoire, Merlin, with Prise de Jerusalem and La Fille du comte de Ponthieu; Oxford, Bodl. Digby 223, Agravain, Queste, Mort Artu; London, BL Harley 1629, Prophécies de Merlin; and, not quite as close stylistically, Paris, BNF fr 342, fig 77, written by a female scribe in 1274, containing Agravain, Queste and Mort Artu) and another Crusading compendium (Paris, BNF fr 12203); in addition there are four copies of Brunetto Latini’s Trésor (Brussels, BR 10228; Paris, BNF fr 1110; Città del Vaticano, BAV Vat. lat. 3203; and, less close stylistically, Arras BM 1060).115 Le Mans 354 and BNF fr 342 were both mentioned above for their distinctive multi-compartment opening miniatures. The work of the second artist of Widener 9 is associated with a broader geographical spread and a wider range of types of patrons than is suggested by the books illustrated by its first artist alone. Lay patrons based in or near the cathedral cities of Arras, metropolitan of its diocese and capital of the county of Artois, and Amiens, metropolitan of the neighbouring diocese and seat of the county of Amiénois, can be assumed to have commissioned W. 86 and the Guy du Boisrouvray Psalter; pointers in the books made by the second hand in Widener 9 and his associates suggest that clerical and monastic patrons in Douai must also be included among the patrons to whom these painters and their production team catered. The devotional books for use at Saint-Omer and at Arras or Soissons broaden the geographical range still further. We know nothing about whether Garrett 125 was made for a clerical, monastic, or lay patron: all that can be said is that the related books belonged to a combination of all such patrons. Among the craftspeople associated with the second painter in Widener 9 are a named scribe, Walter de Cayeux, presumably (again in the absence of evidence to the contrary) a layman, copyist of Le Mans 354 and possibly also of BNF, fr 14962; and an anonymous female scribe, copyist of BNF, fr 342, both mentioned above. As with the manuscripts associated with the Mons Perceval, we cannot be sure 115 See A. Stones on the Città e Libro 2002 web site: http://www.florin.ms/beth5. html#stones (2002), and Brigitte Roux, L’iconographie du Livre du Tresor de Brunetto Latini, thèse de doctorat, Université de Genève, 2004 (published as Mondes en miniatures, Geneva, 2009).

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just where the painters were based and whether it was the artist, the patron, or the book, or a combination of the above, which travelled. Paris, BNF, fr 24403: Garin de Monglane, Erec et Enide, Ogier le Danois, Garin de Monglane (figs. 78, 80–84; vol. II, Pl. IIIc); Paris, BNF, fr 375: Apocalypse, Cligés, Erec et Enide, and many other texts (figs. 86, 88; vol. II, Pl. IIe); Paris, BNF, fr 12603: Chevalier aux deux épées, Yvain, Énéas, Brut, Enfances Ogier, Fierabras, Fables of Marie de France, and other texts (figs. 101–04; vol. II, Pl. IIId). These three manuscripts can all be associated with book-production in Arras, and cover a range of possible dates from the last quarter of the thirteenth century to the first quarter of the fourteenth.116 The three square single-column miniatures in the Chrétien sections of BNF, fr. 24403 provide a sparse set of stylistic data (figs. 82–84), but the same hand also did the five single-column miniatures in the Garin de Monglane section of the manuscript (figs. 80–81), and the details of faces, chain mail, and helms can be particularly closely parallelled in the Tristan, Paris, BNF, fr 776 (fig. 87). The Garin/Erec miniatures also offer some similarities with the two styles in the Guiron le Courtois, Paris, BNF, fr 350 (figs. 94, 95, 97), one of which is also found in a large number of devotional books of Arras and in the Queste del saint Graal, Paris, BNF, fr 758 (fig. 85). BNF, fr 24403 and BNF, fr 776 seem to fall between hand 1 of Guiron le Courtois (fig. 94 and 95) and hand 2 (fig. 97), where the sophistication of drapery modelling can be related to that of Arras books of the early fourteenth century discussed below in relation to BNF, fr 12603. In general, the foliage and borders of BNF, fr 776 (fig. 87), with their rectilinear frames, cusped terminals, and sycamore leaves with the points cut into three-part motifs, can be parallelled in Arras breviaries of the end of the thirteenth century, such as the Breviary of St. Vaast, Arras, BM 117 729(639) (fig. 98), probably made before 1297. See now Stones, in Sargent-Baur, Manekine, 1999 for a more extensive list of comparisons. 117 Leroquais, Bréviaires, I, no. 39, pp. 65–66. Also comparable is the Hours of Arras tinged with Paris use in Baltimore, W. 104, on which see Randall, Medieval and Renaissance, cat. no. 55, figs. 114–15. Randall (p. 144) lists other books of hours that belong to this group: BNF, lat 1328, Glazier 59 in the J. Pierpont Morgan Library, Yates Thompson 15 in the British Library, Comites Latentes 144, and Stockholm B 1655–6, the latter discussed, with comparative material, in Nordenfalk, Bokmålningar, no. 13. For Arras see Stones in Manekine and ead., Gothic Manuscripts, Part I, vol. 2, Cat. nos. III–1–18. 116

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Much more fully illustrated is the Ogier le Danois section of the manuscript (fig. 78), which has twelve miniatures by quite another hand, but one that was a contemporary collaborator, because his participation, and the beginning of the Ogier text, are in the work of the Erec scribe. These illuminations are worth mentioning here because they appear to have completely escaped notice in the literature. They are by the painter of the miniatures in the Guillaume d’Orange of 1295, Boulogne, BM 192, and the prose Lancelot BNF, fr 110 (fig. 79), which are associated with the two Missals of Cambrai, Cambrai, MM 153 and 154; and Boulogne, BM 192 can probably be identified with the manuscript that the monks of Saint-Sépulchre, Cambrai, had made for Guillaume de Hainaut, bishop of Cambrai — an important witness to the ownership of an illuminated epic by a high-ranking ecclesiastical patron, and to its commission by monks; but there are also stylistic links with Bonn, LUB 526, written in Amiens in 1286, 118 and the place of production is not certain. Paris, BNF, fr 12603 (figs. 101–04) also has a border with foliage and a historiated initial on its opening folio (fig. 103), illustrating the Chevalier aux deux épées; the interlacing foliage tendrils and the interlace on the bar of the initial suggest that this book is quite a bit later in date than BNF, fr. 24403, BNF, fr 776 and BNF, fr 350; comparable interlace forms reappear (fig. 100) in the Diurnal of the Augustinian canons of Mont-St-Éloi, near Arras, Cambridge, Fitzwilliam Museum, Add. 290, written after 1300, when 119 the Augustinians adopted the feast of St. Louis (25 August). A date in the early fourteenth century for BNF, fr 12603 is also indicated by the use of the border for a string of unfortunately badly rubbed figure groups, also parallelled on some folios of Fitzwilliam Add. 290 (fig. 96). Paris, BNF, fr 375 lacks historiation in its Chrétien texts but is prefaced by a cycle of miniatures of the Apocalypse (fig. 88), which, again, are worth mentioning here because they do not figure in the art-historical literature. They are at first sight quite different from anything else that is known in

118 See Stones, The Illustrations of Lancelot, pp. 223–24 and 454–55, and ead., ‘Sacred and Profane’, pp. 108–10. For Saint-Omer see now Nys and Gil, Saint-Omer gothique, pp. 22–39, 57–76. Middleton, ‘Coloured Capitals’in MSS de Chrétien, pp. 155 n. 11, 159 is the first to notice that the script of the Erec hand continues beyond the opening of Ogier and encompasses the work of the Ogier painter. 119 Wormald and Giles, A Descriptive Catalogue of the Additional Manuscripts in the Fitzwilliam Museum.

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Arras painting of around 1300, chiefly because of the technique — line drawing with colour wash — but also for their figure style, which has more affinities with English manuscripts of c. 1300 or with styles associated with Flanders and Hainaut than with Artois: its closest links are with two other groups of line drawings, but with neither is the comparison close enough to suggest that the hand is the same: one is the line-drawings part of the 121 so-called Rothschild Canticles, Yale, Beinecke Library 404, and the other the Roman de Fauveyn probably made for the marriage in 1328 of Edward III 122 of England and Philippa of Hainaut, Paris, BNF, fr 571, and the hitherto unnoticed Gospel and Epistle Book of Gilles le Muisis, Brussels, BR 63, 123 which is probably by the Fauveyn artist. To him I would also attribute the spectacular Electorium parvum seu Breviculum, Thomas le Myésier’s adaptation of Ramon Lull, Karlsruhe, Badische Landesbibliothek, St. Peter, perg. 92, made for Jeanne de Bourgogne-Artois, daughter of Mahaut d’Artois 124 and wife of Philip V of France (1317–1322). But what makes an Arras association for BNF, fr 375 most likely is the presence of one single figure, on f. 10 (fig. 88), who is clearly linked with main-line Arras production as seen in hand 1 of BNF, fr 350, BNF, fr 758 and several of the books of hours 125 mentioned above (figs. 85, 87, 94).

Despite the mention of 1289 in the colophon to the Roman de Troie section, the manuscript is most likely later, and the date is discussed in MSS de Chrétien by Gregory and Luttrell, Middleton, and by Gasparri, Hasenohr, and Ruby. For Arras manuscripts of the generation earlier, see the discussion of BNF, fr. 12576 supra. 121 See Hamburger, The Rothschild Canticles. Other hands in this manuscript reappear in the Ruskin Hours, J. Paul Getty Museum, Getty Ludwig IX, 3, and are close to Baltimore, Walters W. 90, a book of hours of Saint-Omer/Thérouanne use, among other manuscripts. 122 Michael, ‘A Manuscript Wedding Gift’; Avril and Stirnemann, Manuscrits enluminés d’origine insulaire, no. 187. 123 Van den Gheyn, Catalogue des manuscrits de la Bibliothèque royale de Belgique, I, no. 456–7. Not mentioned in the literature on Gilles le Muisis, and stylistically unlike what is known of the rest of his book patronage, which is dominated by the work of Pierart dou Thielt, on whom see n. 141 below. See now Stones, ‘A Note on Fauveyn.’ 124 Facsimile, ed. Stamm; the commentary on the illuminations is by Hasler, ‘Die Miniaturen des Breviculums’, pp. 33–59. For the patron, see Hasler, p. 37; no mention of these stylistic parallels in Hasler. See now http://orbita.bib.ub.es/llull/ms.asp. Also relevant here is the major hand in London, BL, Sloane 3983, on which see Pattie, Astrology, pp. 28–29 and fig. 7. 125 I thank Patricia Stirnemann for encouraging me to consider more closely the Arras affiliation of this illumination, which has gone unnoticed in the literature. 120

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Another important link between BNF, fr 375, BNF, fr. 12603 and BNF, fr 350 and other Arras books is provided in the pen-flourished initials, which are among the most distinctive of the early fourteenth century (figs. 85–86, 126 90–94, 99, 101–02, 104; vol. II, Pl. IIe, IIId). Two-colour bars in red and blue are left reserved in pattern motifs of animals, fruit and flower motifs, while the in-filling consists of cross-hatched circles enclosing more animals. The pen-flourished initials in BNF, fr 375 (fig. 86) are the least developed, having a square outer pen-flourished frame and clustered leaves, like BNF, fr 748 (fig. 85); while BNF, fr 12603 (figs. 101–02, 104) presents the most fully developed initials, and finds the best parallels for its leaf and animal motifs among the liturgical books of Arras like the Breviary of St-Vaast, Arras 729(639), written before 1297 (fig. 93) and for the animals on its initial bars, the Cambridge Diurnal, Fitzwilliam Add. 290 (figs. 96, 99), written after 1300. The pen-flourished initials in BNF, fr 350 (fig. 94) are similar but smaller, as major breaks in the text are illustrated with miniatures; among other related manuscripts, the most developed is the Seneca, Paris, BNF, lat 15377 (figs. 90–92), which presents a level of sophistication very comparable to that of BNF, fr 12603, even including a human figure among 127 its pen-flourishes (fig. 91). Unfortunately, with the exception of the Ramon Lull in Karlsruhe, which is only tangentially related to the Chrétien books, none of the manuscripts associated with Arras discussed here reveal who their owners were. This is all the more disappointing as these books were most likely made right in the period when important patrons like the countess Mahaut are known to 128 have been buying books — even include a copy of Perceval — in Arras. No copy of Perceval exists among the surviving manuscripts of Chrétien that is of the right date and provenance to fit Mahaut’s purchase; but it is worth noting that, among her property siezed from her château at Hesdin by the confederates of Artois in 1316, were “iii romans de Tristan ... i romans See my discussion of them in Stones, The Minnesota Vincent of Beauvais (cited in n. 59 above). 127 I thank François Avril for kindly drawing this manuscript to my attention. Its figure style (figs. 89, 91) is closest to Walters W. 104, Arras 729 (639) (fig. 98), and Fitzwilliam, Add. 290 (figs. 96, 100). 128 Richard, Une petite-nièce de Saint Louis, p. 100; Mahaut’s accounts of 1308 show that a payment of 7 l. 10 s. par. was made for it and a Histoire de Troyes, so we do not know exactly what she paid for the Perceval alone. She also bought books in Paris and acquired them from other sources as well, see below. 126

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des enfances Ogier.” Could they include the Tristan, BNF, fr 776 and the Enfances Ogier section of BNF, fr 12603? There is nothing to prove the suggestion. Paris, BNF, fr 1376: Florimont, Erec et Enide (figs. 105–06, 108, 110–11, 113; vol. II, Pl. IIIb). In the case of Paris, BNF, fr 1376, one can point to a hitherto unnoticed parallel with a well-known sister book, the Chansonnier Cangé, Paris, BNF, 130 fr 846 (figs. 107, 109, 112, 114). Both were owned in the eighteenth century by Châtre de Cangé and bear his annotations. The books are matched in size, script, decorated capitals, line endings and display script; in the pen-flourishing of their initials and borders; and in the historiated initials, their cusped terminations, and in their figure style. The pity is that there is so little historiation in the Chrétien manuscript: only one initial at the opening of Erec et Enide (fig. 105), and an opening initial (fig. 113) and a smaller historiated initial (fig. 106) for Florimont. But these are enough for a further important and unrecognized parallel to be drawn, with the Breviary of St-Bénigne in Baltimore, Walters W. 109 (figs. 115–17), dated 131 by its Easter Tables to c. 1287. Again, there are close similarities in the script and capitals, with double vertical strokes and decorative infilling, as in the pen-flourished borders and the illuminatied initials, borders, and figures. The Breviary contains an Easter Table for the years 1287–1500, providing a terminus post quem for the group, as well as suggesting a localization in Dijon, which confirms the attribution made for BNF, fr 1376 on the basis 132 of its language. Richard, p. 102. The Perceval she bought need not have been specially made, and could conceivably have been an older manuscript; but nothing in the history of the extant manuscripts links any of them with her. Another case for one of the Tristan manuscripts is Vatican City, BAV, Pal. lat. 1964, illustrated by the painter associated with books sold in Paris by Thomas de Maubeuge; see n. 151 below; or BNF, fr. 334, on which see n. 173 below. For Thomas de Maubeuge see now Rouse and Rouse, Manuscripts and their Makers, II, p. 137. 130 Beck, ed. Les chansonniers des troubadours et des trouvères. 131 Randall, Medieval and Renaissance, no. 48, pp. 115–19, figs. 98, 99. Notably different is the Breviary of Saint-Bénigne in Dijon, BM 113, which also lacks St Louis (canonized 1297), but is much closer in style to products associated with Lorraine and with the patronage of Renaud of Bar, bishop of Metz (1302–1316) and his sister, Marguerite (abbess of SaintMaur de Verdun 1301–1316), and probably dates from at least a decade later than W. 109. See Załuska, Manuscrits enluminés de Dijon, cat. no. 216, pl. M, XC–XCI. 132 Foerster: ‘Bouguignon’ cited by Micha, p. 43. 129

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These stylistic links leave open the question as to who the patron or patrons of the secular books were, and they tell us little about the artist and his production team. A framework can be suggested, however. By the fifteenth century, BNF, fr 1376 belonged to Marie de Luxembourg (c. 1465–1546/7), daughter and heiress of Pierre II de Luxembourg, count of Saint-Pol, and of his wife Marguerite de Savoie; Marie succeded her father as 133 countess of Luxembourg in 1482. One can speculate that Marie inherited BNF, fr 1376 from her mother, and that it had passed down in the family of the counts and dukes of Savoy for several generations. The pair of volumes, BNF, fr 1376 and BNF, fr 846, would have made a splendid wedding gift for Blanche, daughter of Robert II, duke of Burgundy and titular king of Salonica; in 1307 she married Edouard de Savoie, who succeeded his father as count of Savoie in 1323. The dukes of Burgundy were also patrons of the abbey of St-Bénigne; in 1334 Eudes IV instituted the custom of succeeding dukes confirming there the privileges of the town. Under Philippe le Hardi, the Triumphal Entry was completed by the abbot remitting a ring to the 134 new duke, symbolising the espousal of the duke and his duchy. It is not impossible that the gift of a breviary to Saint-Bénigne from the duke or his daughter and son-in-law completed the commemoration of the 1307 wedding; but these suggestions are all speculative. Indeed, Ruffo has put forward a more plausible scenario that better fits the c. 1287 date of W. 109. An item in the private accounts of the Savoie family lists a music book — unfortunately not described in enough detail for it to be firmly identified with BNF fr 846 — purchased for Aymon, younger son of Amédée V of Savoie in 1297.135 Ruffo notes the coincidence of names, considering it more than likely that the choice of a text by another Aymon would have held particular resonance for Aymon de Savoie. At all events, the inclusion of only two romances suggests that the manuscript was

133 Her name, now erased, was deciphered for us by François Avril. For her other books, see Delisle, Cabinet, II, 379 and III, 383, and Middleton’s Index of Former Owners in MSS de Chrétien. 134 Gras, Histoire de Dijon, p. 73. 135 Ruffo, Illustration of Noted Compendia, p. 179, citing Edmunds, ‘The Medieval Library of Savoy’; see also ES II, 192 and now Stones, Gothic Manuscripts, Part II, vol. 1, Cat. no. V–5.

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custom-made to suit a particular patron. No specific inventory reference can be linked with BNF fr 1376, although other documents confirm that unidentified romances were among the possessions of the Savoie family between 1297 and 1391. Paris, BNF, fr 1433: Atre périlleux, Yvain (figs. 118-25; vol. II, Pl. VIc); Paris, BNF, fr 12577: Perceval, First and Second Continuations, Continuation of Manessier (figs. 130-36; vol. II, Pl. IVf, Va, b, c); Paris, BNF, fr 1453: Perceval, First and Second Continuations, Continuation of Manessier (figs. 145-54; vol. II, Pl. Vd). The three remaining illustrated Chrétien manuscripts all date to the early fourteenth century. Paris, BNF, fr 1433 is the most difficult to attribute, partly because the format of its illumination is virtually without parallel, and also because its figure style is extremely hard to match precisely. Broadly speaking, its illumination is a derivative of the Parisian styles between “Honoré” and Pucelle, manifested in such well-known manuscripts as the 136 Vie de saint Denis of 1317 (Paris, BNF, fr 2090-92), lingering on in the Trial of Robert of Artois, Paris, BNF, fr 18437, as late as 1336 and possibly 137 beyond. But the figures in BNF, fr 1433 are generally somewhat less robust than either of these examples, the figures considerably more elongated and attenuated, the faces with sharper, more pointed features, more finely drawn; possibly there are some echos of similarity in the prose Lancelot, Oxford, Bodl., Douce 199 (figs. 126-27), or in the Paris, BNF, fr 22548 (fig. 128), probably both Parisian products; but neither is the work of the same hand and neither provides a really convincing anchor for BNF, fr 1433. The use of full-page miniatures without text on the page (figs. 118, 119, 125) is most unusual in the period, and indeed is rare in French vernacular 138 manuscripts in general (excluding vernacular Lives of the Saints); the 136 For the Vie de saint Denis, see Vitzthum, Die Pariser Miniaturmalerei, pp. 185–86; Lacaze, The Vie de saint Denis Manuscript; Avril in Fastes du Gothique, no. 232. For “Honoré”, whose attributed works include many vernacular manuscripts, particularly of texts by Adenet le Roi, but not a single Chrétien text, see Blum, ‘Maître Honoré und das Breviar Philipps des Schönen’; Millar, Parisian Miniaturist; Kosmer, ‘Somme le Roi’ and eadem, ‘Master Honoré: A Reconsideration’. For Pucelle, see n. 194 below. 137 Fastes du Gothique, no. 266. 138 My list: BNF, fr 1610, Roman de Troie (1264); BNF, fr 2186, Roman de la Poire; BNF, fr 12568 and 12569, Chevalier au Cygne; BNF, fr 146, Roman de Fauvel; the three related Roman d’Alexandre MSS: Berlin, Staatliche Museen, Kupferstichkabinett 78. C. 1; Brussels,

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most obvious parallel for BNF, fr 1433 in the early fourteenth century is the Alexander, Oxford, Bodl., Bodl. 264, written in 1338, its illumination 139 completed in 1344 by Jean de Grise; and the large, almost square, halfpage format, used for some of the illustrations in BNF, fr 1433 (figs. 120, 121, 123-24; vol. II, Pl. VIc) is equally without exact parallel. Some folios in the Tournai Roman de la Rose, Tournai, Bibl. de la Ville 101, written in 140 1330, come closest. The style of writing, with compressed letters but tall ascenders and descenders, is also a curious feature, echoed perhaps most closely, again, in the script of the Tournai Rose (fig. 129). The illumination of the Tournai manuscript may be in part an early work by Pierart dou Thielt, whose career has been summarized most recently by Avril in Fastes 141 du Gothique. BR 11040; London, BL, Harley 4979; and Lambert li Tort’s Roman d’Alexandre, Oxford, Bodl., Bodl. 264, was published in ‘Notes on Three Illuminated Alexander Manuscripts’, p. 202, n. 7. James Marrow has most kindly drawn my attention to the existence, in a private collection, of a fourth Roman d’Alexandre manuscript closely related, but still more fully illustrated than the existing three in Berlin, Brussels, and London. See now † Ross and Stones, ‘Another illustrated manuscript’and Stones, Gothic Manuscripts, Part II, vol. 2, Table of Alexander in prose. For further discussion of the selection of format in secular manuscripts, see my ‘Mise en page’, reprinted in these essays. See also the discussion by Walters, ‘MultiCompartment Opening Miniatures’, in MSS de Chrétien; listed in Pérez-Simon, Alexandre. 139 Facsimile: Lambert li Tort, The Romance of Alexander; beautifully reproduced on the Bodleian Library web site. Numerous painters contributed, including Pierart dou Thielt, on whom see n. 141 below. A link between BNF fr 1433 and Bodl. 264 was made by Vitzthum, pp. 179–83. 140 Reproduced in Fastes du Gothique, no. 249. 141 His chief work is the Queste del saint Graal, Ars. 5218, written, illuminated and bound in 1351 (Fastes du Gothique, no. 300), and three manuscripts of the works of Gilles le Muisis, abbot of Saint-Martin, Tournai: the Annales (Brussels, BR 13076–7), Poésies (BR IV 119), and Tractatus (Courtrai, BM, Fonds Goethals-Vercruysse 135). See d’Haenens, ‘Piérart dou Tielt, enlumineur des œuvres de Gilles le Muisis’. The illumination in BR 13076–7 is in part retouched. In addition to his collaboration on the Tournai Rose (Fastes du Gothique, no. 249) in 1330, Avril has identified Piérart’s hand in the Breviary of Maubeuge, Cambrai, BM 133 (ibid., no. 250); the Evangeliary of Saint-Martin, Tournai, in Washington (Library of Congress, De Ricci 127 [ibid., p. 348]); a Pamphile et Galathee (Brussels, BR 4783 [ibid., p. 348]) and a Book of Hours (Brussels, BR IV 453 [ibid., p. 348]). Further additions to Pierart dou Thielt’s MSS are Brussels, BR 79 and 118, noted in Stones, ‘Prolegomena to a Corpus of Vincent of Beauvais Illustration’, and the Somme le Roi, of 1358, Lille, BM 366 (116), noted (without attribution) in Boespflug, ‘Autour de la traduction picturale du Crédo’, esp. p. 77 and fig. 11; see also Kosmer, Somme le Roi, p. 97. Gilles le Muisis’s patronage also included manuscripts by other painters, such as the Gospel and Epistle Book, Brussels, BR 63, which I attribute to the painter of Fauveyn.

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The miniature on f. 60 in BNF, fr 1433 (fig. 121) is framed in exaggerated three-dimensional architecture that strikes a somewhat incongruous note in relation to the figures: might the architecture have been a later repainting, or done by another hand? The architectural forms on this folio are like those in the Tournai Rose of 1330 (fig. 129), the prose Lancelot, Paris, BNF, fr 122 of 1344, and in the work of the so-called Cambrai Master, named for his participation in the Crucifixion miniature in the Missal 142 of Robert de Coucy, canon of Cambrai. Chavannes-Mazel attributes to 143 him parts of two Miroir historial manuscripts, Leiden, UB, Voss. G. G. 144 Fol. 3A, f. 322v and Paris, Ars. 5080, f. 398, and the Grandes chroniques 145 de France, London, BL, Roy. 16 G. VI; in these examples his threedimensional treatment of architectural forms, with sharply contrasting shadows and highlights, is particularly striking and provides close links with the architecture in BNF, fr 1433, especially that on f. 60, but not with its figure style; and the figure styles of the various hands in BNF, fr 122 are also different. But the Cambrai association is another pointer that suggests a location outside the Parisian mainstream for BNF, fr 1433; and the neighbouring metropolitans of Cambrai and Tournai, linked by the River Escaut, had long had close artistic ties with each other. But none of these parallels is quite the hand of BNF, fr 1433; the manuscript is still something of a stylistic puzzle. Paris, BNF, fr 12577 and Paris, BNF, fr 1453, on the other hand, are more easily recognized as dependent on, and even part of, the styles current in a vast enterprise based in Paris and certainly flourishing from the early 1320s 146 and before to the end of the 1340s and later. The pen-flourished initials Avril in Fastes du Gothique, no. 246: Cambrai, MM 157. Chavannes-Mazel, The ‘Miroir historial’ of Jean le Bon, figs. 21, 22, 46 respectively. 144 Avril in Fastes du Gothique, no. 245. 145 Ibid., and Hedeman, Royal Image, pp. 51–73, 213–21, figs. 47, 48. 146 The group was first recognized by Vitzthum in 1907, Die Pariser Miniaturmalerei, pp. 175–78. For my preliminary study of this enormous group of over 60 manuscripts, see Stones, The Illustrations, ch. 9. See also Avril in Fastes du Gothique, nos. 229–31, 244–46, and Gousset in Stirnemann and Gousset, ‘Marques, mots, pratiques: leur signification et leurs liens dans le travail des enlumineurs’. The most recent study, centred on the Roman de Fauvel, is Avril in The Roman de Fauvel in the edition of Mesire Challou de Pesstain, pp. 42–53. See now also the essays in Fauvel Studies, eds. Bent and Wathey, including my own on the artistic context. For the Paris book trade in this period see Rouse and Rouse, ‘The Book Trade at the University of Paris’, and now eidem, Manuscripts and their Makers, and for BNF fr 12577, see II App. 9B. I thank Richard and Mary Rouse for discussing their unpublished work with me. 142 143

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in Montpellier H 252 suggest it is also Parisian. Most of the manuscripts in this group contain the work of more than one hand — and sometimes, as in BNF, fr 12577, of two or three hands — , which allows the reconstruction of a large network of interrelated — and still disputed — individual artists based in Paris, mostly operating out of the Rue Neuve-Notre-Dame, directly opposite the Cathedral on the Ile de la Cité. Several names can be associated with this group of books, most notably those of the Parisian booksellers Thomas de Maubeuge, Geoffroy de Saint-Léger, and Richard and Jeanne de Montbaston, and the names of several scribes are also preserved. Thomas de Maubeuge supplied books to Mahaut, countess of Artois, in 1313, 1322, and 1328, and from him was commissioned in 1318 by Pierre Honnorez of Neufchâtel in Normandy the Grandes chroniques, Paris, BNF, 147 fr 10132, according to its colophon; other clients included the count of 148 Hainaut in 1323. Thomas appears in 1316 as sworn bookseller to the 149 University of Paris, and again in 1323, and was still alive in 1349-1350, 150 when he sold a Bible moralisée to the future Jean le Bon. The painter who worked for him on the Grandes chroniques can be traced as early as 1303-1304 in the miscellany including Image du Monde and Prophécies de 151 Merlin, Rennes, BM 593, copied in part by Robin Boutemont, and as

147 Richard, Une petite-nièce, ch. 8; Mahaut also bought books, including a Perceval, in Arras, as noted above, and made other acquisitions from a variety of sources. For BNF, fr 10132, see Hedeman, Royal Image, pp. 37–47, figs. 22–25, 28–30; Avril in Fauvel, p. 47, and now Rouse and Rouse, Manuscripts and their Makers, I, pp. 179–80, 184, 186, 187, 213, 214, 216, 248, 373 n 65, 391 n 95, Table 4; II p. 137, App. 7C, 7D, 7E, 7M, ills. 91, 97, 99–100 103–4. See n. 129 above for a Tristan by the painter of the Grandes chroniques. 148 Ménilglaise, ‘État des bijoux et joyaux achetés à Paris pour Marguerite et Jeanne de Hainaut en 1323›, p. 143. He purchased a Roman des Loherains, costing 13 livres parisis=tournois 16 l. 5 s. 149 Denifle and Chatelain, Cartularium universitatis parisiensis II, i, pp. 179–80, 189, 191 and Delalain, Étude sur le libraire parisien, pp. 13, 16, 24; Avril in Fauvel, p. 47; Rouse and Rouse, ‘Book Trade’, pp. 53–54. 150 Delisle, Librairie de Charles V, I, pp. 325–26, 333, cited by Avril in Fauvel, p. 47, n. 41. 151 Catalogue général, 24 (1894); Stones, The Illustrations of Lancelot, p. 277 (but not at that time linked with BNF fr 10132). See now Rouse and Rouse, Manuscripts and their Makers, I, pp. 185, 372 n 88; II p. 128, App. 1E, 7F, 7G, noting the manuscript’s spelling of the scribe’s name as Boutemont not Boutremont as in the Catalogue général. See also Cassagnes-Brouquet, L’image du monde. It may have belonged to Clémence de Hongrie because it includes the rare Almanach aux juifs (ff. 41v–43) of which her inventory lists a copy (Douët d’Arcq, ‘Inventaire après décès’; Delisle, Cabinet des manuscrits, I, 11–12).

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late as 1339 in the Roman de Renart, Oxford, Bodl., Douce 360. This artist collaborated with other painters, most notably on the Bible historiale, 153 154 Morgan M. 322-323, the Estoire and Merlin, BNF, fr 9123 (fig. 143), and the fragmentary Grandes chroniques, Castres, Musée Goya (no shelf 155 number). The name of Geoffroy de Saint-Léger appears on several folios in the 156 Bible, Paris, Bibl. Sainte-Geneviève 22; he has been identified by a man of the same name who was admitted as certified bookseller to the University of 157 Paris in 1316; in 1332 he sold a copy of Vincent of Beauvais’s Speculum 158 historiale to Messire Gérard de Montaigu, lawyer to the king. The painter of Ste-Geneviève 22, perhaps Geoffroy de Saint-Léger himself, was one of the most prolific artists of the second quarter of the fourteenth century and is often called the ‘Fauvel Master’ because his rather sloppy painting recalls, at a mass-produced level, the style and technique of the very fine tinted drawings 159 in the Roman de Fauvel, Paris, BNF, fr 146. As well as participating in the illumination of BNF, fr 9123 (fig. 143), Morgan M. 322-323 and the Castres manuscript with the painter who worked for Thomas de Maubeuge, he did a very large number of manuscripts on his own; he also collaborated with still 160 other painters, as in the Lives of Saints in Brussels, BR 9225, 9229-30, and in The Hague, KB 71 A 23 and Brussels, BR 9245 (fig. 155), discussed below, where he collaborated with the painter of the Chrétien manuscript, BNF, fr 1453; and he had another collaborator in addition. 161 Richard de Montbaston took the bookseller’s oath only in 1338; he is mentioned as ‘libraire’ in the colophon to the Lives of Saints, BNF, fr 241 (fig. 141), in 1348; his wife Jeanne de Montbaston is documented as swearing 152

p. 283.

Vitzthum, Die Pariser Miniaturmalerei, p. 176; Stones, The Illustrations of Lancelot,

Stones, The Illustrations of Lancelot, p. 283. Vitzthum, Die Pariser Miniaturmalerei, p. 176; Stones, The Illustrations of Lancelot, p. 284; Avril in Fauvel, p. 46. 155 Avril in Fastes du Gothique, no. 244 and Fauvel, p. 46; Hedemann, Royal Image, pp. 74, 82–91, figs. 26–27, 68. 156 Berger, La Bible française, pp. 288, 376–77; Boinet, ‘Les manuscrits à peintures de la Bibliothèque Sainte-Geneviève’, pp. 74–75; Avril in Fauvel, p. 47. 157 Denifle and Chatelain, Cartularium, II, i, pp. 188–92. 158 Avril in Fauvel, p. 47, n. 44. 159 Facsimile ed. by Roesner, Regalado, Avril. 160 Discussed in Smeyers and Cardon, ‘Brabant of Parijs?’. 161 Denifle and Chatelain, Cartularium, II, i, p. 189, n. 153 154

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the university bookseller’s oath as late as 1353, where she is mentioned as 162 ‘illuminatrix et libraria’. This designation has given rise to the notion that Richard might also have been an illuminator himself, and have done the painting in BNF, fr 241. If so, then he was possibly also the painter who collaborated with Geoffroy de Saint-Léger and the Thomas de Maubeuge painter on Morgan M. 322-323 (fig. 140); and the one who worked with Geoffroy de Saint-Léger on a large number of other manuscripts including 163 Paris, BNF, fr 22495, written in 1337 (fig. 142), and Munich, Bayerische Staatsbibliothek, clm 10177 (figs. 138-39; Geoffroy de Saint-Léger’s work 164 is fig. 137); and who also seems to have occasionally worked alone (fig. 144). Assuming Richard de Montbaston really was an illuminator (for which there is no hard evidence, not a single manuscript carries his name, nor that of his wife), it would be reasonable to suppose that he also collaborated with Jeanne de Montbaston, though her work is not documented in any surviving manuscript; the nature and extent of that collaboration, as well as 165 their collaboration with others, has yet to be fully clarified. The place of BNF, fr 12577 in all this is not easy to establish, because these illuminations stand a little to the side of the mainstream associated with the production teams working for (and possibly identified with) Thomas de Maubeuge, Geoffroy de Saint-Léger, and Richard de Montbaston, and the links are complicated by the presence of the work of three hands in BNF, fr 12577. The painter of BNF, fr 1453, on the other hand, as noted above, stands out clearly as an anonymous but prolific collaborator within this Parisian enterprise. The formats and the styles of the illumination in both manuscripts certainly indicate that these painters were associates of the mainline craftsmen who worked for these book-sellers; and they take their places among a huge range of similar kinds of secular books, among which devotional prayer books are this time conspicuous in their absence. In BNF, fr 12577 the most striking feature that links the book with the Parisian production scene outlined above is the distinctive treatment of its

Denifle and Chatelain, Cartularium, II, i, p. 658. Vitzthum, Die Pariser Miniaturmalerei, p. 176; Stones, The Illustrations of Lancelot, p. 284; Avril in Fauvel, p. 46. 164 Vitzthum, Die Pariser Miniaturmalerei, p. 39, n. 1, wrongly grouped; Stones, The Illustrations of Lancelot, p. 285. 165 Those currently working on the question are Marie-Thérèse Gousset and Mary and Richard Rouse. See now Stones, ‘Fauvel’. 162 163

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opening page (fig. 130), where there is a large multi-compartment opening miniature containing more than one scene (here the miniature is divided horizontally in two; often three, four, or more subdivisions are found), surrounded by a foliate border enclosing roundels with portrait busts, in this 166 case busts of knights. This is a formula primarily associated with the work of these painters and their associates, and is a clear indication that BNF, fr 12577 is in some way connected with them. It is likely that BNF, fr 1453 also had this kind of opening page, as Keith Busby has calculated on the basis of the missing text that 42 lines over two columns would have been available, ample space for a large multi-compartment miniature of the type 167 that is characteristic of the group; but the existence of a border with busts of knights cannot be proven as it would have occupied the margins and there is no offset. The rest of the illumination in BNF, fr 12577 consists of miniatures in one or two text columns, with diaper backgrounds, patterned frames with fully developed ivy or sycamore leaves on the corners, quite comparable with the layout and decoration of work by the painters of the Thomas de Maubeuge, Geoffroy de Saint-Léger and the Richard de Montbaston books (plain frames in the work of the third hand, a feature that can also be parallelled in the books sold by these dealers), and there is a general similarity in the treatment of architecture and landscape elements. But, The motif is widespread: see the Roman de la Rose, in the Walters, W. 143 (Randall, Medieval and Renaissance, no. 65, fig. 131). Randall cites other Rose manuscripts with comparable opening pages: Paris, BNF, fr 24388; Geneva, Bibl. Cantonale 178; The Hague, KB 79 B 40; Morgan, M.503 and the Grey Collection, Cape Town; several of these could be attributed to Richard and/or Jeanne de Montbaston, as could the Busch Collection Rose (fig. 144), BNF, fr 15213, Carpentras, BM 403, and Vat. Ross. 457, which also have similar opening pages. The Carpentras page has portraits of popes, bishops, kings, not knights, but is repainted. The Tristan in Los Angeles, J. Paul Getty Museum, Ludwig XV, 5, has animals in its medallions; the miniature is repainted but the medallions are original; Vat. Ross. 457 has repainted figures, some crowned. The feature is also characteristic of manuscripts illuminated in the Geoffroy de Saint-Léger style, such as BNF, fr 60, BNF, fr 105, BNF, fr 9123, BNF, fr 22495, Ars. 3481; it reappears, but with formal differences, in BNF, fr 24209 (barbed quatrefoils), and BNF, fr 1565 (cusped medallions), the Bible and Saints’ Lives like M. 322–3 (fig. 140) and BR 9245 omit the medallions and the knights. These are all also clearly Parisian products if still later in date. For an analysis of opening pages in Tristan manuscripts, see Baumgartner, ‘La première page dans les manuscrits du Tristan en prose’. See also Walters,’Multi-Compartment Opening Miniatures’. 167 See Busby, ‘Illustrated Manuscripts of Chrétien’s Perceval’ and the Catalogue of Manuscripts, in MSS de Chrétien. 166

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except on the opening page, the multi-column miniatures in BNF, fr 12577 are always subdivided by a vertical divider, as though the model had singlecolumn miniatures only. This divider is a feature not characteristic of the other manuscripts listed above. It is best parallelled in another book that lies somewhat outside the mainstream, though sharing many features with 168 the books discussed above: BL, Royal 19 D. I. The figure style of BNF, fr 12577 evokes most directly that of the figures in Richard de Montbaston’s books (fig. 141; cf. also attributed works, figs. 138, 139, 140, 142, 144), but it is here that the differences between the three participants in BNF, fr 12577 are most apparent, and the work of the first of the three, who did the first 13 miniatures (figs. 130, 131; vol. II, Pl. Va, b), is the one that comes closest to figures associated with Richard de Montbaston.169 The faces of the second painter of BNF, fr 12577, in the next 31 miniatures (figs. 132-34; vol. II, Pl. IVf ), are related, but hard to match exactly. Distinctive is the ‘young man’ facial type with prominent and symmetrically curling hair, similar to what the first painter does but more exaggerated; I have not found the same hand elsewhere. The third painter, whose work is confined to the last 8 miniatures (figs. 135-36; vol. II, Pl. Vc), displays a fluidity of form and a lightness of line that clearly distinguishes his work both from his collaborators and from the Montbaston books; but he is again difficult to trace precisely in other manuscripts. Particularly noteworthy is his use of heraldry: Perceval is shown with surcoat, housing, and shield or (yellow ochre) semé of martlets arg (white). The use of metal on metal here means that the arms cannot be located in contemporary heraldry and is perhaps meant to evoke, by tincture analogy, the arms of Jerusalem, although that charge is of course a cross, not birds; possibly the martlet charge may also allude to a particular patron, 170 whose identity the tinctures render elusive. See Ross, ‘Methods of Book-Production’. Rouse and Rouse suggest the first artist of BNF fr 12577 is to be detected in the Getty Tristan, Los Angeles, J. Paul Getty Museum, Ludwig XV. 5, on f. 306v in quire 39 and in quire 40 (Rouse and Rouse, Manuscripts and their Makers, I 291 n. 105, II App. 9A). But there are only two miniatures in this section, and they have the diaphragm frames found generally in the rest of the Tristan, for which there are no parallels in BNF fr 12577. The figure style however is indeed quite similar to the figures on Ludwig XV 5, f. 306v; the one miniature in quire 40, a battle scene, is harder to parallel, and three other painters were responsible for the rest of the Tristan illustrations. For more on the Getty Tristan see now my ‘Artistic Context of Tristan manuscripts’, reprinted in these essays. 170 The ‘bird’ entries in Léon Jéquier, “Tableaux héraldiques de dix-neuf armoriaux du Moyen Âge,” Cahiers héraldiques, 1 (n. d.), 130–33, not surprisingly offer nothing that has 168 169

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Although the opening miniature is missing, the illumination in BNF, fr 1453 can be more readily parallelled in Parisian painting of the early fourteenth century (figs. 145–54; vol. II, Pl. Vd). The remaining pictures consist entirely of miniatures in a single column of text, accompanied by borders which frequently terminate in a hybrid figure. They are painted by a single artist, whose activities may well antedate those of the painters of BNF, fr 12577, for he first appears as an assistant in the Bible written in 1317 by the Parisian cleric Jean de Papeleu, Paris, Ars. 5059; he also appears in the 171 capacity of an assistant in the Bible historiale, The Hague, KB 71 A 23. In the Hague manuscript he is assistant to the Fauvel Master (Geoffroi de Saint-Léger?), with whom he collaborated again in Brussels, BR 9245, Sept Sages (fig. 155) and in the Brussels Lives of the Saints, BR 9225 and 922930 mentioned above. Otherwise his artistic personality has received much less attention than has the work of the painters associated with the three book-sellers discussed above, although his output was no less prolific. The difficulty is that no name has so far been associated with him and so his fate has been that of relative obscurity: the ‘Master of BNF, fr 1453’ will do for 172 present purposes. He was also responsible, on his own, for the illustration of a large number of other vernacular texts, including Paris, BNF, fr 334, 173 174 Tristan (fig. 157), Paris, BNF, fr 1456, Cléomadès (fig. 159), BNF, fr 175 176 778, Berthe aux grands pieds ; BL, Royal 20 D. XI, Girart de Viane ; Paris, 177 BNF, fr 2634, Guillaume de Tyr’s Histoire de la guerre sainte (fig. 158), St.

the same tinctures; cf., for instance, ‘Touchez, chevaliers de bon los / Le ot vermeille a jaunes merlos’ in The Siege of Caerlaverock, vv. 339–40, ed. Brault, Eight Thirteenth-Century Rolls of Arms, p. 109. But similar bird charges, if with different tinctures, occur among the (fictitious) heraldry in the related manuscripts, e.g., BNF, fr 22495, f. 175. 171 For the Papeleu Bible, see Vitzthum, Die Pariser Miniaturmalerei, p. 170, 173–74; Stones, The Illustrations of Lancelot, pp. 280–82; Diamond Udovitch, The Papeleu Bible, and Avril in Fastes du Gothique, no. 229; for the Hague Bible historiale, see Chavannes-Mazel, The Miroir historial, esp. pp. 31–33. 172 See Stones, The Illustrations of Lancelot, p. 286, painter 4; much more can now be attributed to him, see Stones, ‘Fauvel’. BNF fr 1453 is not mentioned in Rouse and Rouse, Manuscripts and their Makers. 173 Vitzthum, Die Pariser Miniaturmalerei, p. 175; Stones, The Illustrations of Lancelot, p. 286. 174 Vitzthum, Die Pariser Miniaturmalerei, p. 171; Stones, The Illustrations, p. 280. 175 Stones, The Illustrations of Lancelot, p. 281. 176 Stones, The Illustrations of Lancelot, p. 211. 177 Stones, The Illustrations of Lancelot, p. 281.

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178

179

Petersburg, Fr. F. v. XV, 5, Estoire (fig. 156), and BR 9234, Justinian. A further anchor in Paris for his activities is provided by his illustrations to the amusing feminist (or anti-feminist?) spoof by Pierre Gentien, the Tournoi 180 as dames de Paris, Vatican, BAV, Reg. lat. 1522 (fig. 160). The clientèle of these book-makers and distributors included Parisian-based members of the royal family and their entourage as well as provincial nobility: Pierre Honnorez de Neufchâtel, Guillaume Flote, Chancellor of France, and Messire Gérard de Montaigu, but so far no specific patron can be attached 181 to BNF, fr 12577 or BNF, fr 1453. Relative Quality in the Illumination of Chrétien Manuscripts. From the earliest illuminated Chrétien manuscripts made in the northern and eastern provinces to the latest, produced in Paris, the question of relative quality and its meaning is one that has surfaced with some frequency. De Winter has indirectly raised the issue in a related context by using the designation “style Graal” to embrace a large number of (stylistically rather disparate) illuminated manuscripts of vernacular texts, including several copies of the Lancelot-Graal, that were made in northern France, Flanders, and Hainaut in the last quarter of the thirteenth and the early fourteenth 182 centuries, while Camille has seen a definite connection between the Stones, The Illustrations of Lancelot, pp. 280, 290. Stones, The Illustrations of Lancelot, p. 281. 180 Text ed. Pelaez, ‘Le Tournoiement des dames de Paris’; Långfors, ‹Le Tournoiement des dames de Paris’; Adam-Even, ‘Le roman as dames de Paris’. 181 Avril’s list of patrons of Fauvel-related manuscripts also includes Louis I, duc de Bourbon and his wife Marie de Hainaut (Milan, Ambrosiana, H 106 sup., Somme le Roi); Rouen, BM 1044, Ovide moralisé, probably intended for Clémence of Hungary, second wife of Louis X; BNF, fr 574, Image du Monde, owned by Guillaume Flote, Chancellor of France between 1339 and 1348; see Fauvel, p. 47; and the Breton Hervé de Léon was an early owner of Paris, Ste-Geneviève 22, see Fastes du Gothique, no. 244. The Norman origins of Pierre Honnorez de Neufchâtel are particularly interesting in view of Dees’s attribution of BNF, fr 1453 to ‘Eure, coëff. 89’ (Les formes ... littéraires, p. 520, although it should also be noted that Hilka, Der Percevalroman, p. vi; Micha, La tradition manuscrite, pp. 44–45; and Roach, The Continuations, pp. xxvi–xxvii, preferred ‘francien’ and the rubrics point to the Oise, as indicated by van Mulken; for BNF, fr 12577, a patron outside the metropolis is also suggested by Dees’s attribution to ‘Val d’Oise, coëff. 87’ (p. 527; again, Hilka, p. vi, and Micha, pp. 47–49, both preferred ‘francien’). 182 De Winter, La Bibliothèque, pp. 76–80. 178 179

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language of the text and the level of the illumination in English early fourteenth-century manuscripts, using the term ‘vernacular’, to refer to poor quality illumination in texts written in the English or Anglo-Norman rather 183 than in Latin; and Sandler has extended the use of the term ‘vernacular’ to include poor quality illumination in English devotional books with texts 184 in Latin. Before the time of Chaucer, manuscripts of texts in English and Anglo-Norman were indeed relatively few in number and generally of meagre artistic interest compared with the fine quality painting found in biblical and 185 devotional books; where high-quality secular illumination does occur, as, exceptionally, in the margins of the Taymouth Hours (London, BL, Yates Thompson 4713), it would seem to be the devotional context that most 186 likely determined the artistic level. But France and Flanders, like Italy, Spain and the Empire, are cultures where illuminated texts in vernacular languages were produced in far greater numbers than in England, and where the choice of a particular qualitative level in painting would seem to have been governed by a complex network of factors among which the language of the text was but one of many dimensions, 187 and not necessarily the decisive one. The number of illustrations, the type

Camille, ‘Visualising in the Vernacular’ and id., ‘The Language of Images in Medieval England’, esp. 34. 184 Sandler, Gothic Manuscripts, 1285–1385, esp. p. 49. 185 The most important English literary compendium of the thirteenth and early fourteenth centuries is the Auchinleck manuscript, Edinburgh, NLS, Adv. 19. 2. 1, edited in facsimile by Pearsall and Cunningham. Many illuminations once in the manuscript have been excised; those that remain are stylistically undistinguished. 186 Brownrigg, ‘The Taymouth Hours and the Romance of Beves of Hampton’. Beves is one of the texts in the Auchinleck manuscript, on which see the previous footnote. 187 In Germany, the Berlin MS of Veldeke’s Eneit (Berlin, Deutsche Staatsbibl., Germ. fol. 282) and the Carmina Burana (Munich, Staatsbibl. Clm. 4660) are late twelfth and early thirteenth-century secular manuscripts (in German and Latin) that attest to the existence of high quality painting in a non-religious and non-devotional context. See, respectively, the facsimiles by Boeckler and Bischoff. For German secular illumination in general see Frühmorgen-Voss, Text und Illustration im Mittelalter, continued by Ott; Green, Medieval Listening and Reading; Curschmann, ‘Wort-Schrift-Bild’; id., Wort-Bild-Text. For the period c. 1300, see the excellent introduction by Beer to the facsimile of Rudolf von Ems, Weltchronik and Der Stricker, Karl der Grosse, St. Gall, Vadiana MS 302. The question of relative quality is discussed below. In Spain and Italy, the finest quality painting also appears in manuscripts of non-devotional, secular, texts, as witnessed, for instance, by the Cantigas and other works made for Alfonso the Wise, and by the Arthurian and Dante manuscripts. 183

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of illustrative format selected, the quantity of gold, and the relative costs associated with those choices must also have been significant factors, about 188 which we know little in relation to the books considered here. To label the illustration of Chrétien manuscripts as ‘vernacular’ would, I think, be an over-simplification, as the qualitative level of the illumination in those manuscripts, and the kinds of stylistic associations that surround them, vary very considerably from book to book and context to context. There, as elsewhere in French illumination, the same illuminators were responsible for illuminating both sacred and secular manuscripts, liturgical and devotional 189 texts in Latin and literary works in the vernacular as well. The Princeton manuscript, the Mons manuscript, the Cangé book, and the Arras manuscripts are cases where other works by the same artists can be identified, and where the artistic products include both vernacular texts and liturgical or devotional books of comparable artistic level. The artist of the Princeton manuscript also worked in a collaborative situation, with a lesser, but no less prolific, collaborator. The Mons manuscript is a product of similar circumstances, as its artist can be identified again in other books both secular and devotional, but he can also be identified in not just one but several different kinds of collaborative activity, in which he is sometimes the assistant and sometimes the master, and where his collaborators are sometimes lesser painters but at other times better artists than he. The Master of BNF, fr 1453 is also a prolific painter working in association with a large network of craftsmen, directed by a set of bookseller-entrepreneurs; among these artists the painters of BNF, fr 12577 also belong, if more tangentially. In early fourteenth-century Paris, the Chrétien books seem to fall within clearly defined artistic level, one that is consistently lower than what the Master of Fauvel (or his manager or patron) selected for Le Roman de Fauvel itself, and less than what its main painter selected for the Bible of Jean de Papeleu. The Fauvel Master may have been able to vary the level of quality of

For a cost analysis in relation to Lancelot-Graal manuscripts see my ‘Mise en page’, reprinted in these essays. 189 For other instances of the same artists making sacred and secular books, see Stones, The Illustrations of Lancelot, ‘The Earliest’, and ‘Sacred and Profane’; and for the same painters illuminating books in Latin, French or Flemish, see my, ‘Another Short Note’. Another group of books in which similar questions of relative quality arise are those associated with the Vie de sainte Benoîte of Origny, discussed in Stones, ‘L’atelier artistique de la Vie de sainte Benoîte d’Origny’. See now Gardill, Sancta Benedicata Missionarin, Märtyrin, Patronin. 188

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his output according to the type of book required, which no doubt depended at least in part on the size of the patron’s purse; whereas, on the other hand, the output of Pucelle and his collaborators does not seem to have included 190 this type of book at all. If we have been able to suggest a cultural context for the production of many Chrétien manuscripts by reconstructing to some degree the output of the same artists and their associates, our knowledge about who the original patrons of the extant manuscripts were, and what their purpose was, is still extremely slender. We can show how the Chrétien manuscripts take their place beside a huge range of related illustrated texts of epic, romance, and song: Garin de Monglane, Guiron le Courtois, La Chevalerie Judas Maccabé, the Roman d’Alexandre, Lancelot, Tristan, the Chansonnier Cangé, the Histoire de la guerre sainte, and many others, together with devotional or liturgical books, as well as Latin works of history or law. One can speculate as to whether they were commissioned and used with similar or different purposes in mind, whether to satisfy in some measure a desire, brought into focus 191 by the Crusades, for tales of heroism and a secular or sacred salvation; as 192 models or as anti-models; for adults or children, or both. About Chrétien’s medieval audience we can say little; it certainly included members of the aristocratic laity, beginning, as Stirnemann has shown, with the family of the Counts of Flanders,193 and ending with royal ownership of the Sala version of Yvain, analysed by Burin.194 If actual patrons are less to be identified for the intervening period, it can at least be shown that closely related books were owned by the religious and secular clergy as well as members of the administrative and bourgeois classes. It is tempting to assume, from the On Jean Pucelle, see Morand, Jean Pucelle, the summary in Avril, Manuscript Painting at the Court of France, pp. 14–20; id., in Fastes du Gothique, nos. 239–40; see now Pyun and Russakoff, eds. Jean Pucelle: Innovation and Collaboration. 191 Discussed by Beer in relation to the juxtaposition of Der Stricker’s Karl der Grosse with Rudolf von Ems’s Weltchronik in Vadiana 302; see ‘Die Buchkunst der HS 302 der Vadiana’, pp. 83–84. 192 The reference in the inventory of Louis de Male, count of Flanders, to a ‘roumant de Merlin que monseigneur donna ou envoya en warde à la demiselle qui garde lez enffans’, at the château de Gosnay in 1384, no doubt has wide implications about the purpose and function of a large category of books that could well have included Chrétien texts. See Prost, Inventaires, mobiliers et extraits des comptes, II, no. 1006, cited by de Winter, La Bibliothèque, p. 168. 193 See Stirnemann, ‘Manerius style’, in MSS de Chrétien. 194 See Burin, ‘Sala’, in MSS de Chrétien. 190

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sometimes relatively inferior artistic level of Chrétien illustrations, that the major patrons were members of the bourgeoisie, who, in Tournai at least, are known to have owned vernacular books in the early years of the fourteenth 195 century; among the surviving manuscripts of Chrétien, however, it is only in the case of BNF, fr 12576 that such a notion is anything more than speculation.

De la Grange, ‘Choix de testaments tournaisiens’, p. 38, cited in Stones, ‘Another Short Note’, p. 192, n. 38. 195

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Subject List for Images on pages 1088–1137 Montpellier, BI, Sect. Méd. H 249, Chrétien de Troyes, Perceval and Continuations 1. f. 1: Perceval riding, dressed as a ‘Galois’ and holding three javelins 2. f. 2: A king addressing four standing figures 3. f. 5v: Perceval receives the maiden’s ring 4. f. 6v: Perceval, Arthur, and two courtiers at table 5. f. 8: Perceval kills the Chevalier Vermeil (holding vesssel) in mounted combat with lances 6. f. 9v: Perceval on horseback with Gornemant de Gohort 7. f. 11v: Perceval rides away from Gornemant’s castle 8. f. 150: First Continuation: Guerrehés climbs headfirst off the battlements into the garden 9. f. 170v: Second Continuation: Perceval returns on horseback to Biaurepaire 10. Paris, BNF, fr. 12580, Queste del saint Graal, f. 152: the damsel addresses King Athur and his knights at table 11. Lyon, BM, Palais des Arts 29, Guillaume de Tyr, Histoire de la guerre sainte, f. 297: attack on religious establishments 12. Cambridge, St. John’s College, B. 9, La Vie de saint Guillaume, f. 55: King Guillaume and his queen 13. Copenhagen, KB, Thott 7. 2, Bible en français, f. 246v: Joel hears the Voice of the Lord 14. London, BL, Add. 17868, Psalter, f. 143: Psalm 109, Trinity 15. Paris, BNF, fr. 12576, Chrétien de Troyes, Perceval, f. 1 Perceval meets knights, arrives at Arthur’s court, kills the Chevalier Vermeil 16. Le Mans, MM Louis Aragon 354, L’Estoire del saint Graal, f. 1: the hermitauthor receives the book from Christ, he meets the beast and child, Josephé on his deathbed entrusts the Grail to Alain 17. Paris, BNF, fr. 22928, La nativité nostre dame, f. 3: scenes of the infancy of the Virgin 18. Paris, BNF, fr. 12576, Chrétien de Troyes, Perceval, f. 25: Perceval rides up to his hermit uncle 19. f. 26: Gauvain rides out from Escavalon 20. Continuation of Gerbert de Montreuil, f. 218: The Valet a la Cote Maltaillie rides up to Arthur’s table 21. f. 261: Perceval kneels before the maiden holding the Grail towards which an angel reaches down from heaven; a youth holds a flaming candle 22. Renclus de Moiliens, Le Roman de Carité, f. 275v: Last Judgement 23. Rouen, BM 1050 (U12), Jean de Thuin, Le Roman de Jules César, f. 49v Caesar’s

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and Pompey’s armies advance on land and sea 24. New Haven, Yale University, Beinecke Library, 229, Mort Artu, f. 313: Three men tend the wounded Gauvain 25. Paris, Ars. 3516, Le jongleur de Nostre Dame, f. 127: Jongleur preforming before a statue of the Virgin and Child 26. Paris, BNF, fr. 17229, De la chandele d’Arras, f. 352: Virgin Mary holding candle before a group of jongleurs 27. Mons, BU 331/206, Elucidation, p. 1, Perceval rides up to Arthur’s table 28. Bliocadran, p. 6: A knight on horseback converses with someone in a doorway 29. Perceval, p. 30: Gornemant girds on Perceval’s sword 30. p. 57: Perceval sets out to fight Orgueilleux de la Lande 31. p. 86: Perceval meets the penitents 32. p. 103: Gauvain sits on the Lit de la Merveille 33. First Continuation, p. 135: Gauvain rides out 34. Continuation of Manessier, p. 378: Perceval sits with the Fisher King 35. First Continuation, p. 151: Alardin presents Carados, Guignier and Cador to his sister, the Pucelle du Pavillon 36. Continuation of Manessier, p. 389: Foot combat between Sagremor and the Robber Knight 37. p. 434: The Devil as a black horse approaches Perceval 38. p. 452: Aridés kneels and surrenders to Arthur 39. p. 474: An angel shows the Grail to Perceval and Hector 40. Paris, BNF, fr. 786, Alexandre de Paris, Roman d’Alexandre, f. 81: Mourners at Alexander’s bier 41. London, BL, Egerton 630, Gregory the Great, Registrum, f. 7v penflourished border 42. Bern, Burgerbibl. 296, La chevalerie Vivien, f. 9v: Vivien receives the blow of knighthood 43. La prise d’Orange, f. 3v: Surrender of Orange 44. Aliscans, f. 54v: Guiborc knights her brother Renouart; the army sets out for Aliscans 45. Paris, Ars. 3527, Miscellany, f. 185: Christ led from the Garden of Gethsemane 46. f. 35v, The Devil as a creature approaches a hermit 47. f. 197v, Noli me tangere 48. Baltimore, Walters W 39, Book of Hours, Use of Saint-Pierre, Lille, f. 11: October: man knocking down acorns for pigs 49. Baltimore, Walters W 112, Psalter, north-east France, f. 103: Psalm 68, King David in waters, blessed by God 50. Paris, BNF, fr. 15104, Pierre du Riés, La noble chevalerie de Judas Machabé et de ses nobles freres, f. 1: A knight on horseback wielding sword and buckler 51. Paris, BNF, fr. 412, Vies de saints, f. 91: Martyrdom of St Ypolite 52. Paris, BNF, fr. 15104, Pierre du Riés, La noble chevalerie de Judas Machabé et de

1084 ses nobles freres, f. 7v: A messenger sent to Judea 53. f. 10: a lion approaches Mattathias and his men 54. Paris, BNF, naf 16251, Livre d’images de Madame Marie, f. 52: Last Judgement 55. Paris, BNF, fr. 412, Vies de saints, f. 219: St Julian of Le Mans 56. f. 174v: St Katherine before the Doctors 57. Paris, BNF, naf 16251, Livre d’images de Madame Marie, f. 90v: St Nicholas of Bari, miracle of dowry 58. Toledo, AC, 56.19, Pontifical of Cambrai, f. 100: Bishop consecrates a chuch, inscribing the alphabet in Latin and Greek 59. Los Angeles, J. Paul Getty Museum, MS 46 (92.92), Bute Psalter, f. 52v: Psalm 38, King David pointing to mouth and to a path 60. Rouen, BM, A211 (185), Bible in French, f. 17: Book of Wisdom, King Solomon holding sword 61. f. 113v Habakkuk bringing food and drink to Daniel in the lions’ den 62. Toledo, AC 56.19, Pontifical of Cambrai, f. 44v: Peter and Paul, Fall of Simon Magus; Christ in the house of Simon the Leper, Mary Magdalen anoints his feet 63. The Hague, KB, 76 J 18, Dominican Breviary, f. 125: Resurrection of Christ 64. f. 249: Sailors in a ship; King David in waters 65. Princeton, UL, Garrett 125, Gautier de Belleperche, La Chevalerie de Judas Machabee, f. 14, Judas addresses his troops 66. Chrétien de Troyes, Yvain, f. 26v: Yvain accompanied by his lion attacks two maufés 67. Gautier de Belleperche, La Chevalerie de Judas Machabee, f. 31v: Lisias asks Anthiochus V Eupator to be allowed to bury the dead on the battlefield 68. Chrétien de Troyes, Lancelot, f. 34v: Meleagant challenges Arthur during a feast 69. Chrétien de Troyes, Yvain, f. 37: Yvain strikes the dragon to free his lion 70. Yvain, f. 52: Marriage of Yvain and Laudine 71. Yvain, f. 56v: Yvain and his lion attack Harpin de la Montagne 72. Gautier de Belleperche, La Chevalerie de Judas Machabee, f. 70v: Simon Thasis and followers at the tomb of the Maccabees with its automaton of Moses 73. Philadelphia, FL, Widener 9, Psalter-Hours, f. 2: Annunciation to the Shepherds and Adoration of the Magi 74. f. 8: Judas Iscariot receiving the pieces of silver and spilling the coins on the ground 75. f. 72: Psalm 51: King David ordering the slaying of the Amalekite 76. Prime of the Virgin, f. 218v: Nativity of Christ 77. Paris, BNF, fr. 342, Lancelot en prose, f. 1: King Arthur and courtiers feasting; King Arthur and his knights ride out from Camelot 78. Paris, BNF, fr. 24403, Ogier le Danois, f. 239: Battle between the armies of Charlemagne and Ogier 79. Paris, BNF, fr. 110, Merlin, f. 97, Gauvain fights King Taurus 80. Paris, BNF, fr. 24403, Garin de Monglane, f. 19v: Garin encounters Mabille and

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Hernaut 81. f. 47: Robastre the giant attacks Gaufroi de Monglane and his men 82. Chrétien de Troyes, Erec and Enide, f. 142: Erec attacks a robber knight as Enide looks on 83. f. 119: Arthur and his men hunt the White Stag 84. f. 155: Erec frees Cadoc from the giants 85. Paris, BNF, fr. 758, Tristan, f. 143v: Banquet at Camelot 86. Paris, BNF, fr. 375, Chrétien de Troyes, Cligès, f. 267v: C, penflourished initial 87. Paris, BNF, fr. 776, Tristan, f. 11v: mounted combat between Hector des Mares and Dinadan 88. Paris, BNF, fr. 375, Apocalypse, f. 10: John sees the False Prophet cause men to be marked; the Lamb adored on Sion 89. Paris, BNF, lat. 15377, Seneca, De copia uerborum, f. 211: Seneca writing 90. Summa de matrimonio, f. 174: Q, penflourished initials 91. f. 215: Seneca writing 92. f. 222v: heraldic initial 93. Arras, BM, 729 (639), Breviary of Arras, II, f. 169: penflourished initial 94. Paris, BNF, fr. 350, Guiron le Courtois, f. 6: two brothers received at Arthur’s court 95. f. 68: tournament 96. Cambridge, Fitz., Add. 290, Diurnal of Mont-Saint-Éloi, Arras, f. 7: Annunciation to the Virgin 97. Paris, BNF, fr. 350, Guiron le Courtois, f. 152: Messenger before Danain le Roux 98. Arras, BM, 729 (639), Breviary of Arras, II, f. 44: Pentecost, Virgin Mary present 99. Cambridge, Fitz., Add. 290, Diurnal of Mont-Saint-Éloi, Arras, f. 15, penflourished initial 100. f. 292: Psalm, 109, David playing bells 101. Paris, BNF, fr. 12603, Adenet le Roi, Les enfances Ogier le Danois, f. 156: penflourished initial 102. Fierabras, f. 203: penflourished initial 103. Le chevalier aux deux épées, f. 1: Knight on horseback 104. Chrétien de Troyes, Yvain, f. 72: penflourished initial 105. Paris, BNF, fr. 1376, Chrétien de Troyes, Erec et Enide, f. 95: Arthur hunts the White Stag 106. Aimon de Varennes, Florimont, f. 64v: King Philip of Macedonia and two courtiers 107. Paris, BNF, fr. 846, Chansonnier Cangé, f. 56v: Gillebert de Berneville 108. Paris, BNF, fr. 1376, Erec and Enide, f. 98v: penflourishing 109. Paris, BNF, fr. 846, Chansonnier Cangé, f. 8v: penflourishing 110. Paris, BNF, fr. 1376, Erec et Enide, f. 144: explicit 111. Paris, BNF, fr. 1376, Florimont, f. 93: explicit

1086 112. Paris, BNF, fr. 846, Chansonnier Cangé, f. 68v: line filler 113. Paris, BNF, fr. 1376, Florimont, f. 1: Two figures in conversation 114. Paris, BNF, fr. 846, Chansonnier Cangé f. 57v: Damsel beneath a tree approached by horseman 115. Baltimore, Walters W 109, Breviary of Saint-Bénigne, Dijon, f. 168: St John baptising 116. f. 53: Psalm 68, God blessing King David in waters; game of frog in the middle 117. f. 140: Annunciation to the Virgin; man pulling apes in cart 118. Paris, BNF, fr. 1433, L’Atre périlleux, f. Av: Damsel arrives at court, is abducted by Escanor de la Montagne; damsel and Gauvain; Gauvain kills the devil of the Perilous Cemetery 119. f. B: Combat of Gauvain and Escanor de la Montagne; Escanor kneels before Gauvain; Gauvain sees the naked amie of the King of the Red City in a spring; Gauvain defeats the King of the Red City; Gauvain frees the amie of Cadrès from a forced marriage; he views the casket of the arm of the maimed valet; the knights ride off 120. f. 55: Combat of Gauvain and the Laid Hardi 121. f. 60: the three marriages 122. Paris, BNF, fr. 1433, Chrétien de Troyes, Yvain, f. 61: a knight on horseback (Yvain ? Calogrenant ?) 123. f. 65: Calogrenant pours water on a stone; he fights Esclados le Roux 124. f. 67v: Yvain welcomed by the hospitable vavassour and his daughter 125. f. 118: Yvain and Lunete arrive at Laudine’s castle; the lovers drink wine and make love in bed, the lion beside the bed 126. Oxford, Bodl. Douce 199, Queste del saint Graal, f. 203: Perceval and Galaad see the White Stag and lions 127. Agravain, f. 69: Lyonel meets a damsel 128. Paris, BNF, fr. 22548, Le Roman de Laurin, f. 56: Two men address emperor Fiseus 129. Tournai, BV 101, Gui de Mori, Roman de la Rose, f. 98v: Amor addresses the clerk 130. Paris, BNF, fr. 12577, Chrétien de Troyes, Perceval, f. 1: Perceval leaves his mother and kneels before the knights; his mother dies, he rides off holding his javelins and defeats the Chevalier Vermeil who wields a ciborium-like vessel 131. First Continuation, f. 74v: Gauvain at the Grail Castle with the Fisher King and a queen; a damsel bears the Grail, youths carry the lance and the sword on a bier 132. f. 121: the Pucelle de Lis brings her son between Gauvain and Bran de Lis 133. f. 125v: King Arthur and three knights ride up to the Castel Orguelleus 134. Second Continuation, f. 213v: Perceval rides up to the Fisher King’s table, following two youths holding the Grail, the Lance and the Sword 135. Continuation of Manessier, f. 254v: Perceval meets the Coward Knight

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

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136. f. 263v: Perceval jousts against three knights 137. Munich, BS clm 10177, Jacobus de Voragine, Legenda aurea, f. 67: St Marcel ordered to work with horses 138. f. 191v: Martyrdom of St Gordianus 139. f. 282v: Martyrdom of St Hippolitus 140. New York, Morgan Library, M.322, Bible historiale, f. 6: God resting 141. Paris, BNF, fr. 241, Jacobus de Voragine, Legenda aurea, tr. Jean de Vignay, f. 70: Martyrdom of Thomas Becket 142. Paris, BNF, fr. 22495, Guillaume de Tyr, Histoire de la guerre sainte, f. 61v: Veneration of the Holy Lance 143. Paris, BNF, fr. 9123, L’Estoire del saint Graal, f. 4: Christ gives the book to the hermit-author; the Vernicle brought to Vespasian; Joseph released from prison; four figures, two of them embracing 144. Busch Collection, Guillaume de Lorris and Jean de Meun, Roman de la Rose, f. 1: Dream of the Rose; Dangier wielding a club before 9 female personifications 145. Paris, BNF, fr. 1453, Chrétien de Troyes, Perceval, f. 6: Perceval holding his javelins rides up to King Arthur’s table 146. f. 8v: Yvonet presents King Arthur with the Cup from Perceval 147. f. 14: Blanchefleur comes to Perceval’s bed 148. First Continuation, f. 82v: Carados, watched by his father the king, imprisons his mother 149. f. 85: Carados and Guignier in tubs, the serpent on Carados’s arm 150. Second Continuation, f. 193v: Guinevere reconciles Bagomedès and Keu 151. f. 202: the silver shield is delivered to King Arthur in his tent 152. f. 211v Perceval and the (female) Child in the Tree 153. Continuation of Manessier, f. 282: Perceval and Hector, another man and the Fisher King see the Grail, borne by an angel 154. f. 288v: Perceval crowned by the Fisher King 155. Brussels, BR 9245, Roman de Laurin, f. 118v: Laurin awoken from sleep; the damsel fills her water jug; Baudemagus fights Desier 156. St. Petersburg, SSPL, Fr. F. v. XV, 5, L’Estoire del saint Graal, f. 4v: King Evalach summons wise men to interrogate Joseph 157. Paris, BNF, fr. 334, Luce de Gast, Roman de Tristan, f. 128: Tristan plays the harp before the messenger (female) of Palamède 158. Paris, BNF, fr. 2634, Guillaume de Tyr, Histoire de la guerre sainte, f. 235: Emperor Baudouin III falls from his horse 159. Paris, BNF, fr. 1456, Adenet le Roi, Cléomadès, f. 109v: Cléomades delivers Clarmondine, riding off with her 160. Vatican City, BAV, Reg. Lat. 1522, Pierre Gentien, Le tournoi as dames de Paris, f. 161v: the ladies ride out, with heraldic shields and housings

1088

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1089

1090

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1091

1092

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1093

1094

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1095

1096

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1097

1098

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1099

1100

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1101

1102

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1103

1104

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1105

1106

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1107

1108

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1109

1110

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1111

1112

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1113

1114

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1115

1116

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1117

1118

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1119

1120

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1121

1122

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1123

1124

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1125

1126

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1127

1128

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1129

1130

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1131

1132

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1133

1134

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1135

1136

THE ILLUSTRATED CHRÉTIEN MANUSCRIPTS

1137

XXXVII The Egerton Brut and Its Illustrations

W

ace’s Roman de Brut, like its major source, Geoffrey of Monmouth’s Historia Regum Britanniae, is transmitted in manuscripts that are unremarkable for their decoration, and illustration plays no part in the surviving copies. Indeed, illustrations to Wace’s texts are generally sparse. Paris, Bibliothèque de l’Arsenal 3516 originally had a miniature at the beginning of each of its Wace texts, but those prefacing the Conception Nostre Dame (f. 52) and the Vie de sainte Marguerite (f. 125) have been cut out, leaving only the portrait of Nicholas as bishop (f. 69v) at the opening of the Vie de saint Nicolas, to represent the Wace component of this important literary and hagiographical compendium.1 The Troyes manuscript, Bibliothèque Municipale 1905, is the exception that proves the rule, containing a full narrative cycle of historiated initials of Wace’s Vie de sainte Marguerite, a parallel for those illustrating the Hours component of the volume.2 Both Arsenal 3516 and Troyes 1905 are French, and it is likely that their unidentified patrons were related to each other. Against this background, the condensed version of Wace’s Brut found in Egerton MS 3028 in the British Library (hereafter Egerton), made in England, stands out for its unusual content and its exceptionally extensive illustrative cycle.3 With a total of no fewer than 118 miniatures, it belongs to a special category of densely illustrated secular manuscripts made between c. 1250 and 1350 This article was first published in Maistre Wace: a celebration: proceedings of the international colloquium held in Jersey, 10–12 September 2004, ed. Glyn S. Burgess and Judith Weiss (St Helier, Société Jersiaise, 2006). 1 Guggenbühl, Recherches sur la composition et la structure du ms. Arsenal 3516 . 2 Stones, ‘Le ms. Troyes 1905, le recueil et ses enluminures’, in Wace, La Vie de sainte Marguerite, ed. Keller; the Arsenal St Nicolas miniature is reproduced as fig. 74. 3 Catalogue of Additions to the Manuscripts in the British Museum, 1916–1920 pp. 338–42.

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in England for patrons, mostly anonymous, who were particularly interested in historical, hagiographical and literary works in Latin and French. The cluster seems to begin in the second quarter of the thirteenth century with the British Library Tristan leaves4 and the Chanson d’Aspremont,5 followed before 1250 by the Chronica of Matthew Paris6 and the hagiographical material produced in his circle around the same time and a little later: the Lives of Sts Alban and Amphibalus, Edward the Confessor, and Thomas Becket.7 Around the turn of the century follow the two copies of the Roman de toute chevalerie in Cambridge and Paris,8 the latter with an astounding total of 311 miniatures — more than twice as many as Egerton; and the chronicles on the Bodley Roll.9 I have commented elsewhere on the relative absence, among what survives, of illustrated Arthurian manuscripts made in England in the thirteenth century.10 Two important manuscripts of the second quarter of the fourteenth century do fill this gap to a significant degree, however: one is Pierre de Langtoft’s French verse chronicle in the Royal 20 A. II copy,11 and the other is the Brut component of Egerton.12 4

See Hunt, ‘The Tristan Illustrations in MS London, BL Add. 11619’. London, BL, Landsdowne 782, reproduced in Lejeune and Stiennon, La Chanson de Roland, pp. 209–12, pl. XIX, figs. 160–69. 6 Lewis, The Art of Matthew Paris in the Chronica majora. 7 Illustrations to the Life of St. Alban in Trinity College Dublin ms. E.i. 40; Binski, Edward the Confessor with references; Backhouse and de Hamel, The Becket Leaves (owned by the late J. Paul Getty, on permanent loan to the British Library). 8 Cambridge, Trinity College, 0.9.34, the model for Paris, BNF fr 24364. See Avril and Stirnemann, Manuscrits enluminés d’origine insulaire, pp. 87–88, no. 137. The authors ascribe the Paris copy to a date c. 1308–12 and to the likely patronage of Jean d’Engaine, whose arms, gules crusilly or a fess fusilly were much admired at Caerlaverock. 9 Oxford, Bodl., Bodley Rolls 3 and London, BL, Cotton Galba Charter XIV. 4; Sandler, Gothic Manuscripts: 1285–1385, I, p. 50; II, p. 25, figs. 35, 36. 10 Stones, ‘Arthurian Art since Loomis’. 11 Loomis and Loomis, Arthurian Legends in Medieval Art, p. 138, figs. 385, 386. For the text, see The Chronicle of Pierre de Langtoft. 12 Edited by Underwood, An Anglo-Norman Metrical Brut of the XIVth Century. Underwood dates Egerton between July 1338 and June 1340 and localises it, tentatively, to the region of Gloucester or South Wales. The manuscripts of the Prophetia Merlini frequently have an opening miniature; see below for the Corpus Christi College Cambridge manuscript. There is a miniature at the opening of each branch in the Lancelot-Grail manuscript, London, BL, Royal 20 C.VI, see Stones, ‘Arthurian Art since Loomis’, p. 29; see also the Queste and Mort Artu, Paris, BNF, fr 123 (Avril and Stirnemann, Manuscits enluminés d’origine insulaire, no. 152, pl. I, J, LVIII, LIX). 5

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What I wish to do here is to look in particular at the Arthurian section in the Egerton Brut for its selection and treatment of episodes in relation to Arthurian pictures in other contexts. Some subjects and pictorial emphases find parallels in the French prose romances, while in other respects Egerton’s illustrations link more closely to the chronicle tradition, as one would expect from a text based so closely on Geoffrey of Monmouth. But it is notable how little illustration the Historia Regum Britanniae manuscripts themselves contain, despite its enormous popularity, and so Egerton’s pictures of material derived from Geoffrey are of especial interest.13 Of further note in Egerton is the position of the Brut component in the manuscript as a whole and the additions made to it: the Brut, in a special condensed version, comes at the beginning of the manuscript and is followed by continuations which bring English history into the reign of Edward III and devote special attention to the burial of Edward II at Gloucester, even including a picture of his tomb, the last miniature in the Chronicle section of the manuscript, to which I return below. Then follow the Destruction de Rome and Fierabras,14 thus linking the history of England and its kings and the beginning of the Hundred Years’ War and France with the Triumph of Right — Christianity over Islam — on the Continent under Charlemagne. The resulting division of Spain between Fierabras and Gui de Bourgogne may have been chosen to represent a parallel to the dividing of France between the Kings of France and England and express a wish that the outcome of the contemporary combat would be the continuation of an English presence in France, while the emphasis on Passion relics may find a parallel in the Brut Continuations in the special pictorial treatment accorded to the saintly Edward the Confessor. The later sections of the manuscript are the ones that have so far received attention, partly because of the existence of a sister manuscript, Hannover, Niedersächische Landesbibliothek, MS IV 578 (hereafter Hannover),15 13 The Historia Regum Britanniae of Geoffrey of Monmouth, eds. Wright and Crick: III, ed. Crick, A Summary Catalogue of the Manuscripts; IV, ead., Dissemination and Reception in the Later Middle Ages. For the Anchin copy, see below. 14 An outline is given in Smyser, ‘A New MS of the Destruction de Rome and Fierabras’, Brandin, ed. ‘La Destruction de Rome et Fierabras’. 15 The Hannover Destruction de Rome was edited by Gröber, ‘La Destruction de Rome, corrected by Brandin, ‘Le Manuscrit de Hanovre de la Destruction de Rome et de Fierabras’, where a list of all the illustrations is also given, but without commentary or analysis; see also Formisano, La Destructioun de Rome. Version de Hanovre. The Fierabras was edited by Witz, ‘Studien zur Handschrift IV. 578 der Provinzialbibliothek zu Hannover; see also de Mandach,

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containing the Destruction and an abridged Fierabras, and I touch briefly on these parts and on questions of format and technique before turning to Egerton’s Brut. Both manuscripts are fully illustrated and similar in technique and style, though different in the choice, placing and treatment of their illustrations, and in format: Egerton measures 198 x 120 mm with a text block of 155 x 98 mm written on 38 lines in a single column, a small codex by the standards of contemporary literary manuscripts in England and France,16 while Hannover is a larger volume, 230 x 142 mm with a text block of 190 x 120 mm, written on 47 lines for Destruction de Rome and 48–49 for Fierabras, both in two columns. Both manuscripts have square miniatures set in a single text column; in Egerton they are always on rectos, never on versos, but are random in their placing on the page, whereas in Hannover the placing occurs sometimes on rectos, sometimes on versos, sometimes on adjacent folios, sometimes separated by a folio or more, and is random within columns. In both manuscripts the miniatures sometimes interrupt the stanza structure and at other times are placed above a break marked by a coloured initial. In Egerton, the miniatures (with two exceptions, to which I return below) are set in plain red frames against blank parchment backgrounds, the scenes drawn in light brown ink with light colour wash and darker colours for the frames and details of shields, crowns, crosses and the like. This is similar to Hannover’s Destruction de Rome (ff. l–24v); for Fierabras in Hannover, however, there is no solid colour. There is certainly a change of scribe for the two parts of Hannover — both write in cursive, whereas Egerton is written in a somewhat more formal, ‘media’, bookhand, by one scribe — and Brandin has also seen a change of artist. To me the drawing is consistent in both parts and is extremely close to the drawing style of Egerton except that, in general, Hannover’s illustrations tend to include more figures than those in Egerton (compare figs. 1 and 2). Whether this feature would enable a relative chronology to be established is debatable; if anything, it would suggest, as would the style of writing, that Hannover is the later of the two. At all events, the line-drawing and coloured. Le Geste de Fierabras; for a description of the manuscript (again without comment), see also Härtel, Handschriften der Niedersächsischen Landesbibliothek Hannover, II, pp. 160–64. In the edition by Le Person, Fierabras, Hannover is MS H and assigned a date at the beginning of the fourteenth century for the Fierabras section (p. 37), while Egerton, MS Eg, is assigned a date of the middle of the fourteenth century (pp. 55–56). 16 Compare, for instance, the early fourteenth-century copies of the romances of Chrétien de Troyes, which average 250–300 x 180–220, given in Les Manuscrits de Chrétien.

1142

wash technique found in both manuscripts enjoyed a long and venerable history in English illumination, reaching back to the tenth century and deriving ultimately from northern France as far back as the Carolingian period.17 It was also favoured by Matthew Paris and was chosen for all the secular manuscripts listed above, with the exception of the Paris Roman de toute chevalerie, which begins with full-colour painting, then abandons the colour, to end up with line drawings only, not surprisingly given the huge number of illustrations. Despite all this attention to illustration in Hannover and Egerton, the artistic level of the anonymous painter (or painters) is not particularly high, which no doubt explains why Egerton has attracted attention from Loomis,18 Hannover from Brandin19 and both from Lejeune and Stiennon,20 but neither from art historians.21 In Egerton, the Brut occupies ff. 1–63, beginning incomplete, and contains fifty-three miniatures. Some of them can be paralleled in other traditions — the chronicles and the Merlin section of the prose LancelotGrail — but other components, particuarly in the continuations, are unique to this copy and their presence points to what aspects of the written account the patron wanted to have emphasised. The miniatures start with the Nativity of Christ on f. 2 (f. 1 is misplaced and should follow f. 7). Then follow twelve miniatures, all depicting action scenes, of the early kings of Britain from Arviragus (f. 8, misplaced, should follow f. 2) to the murder of King Constantin including the shipwreck of the 11,000 Virgins of Cologne, one of the few miniatures to include women (their leader, Ursula, was of course a British princess) and interesting for its hagiographical content, a parallel to the other British saint, Edward the Confessor, of whom much is made in the Continuations, to which I return below. Vortigern occupies the next eighteen or so miniatures, intertwined with Hengist; one of these miniatures shows Ronwen giving Vortigern the wassail cup and another has the child Merlin and his mother before Vortigern — again, two of the rare miniatures to include women. Of particular interest in the Vortigern 17 For examples of the technique in earlier periods, see Temple, Anglo-Saxon Manuscripts, 900–1066, and Kauffmann, Romanesque Manuscripts, 1066–1190; for French parallels, see Cahn, Romanesque Manuscripts; The Utrecht Psalter in Medieval Art. 18 See n. 11. 19 See n. 14. 20 Lejeune and Stiennon, Roland, include Hannover on pp. 216–18, figs. 174–82, and Egerton on p. 218, pl. XXL figs. 183–87. 21 Not in Sandler, as I noted in my review, Speculum, 66 (1991), 624–28.

THE EGERTON BRUT AND ITS ILLUSTRATIONS

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1. London, BL Egerton 3028, Fierabras, f. 106, Roland lays siege to La Tour Aigremore and releases a catapult. (photo: London, British Library)

2. Hannover, Niedersächische Landesbibliothek, IV 578, Destruction de Rome, f. 89, Roland and Oliver destroy pagan idols and hurl them on a catapult. (photo: Hannover, Niedersächische Landesbibliothek)

1144

3. London, BL Egerton 3028, Brut, f. 25, Vortigern sees the red and white dragons at his castle. (photo: London, British Library)

4. London, BL Egerton 3028, Brut, f. 29, Merlin explains the meaning of the dragons to Vortigern. (photo: London, British Library)

THE EGERTON BRUT AND ITS ILLUSTRATIONS

5. Cambridge, Corpus Christi College, 476, Prophetia Merlini, f. 2v, Merlin explains the meaning of the red and white dragons to Vortigern. (photo: Corpus Christi College, Cambridge)

6. London, BL Royal 20 A.II, Pierre de Langtoft, Chronique, f. 3, Vortigern takes counsel with his barons and burns to death in his castle. (photo: London, British Library)

1145

1146

7. London, BL Egerton 3028, Brut, f. 30, Merlin directs the disassembling of the Giant’s Ring. (photo: London, British Library)

8. London, BL Egerton 3028, Brut, f. 37, Coronation of Arthur. (photo: London, British Library)

THE EGERTON BRUT AND ITS ILLUSTRATIONS

1147

9. London, Westminster Abbey 24, Flores historiarum, f. 83, Coronation of Arthur. (photo: Adelaide Bennett)

10. London, BL Egerton 3028, Brut, f. 49, Arthur approaches the Giant of Mont-Saint-Michel who is roasting a boar. (photo: London, British Library)

1148

11. Douai, Bibliothèque Municipale, MS 880, f. 66v, Arthur fights the Giant of MontSaint-Michel. (photo: Adelaide Bennett)

12. Bonn, Landes-und Universitätsbibliothek 526, f. 160, Arthur fights the Giant of Mont-Saint-Michel. (photo: Bonn, Landes-und Universitätsbibliothek)

THE EGERTON BRUT AND ITS ILLUSTRATIONS

13. London, BL Add. 10292, f. 205v, Arthur kills the Giant of Mont-Saint-Michel. (photo: London, British Library)

14. London, BL Add. 10292, f. 209v, Arthur fights the Cat of Lausanne. (photo: London, British Library)

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15. London, BL Egerton 3028, Brut, f. 53, Arthur is mortally wounded in battle. (photo: London, British Library)

16. London, BL Egerton 3028, Brut, f. 59, Cripples at the shrine of Edward the Confessor. (photo: London, British Library).

THE EGERTON BRUT AND ITS ILLUSTRATIONS

17. London, BL Egerton 3028, Brut, f. 63, Tomb of Edward II at Gloucester (photo: London, British Library)

18. Gloucester Cathedral, Tomb of Edward II (photo: after Bond, Gothic Architecture)

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19. London, BL Egerton 3028, Fierabras, f. 83v, The Emperor Charlemagne. (photo: London, British Library)

20. London, BL Royal 20.A.II, Pierre de Langtoft, Chronique, f. 4, King Arthur with the crowns of thirty kingdoms beneath his feet. (photo: London, British Library)

THE EGERTON BRUT AND ITS ILLUSTRATIONS

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section is Merlin’s prophecy about the Red and White Dragons revealed at the bottom of the pool on which Vortigern’s masons attempted to build his castle (fig. 3). Merlin explains that the Red Dragon stands for the Britons who will be overrun by the Saxons, represented by the White Dragon (fig. 4), and shortly thereafter the Saxons invade, as Merlin had foretold, and set fire to Vortigern’s castle in which he burns to death. The dragons explained to Vortigern by Merlin is often the prefatory miniature to the Profetia Merlini, as in the early fourteenth-century copy in Corpus Christi College, Cambridge MS 476 (fig. 5), where it is the only miniature, as is typical of Profetia Merlini manuscripts.22 In Egerton this episode is broken into two scenes, one showing Vortigern seeing the dragons (fig. 3), the other showing Merlin giving his interpretation (fig. 4); what is not shown is the conclusion to the incident where Vortigem burns in his castle, the focus of the splendid picture in Langtoft’s chronicle in London, British Library, Royal 20 A. II (fig. 6), made at about the same time as Egerton.23 The prose Merlin branch of the Lancelot-Grail cycle also varies in how many illustrations are devoted to the episode of Vortigern, the dragons, and the castle: in one of the most densely illustrated copies, Paris, BNF, fr 95, the burning of Vortigern is shown (f. 132) but not the dragons, while in another, London, BL, Add. 10292, there are three scenes: Merlin instructing Vortigern in the building of the castle (f. 84); Merlin explaining the meaning of the dragons to Vortigern (f. 84v), and finally Vortigern burning in his castle (f. 85v). Add. 10292 typically plays out interesting episodes over several miniatures, as we have found in other parts of the Lancelot-Grail.24 In Egerton, the Vortigern episode is followed directly by the famous picture of Merlin presiding over what is either the dismantling of the Giants’ Ring or the re-erection of it as Stonehenge (fig. 7), the work being done by giants as related in Geoffrey of Monmouth. The stones of the Giants’ Ring (chorea gigantea), noted for their medicinal properties, are disassembled on Mount Killarus in Ireland, according to Geoffrey, and transported by Merlin’s magic to Salisbury plain and re-erected around the tomb of Arelius 22 It is not an insert as the leaf is conjoined with f. 7. See also London, BL, Cotton Claudius B. VII, f. 224, reproduced in Loomis and Loomis, Arthurian Legends, as fig. 384; they comment on p. 137 that this is the earliest and best of the Prophetia Merlini miniatures. 23 For the text, see The Chronicle of Pierre de Langtoft, ed. Wright. The Royal miniature is reproduced in Loomis and Loomis, Arthurian Legends, fig. 385. 24 Particular favourites are episodes involving legal issues, as at the beginning of the Lancelot and in the False Guinevere episode.

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Ambrosius, Uter being later buried next to him.25 Egerton does not say exactly who did which of these building activities, but the picture makes it clear that the giants were responsible, under Merlin’s direction. Piggott reports that the stone of Stonehenge — various rhyolites and a unique spotted dolerite — if not actually from Ireland, has been shown by Dr H. H. Thomas to come from the Carn Meini region of the Presely Range in Pembrokeshire, so that a surprising element of truth is conveyed in Geoffrey’s seemingly fanciful account; but no surviving written source for Geoffrey’s version has come to light.26 None of the extant manuscripts of Geoffrey contain illustrations of this episode, and the entire story is omitted in the prose Merlin. There are only two depictions of Stonehenge before its rediscovery in the sixteenth century and the drawings made in 1568–69 by Lucas de Heere: one is the Scala mundi section in Corpus Christi College, Cambridge, 194, f. 57, where a drawing of Stonehenge (shown as a rectangle) is squeezed into a table of English kings, positioned at the mention of Ambrosius; the other is Egerton. A date of 1338 ends the Scala mundi in the Cambridge manuscript, and Egerton has also been dated to the same year.28 It is tempting to assume a connection, but of what nature is unclear. Uther then makes a brief appearance, in company with Merlin, but nothing is shown of his liaison with Ygern other than a discreet scene showing him riding to Tintagel where he will seduce Ygern and engender Arthur. The conception of Arthur is not depicted: Arthur is shown for the first time at his coronation (fig. 8), a miniature for which the chronicle tradition in general provides many parallels both earlier and later (fig. 9); but nothing is made of his celebrated selection as king, confirmed by his 25

Historia Regum Britannie (see n. 13), III, ed. Wright, Bern, Burgerbibliothek, MS 568, pp. 90–92. The name Stonehenge is mentioned only later, when Constantin is buried next to Uther, ‘intra lapidimi structuram sepultus fuit; que haut longe a Salesberia mira arte composita Anglorum lingua Stanhenge nuncupatur’ (‘he was buried inside the stone structure which had been built not far from Salisbury with admirable skill, known as Stonehenge in the language of the English’). 26 Piggott, ‘The Sources of Geoffrey of Monmouth: The Stonehenge Story’. 27 Reproduced in Chrisopher Chippindale, Stonehenge Complete (Ithaca, NY: Cornell, 1983), p. 102. For the manuscript, see James, A Descriptive Catalogue of the Manuscripts in the Library of Corpus Christi College, Cambridge, pp. 468–70; the Scala mundi is followed by the Chronicle of Martinus Polonus, with annotations, and at the end of the annotations is a sixteenth-century note signed by Johannes Stones. See Heck, ‘Histoire mythique et archéologique au quinzième siècle: une représentation inédite de Stonehenge’. 28 See n. 12.

THE EGERTON BRUT AND ITS ILLUSTRATIONS

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ability to draw the sword from the anvil, which forms an important part of the legitimating process in the prose Merlin account and depicted in several miniatures in BNF fr 95 and Add. 10292. Homage is then paid to Arthur in two miniatures, followed by Frollo’s challenge and Arthur killing Frollo in single combat. Arthur’s next combat, with the Emperor of Rome, is prepared by messengers, letters, and by the emperor setting out, but Arthur is busy by then with the giant of Mont-Saint-Michel (fig. 10), who had captured the niece of Duke Hoel, a topic also depicted in the rare initial to the twelfthcentury copy of Geoffrey owned by the abbey of Anchin and now in Douai (fig. 11). In the Douai Geoffrey, what is depicted, in the cramped space of the initial letter, is the actual combat, while Egerton shows the protagonists facing each other with boar roasting over a fire in the centre. Some copies of the prose Merlin also include the battle between Arthur and the Giant (but not BNF fr 95): in Bonn LUB 526 (written in 1286) and Add. 10292, two different moments in the battle are depicted. In Bonn (fig. 12), Arthur is about to deliver a blow of his sword to the fleeing giant who still wields his club, and in Add. (fig. 13) the sequel is shown: Arthur removing his sword having killed the giant, with the fire and roasting chicken off on the right, and three of Arthur’s men witnessing the scene on the left. A second scene of exceptional valour is coupled with the Giant combat in Add. 10292: Arthur’s remarkable prowess in defeating the Cat of Lausanne (fig. 14); but the cat episode is omitted in the other Merlins, Bonn 526 and BNF fr 95, nor is it included in Egerton. The Arthur sequence in Egerton ends with a series of three battle-scenes in which Arthur and the King of the Scots defeat the emperor, and finally Arthur himself is mortally wounded (fig. 15). There is no hint in the illustrations that Arthur did not really die, although the text leaves the question open in the words that follow on the next page: ‘En Avalon se fist porter’ (‘he had himself carried to Avalon’). After Arthur, Egerton’s pictures move rapidly over Gurguint and the Saxons, Ethelbert baptized by St Augustine, deaths from pestilence, the burial of Athelstan at Winchester, the arrival of Cnut, to cures at the shrine of Edward the Confessor (fig. 16). This last scene is of enormous importance, focusing on the miracles occurring at Edward’s tomb and showing cripples crawling in the arched openings on the lower storey of the elaborate shrine. The text above the miniature comments that he was ‘a grant honur en sepelez’ (‘buried with great honour’) and that ‘Dieu l’ad mult honure’ (‘God has greatly honoured him’). The final sequence of miniatures is sketchy at best: Harold, William, the Battle of Hastings and the Conquest

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are unillustrated. The pictures continue with the Coronation of Henry I, the burial of King John (claimed in the text to have taken place at Winchester, not at Worcester) and Edward I riding to London. The last miniature shows the tomb of Edward II, a remarkably accurate depiction showing the ogeearched tomb chest and recumbent effigy painted in shades of pinkish-yellow (fig. 17) and shield of England hanging above. Although the picture omits the triple canopy in order to better display the effigy, the arches correspond to what is there, suggesting that the artist knew the tomb (fig. 17).29 The inclusion of this image offers, in itself, an implicit link back to the tomb of the sainted Edward, and furthermore the much-abridged account of Edward II’s death and burial says nothing of his deposition and murder but rather reuses phrases already said of Edward the Confessor: Et quant fu mort et fenis A Gloucestre esteit porte A grant honur enseuelee Dieu lad grandement honore Car meint home ad deliuere De la langure qe li teneit Dieux pour li granz miracles ad fait. (Egerton, f. 63) (And when he was dead and gone, he was carried to Gloucester; he was buried with great honour. God has greatly honoured him, for he has delivered many from the languor holding them. God for his sake has done great miracles) The image does not go so far as to show cripples at Edward II’s tomb, as for Edward the Confessor, but the mention of miracles in the text makes it clear that the patron of this manuscript — both text and image — was a supporter of Edward. There follow ten more lines, devoted to Edward III and the war with France, ending with a prayer for victory. Who might the patron have been? The two full-page miniatures in Egerton offer a few clues, if inconclusive ones. They face the openings of the Destruction de Rome and Fierabras, and contain portraits within elaborate 29 The tomb chest and canopy are of Caen stone and the effigy of alabaster, commissioned by Edward III. For references, see Age of Chivalry, pp. 416–17, no. 497, by Christopher Wilson.

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architectural frames, of Fierabras before the Destruction and Charlemagne before Fierabras (fig. 19).30 In each, the protagonist bears a heraldic shield, and more shields hang from the upper frame. Fierabras in his portrait bears a shield azure four lions or, while Charlemagne’s shield is of France, and above hang two smaller shields, one gules a lion or, the other gules a leopard or. What can be made of these? The shield of Fierabras is a puzzle, one that is not solved by recourse to the standard heraldic sources.31 None, to my knowledge, give a charge of four lions with the right tinctures. Might it be a reduction of the well-known six lions borne by the Earls of Salisbury?32 Charlemagne’s arms are often shown party with the Empire; to depict him bearing France alone must surely reflect the patron’s interest in French territory and the desire for the retention of English holdings there in the wars with which Egerton’s Brut Continuations end. The smaller shields on the Charlemagne page point perhaps more closely to the patron’s own interests. While gules a leopard or might just possibly be a reference to Llywelyn ap Griffyd, whose arms quarterly or and gules a lion passant countercharged themselves made reference to the arms of England,33 candidates who bore gules a lion or include the Earls of Arundel.34 These are tentative hints indeed. Further clues would have been found on the portrait that would undoubtedly have stood at the beginning of the Brut, which begins incomplete. Who would it have depicted? A parallel in the Royal manuscript of Langtoft, already cited for its Vortigern miniatures, suggests that Arthur would have been chosen, as there he follows Vortigern directly, shown frontally, like Charlemagne and Fierabras, with the thirty crowns of his kingdoms at his feet (fig. 20). But it is also possible that Egerton’s patron would have chosen Edward II, a match for the final miniature in the Brut Continuations and a tribute to a ruler whose miracles he still remembered a decade after the monarch’s death. Either ruler would have served to link England, and the Brut, with the Continent and

30

I disagree with Le Person (see n. 15), p. 56, as to who these figures are: the full beard worn by the figure on f. 63v makes it clear that this is Fierabras, who is so depicted consistently throughout, while the crowned figure with the shield of France on f. 83v can in my view be none other than Charlemagne. 31 See, for instance, Jéquier, ‘Tables héraldiques’; Humphery-Smith, Anglo-Norman Armoury Two. 32 Humphery-Smith, p. 125; Jéquier, p. 97. 33 For instance in Matthew Paris IV. 59 and 68. and Walford’s (C) 13. 34 Sources from Jéquier, p. 86, include Matthew Paris I 72, II 5, IV 18, 57; Falkirk (H) 97, Caerlaverock (K) 495.

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with Fierabras and Charlemagne, warriors, preservers of relics and keepers of territories. Perhaps, too, the missing Brut frontispiece had shields which would have clarified further who it was who commissioned this unusual manuscript.

XXXVIII The Artistic Context of Some Northern French Illustrated Tristan Manuscripts

T

he beginnings of Tristan illustration have left few traces, but they are important indicators that the story circulated outside the British Isles and northern France in a period prior to that of the earliest surviving manuscript copies. Similarly, the topos of the Tryst beneath the Tree has an atextual history not reflected in most French versions of the story but compellingly illustrated as a stand-alone subject for depiction in a variety of contexts on objects made for personal use in France and elsewhere. With regard to a consideration of the manuscripts of the French versions of the story of Tristan, a surprising number of copies were made and illustrated for patrons living outside the hexagon. I list all these in an appendix and concentrate here on an examination of the illustrated Tristan manuscripts made in France and their artistic context. My questions are these: What contributions do the illustrations make to the reception of the Tristan story? And how do the Tristan manuscripts compare with the manuscripts of the other popular prose romance, the Lancelot-Grail, and other books made for the patrons of Tristan ? Some of the manuscripts have received a good deal of attention; others remain relatively unknown. Here I survey the illustrated copies, their chronology and their context, and offer some pointers toward a comparative study of Tristan iconography. This essay is dedicated to the memory of Emmanuèle Baumgartner who often pressed me to consider the illustrated Tristan and encouraged me to embark on this study. I thank Michael Curschmann, Martine Meuwese, Serafín Moralejo Álvarez, James Rushing, and Stephanie Cain Van D’Elden for much helpful discussion of Tristan iconography. First published in Materiality and Visuality in the Story of Tristan and Isolde, ed. J. Eming, A.M. Rasmussen, K. Starkey (Notre Dame IN, U of Notre Dame Press, 2012), 299–336.

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Unlike the famous early-thirteenth-century illustrations in the Munich manuscript of Gottfried von Strassburg’s Tristan (Bayerische Staatsbibliothek, Cgm 51),1 the earliest French versions of the story offer little illustration, and none of it is properly narrative. Only the single portrait in the Tristan of Thomas, depicting Iseut harping (and singing? her mouth looks closed, but the illustration is poorly preserved, to the point that it is not quite clear whether the protagonist depicted is female or male) attests to the desire to illustrate this compelling story. The sole historiated initial, placed in the text body, at line 834 in Gregory’s edition, serves to mark the introduction of Iseut’s musical accomplishments as she (or just possibly Tristan) sings a lay (fig. 1). For the medieval viewer, the parallel with Old Testament King David, commonly depicted since Carolingian times as a harpist at the opening ol the psalms that are ascribed to his authorship, would have been obvious.2 In the prose Tristan the harping motif is also common. There, the musician is more usually shown playing to an audience: Tristan or Dinan playing to King Mark, like David playing before King Saul, another common topos in biblical illustration (fig. 2).3 And the episodes and their illustrations gave many variants on the harping and listening motif, whether Tristan, or Iseut, or another musician was playing, and whether Iseut, or another woman, or another man, or a group of people were listening (figs. 3, 4). If the portrait of Iseut (or Tristan) in Thomas’s manuscript is the earliest depiction of one of them as harpist, one of Tristan’s accomplishments, namely, his strength as a warrior, is the focus of the Tristan scenes once adorning the north transept columns at the Cathedral of Santiago de Compostela. Several

1 For Tristan in Germany see now Van d’Elden, Tristan and Isolde; and for the Munich manuscript the facsimile, ed. Montag and Gichtel; Falkenberg, Die Bilder der Münchener Tristan-Handschrift; and Walworth, Parallel Narratives. 2 Stewart, ed., Thomas of Britain: Tristan ; id., ‘Thomas’ Tristan’, ed. and trans. The image is actually ambiguous: for Pizzorusso, ‘L’arpa d’Isotta’, kindly drawn to my attention by Morgan Dickson-Farkas, it is Iseut not Tristan who is playing; but it seems to me that the treatment of the figure and its curious garment makes the identify of the player not altogether clear: perhaps deliberately ambiguous. See Hourihane, ed., King David, s.v. ‘As Musician,’ pp. 34–76. 3 Ibid., s.v. ‘Playing before Saul,’ pp. 207–10. This lay is accompanied by notation in MSS BNF fr 776, f. 271 v (MS Y), and Vienna, ÖNB 2542, f. 272v (MS A), and space for notation has been left in BNF fr 12599, f. 219 (MS d), as noted by Haines, ‘The Lai Layout in the Paris Prose Tristan Manuscripts’, pp. 16–17, table 5. It should be noted that Haines’s sigla correspond neither to those used by Curtis nor to those of Ménard. Here I follow Ménard.

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sculpted fragments show the aftermath of Tristan’s combat with the Morhaut, where the hero, accompanied by his horse, lies exhausted in his boat, holding his sword with the notch in the blade (see fig. 5). These have been dated circa 1100–1117, which makes them the earliest surviving depictions of Tristan, antedating any of the written versions.4 Significantly, neither of these early depictions — the sculptures or the Thomas initial — focus on the love between Tristan and Iseut but rather on their accomplishments, be they musical or heroic. In this respect they are linked to the Chertsey tiles, which Loomis has shown also reflect the Tristan of Thomas.5 They again concentrate on Tristan’s heroic and musical activities rather than on the love interest. From the earliest dated illustrated prose Tristan manuscript, Paris, BNF fr 750 (MS I), written by a Norman scribe, Pierre de Tiergeville, but illustrated either in southern Italy or the Holy Land, most manuscripts include narrative illustrations.6 By comparison with the Lancelot-Grail romances, the beginnings of Tristan illustration are late: the Lancelot-Grail was already illustrated with a series of historiated initials in the earliest surviving copy, Rennes BM 255, made, I have argued, around 1220.7 What is surprising about the Tristan manuscript tradition is that the earliest manuscripts, like the earliest depictions referred to above, were made outside France. Closely related textually to BNF fr 750 is BNF fr 12599 (MS d), written by Oddo, and made in Italy,8 and several more Italian copies followed in the last quarter of the thirteenth century and the beginning of the fourteenth. At

4 This fragment has been identified by Serafín Moralejo Alvarez to whom I am grateful for permission to reproduce this image, one of several carvings depicting secular subjects, not all of which can be identified (Moralejo Alvarez, ‘Saint-Jacques de Compostelle: Les portails retrouvés de la cathédrale romane’). See also Stones, ‘Arthurian Art Since Loomis’, fig. 7; Grimbert, ‘Tristan and Iseult at the Cathedral of Santiago de Compostela’. The north transept sculptures of Arthurian material at the Cathedral of Modena, of about the same date, also present iconography for which no textual source survives (Loomis and Loomis, Arthurian Legends in Medieval Art, pp. 32–34). 5 Loomis and Loomis, Arthurian Legends, p. 45. See also Blakeslee, Love’s Masks, p. 4. 6 References for the manuscripts mentioned here are given in the appendix where they are listed in approximate chronological order with reference to the authors of the major studies and editions, for which full citations may be found in the bibliography at the end of these essays. 7 Stones, ‘The Earliest’. 8 Both these manuscripts are among the few to leave spaces for musical notation to accompany the lays (Haines, ‘Lai Layout’).

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this time, too, numerous Lancelot-Grail manuscripts were also produced in the same Italian workshops, as Avril and Gousset have shown.9 But unlike the Lancelot-Grail romances, of which several illustrated copies were also produced in England, only a single later English Tristan appears to have survived, the unillustrated London, British Library Harley 49, made in the fifteenth century. The beginnings of Tristan production in France are obscure. Among the earliest manuscripts is BNF fr 759 (version g in Curtis’s edition of Roman de Tristan en prose, no siglum in Ménard’s), but it is poorly preserved and hard to place, and it contains an abridged version of the text, so little attention has been accorded it by textual scholars. Two additional thirteenth-century manuscripts, BNF fr 1628 and naf 5237, are also hard to place and were also considered unworthy of sigla. Even Curtis’ MS de base, Carpentras, Bibl. Inguimbertine 404 (MS Z) is difficult to place in time (late 13th c. ?) and space (northern or southern ?) and has only pen-flourished initials, distinctive nontheless, but which await comparative investigation. It is only in the last quarter of the thirteenth century that several illustrated copies can be assigned to well-known centers of production and related to the work of artists who, if not known by name, may be recognized for illustrating other texts. Thus Paris emerges as a possible center of production around 1270–80 for MS L, BL Royal 20 D. II, whose illustrations have been attributed to the Hospitaller Master, a distinctive artist working in Paris in the 1270s, then in the Holy Land up to the fall of Acre in 1291, alter which he appears to have moved to Cyprus and perhaps back to Paris. Among his secular manuscripts are two copies of the Lancelot-Grail romance, Tours, BM 951 (with a southern Italian or Cypriot artist), and Paris, BNF fr 12580; and a few fragments by the Hospitaller Master have recently come to light as binding fragments (fig. 20).10 Certainly Parisian is MS O, Paris, BNF fr 772, a manuscript much used and consequently poorly preserved. It was assigned to the last quarter of the thirteenth century in Paris by Blanchard; I refine that attribution here, assigning the illustrations to an artist known as the Méliacin Master for his work in the Roman de Méliacin by Girart d’Amiens and first recognized by Avril and Gousset, with Rabel, Manuscrits enluminés d’origine italienne, II. I have published several lists of the chronological and geographical distribution of the Lancelot-Grail manuscripts. For the most recent list, see http://www.lancelot-project.pitt.edu, also reprinted in these essays. 9

10

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Vitzthum in 1907.11 A very substantial corpus of manuscripts of all kinds has been ascribed to this artist since then, but this is his only Tristan, and, surprisingly, no copy of the Lancelot-Grail by him has so far come to light.12 The opening miniature in fr 772 spreads over two columns of text and depicts the Tryst beneath the Tree, a revealing choice of subject rarely paralleled in the prose Tristan, as an account of this famous episode figures only in a few manuscripts of the prose text (fig. 6). The meeting of the lovers at a fountain where they see reflected in the water the image of King Mark, spying on them from a tree, has long been recognized as an immensely popular topos of love and an evocation of the Tristan and Isolde story. It was depicted as a single scene or as part of a cluster of literary and romantic subjects on all manner of objects for secular use. I list several in the appendix. In the prose versions, however, the love of Tristan and Iseut is simply a ‘given’, and it has become almost a leitmotif rather than a central issue in the romance. In consequence it is seldom the focus of illustration. Nevertheless, a variant is included as part of the ‘deux captivités de Tristan’ episode in seven manuscripts, where Tristan and Iseut both see King Mark hiding in a laurel as they arrive beneath it in turn for their tryst.13 The fountain motif is absent. In BNF fr 772 the episode comes right at the beginning of the manuscript, and the picture is closely dependent on it, depicting Mark in the tree and Tristan and Iseut below, with Audret off to the right, and the whole garden enclosed behind a crenellated wall. So far as I know the only other depiction that reflects elements of the Tryst episode in a prose Tristan manuscript occurs in MS K, Paris, BNF fr 97, where King Mark is in the tree and the lovers below, again without the fountain (fig. 7). So the presence of this subject in the opening miniature of BNF fr 772, and the decision to begin the manuscript at this point in the story, is of great interest and links this copy to the secular objects, many of which must have been in the making in Paris at the end of the thirteenth century, when this book was produced. The rest of the illustration in fr 772 mostly takes the form of historiated initials (fig. 8), some of which are quite well preserved and enable the three-quarter profiles of the figures with their characteristic drooping chins and the maroon-bluegray color range of the Méliacin Master to be clearly recognized. Blanchard, Le Roman de Tristan en prose: Les deux captivités de Tristan, p. 27; Vitzthum, Die Pariser Miniaturmalerei, pp. 24–32, pl. III. 12 See Avril, ‘Manuscrits’, in L’art au temps des rois maudits, pp. 256–334, no 174. 13 Blanchard, Le Roman de Tristan en prose, p. 9, identifies this episode in BNF fr 757, 97, 100, 101, 340, 349, 772 and Chantilly 648. 11

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Paris workshops of the early fourteenth century also produced illustrated copies of the prose Tristan: MS F, BNF fr 334, with historiated initials as its illustrative format, has been attributed to the Papeleu Master, so named for his participation, as one of several painters, in the Bible historiale written in 1317 by Jean de Papeleu, Paris, Bibl. de l’Arsenal 5059. The Papeleu artist (one of at least two working on the Bible historiale) also painted a number of secular manuscripts, prominent among which is a copy of Perceval by Chrétien de Troyes, Paris, BNF fr 1453. Another Tristan now in the J. Paul Getty Museum, Getty Ludwig XV. 5, adopts a different format, that of singlecolumn miniatures, apart from a multicompartment opening page (fig. 9). It has been attributed to a large commercial workshop employing many artists, one of whom (fig. 10) shares similarities with another copy of Chrétien’s Perceval, Paris, BNF fr 12577.14 Finally there is one of the Vatican copies of Tristan, Pal. lat. 1964, whose single opening miniature I have attributed to the Maubeuge Master, another distinctive painter active in early-fourteenthcentury Paris who can be traced across many other secular manuscripts and in a few religious books as well. He also participated on at least one LancelotGrail manuscript, Paris, BNF fr 9123. Meanwhile the northeastern provinces also manifested an interest in Tristan manuscripts around 1300. To Arras may be attributed, by analogy with the many liturgical and devotional manuscripts made there, MS A, Vienna, ÖNB 2542, to which MS Y, BNF fr 776 (see fig. 2), is closely related in format and style. Both favor historiated initials with rectilinear bar borders, apart from the opening folio of Vienna 2542, which has a four-part multicompartment miniature that has been heavily overpainted, probably while the manuscript was in the possession of Jacques d’Armagnac in the third quarter of the fifteenth century (fig. 11). BNF fr 776 begins incomplete, so it is more than likely that a similar opening miniature was once part of that manuscript as well. Different in format — single-column The parallel was reported by Von Euw and Plotzek, Die Handschriften der Sammlung Ludwig, IV, no. XV 5, pp. 220–21; and further defined by Rouse and Rouse, Manuscripts and Their Makers. However the Getty manuscript consistently uses diaphragm arches to frame its small miniatures and this format is never found in BNF fr 12577. Whereas the figures on f. 360v offer a degree of similarity, it is unlikely in my view that the distinctive first artist of fr 12577 was actually a participant, rather than a distant echo, in the Getty Tristan. For a comparison with Chantilly, Musée Condé 645, and Paris, BNF fr 99, see Fabre-Baudet, ‘Mise en texte, mise en page et construction iconographique (ms. Getty Ludwig XV–5, Paris, BnF, Fr. 99 et Chantilly, Musée Condé, 645)’. 14

SOME ILLUSTRATED TRISTAN MANUSCRIPTS

1. Oxford, Bodl. Fr. d. 16, Thomas, Tristan, f. 10, Harpist playing (photo: Bodleian Library)

2. Paris, BNF fr 776, prose Tristan, f. 271v, Tristan harping before King Mark (photo: Bibliothèque nationale de France)

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3. Paris, BNF fr 334, prose Tristan, f. 184, Tristan harping before Queen Yseut (photo: Bibliothèque nationale de France)

4. Paris, BNF fr 100, prose Tristan, f. 172v, Queen Yseut harping (photo: Bibliothèque nationale de France)

SOME ILLUSTRATED TRISTAN MANUSCRIPTS

5. Santiago de Compostela, Cathedral, North Transept sculpture, Tristan exhausted in his boat (drawing by Serafín Moralejo, by permission)

6. Paris, BNF fr 772, prose Tristan, f. 1, The Tryst beneath the Tree (photo: Bibliothèque nationale de France)

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7. Paris, BNF fr 97, prose Tristan, f. 279, The Tryst beneath the Tree (photo: Bibliothèque nationale de France)

8. Paris, BNF fr 772, prose Tristan, f. 1 E initial, Tristan and King Mark (photo: Bibliothèque nationale de France)

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9. Los Angeles, J. Paul Getty Museum, Getty Ludwig XV. V, prose Tristan, f. 1, top, left to right: King Peleas of Leonois throws King Tanor into the sea; he is saved from drowning; Sadoch meets a hermit; bottom, left to right: Tristan unhorses a knight; Tristan accompanies Yseut to Cornwall; meeting of two kings (photo: J. Paul Getty Museum)

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10. Los Angeles, J. Paul Getty Museum, Getty Ludwig XV. V, prose Tristan, f. 306v, Gaheriet brings Queen Yseut news of Tristan (photo: J. Paul Getty Museum)

11. Vienna, ÖNB 2542, prose Tristan, f. 1, top left: Joseph of Arimathea preaching in Britain; right: Joseph baptises; bottom left: Bron leads his 12 sons before Joseph; right: marriage banquet of the sons of Bron (photo: Österreichische Nationalbibliothek)

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12. London, BL Additional 5474, prose Tristan, f. 283v, Kay unhorses Tristan (photo: British Library)

13. Paris, BNF naf 6579, prose Tristan, f. 80, Segurades and his wife riding; two errant knights ride up to King Mark’s tent (photo: Bibliothèque nationale de France)

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14. Paris, BNF fr 97, prose Tristan, f. 543, King Mark finds Tristan and Yseut united in death (photo: Bibliothèque nationale de France)

15. Paris, BNF fr 99, prose Tristan, f. 760, Tristan embraces Yseut in death (photo: Bibliothèque nationale de France)

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16. New York, Morgan Library, M. 41, prose Tristan, f. 57v, Lancelot in combat disguised as a woman (photo: Morgan Library)

17. Paris, BNF fr 99, prose Tristan, f. 265v, Tournament at the Castle of Ladies (photo: Bibliothèque nationale de France)

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18. Paris, BNF fr 99, prose Tristan f. 60, Segurades’ wife kidnapped (photo: Bibliothèque nationale de France)

19. Paris, BNF fr 103, abridged prose Tristan, f. 1, Tristan and Yseut driking the potion; the bodies of Tristan and Yseut borne on the burial ship (photo: Bibliothèque nationale de France)

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20. Private Collection, three prose Tristan fragments (photo: Roy Rosenstein)

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miniatures rather than historiated initials — but similar in figure style is MS a, BNF fr 758, which I have also attributed to Arras on the basis of its figures and minor decoration. Two more closely related manuscripts come from northern France, this time not from Arras but from Cambrai and Thérouanne or Saint- Omer, most likely in the decade of the 1290s. They are MS M, BL Add. 5474, and BNF naf 6579 (no siglum for Ménard; Curtis’s version c, MS N). BL Add. 5474 (fig. 12) most closely resembles the Lancelot-Grail manuscripts Bonn, Landes-und Universitätsbibliothek 526 (written by Arnulphus de Kayo in Amiens in 1286) and BNF fr 110. These two copies transmit the short version of the Lancelot-Grail and contain the entire text complete in one volume. A detailed iconographic comparison has yet to be made. Both have multiple miniatures at the openings of the branches of the Lancelot-Grail, accompanied by curvilinear borders, and their figure style is distinctive for its short, squat figures who are nevertheless lively in gesture and action and easily recognized. BNF fr 110 looks somewhat later than Bonn 526 and is close to the Guillaume d’Orange compilation Boulogne-sur-Mer, BM 192, which was written in 1295. I have proposed that Boulogne 192 is most likely the manuscript made for Guillaume d’Avesnes, bishop of Cambrai (1286–96), and mentioned in his will of 1296, and Busby has suggested that the emphasis on Guillaume texts about converting pagans would have held particular resonance for a clerical recipient of the same name;15 the same artist also participated in the literary miscellany BNF fr 24403 with an Arrageois painter. Many other vernacular books may also be attributed to him, some dating to the 1270s. Two missals, Cambrai, BM 153 and 154, made for Cambrai use, are also by the same artist and suggest a provenance for the group, but a number of related small devotional books, among which are Morgan Library, M.79 and Arras, BM 47, are for use at Saint-Omer. BNF naf 6579 belongs broadly speaking to the same stylistic current as BL Add. 5474 and also has single-column miniatures (fig. 13). In figure style it is especially close to the devotional books of Saint-Omer and Thérouanne use while retaining the illustrative format of MS M and its associates rather than adopting the historiated initials of the devotional books and of some of the related secular manuscripts made in Thérouane or Saint-Omer. Among 15 Stones, The Illustrations of Lancelot, pp. 9 n. 10, 30, 119, 208, 212, 215, 217–22, 454–55; Busby, Codex and Context, pp. 181, 383, 386–89, 392, 534, 741–42. For more on Boulogne 192 and its group see now Stones, ‘Entre Cambrai et Saint-Omer’.

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the latter is the Vincent of Beauvais, Speculum historiale, Boulogne-sur-Mer, BM 131, written for Eustache Gomer de Lille, abbot of Saint-Bertin, at Saint-Omer in 1297. The psalter-hours BNF lat 1076 and Marseille, BM 111, made for Thérouanne use before 1297, is a prominent member of this group and provides further evidence for its likely provenance. Most closely related to lat 1076 and Marseille 111 is the pair of Lancelot-Grail manuscripts, BNF fr 95 and Yale Beinecke Library 229.16 In relation to these, however, BNF naf 6579 is less elaborate in treatment — using singlecolumn miniatures like BL Add. 5474 rather than the exceptional format of BNF fr 95 and Yale 229, with their double-register miniatures for the most part and their elaborate borders supporting all kinds of marginal figures. So, in the last analysis, BNF naf 6579 may be thought of as occupying an intermediary position between BL Add. 5474 and its group, dating between the 1270s and 1295, and these other Saint-Omer/Thérouanne books of the late 1290s. Many other manuscripts belong to these prolific groups, several of which are examined elsewhere in these essays. The late fourteenth century is something of a lacuna in Tristan illustration until the emergence in the early years of the fifteenth century of the linedrawing and color-wash group, centered on Jean de Berry’s copy, MS C, Vienna, ÖNB 2537, brought to prominence by Dagmar Thoss.17 Four more copies have been compared to this one, ranging in date from 1400 for MS B, BNF fr 335–36, to 1466 for MS D, Vienna, ONB 2539–40, and including the two copies that form Ménard’s Version III: MS U, BNF fr 100–101, and MS K, BNF fr 97. MS K was referred to above for its Trysting scene, and it is also notable for including a miniature of the deaths of Tristan and Iseut, discovered by King Mark (fig. 14) for which, so far as I know, the only parallel is in one of Jacques d’Armagac’s copies, BNF fr 99 (fig. 15). The miniature has been partially defaced and the lovers have been damaged, as though a later owner thought their embrace was offensive. A manuscript of the compilation by Rusticien de Pise is also part of the early fourteenthcentury line-drawn group, BNF fr 340, but no manuscript of the LancelotGrail by this artist has come to light. Jean de Berry did own a Lancelot-Grail, however, purchased from the Parisian bookseller Jacques Raponde around 1406, BNF fr 117–20, whose illustrations have been attributed to the Master

16 17

Stones, ‘The Illustrations in BN fr 95 and Yale 229’. Thoss, ‘Ein Prosa-Tristan aus dem Besitz des Duc de Berry’.

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of Berry’s Cleres Femmes.18 It was repainted in part, circa 1470, by Berry’s great-grandson, Jacques d’Armagnac.19 A second copy of the Lancelot-Grail was sold by Raponde in 1405 to Jean, Duc de Bourgogne, possibly to be identified with Paris, Ars. 3479–80, and illustrated by various artists, but no Tristan belonging to the Duke of Burgundy has survived.20 The mid-fifteenth century saw the production of two Tristan manuscripts illustrated by the distinctive Master of Charles du Maine, younger brother ol René, duke of Anjou: Dijon, BM 527 and Chantilly, Musée Condé 404.21 Whereas the Dijon manuscript does not figure in the manuscript lists of Curtis or Ménard, the Chantilly manuscript was included in Curtis’s version e. She noted some particularly close textual links with two of the earlyfourteenth-century Parisian manuscripts mentioned above, BNF fr 334 and Vat. Pal. lat. 1964. Curtis also includes BNF fr 104 and Geneva-Cologny Bodmer 164 in her e version. Neither is stylistically related to the rest of the e version group, and indeed they are hard to place in general. To the late 1460s belong a cluster of three Tristan manuscripts, all attributed to the Master of the Yale Missal (Beinecke 425): New York, Morgan Library M.41, finished on April 15, 1468 (not included in Curtis or Ménard); MS V, BNF fr 102; and Geneva, Bibl. Publique et Universitaire 189 (Curtis MS G1; no siglum in Ménard). With these groups, Tristan production moves away from Paris; for the Charles du Maine manuscripts, to the west; and for those of the Yale Missal Master, most likely to Bourges. Stylistically the Yale Missal Master’s work approaches the artistic conventions of Fouquet while forming a subgroup somewhat apart from the works of the great master himself. The single-column miniatures are small in format, figures are diminutive, and the colors are pale, with attention devoted to landscapes and interiors. Occasionally there are touches of humor, such as Lancelot in battle disguised as a woman and shown wearing a tall pointed hennin — than which little could be more distinctive (Morgan M.41; fig. 16)! The 1470s are marked by the commissions of Jacques d’Armagnac, duke of Nemours and great-grandson of Jean de Berry. Not only did Jacques Meiss, French Painting in the Time of Jean de Berry, I, pp. 252, 312. Blackman, ‘Pictorial Synopsis ‘. 20 Meiss, French Painting in the Time of Jean de Berry, I, p. 356, attributes Ars. 3479 to the Master of the Cité des Dames, suggesting that it was probably the manuscript provided by Raponde (p. 371 n. 137). 21 See now the facsimile of the Dijon manuscript, Búsqueda del Santo Grial, by Avril and Alvar; and Delcourt, Stirnemann and Schandel, ‘Le Roman de Tristan’. 18

19

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d’Armagnac have his inherited Lancelot-Grail manuscript repainted, but he is foremost among Lancelot-Grail patrons, having also commissioned BNF fr 113–16 and the special compilation BNF fr 112. Both were written by Michel Gonnot, who signed BNF fr 112 in 1470, and both were illustrated by Evrard d’Espingues, who worked with collaborators on fr 113–16.22 BNF fr 112 includes Tristan material along with its Lancelot-Grail borrowings and thus merits a Tristan siglum as MS w. It is not surprising that a Tristan proper was also commissioned by d’Armagnac from the same scribe, who signed in 1463, and the same artist: MS T, BNF fr 99, referred to above for its rare depiction of the deaths of Tristan and Iseut. A second copy of Tristan illustrated by Evrard d’Espingues but written by another scribe, Gilles Gassien of Poitiers, was made for Jean du Mas, seigneur de l’lsle, MS h, Chantilly, Musée Condé 645–47 (315–17). Evrard d’Espingues’s work makes these among the most appealing Tristan manuscripts for their lively action, dramatic battles, and distinctive approach to castles, tents, boats, battles, arms and armor, and for his distant landscapes and mountaintops and his seascapes, with their characteristic cusped waves (figs. 17, 18). These two Tristan manuscripts form Ménard’s Version IV, along with the abridged copy, MS W, BNF fr 103 (fig. 19). The workshop that produced MS W is not the same, however. It is of uncertain provenance, but it has attracted attention as its text version, with its final sequence, based on a verse version, was long ago noted by Bédier.23 Equally remarkable is its fullpage frontispiece miniature, which is unique in presenting on two boats the beginning of the story with Tristan and Iseut drinking the love potion, and the story’s end on another boat where the bier of the lovers is borne to shore. So the image focuses not on Tristan’s adventures and knightly prowess but on the love story and its dire consequences. Manuscripts of Tristan continued to be copied to the end of the fifteenth century, marked, as is also the case for the Lancelot-Grail romance, by several paper copies without illustration. Finally, to the 1520s are ascribed two copies of the adaptation made by Pierre Sala (c. 1455–1529), one of which he owned, Aberystwyth, NLW 443–D, and the other of which, ColognyGeneva MS Bodmer 148, belonged to François de Tournon.24 Both are The illustrations are fully analyzed and tabulated in Blackman, ‘Pictorial Synopsis’. Bédier, ‘La mort de Tristan et d’Yseut’. 24 These are listed but not discussed in Burin, Manuscript Illumination in Lyons 1473– 1530, p. 50. For reproductions see e-codices. 22 23

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beautifully illustrated with water color drawings and are similar to, though by a different artist than, the adaptation of the Chevalier au lion of Chrétien de Troyes offered around 1518 by Sala to Francis I.25 To a large extent, then, the patterns of production and dissemination of Tristan manuscripts run parallel to those of the Lancelot-Grail and other secular illustrated texts. In many cases they can be attributed to wellrecognized artists or workshops, and sometimes particular patrons and artists can be named. Several are dated and signed by their scribes, providing anchors within workshop activity around which other books may be clustered. They span a full range of time, from the late thirteenth century through the early sixteenth. If there is a lacuna, it is in the mid-fourteenth century, a time when several important Lancelot-Grail manuscripts were produced, and it is surprising that few Tristans have emerged from this period. Like the LancelotGrail, the Tristan aroused considerable interest outside France, as the many Italian copies and the puzzling BNF fr 750 attest, while the beginnings of Tristan illustration, unlike the early Lancelot-Grail manuscripts, are traceable in England. And the Trysting topos took on a life of its own, for which the Lancelot-Grail produced only the occasional crossing of a sword bridge with which to compare. The corpus of Tristan illustration in manuscripts is very substantial, and it is here that comparative work remains to be done. It has been possible to compare a few miniatures in this chapter, but no study has yet tackled the corpus as a whole, how the pictorial cycles and individual miniatures compare, whether the placing of the miniatures is the same or different, how the rubrics match or differ, and what the relationships are to the Lancelot-Grail manuscripts in those sections of text (esp. Roman de Tristan en prose, ed. Ménard, vols. 6–9) where there is so much textual borrowing from the Lancelot, Queste, and Mort Artu. Studies of Tristan illustration in France are only beginning to become feasible, thanks to the availability of complete editions of the text and the growing accessibility of large numbers of images online at the websites Mandragore, Banque d’images, Gallica, e-codices: Virtuelle Handschriftenbibliothek der Schweiz, and Enluminures. The future for Tristan illustration holds great promise.

Suard, ‘Notice sur le manuscrit B. N. fr. 1638’; Burin, ‘The Pierre Sala Manuscript of Le Chevalier au lion’. 25

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Appendix: A Chronology of Tristan in French Texts Béroul (c. 1150): Paris, BNF fr. 2171, no illustrations. Ed. Muret, Ewart, Gregory, Sargent-Baur. Thomas (c. 1173): 9 fragments, no illustrations. Ed. Michel, vol. III; Gregory. C: Cambridge UL DD 15–12, late 13th cent., one leaf D: Oxford, Bodl. Douce d. 6, mid-13th cent., 22 leaves ff. 1–12c Thomas, Tristan (lines 1269–3086 in Gregory’s ed.) ff. 12d–19a Folie Tristan ff. 19–20 debate in French verse between Pride and Humility ff. 20v–21v prose commentary in French on the origin of the True Cross ff. 21v–22 short Latin text on the nature of the True Cross Snl, Sn2: Oxford, Bodl. Fr.d.16 14 leaves, late 12th or early 13th cent., one historiated initial E with a portrait of Iseut (or Tristan ?) harping (at line 834 in Gregory’s ed.): ‘En sa chambre se set un jor E fait un lai pitus d’amur . . .’ Strl, Str2, Str3: Strasbourg, Protestant Seminary, destroyed 1870. Binding fragment of 13th cent, according to Michel. Tl, T2: Binding fragments now lost, once in the possession of a Turinese gentleman according to Novati, first half of 13th cent. Carlisle, Cumbria Record Office, Holm Cultram Cartulary, ff. 1 and 286; see Benskin, Hunt, Short; ed. Short. Marie de France, Chevrefeuille. Ed. and trans. O’Gorman in Lacy, pp. 184–97.

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S: Paris, BNF naf 1104, ff. 32b–33a H: London, BL Harley 978, ff. 171 d–172d Folie Tristan Bern, Burgerbibliothek 354, 13th cent., second quarter, eastern France ? no illustration ff. 1r–175v various short works in verse ff. 151v–156v Folie Tristan (ed. Michel, I, 215–41; Hoepffner; Morf ) ff. 184r–207v Le roman des sept sages de Rome ff. 208r–283v Chrétien de Troyes, Perceval Oxford Bodl. Douce d. 6, ff. 12d–19a, Anglo-Norman, no illustration (ed. Michel, I, pp. 80–137; Hoepffner; Lecoy) Cambridge Fitz. 302, f.100v Anglo-Norman, no illustration (ed. Dean and Kennedy) Tristan Rossignol (part of Le Donnei des Amants, lines 453–660) Cologny-Geneva, Bodmer 82 (ex-Phillipps 3713), ff. 20a–21b (ed. and trans. Fresco). Tristan Menestrel (part of Gerbert de Montreuil’s Continuation of Chrétien de Troyes’s Perceval, lines 3309–4832) Paris BNF fr 12576 (folios not given by Fresco). Paris, BNF naf 6614, ff. 165vb–71vb (Fresco’s MS de base) (ed. and trans. Fresco) Luce de Gast (c. 1230s) and Hélie de Boron (c. 1240), Le Roman de Tristan (in prose) ed. Curtis (based on Carpentras, Bibl. Inguimbertine, MS 404, unillustrated). ed. and dir. Ménard, 1987–97, based on MS A, Vienna ÖNB 2542, and 1997–2003, based on MS N. For the illustrated prose Tristan manuscripts, see below.

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Illustration Early Iconography c. 1102–17, Spain: Santiago de Compostela, Cathedral, north portal, column fragments (Moralejo; Stones, Arthurian Art Since Loomis; Grimbert) late 12th cent., England: Oxford, Bodl. Fr. 6. 16: f. 10, E initial, Iseut (Tristan ?) harping and singing (Pizzorusso). mid-13th cent., England: London, British Museum and Halesowen Abbey: Chertsey tiles (Shurlock; Loomis 1916 and 1938: 44–48; Eames I: 141–71; Age of Chivalry, 333, nos. 60, 320 by John Cherry). mid-13th cent., England: London, BL Add. 11619, ff. 6r–9v, full-page miniatures without text (Hunt, Deighton, Delcourt, Légende du roi Arthur, no. 76). c. 1280, France: Paris, BNF fr 2186, Roman de la Poire, one Tristan miniature, f. 5v, depicting Tristan and Isolde seated, and Mark discovering them in the Cave of Love (Tibaut ed. Marchello-Nizia, Huot 174–93, Guilhaume, Keller, Delcourt, Légende du roi Arthur, no. 79; Stones, Gothic Manuscripts, Cat. no. I–10). The Tryst beneath the Tree Topos (cf. Germany and Italy, which are omitted here) (Loomis, Newstead, Curschmann, Furrow, Walworth, Heck) Manuscripts mid-13th cent., England: London, BL Add. 11619 (see above) c. 1320: France, Paris: Chantilly 1078–1079 (26–27), Ci nous dit, MS 1078 (26), f. 189 (Loomis 28, fig. 120; Heck, 54, 145, fig. 309) Ivory boxes, France (Paris?), early 14th cent. for full bibliography see The Gothic Ivories Project at The Courtauld Institute of Art, London, www.gothicivoriescoultauld.ac.uk [8 May 2017]

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Baltimore, Walters Art Museum, Inv. 71. 264 Birmingham, Barber Institute of Fine Arts, Inv. N. 39.26 (olim Mrs. St. John Mildmay) Boston, Museum of Fine Arts, 64.1467 Crakow, Cathedral Treasure Florence, Museo Bargello, Inv. 123c 248170 London, British Museum, Inv. 1856,0623 (Dalton no. 368) London, Victoria and Albert Museum, Inv. 146–1866 New York, Metropolitan Museum, Inv. 17. 190, 173 Paris, Musée national du Moyen Âge, Musée de Cluny, Cl. 23840 Paris, Musée du Louvre, OA 10958 St-Petersburg, Musée de l’Hermitage I, Inf. N T. 60 St-Petersburg, Musée de l’Hermitage II, Inf. N. T. 61(olim Collection Basilewsky). Mirror cases, France (Paris?), early 14th cent. (see Gothic Ivories Project as above) Antwerp, Museum Mayer van den Bergh MMB.0448 Città del Vaticano, Museo del Vaticano, Inv. 1856–6–12 166 (65008) Hamburg, Museum für Kunst und Gewerbe inv. 1893.200 (19th c. ?) London V&A 221–1867 Paris, Musée national du Moyen Âge (Musée de Cluny) Cl. 13298 Paris, Musée national du Moyen Âge (Musée de Cluny), Cl. 383 Mirror Case, pewter, 13th c. Perth, Perth Museum and Art Gallery, acc. no. 2151 (Hall and Owen). Hair parter Turin, Museo Civico, Inv. 105. Comb (Gothic Ivories Project as above) Boston, Museum of Fine Arts, Inv. 57.7, French, 15th c. Madrid, Museo Lázaro Galdiano, inv. 1577 Set of Writing Tablets with case and stylus (Gothic Ivories Project as above) Namur, Musée provincial des Arts anciens du Namurois-Trésor d’Oignies (TreM.a).

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Coll. Fondation Roi Baudouin. Dépôt à la Société archéologique de Namur, inv. 29 Shoes Mechelen, Mechelse Vereniging voor Archeologie, Holland or Belgium, 15th cent. (Arthurus Rex, 1, Cat. no. 2.2.6, pl. III.2.); cf. Dutch examples listed in Sarfatij. Corbels Bruges, Gruthuyse Museum, 15th cent. (Loomis 68, fig. 130). Bourges, House of Jacques Coeur, 15th cent. (Loomis 69, fig. 124). Goblet base Milan, Poldi Pezzoli Museum, Inv. 355, France, 14th cent. (Loomis 67, fig. 126). Leather case (see ivories) Namur, Musée Inv. 29, France, 15th cent. (Gothic Ivories, as above) Wall painting Saint-Floret (Auvergne), 14th cent. Rusticien de Pise (Loomis, figs. 96–98; Luyster, in Eming et al., Materiality and Visuality) Cf. Paris, BNF fr 772, f. l and Paris, BNF fr 97, f. 279r. Manuscripts of the Prose Versions, except Northern France Sigla according to Ménard et al; manuscripts listed in chronological order 1278 MS I, written by Petrus de Tiergevilla: Paris, BNF fr 750, southern Italy or Holy Land? Many illustrations (Avril and Gousset, II, no. 194; Delcourt, Légende du roi Arthur, no. 36; Winn, App. 2; images on Mandragore). 13th cent., last quarter Paris, BNF fr 1463, Rustician de Pise, Méliadus, and Tristan, Italy, line drawings (Avril and Gousset II, no. 45; Delcourt, Légende du roi Arthur, no. 37; légendes on Mandragore, images on Banque d’images).

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MS d, Paris, BNF fr 12599, Roman de Tristan, special version, Italy, northeast? Written by Oddo (Baumgartner 63; Avril and Gousset II, no. 19; Haines; Delcourt, Légende du roi Arthur, no. 42; Winn, App. 2; légendes on Mandragore, images on Banque d’images). MS n, Paris, BNF fr 1434, Cycle Post-Vulgate, no illustrations, Italy? 13th–14th cent. Paris, BNF fr 760, Tristan, version abrégée, Italy, Genoa (Avril and Gousset II, no. 46; Delcourt, Légende du roi Arthur, 212; images on Mandragore). MS H, Paris, BNF fr 104 Tristan li Bret, champie and penflourished initials, southern France? (Stones in Delcourt, Légende du roi Arthur, 26). c. 1320–30 MS X, Paris, BNF fr 755, Roman de Tristan, Italy: Milan, illustrations (Avril and Gousset III, no. 1, 1–8, pl. I–III; Delcourt, Légende du roi Arthur, no. 91; légendes on Mandragore, images on Banque d’images). 14th cent. MS N, Paris, BNF fr 756–757, Italy, probably for the Carafa family, Naples: ‘pour la deuxième partie du roman ... le ms. 757 est le seul à donner intégralement la version I du texte’ (Ménard I, 10, citing Baumgartner 18; Ménard et al. 1997–2003, MS de base; Delcourt, Légende du roi Arthur, 26, 42, 48). London, BL Harley 4389, Italy, line drawing (Avril and Gousset, under II, no. 148). MS y, Modena, Bibl. Estense. Est. 59 = alpha T.3.11 (cited by Loomis as T. S.l and by Ménard as E 40; Italy, line drawing (Delcourt, Légende du roi Arthur, 43). MS G, Aberystwyth, NLW 5667, Italy, line drawing (Delcourt, Légende du roi Arthur, 43). MS Q, Paris, BNF fr 94, Italy, decorated initial and shield with a lion (?) rampant (arms of Tristan?) on f. 1 only (Delcourt, Légende du roi Arthur,

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43; images on Mandragore; Ménard Version II). c. 1380–85 Paris, BNF fr 343, Post Vulgate Queste, Tristan interpolations, Milan or Pavia (Avril and Gousset III, no. 30, 70–89, pl. XI–XII; Pastoureau and Gousset; Delcourt, Légende du roi Arthur, no. 87) (reproduced on Mandragore). 15th cent. London, BL Add. 23929; Italy: Milan: large author portrait on f. l, thereafter historiated initials (Delcourt, Légende du roi Arthur, 43). London, BL Harley 49, England, no illustrations (Curtis I, 18–22: version a, MS HI). Mostly Illustrated Manuscripts of the Prose Versions: Northern France 13th cent., second quarter or middle ? Paris, BNF fr 759, abridged version, historiated initials, poorly preserved (Curtis II, 49, version g) (légendes on Mandragore). 13th cent. mid. Burgundy ? Paris, École des Beaux-Arts, Masson 787, fragment, no illustrations (Ménard) Paris, BNF fr 1628, no illustrations Paris, BNF naf 5237, ff. 46r–48r, fragment, no illustrations. 13th cent., last quarter, Paris or Latin Kingdom of Jerusalem MS L, c. 1270–80: London, BL Royal 20 D. II, incomplete, Paris, Hospitaller Master, small historiated initials (Folda, Crusader, 121–24, 126, 128, 151, 197–98, Cat.no. 15; Delcourt, Légende du roi Arthur, 26). Private Collection, 3 fragments, one historiated initial, and a fragment of a second, by the Hospitaller Master (unpublished) 13th cent., last quarter MS O, Paris, BNF fr 772, version III, dernière partie, ed. Blanchard, illustrated by the Méliacin Master (new attribution) (Delcourt, Légende

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du roi Arthur, 26; images on Mandragore). Aberystwyth, NLW 5667 E (siglum G), illustrations possibly by the Charlemagne Master, painter of the Grandes chroniques de France, Paris, Bibl. Sainte-Geneviève 782, c. 1280). 1290s: Cambrai, Thérouanne, or Saint-Omer MS M: London, BL Add. 5474, (cf. MS L, both abbreviated) (Stones, Illustrations of Lancelot, 223–41, 454–55; ead. ‘Entre Cambrai et SaintOmer’; Delcourt, Légende du roi Arthur, 24). Paris, BNF naf 6579, miniatures, Thérouanne ? (Curtis I, 18–22, version c, MS N) (de Winter, ‘Une réalisation’, 41; Stones, ‘Entre Cambrai et Saint-Omer’; Delcourt, Légende du roi Arthur, no. 74; Winn, App. 2; légendes on Mandragore). 13th cent., end, South-East France? MS Z, Carpentras, BM 404, fragmentary, no illustrations (Curtis, MS de base, siglum C; Winn, App. 2). c. 1300 Arras MS A, Vienna, ÖNB 2542, opening miniature; historiated initials (Ménard, MS de base); owned by Jacques d’Armagnac for whom was added a miniature on f. 500 (Hermann 44–64 [identified as English]; Stones, Illustrations of Lancelot, 40, 255, 261, 263, 266, 267, 490; Blackman 564–65, Cat. no. 81; Stones, ‘Manekine, Paris, BNF fr 1588’, 24 n. 71; Fotitch and Steiner, Haines, Delcourt, Légende du roi Arthur, 24, 47; Winn, App. 2) MS Y, Paris, BNF fr 776, historiated initials (Stones, Illustrations of Lancelot, 255, 261, 263, 264, 66, 267, 491; Stones, ‘Chrétien, Artistic Context’, 253, fig. 87; Stones, ‘Manekine, Paris, BNF fr 1588’, 24 n. 71, Delcourt, Légende du roi Arthur, 24) (légendes on Mandragore; images on Banque d’images). MS a, Paris, BNF fr 758, miniatures. (Stones, ‘Chrétien, Artistic context’, 253, fig. 85; Stones, ‘Manekine, Paris, BNF fr 1588’, 35, fig. 55; Delcourt, Légende du roi Arthur, 24).

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14th cent., first third, Paris MS F, Paris, BNF fr 334, historiated initials, Paris (Vitzthum, Pariser Miniaturmalerei, 175; Stones, Illustrations of Lancelot, 286; Stones, ‘Chrétien, Artistic Context’, 265, fig. 157; ead., ‘Artistic Context of Fauvel’, 538, 558; cf. BNF fr 1453 by the Master of fr 1453, alias the Papeleu Master; Delcourt, Légende du roi Arthur, 26, 45; Winn, App. 2) (légendes on Mandragore; images on Banque d’images). MS S: Città del Vaticano, BAV Pal. lat. 1964, one miniature, by the Maubeuge Master (Stones, ‘Artistic Context of Fauvel’, 545, 559, fig. 23.17; Stones, ‘Manuscript, Paris, BNF fr. 1588’, 24 n. 71; Delcourt, Légende du roi Arthur, 26). c. 1330–40, Paris Los Angeles, J. Paul Getty Museum, Getty Ludwig XV.5, opening multicompartment miniature; single-column miniatures (von Euw and Plotzek, IV, 220–21, attributed to Paris, circle of BNF fr 12577, Munich, BSB Clm 10177, BNF fr 24391 [dated 1332], and the Busch Collection Roman de la rose; Rouse and Rouse Manuscripts and their Makers, I, 391 n. 105, II, App. 9A, attributed to i: Jeanne de Montbaston: frontispiece and quires 30–34, 38, 39, except f. 306r; ii: Master of BNF fr 24388, quires 1, except frontispiece, 2–5 (no illustrations in quire 6), 7–29; iii: the first artist of BNF fr 12577, quires 39: f. 306v only, and quire 40; iv: quires 35 (no illustration), 36 (my addition), 37, 45 (my addition), 46–48, 50, artist unrecognized, he does three-dimensional ochre diaphragm arches and small doll-like figures with ochre curly hair and large black eyes, and a fairy-tale castle on f. 283v; Delcourt, Légende du roi Arthur, 24, 26; Imagining the Past, 153–55, no. 18; Winn, App. 2). early 14th cent., eastern France MS E, Edinburgh, NLS Adv. 19.1.3, Lorraine dialect, no illustrations. 14th cent., Uncertain Provenance MS J, St Petersburg, NLR Fr. F. v. XII 2, close to Ménard’s version IV, no illustrations.

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MS R, Città del Vaticano, BAV Reg. lat. 727, abridged, no illustrations. MS X, Cologny-Geneva, Bodmer 164. No illustrations (e-codices; Vielliard, pp. 86–92). late 14th cent., Uncertain Provenance MS P, Paris, BNF fr 349, very fat! No illustrations. The c. 1400 Line Drawing Group, Paris MS B, 1399, April 17 (1400 ns): Paris, BNF fr 335–336, line drawings (légendes on Mandragore; Delcourt, Légende du roi Arthur, 26, 45; Winn, App. 2; images on Banque d’images). MS C, Vienna, ÖNB 2537, owned by Jean de Berry (not mentioned by Meiss; see Thoss, Ein Prosa-Tristan; Delcourt, Légende du roi Arthur, no. 71; Winn, App. 2). MS U, Paris, BNF fr 100–101, version III, line drawing) (Delcourt, Légende du roi Arthur, no. 72; images on Mandragore). MS K, Paris, BNF fr 97, version III, line drawing (Winn, App. 2; images on Mandragore). Paris, BNF fr 340, Rusticien de Pise, compilation (Delcourt, Légende du roi Arthur, no. 60; images on Banque d’images and Mandragore). The Maître de Charles du Maine (younger brother of René d’Anjou), c. 1450–60 Dijon, BM 527 + Chantilly, Musée Condé 648(404), for Jacques d’Armagnac ? owned by Jean du Mas, seigneur de l’Isle-sur-Arnon. (facsimile of Dijon 527, eds. Avril and Alvar; Avril in Avril and Reynaud, 121–22, no. 62 [Dijon 527], compared with Oxford, Bodl. 986, Miroir historial abrégé and Paris, BNF lat 6749A, Albertus Magnus, De natura avium by the same artist; Delcourt, Légende du roi Arthur, no. 88 by M.-F. Damongeot; images on Enluminures; Delcourt et al., Le Roman de Tristan; Winn, App. 2).

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1466 MS D, Vienna, ÖNB 2539–40 (Pächt and Thoss I, 1, 13–20, figs. 1–13; Delcourt, Légende du roi Arthur, 29; Winn, App. 2) Jacques d’Armagnac Group, c. 1463–80 MS T, Paris, BNF fr 99, for Jacques d’Armagnac, version IV, written by Michel Gonnot, signed, f. 775v, 8 October 1463; illuminated by Evrard d’Espingues (Blackman 433–58; Avril and Reynaud 164–65, no. 84; Delcourt, Légende du roi Arthur, no. 99; Winn, App. 2; images on Banque d’images and Mandragore). MS w, Paris, BNF fr 112, Lancelot-Grail, special version, Tristan interpolations, for Jacques d’Armagnac, written by Michel Gonnot of Crozant, signed, f. 233 on July 4, 1470, illuminated by Evrard d’Espingues (Blackman 458–502; Delcourt, Légende du roi Arthur, nos. 6 and 95; Winn, App. 2; images on Banque d’images). Paris, BNF fr 113–16, Lancelot-Grail, Tristan interpolations, for Jacques d’Armagnac, illustrated by Evrard d’Espingues, a follower of the Versailles Livy, and the Master of fr 114 (Blackman 503–40; Delcourt, Légende du roi Arthur, nos. 85, 94; images on Banque d’images and Mandragore), c. 1475. MS h, Chantilly, Musée Condé 645–47 (315–17), version IV, written by Gilles Gassien of Poitiers, illustrated by Evrard d’Espingues, for Jean du Mas, seigneur de l’lsle, c. 1470–80 (Longnon; Delcourt, Légende du roi Arthur, 47; Winn, App. 2). The Maître du Missel de Yale (Beinecke MS 425), Bourges or Tours? c. 1470 (attributions by Reynaud in Avril and Reynaud, 153). New York, Morgan Library, M.41, completed April 15, 1468 (Delcourt, Légende du roi Arthur, 29; Winn, App. 2; images on Corsair). MS V, Paris, BNF fr 102 (Delcourt, Légende du roi Arthur, 29; Winn, App. 2; images on Banque d’images and Mandragore). Geneva, Bibl. Pub. et Univ. 189 (Curtis I, 16–18, MS G l; Delcourt, Légende

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du roi Arthur, 29; Winn, App. 2). late 15th cent., third quarter, Rouen MS W, Paris, BNF fr 103, version tardive abrégée, one opening miniature (Bédier, ‘La mort’; Loomis, Arthurian Legends, 113, fig. 304; Baumgartner 41–62; Delcourt, Légende du roi Arthur, no. 73; Winn, App. 2) (image on Mandragore). late manuscripts on paper, unillustrated 1475: London, BL Egerton 989, no illustrations, owned by Anne de Graville. 1488: Paris, Bibl. de l’Arsenal 3357, no illustrations, written by Groins Pittingin (Winn, App. 2; Curtis I, 16–18, MS A). 16th cent.: Paris, BNF fr 24400, no illustrations. c. 1520–29, Lyon: Pierre Sala, Tristan (Muir; Suard; Burin 50) Cologny-Geneva, Bodmer 148 (olim Phillipps 3637), 26 ink and watercolor drawings, owned by François de Tournon (Delcourt, Légende du roi Arthur, no. 123). Aberystwyth, NLW 443–D, 25 ink and watercolor drawings, owned by Pierre Sala (Delcourt, Légende du roi Arthur, 238).

G Epilogue

XXXIX Arthurian Art: the Past, the Present, and the Future

I

n 1987 at the Arthurian congress in Louvain I read a paper on Arthurian Art Since Loomis. Published in 1991 in Arturus Rex vol. II, it might serve as a summary of what happened in Arthurian art between the 1938 publication by Roger Sherman and Laura Hibbard Loomis and 1987.1 It was a fruitful 50 years in which a high point was the exhibition of Arthurian art held in Louvain in conjunction with the conference but which sadly was never published in the form of a catalogue. From 1987 to 2014 another 27 years also belong to the past and I begin with an outline of what has happened in Arthurian art in those last 27 years, and then I turn to what is happening now, and I outline some ideas for where we might go in the future. Exhibitions A high point of the last few years has been the major exhibitions of Arthurian Art, in Rennes (2008), Paris (2009), and Troyes (2011), with Arthurian manuscripts and tapestries included in other exhibitions as well.2 The Rennes exhibition centred upon the important early thirteenth-century copy Rennes, Bibl. mun. (Les Champs Libres) 255 which I still think is

This essay was presented as a paper at the International Arthurian Congress in Bucharest in 2014 and is to appear in the Actes du Colloque international de Bucharest 2014, ed. Catalina Girbea. 1 ‘Arthurian Art since Loomis’. 2 Le Roi Arthur, une légende en devenir; La Légende du roi Arthur; Chrétien de Troyes et la Légende du roi Arthur.

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the earliest illustrated Arthurian manuscript,3 although it probably postdates the Wollaton recueil littéraire exhibited in another important exhibition and publication at Nottingham in 2010 which is, I still maintain, the earliest of all extant illustrated manuscripts in French.4 The Paris exhibition was quite simply the most substantial exhibition of Arthurian manuscripts ever held. Publications accompanied all these exhibitions as well and serve not only to bring Arthurian manuscripts and objects to the attention of the general public but also to serve the scholarly community. In addition, another exhibition also included Arthurian items. Krone und Schleier, held in Essen and Cologne in 2005, displayed two of the Tristan textile fragments held at Kloster Wienhausen as cat. nos. 470a–b (dated ‘um 1300’ and ‘um 1330’) but significantly did not reproduce them in the otherwise very copiously illustrated catalogue.5 The Kloster Wienhausen tapestries are however part of a permanent exhibition on site in Wienhausen.6 Arthurian manuscripts from Flanders were included in the exhibition and catalogue Jeanne de Constantiople, comtesse de Flandre et de Hainaut held in Lille in 2009,7 and in Imagining the Past in France, History in Manuscript Painting 1250–1500 at the J. Paul Getty Museum in 2010;8 but no Arthurian manuscripts were included in the exhibition Saint Louis, Paris, 2014 9 — the sainted king had apparently no interest in romance illustration in general nor in Arthur in particular.

Newly discovered Objects Ivories Several remarkable works of art decorated with Arthurian themes have come to light in the last few years and have been the subjects of important publications and web sites. I mention just a few. In 2007 the Musée de

‘The Earliest Illustrated Prose Lancelot Manuscript ?’. Stones, ‘Two French Manuscripts’. For further justification of an early date, see ead., ‘Notes sur le contexte artistique de quelques manuscrits de fabliaux’ 5 Krone und Schleier. 6 See Appuhn, Kloster Wienhausen, pp. 35–46. 7 Jeanne de Constantiople 8 Imagining the Past in France. 9 Saint Louis. 3 4

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Cluny, Paris, acquired an ivory box (inv. no. Cl. 23840).10 Attributed to Paris in the early 14th century it is one of a cluster of caskets, and panels from caskets, with similar subjects from romances, including Tristan and Lancelot. These caskets were the subject of an important article by Martine Meuwese published in 2008,11 and details of all the panels and caskets can now be consulted on the Gothic Ivories Project at The Courtauld Institute of Art, London.12 Krakow Crowns and Cross Unique in Arthurian art are the gold crowns and cross in the Cathedral Treasure at Krakow. Made as two crowns in the second quarter of the 13th century, the crowns are decorated with scenes from Hartmann von Aue’s Erec, the earliest German Arthurian romance, in a programme of decoration without parallel. Tiny figures, horses and birds, cast in gold and attached to the gold base, enact the story of Erec, antedating surviving copies of the text, which exist only in an early 16th century version and as fragments dating to the 13th and 14th centuries.13 The crowns were transformed probably in the late 15th century to form the cross-bar of a processional and reliquary cross, thus altering the context and function of what began as luxury secular objects into an equally luxurious religious artefact. Littleknown before Joanna Mühlemann’s new study, linking text and image in a convincing analysis, the crowns can now be appreciated in magnified detail in Mühlemann’s beautifully produced book. Glypothèque: the vessels of Valencia and Genoa, and now León Variously depicted in art as bowl (écuelle), chalice, ciborium (with a lid), chalice with a cross inside, chalice containing the Christ Child, the Grail enjoyed a robust iconongraphic tradition from the early 13th century onwards and is of major interest in Arthurian studies today. Much confusion surrounds the surviving vessels that have been claimed to be the receptacle

10 http://www.musee-moyenage.fr/collection/oeuvre/coffret-assaut-chateau-amour.html (consulted 18 May 2015). 11 Meuwese, ‘Chrétien in Ivory’ 12 http://www.gothicivories.courtauld.ac.uk (accessed 18 May 2015). 13 Mühlemann, Artus in Gold

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used by Christ at the Last Supper, sometimes equated with the Grail or distinct from it in periods that antedate the Grail legends. The two traditions did not initially overlap, so that vessels claimed to be the chalice of the Lord were not automatically equated with the Holy Grail. Several early pilgrims to the Holy Land described an exedra, located between the round Church of the Holy Sepulchre and Constantine’s basilica, containing the Chalice of the Lord.14 It was described as ‘emerald’ by Epiphanius the Monk, writing at an uncertain date bewteen the 7th and 11th centuries.15 This fits, as far as the colour is concerned, with the green hexagonal vessel preserved in the Cathedral San Lorenzo of Genoa, once thought to be of emerald but actually made of green glass, and presumably of Egyptian origin. Petrarch knew it and recommended a visit to it in his Guide to the Holy Land (where he himself had never set foot). His recommendation is dramatic: Even if your travelling companions are hastening and the sailors are untying the ropes from the shore, do not leave before you have seen that precious and noble vase of solid emerald which Christ, for the love of whom you are travelling so far from your country is said to have used as a dish — an object worthy of devotion (if what is said is true) and also celebrated for its craftsmanship’.16

The Breviarius de Hierosolyma (early 6th century), mentions a chamber at the basilica of Constantine which contained the Reed and the Sponge and the Cup, without further specification as to what the cup was made of: see Itineraria et alia Geographica, pp. 110–111; Wilkinson, Jerusalem Pilgrims before the Crusades, p. 60. 15 Wilkinson, Jerusalem Pilgrims before the Crusades, p. 117, gives ‘It is like a chalice of emerald plainly set’, but notes that the translation is doubtful, referring to Donner, ‘Die Palästinabeschreibung des Epiphanius Monachus Hagiopolita’, p. 66; (this page reference is wrong). The best surviving manuscript according to Donner is Vienna, ÖNB Cod. 443 ff. 241–247, which he dates c. 1300; the other three are later. Donner’s translation of the Greek reads, ‘...Und oberhalb des Portals [of Constantine’s basilica] ist das Heiligtum, in dem der Kelch aufbewarht wird, aus dem Christus den Essig und die Galle trank; er ist wie grünlicher Kalkstein, schmucklos (?) eingehüllt...’ (p. 82–83). So it is green, but unlike the earlier descriptions, is not equated with the vessel used at the Last Supper but rather with the Passion. 16 ‘Hinc tu, tametsi socii properent et naute de littore funem solvant, non tamen ante discesseris quam preciosum illud et insigne vas solido e smaragdo, quo Christus, cuius te tam procul a patria amor trahit, pro parapside usus fertur, videas devotum si sic est, alioquin suapte specie clarum opus’, Petrarch’s Guide to the Holy Land, ed. Cachey, p. 72. Petrarch takes the term parapside from Matt. 26:23, at ipse respondens ait qui intinguit mecum manum in parapside hic me tradet.; http://www.cicap.org/new/articolo.php?id=102013 (consulted 14

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Supposedly given by the Queen of Sheba to Solomon, it was found in Caesarea in Palestine during the Crusades and was first mentioned by William of Tyre (c. 1130–1186).17 However, Piacenza Pilgrim, writing c. 570, refers to the Lord’s chalice, displayed at the site of the Holy Sepulchre and Constantine’s basilica in Jerusalem, together with the sponge and reed, as an onyx cup.18 This one might be equated with the chalice now in the Cathedral of Valencia made of agate (both onyx and agate are types of chalcedony). Recorded in the inventory of the treasury of the abbey of San Juan de la Peña in 1134,19 it was given in 1399 to King Martin of Aragón († 1410) and is listed in his inventory as the chalice of the Lord, with no mention of any association with the Holy Grail.20 And recently a new contender has surfaced at San Isidoro, León: the chalice of Urraca, Queen of Castile, León and Galicia (1079– 1126), preserved in the treasury at San Isidoro. This too is of onyx encrusted with jewels. There is ‘no doubt’ it contains the cup which touched the lips of Jesus Christ, claim two historians, Margarita Torres and José Ortiza del Rio.21 Stolen from an unspecified location by Egyptian Muslims, it allegedly 31 May 2015); see http://www.csicop.org/si/show/in_search_of_the_emerald_grail/(Joe Nickell) (consulted 31 May 2015). 17 Historia rerum in partibus transmarsis gestatum, p. 423; see also Jacobus de Voragine, Chronica civitatis Ianuensis ab origine urbis usque ad annum MCCXCVII, ed. Monleone, vol. 2, pp. 309–15. Jacobus de Voragine notes that the English equate this vessel with the Sangraal: ‘in quibusdam libris Anglorum reperitur quod quando Nicodemus corpus Christi de cruce deposuit, eius sanguinem, qui adhuc recens erat et ignominiose dispersus fuerat, recolegit in quodam vase smaragdino, sibi a Deo divinitus preparat. et illud vas dicti Anglici in libris suis Sangraal appelant...’ (p. 312). 18 Itineraria, pp. 139 and 164; Wilkinson, Jerusalem Pilgrimage before the Crusades, p. 83. 19 Secondary sources are reluctant to reveal the location, shelf number and folio of the original; enquiries at the Arxiu de la Corona de Aragó however produced the following sources: AHN, CLERO-SECULAR_REGULAR, Carpeta 712, Número 19 (Donación de Ramiro II de la villa de Bailo y sus pertenencias, 1134, noviembre, 1. San Juan de la Peña): en el Archivo Histórico Nacional de Madrid (on line at http://pares.mcu.es a través del enlace http://bit.ly/1fdVdzx (consulted 31 May 2015). I thank Gloria López, Jefe del Departamento de Referencias, Arxiu de la Corona d’Aragó, Archivo de la Corona de Aragón, for this reference. 20 ACA, REAL CANCILLERÍA, Pergaminos, Martín I, Número 136 (Acta de la donación que hizo el monasterio de San Juan de la Peña al rey Martín I del cáliz de piedra en el que Cristo consagró su sangre en la santa cena, 1399, septiembre, 26. San Juan de la Peña). My thanks again to Gloria López. 21 Reported in the Daily Mail on 31 March 2014: http://www.dailymail.co.uk/news/ article-2593336/Jewel-encrusted-goblet-gathering-dust-tiny-Spanish-museum-touchedlips-Jesus-fact-HOLY-GRAIL-say-two-historians-book-prove-it.html#ixzz3ahiXZhCG

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came into the possession of Copts who gifted it to King Fernando of Castille c. 1050 in thanks for help during a famine. Arculf ’s plans, transmitted by Adomnan, abbot of Iona in the late 7th century and extant in 11th and 12th century copies, show a square aedicula, labelled exedra cum calice domini. The version in MS Y, Vienna, ÖNB 458 (9th c.) shows it as a chalice; other manuscripts simply represent it as a small circle within the exedra, with the exception of Vienna ÖNB 609 (12th c.), which also shows it as a chalice.22 Arculf says the cup was made of silver, holds a French quart, and had two handles, one on each side.23 This description was followed by Bede, but the drawings in Bede manuscripts omit the chalice and its exedra.24 Wall Painting In the last few decades there has been much renewed interest in wall painting and campaigns of restoration have meant new discoveries and have permitted the public display of programmes already known. Arthurian painting however takes second place behind religious programmes in churches and the several programmes that depict subjects from medieval history such as the chapel of the Templar Commandery of Cressac-Saint-Genis in the Charente, whose walls are painted with military scenes recalling the Crusades,25 and the paintings from Amédée V’s castle of Verdon Dessous at Cruet now in the Musée Savoisien at Chambéry, based on Berthe aux grands pieds and the

(consulted 18 May, 2015): ‘According to two medieval documents written in Arabic, it was stolen from Jerusalem by Muslims, who gave it to the Christian community in Egypt’. Again, one wonders precisely what the sources are and exactly what they say. I thank Therese Martin for drawing this to my attention. 22 MS aY and three 9th century copies: MSS aP (Paris, BnF lat. 13048), aK (Karlsruhe, Badische Landesbibl., Aug. 129) and aZ (Zürich, Zentralbibl. Rheinau 73, 9th c.) are reproduced in Wilkinson, Jerusalem Pilgrimage before the Crusades,, pp. 193, 196, pl. 5 and 6. For Vienna ÖNB 609 see Ornamenta Ecclesiae, Cat. no. H6. 23 Itineraria,, p. 191; Wilkinson, Jerusalem Pilgrimage before the Crusades, p. 97. 24 Itineraria,, p. 256; for bP (Paris, BnF lat 2321, 10th c.) and bV (Vienna, ÖNB 580, 11th c.), see Wilkinson, Jerusalem Pilgrimage before the Crusades., p. 193 and pl. 6; other Bede manuscripts listed by Wilkinson (p. 193) are bL (Laon, Bibl. mun. 216 (9th c.), bM (Munich, Bayerische Staatsbibl. 6389, 10th c.) and bN (Namur, Bibl. du Séminaire 37); these also contain plans but Wilkinson does not reproduce them. 25 Legras, Les commanderies, p. 66; Gaborit, ‘La commanderie de Cressac’, pp. 78-79, 153.

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Roman de Charlemagne.26 Four Arthurian cycles are particularly noteworthy and two of them were included in important exhibitions: the simple portraits drawn from the beginning of Chrétien’s Perceval le Gallois at the château de Theys (Isère), datable between 1297 and 1315,27 and the Stanze de Artu at Frugarolo, Alessandria, based on Lancelot.28 The patronage of the Gonzaga at Mantua, who claimed descent from Boort, resulted in the commissioning of an important cycle of painting, now poorly preserved, by Pisanello for their castle.29 And in central France, the castle of Saint-Floret in the Auvergne is the remarkable cycle of narrative paintings based on Rusticien de Pise and attributable to the mid-fourteenth century.30 Manuscripts A major event in manuscript studies is the restoration of the manuscripts severely damaged in the fire at the Bibliotheca Nazionale in Turin in 1904 and the subject of a detailed study by Simonetta Castronovo whose work, mentioned above, also encompasses wall painting.31 Among the literary manuscripts discussed is the Roman de Merlin and Suite Vulgate, Turin, Bibl. nazionale Universitaria, L.III.12, first noted by Monika Longobardi and which, as Martine Meuwese has shown, is by the artist of Paris, BNF fr 749 (Estoire, Merlin, Suite Vulgate), Oxford, Bodl. Ash 828 (Lancelot), and the two bifolios of an Estoire, Bologna, Archivio di Stato b.1 bis, of which the last two are most likely from the same set.32 Another manuscript that 26 Raffaelli, ‘Les peintures médiévales de Cruet’; Fernex de Mongex and Richard, Peintures médiévales de Cruet; Piccat, ‘Epica carolingia in affresci savoiardi del XIII secolo’ ; Mutter, ‘Die Wandmalereien von Cruet’; Castronovo, La Biblioteca dei conti di Savoia, pl. 74–76. 27 Castronovo and Quazza, ‘Miti cavallereschi’ pp. 107–111, figs.1 1, 2, 3.   28 Castelnuovo, Stanze, and Il gotico nelle Alpi, ed. Castelnuovo and de Gramatica,, pp. 410–413. 29 Woods-Marsden, The Gonzaga of Mantua. 30 Luyster, ‘Time, Space, and Mind’ and forthcoming. See also http://www.culture. gouv.fr/public/mistral/palissy_fr?ACTION=CHERCHER&FIELD_1=REF&VALU E_1=PM63000851 (consulted 31 May 2015). Work on Tristan in France is now greatly facilitated by the monumental edition directed by Ménard, Le Roman de Tristan en prose,and Le Roman de Tristan en prose: version du manuscit fr 757 de la Bibliothèque nationale de France. For Tristan in Germany see also Van d’Elden, Tristan and Isolde: Medieval Illustrations of the Verse Romances. 31 Castronovo, Biblioteca. 32 Longobardi, ‘Ancore nove frammenti della Vulgata’; Meuwese, ‘De omzwervingen van enkele boodschappers en een jongleur’; and ead., ‘Crossing Borders’. For the heraldry of

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has recently been retrieved from obscurity is Bourg-en-Bresse, Médiathèque Vailland 55, neglected in the art-historical literature because most of its miniatures have been cut out. But the rubrics survive and have much to reveal about what the illustrations showed.33 Studies of rubrics have begun to play an important part in our understanding of how text and picture fitted together in medieval manuscripts, and Arthurian manuscripts in particular.34 The Bourg manuscript is just one of very many which are now available in digitized form on the web, on the site of the library. Most major libraries have or are now posting their illuminated (and non-illuminated) manuscripts. To name just a few: the British Library, London; the Bodleian Library, Oxford; the Bibliothèque nationale de France, Paris (Gallica and Mandragore); the Bodmer Collection at Cologny-Genève; the J. Paul Getty Museum, Los Angeles; Yale University, New Haven; the Pierpont Morgan Library, New York; and the sites run by the Institut de Recherche et d’Histoire des Textes, Enluminures, and now the Bibliothèque Virtuelle de manuscrits médiévaux (BVMM) have manuscripts from French provincial libraries (Le Mans, Tours). The Lancelot-Grail project has these and Bonn, Landes- und Univ. bibl. 526 and Rennes, Bibl. mun. 255. More such efforts will surely follow.

Present What characterizes work on Arthurian illustration today ? Most striking is the current emphasis on collaborative efforts, round tables and discussions. We are less concerned today about single authorship and staking an individual claim to Arthur. Multi-authored publications indicate the extent to which debate from scholars in different disciplines and countries is shaping the questions and answers raised by Arthurian iconongraphy and its transmission. New items are emerging: as with the new painting revealed by campaigns of cleaning, manuscript study is witnessing the evaluation or re-evaluation of fragments of Arthurian manuscripts in public and private collections, some early products of the 12th and 13th centuries, others from

Gauvain in this group of manuscripts, see Stones, ‘A Note on the Heraldry of a Very Special Gauvain’. 33 Chase, ‘Un manuscrit mesconnëu de l’Estoire del Saint Graal. 34 Doner, ‘Illuminating Romance: Narrative, Rubric, and Image’; Busby, Codex and Context, , pp. 225–365; Fabry-Tehranchi, ‘Diviser, choisir et condenser: rubriques et illustrations’; ead., Texte et images des manuscrits du Merlin et de la Suite Vulgate., pp. 256–331.

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the late Middle Ages. The fragments are also witnesses to the mentality of earlier collectors who, from the 16th century onwards, were at times not averse to dismembering important books in order to preserve the pictures alone while discarding the text; or, vice-versa, to preserve text fragments, some reused in bindings, others preserved for antiquarian interests, while discarding the images. These despicable practices affect devotional and liturgical manuscripts as well, and today the vibrant trade in cut leaves only serves to encourage the mutilation of books. Valiant efforts are being made to piece books back together again if only in cyberspace.

Future As will have been evident from my footnotes, the web has come to play a more and more useful rôle in making available images and sometimes information about all aspects of Arthurian art.35 And new approaches, particularly GIS analysis, are beginning to show how all the elements that can be mapped on each page of each manuscript bring a far more fundamental knowledge and understanding of how manuscripts were put together and what kinds of choices were made by patrons and makers.36 What is still lacking is the comparative dimension of iconongraphical studies. No work of art is an island; only by considering the place of each object or subject in the time and space, in relation to other examples of the same or related subjects or objects, can anything useful be said. It is the task of scholars to make use of the resources provided by libraries and museums to develope this comparative dimension in order to determine what iconongraphic choices were made in the creation of Arthurian art and what those choices tell about the interests and concerns of their patrons and makers and their aesthetic and monetary value-systems. There is a great deal still to do if we are to fully understand the place of Arthurian art in the Middle Ages, its personal, collective, societal, and material value. For manuscripts, the rôle of minor decoration — particularly pen-flourished decoration and its placing within the text, can tell much about how the texts were read, in much the same way 35 Web sites change notoriously. I do not list all that are currently available; most can be found with an easy search. 36 For preliminary observations see Stones, ‘Teaching and Research on the Web’; ead., ‘The Lancelot-Grail Project’ and ead., ‘Towards a Comparative Approach’, reproduced in these essays; see now A. Stones, ‘Mapping Illuminated Manuscripts: Applying GIS Concepts to Lancelot-Grail Manuscripts.’

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as the placing of pictures. How did the two genres function in a manuscript, and across multiple copies of the same text ? What subjects were ‘standard’ and which were exceptional, and what do these choices tell ? There is much comparative work to be done but today the increasing availability of web resources is making it possible to actually do that work. The future looks rosy for Arthurian studies and I hope the next years and decades will be as fruitful as the past.

Bibliography

Select Bibliography Abbreviations AASS ADN AN AS BAV BL BM BN BNF BPH BR BSB CFMA KA KB

Acta sanctorum Archives départementales du Nord, Lille Archives nationales, Paris Archivio di stato Biblioteca Apostolica Vaticana British Library Bibliothèque municipale Biblioteca Nacional Bibliothèque nationale de France Bibliotheca Philosophica Hermetica, Amsterdam Bibliothèque Royale de Bruxelles Bayerische Staatsbibliothek, Munich Classiques français du Moyen Âge Koninklijke Akademie der Wetenschappen (The Hague) Koninklijke Bibliotheek (The Hague), Kongelige Bibliotek (Copenhagen) LUB Landes-und Universitätsbibliothek MGH Monumenta Germaniae historica NLR National Library of Russia NLS National Library of Scotland PL Migne, Patrologia latina: Patrologia; cursus completus: seu bibliotheca universalis, integra, uniformis, commoda, economica, omnium SS. Patrum, doctorum scriptorumque eccelesiasticorum, sive latorum, sive grcecorum, qui ab cevo apostolico ad tempora Innocenta III (anno 1216) pro Latinis et concilii Fiorentini (anno. 1439) pro greeds floruerunt... series Latina. In qua prodeunt patres, doctores scriptoresque ecclesiae

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Latinae a Tertulliano ad Innocentium III. 221 vols. ed. J.-P. Migne (Paris, 1878–90). PMLA Publications of the Modern Language Association RHC Recueil des historiens des croisades SATF Société des anciens textes français SBPK Staatsbibliothek Preussischer Kulturbesitz, Berlin UB Universiteitsbibliotheek UCB University of California Berkeley UL University Library Text editions and editions of primary sources Robert de Boron, Estoire, Joseph in verse Le Roman du Saint-Graal publié pour la première fois d’après un manuscrit de la Bibliothèque Royale, ed. F. Michel (Bordeaux, 1841, repr. Whitefish, MR, 2009) (based on BNF fr. 20047, anc. Saint-Germain françois 1987). Nitze, W.A. Le roman de l’Estoire dou Graal (Paris, 1927, repr. Paris and Geneva, 1995) (based on BNF fr. 20047). O’Gorman, R. Robert de Boron, “Joseph d’Arimathie,” Critical edition of the verse and prose versions (Toronto, 1995). Vulgate Cycle/Prose Lancelot/Lancelot-Graal Sommer, H.O. The Vulgate Version of the Arthurian Romances, 7 vols. (Washington, DC, 1909–1913, repr. New York, 1979) (Short cyclic version, based on London, BL Add. 10292–4) (hereafter S). Poirion, D. et  al., Livre du Graal, 3  vols. (Paris, 2001–2009) (Short cyclic version, based on Bonn LUB 526, sigle B). (hereafter Poi). L’Estoire del saint Graal Furnivall, F.J. Seynt Graal or the Sank Ryal. The History of the Holy Grail, partly in English Verse, by H. Lonelich (Skynner) (temp. Hen. VI. 1422– 1461) and wholly in French prose by Sires Robiers de Borron, from the original Latin, written by Jesus Christ, ed., F.J. Furnivall, 2 vols. (London, 1861–63) (based in part on London, BL Add. 10292). Hucher, E. Le Saint Graal, 3 vols (Le Mans, 1877–78, repr. Geneva, 1967), vols II and III, (based on Le Mans MM 354) (hereafter H). S 1 (based on BL Add. 10292) Poi I, 13–567 (based on Bonn LUB 526) Longobardi, M. ‘Ancore nove frammenti della Vulgata: L’Estoire du Graal, il Lancelot, la Queste’, Giornale italiano di filologia 46 (1994),

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197–228. Ponceau, J.-P. L’Estoire del Saint Graal, 2 vols (Paris, 1997) based on Amsterdam, Bibliotheca Philosophica Hermetica MS 1 to f. 63, then on Rennes BM 255 (hereafter Pon). Guillaume de la Pierre, L’Estoire del saint Graal (based on Brussels, BR 9246) Delamarre, A. Copier au XV siècle du français déjà ancien : l’exemple de l’Estoire del Saint Graal. Commentaire linguistique et édition partielle du ms. B.R. Brux. 9246, thèse inédite de l’École nationale des Chartes soutenue en 2003. L’Estoire in print: L’hystoire du Sainct Greaal qui est le premier livre de la Table Ronde..., 2 vol. in 1, in-fol. (Paris, chez Jehan Galiot du Pré and Michel le Noir, 1516). L’Hystoire du Sainct Greaal, 1516, ed. C. E. Pickford (London, 1978). Merlin S II, 3–101. Micha, A. Merlin, roman du Xllle siècle par Robert de Boron (Geneva, 1979), based on BnF fr. 747 (MM). Poi 1, 569–805. Suite Vulgate du Merlin S II, 101–466. Les premiers faits du roi Artur Poi 1, 807–1662. La Suite du Roman de Merlin Roussineau, G. La Suite du Roman de Merlin, 2 vols. (Geneva, 1996), (based on Cambridge, UL Add. 7071). Merlin in print: Merlin, Paris : Antoine Vérard, 1498, ed. C.E. Pickford (London, 1977). Lancelot: En la marche de Gaulle S III–V (based on London, BL Add. 10293). Kennedy, E.M. Lancelot do Lac: the Non-cyclic Old French Prose Romance, 2 vols. (Oxford and New York, 1980), (LK) (based on Paris, BNF fr. 768). Micha, A. Lancelot : roman en prose du 13e siècle, 9 vols. (Geneva, 1978– 83) vols. VII and VIII (based London BL Add. 10293) (LM) Poi 2, 5–921 (based on Bonn ULB 526).

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Lancelot: From the Journey to Sorelois to the Death of Galehot S IV, 3–155 LM I, 1–389 (based on A, Cambridge CCC 45), III (based on short versions) Lancelot: La Charette S IV 155–226 Hutchings, G. Le Roman en prose de Lancelot du Lac. Le conte de la Charette (Paris, 1938, repr. Geneva, 1974) (based on Cambridge, Corpus Christi College 45 and Oxford, Bodleian Library Rawlinson Q.b.6). LM II 1–108 (based on A, Cambridge CCC 45), III (based on short versions) Combes, A. Le Conte de la Charette dans la Lancelot en prose: une version divergeante de la Vulgate (Paris, 2009) (based on Paris, BnF fr. 119, fr. 122, Arsenal 3480). Galehaut: Poi 2, 923–1423 (based on Bonn LUB 526). Lancelot: Suite de la Charette S IV 226–362 LM II 108–419 (based on CCC 45), LM III (based on short versions) La première partie de la Quête de Lancelot: Poi 2, 1425–1715 (based on Bonn LUB 526). Lancelot: Agravain S V based on Add. 10293 and Royal 19 C. XIII LM IV, V, VI (based on CCC 45) La seconde partie de la quête de Lancelot Poi 3, 3–805 (based on Bonn LUB 526). Lancelot in print Lancelot du lac : t. 1, Jehan et Gaillard Le Bourgeois, Rouen, 1488; t. 2, Jean du Pré, Paris, 1488, ed. C.E. Pickford (London, 1977). Queste S VI, 6, 3–199 (based on BL Add. 10294). Pauphilet, A. La Queste del Saint Graal, (CEMA) (Paris, 1923), (long cyclic version, based on Lyon, BM, Palais des Arts MS 77, siglum K); here I refer to La Queste del Saint Graal (CFMA) (Paris, 1965). Poi 3, 809–1177 (based on Bonn LUB 526). Bogdanow, F. ed., tr. A. Berne La quête du Saint-Graal, roman en prose du XIIIe siècle (Livre de poche. Lettres gothiques, 4571) (Paris, 2006) (based on University of California, Berkeley, UCB 73).

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La grant Queste del Saint Graal: la grande Ricerca del Santo Graal, Versione inedita della fine de XIII secolo del ms. Udine. Biblioteca Arcivescovile, 177, ed. Gianfranco d’Aronco et al. (Tricesimo [Udine], 1990). Willingham, E.M. et al., eds. La Queste del saint Graal (The Quest of the Holy Grail) from the Old French Lancelot of Yale 229 (Turnhout, 2012). Mort Artu S VI 203–391 (based on BL Add. 10294). Frappier, J. La Mort le roi Artu, roman du XIIle siècle (Paris and Geneva, 1964) (F) (based on Paris, Bibl. de l’Arsenal, 3347, siglum A). The Death of Arthur, tr. J. Cable (Harmondsworth, 1971). Poi 3, 1179–1486 (based on Bonn LUB 526). Willingham, E.M., et al. La Mort le roi Artu = The Death of Arthur from the Old French Lancelot of Yale 229 (Turnhout, 2007), based on New Haven, Yale University, Beinecke Library 229. Post-Vulgate Queste and Mort Artu Bogdanow, F. La Version post-vulgate de la Queste del saint Graal et de la Mort Artu, 4 vols. (Paris, 1991–2011). Mort Artu in English Benson, L.D. King Arthur’s Death (New York, 1974). Le morte d’Arthur, printed by William Caxton, 1485, reproduced in facsimile from the copy in the Pierpont Morgan Library, ed. P. Needham (London, 1976). Other text editions in alphabetical order by medieval author or title Albert of Aachen, Historia Ierosolimitana, ed. and tr. S.B. Edgington (Oxford, 2007). Albrecht, Jüngerer Titurel: Die Heidelberger Handschrift H (cpg 141) des “Jüngerer Titurel”, ed. W. Schröder, 3 vols. (Stuttgart, 1994–1995). Alexander Neckam, De naturis rerum libri duo, ed. T. Wright (London, 1863).Annales Regni Francorum ed. G. H. Pertz and F. Kurze (MGH SS 6) (Hannover 1895). Arthur of Britain, tr. E. K. Chambers (London, 1927, repr. 1966) (includes excerpts from Nennius and Gildas in Latin). Bede, Venerable, Explanatio Apocalypsis, PL 93, 129–206 (Book III ch. 21, cols. 197–204 on precious stones). Bede, Venerable, Commentary on Revelation, tr. with an introduction and notes by F. Wallis (Liverpool, 2013).

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Index

Index of Manuscripts Cited Armorials: Berry (Paris, BNF fr 4985): 4 n 11, Brussels, BR 19132–66: 268, Le Breton (Paris, Archives nationales, AE I 25, no. 6 (MM 648)): 4 n 11, 316, 326, 672 n 130, 674, Caerlaverock (London, BL Cotton Caligula A. XVIII, ff. 23b–30b): 1076 n 170, 1139 n 8, 1157 n 34, Chifflet-Prinet/Ost de Flandre (Besançon, BM Coll. Chifflet, MS 186, pp. 145–54): 673, 674 and n 136, Falkirk (London, BL Harley 6589, ff. 9–9b): 1157 n 34, Gelre (Brussels, BR 15652–5): 4 n 11, Montjoie (Oxford, Bodl. e Mus. 78): 268, Navarre (Paris, BNF fr 24920): 4 n 11, 318 n 8, Noms et blasons de chevaliers de la table ronde (Milan, Bibl. Trivulziana cod. N 1395): 267 nn 1 and 4, 268 and n 5, 290 n 3, 316 and n 1, Walford’s (London, BL Harley 6589 ff. 12, 12b): 1157 n 34, Wijnberghen (now in private

hands; a copy is in Brussels, BR Coll. Goethals, ms. 2569): 4 and nn 11 and 12, 271 n 17, 672 n 130, 672 n 130, 673, 674 and n 136, Abbeville, BM 3: 102 n 13, Aberystwyth, NLW: 443–D: 1179, 1192, 445: 1016, 5018: 1013, 5667: 1186, 1188, Aix-en-Provence, Bibl. Méjanes 164: 274 n 34, Amiens, BM: 190: 1053, 1055, 1057, 195: 1059, olim Amsterdam, BPH 1 (Sotheby’s 7.xii.2010, lot 33): 77 n 51, 87 n 63, 94 n 4, 96 n 10, 101, 103 n 17, 113 19, 115 n 27, 117, 119, 127, 143, 144, 157, 158, 159, 168, 171 fig. 6, 172, 177, 178, 193 n 1, 194, 195, 196, 197, 199 fig. 1, 203, 204, 205, 209 fig. 2, 212, 217, 218, 223, 226, 228, 230, 247, 248, 249 and n 8, 250, 251, 252 and nn 15 and 17, 254 fig. 2, 255 figs. 3, 4, 256 fig. 5, 260, 261, 262, 263, 265, 268, 269, 275, 276 n 48, 282 fig. 11,

1292 284 n 54, 285 and nn 56, 58, 59, 286, 287, 288 n 69, 290, 291 and nn 7, 8, 292 n 8, 293, 294 fig. 1, 295 fig. 2, 302, 306, 307, 308, 310, 311, 319 and n 11, 325, figs. 1, 2, 332 fig. 3, 337, 338, 390, 391, 406, 437 n 16, 440, 448, 450, 452, 453 and n 73, 457 fig. 4, 525 n 3, 526, 529, 542, 543, 554, 557 and n 4, 609 n 13, 613 n 25, 616 n 27, 624 n 52, 638 figs. 18, 19, 654 n 83, 659 and n 100, 660, 661, 662, 692, 695, 703 and n 13, 704–07, 709, 710–11, 722 fig. 2, 723 fig. 3b, 725 fig. 6a, 743 fig. 6, 751 and n 42, 754 n 54, 756 n 58, 757 n 61, 759 n 75, 840, 876, 877 n 7, 882, 883, 897 fig. 18, 899 fig. 22, 905, 906, 937–46,949–52, 982 n 38, 986 n 45, 990, 1011, Annonay, Cabinet notarial: 1021 n 1, 1022 n 2, 1023 n 10, Arras, BM: 1(3): 54 n 31, 624 n 54, 303(960): 106, 109 fig. 12, 115, 119 n 37, 285 n 55, 307(851): 285 n 55, 561(1): 374, 729(639): 1062, 1065 and n 131, 1084, 1085, 1110 fig. 93, 1111 fig. 98, 888(444): 374, 1060 (1182): 284 n 55, 879, 1061, Arras, Musée Diocésain 47: 52 n 27, 668 n 123, 1176, Aschaffenburg, Hofbibl.: 5: 670 n 127, Assisi, San Francesco, Tesoro: 51 n 24, Avignon, BM 749: 146, Avranches, BM 22: 287 n 67,

Baltimore: Johns Hopkins University, Evergreen House 10: 657 n90, Walters Art Museum (formerly Gallery): W. 39: 1049, 1050, 1083, 1097 fig. 48, W. 56: 355, W. 86: 1059, W. 90: 102 n 13, 260 n 19, 261 and n 22, 264 n 35, 640 fig. 21, 665, 668 n 122, 669, 1064 n 125, W. 97: 1039, W. 98: 324, W. 104: 1062, 1065 n 131, W. 109: 1066 and n 135, 1067, 1085, 1120 fig. 115, 1121 figs. 116–117, W 112: 1053, 1054, 1055, 1056, 1058, 1083, 1097 fig. 49, W. 143: 1074 n 170, W. 291: 656 n 90, W. 759–761, 915: 326 and n 26, Barcelona, Arxiu de la Corona de Aragó: ACA, REAL CANCILLERÍA, Pergaminos, Martín I, Número 136: 1199 n 20, Basel, Öffentliche Kunstsammlung U.IX.30: 54 n 31, 624 n 54, Beaune, BM 60: 636 fig. 14, 657 n 90, Berkeley, UCB 28: 67 n 127, Berkeley, UCB 73: 524 n 2, 1001, Berkeley, UCB 106: 128, 192 n 2, 223, 224, 229, 350 n 42, 351 and n 43, 390, 391 n 33, 406, 411 fig. 3b, 448, 451 n 64, 535 figs. 12a, 12b, 545 and n 12, 547, 611 n 16, 692, 1004, Berkeley UCB 107: 129, 192 n 2,

INDEX

223, 228, 229, 230, 330 n 7, 611 n 16, 1003, 1042 n 49, Berkeley, UCB MS 2MS A2M2 1300:37: 446 n 47, Berlin, SBPK: Ham. 49: 1006, Ham. 365: 146, Germ. fol. 282: 26, 49 n 17, 64, 67, 615 n 26, 735 n 16, 758 n 69, 1078 n 191, Theol. lat. fol. 271: 261 n 21, Theol. lat. fol. 485: 105, 115, 1042 n 52, Berlin, SBPK Kupferstichkabinett: 78 B 16: 127, 128, 168 n 6, 226 n 13, 237, 269 n 9, 303, 769 n 18, 1043 n 57, 1079 n 189, 78 C 1: 49 n 17, 94 n 4, 237 n 36, 324 and n 14, 667 n 122, Bern, Burgerbibl.: 112: 352 and n 49, 113: 1024 n 11, 115: 1059, 163: 352 and n 49, 218: 720 n 29, 296: 1049, 1050, 1083, 1095 figs. 42–44, 354: 123, 374 n 19, 1029 n 2, 1182, AA 91: 434 n 9, Besançon, BM 148: 685, Blackburn Public Library, Hart Collection 091.21001: 623 n 51, Bologna, AS, b.i.bis: 127, 205, 319, 524 n 2, 1009, 1201 and n 32, Bonn, LUB 526: 2 n 3, 31 n 11, 32, 37 fig. 5, 42 fig. 12, 43 fig. 13, 51, 52, 94 n 4, 95, 97 fig. 1, 101, 102 and n 13, 103 n 17, 112 figs. 17, 18, 114 n 26, 115 n 29, 116, 117, 118 n 36, 126, 130, 131,

1293 138, 202 n 4, 204, 205, 207, 208 fig. 1, 210, 211, 212, 215, 216, 223, 225, 226, 227, 228, 230 and n 31, 233 fig. 4, 238, 248 n 6, 258 figs. 9, 10, 275 n 41, 276, 278 fig. 3, 280 fig. 8, 281 fig. 10, 283, 284 and nn 54, 55, 285, 288 n 71, 292, 296 fig. 4, 300 fig. 10, 302, 305, 306, 307, 308, 309, 312, 313, 319 n 12, 330 n 7, 335 fig. 10, 338, 348 and n 33, 406, 441 n 31, 444, 453, 459 fig. 8, 465 n 87, 467, 545 n 12, 552 n 27, 610 n 13, 613 n 25, 616 n 27, 621 n 43, 624 n 54, 653, 654 n 83, 685 et n 32, 692, 694, 745 fig. 10, 746 fig. 13, 747 fig. 14, 753 and n 50, 754, 755 and n 55, 757 nn 61, 62, 760 and n 77, 880 n 17, 881 n 21, 883 and n 31, 884, 887, 894 fig. 13, 895 fig. 16, 898 fig. 21, 899 fig. 23, 901 fig. 27, 905, 906, 907, 909, 911, 912, 915, 925–30, 931–37, 937–46, 952–54, 954–55, 956, 989, 995, 1005, 1040 n 45, 1041, 1063, 1148 fig. 12, 1155, 1176, 1202, Boulogne-sur-Mer, BM: 4: 54 n 31, 207, 374, 110: 287 n 67, 735 and n 14, 741 fig. 2, 130: 102 n 13, 103 n 17, 264, 319 and n 13, 668 n 122, 961 n 6, 131: 102 n 13, 264 and n 35, 292 n 9, 324 n 13, 545 n 12, 668 n 122, 961 n 6, 1177, 192: 43 fig. 14, 52 n 27, 102 n 13, 292 n 9, fig. 14, 545 n 12, 754 n 51, 1041 n 48, 1063, 1176, Bourg-en-Bresse, Médiathèque Vail-

1294 land 55: 1012, 1202, Bristol, Avon County Library, Reference Library 10: 96, 98 fig. 4, Bruges Groot Seminarie 77/98: 261 n 22, 262, Stadbibliotheek: 45/144: 264 n 35, 646 fig. 33, 670, 251: 284 n 55, 879 n 13, 1060 and n 114, Brussels, BR: 63: 1064, 456–7: 104, 582–9: 58 n 2, 1056 n 98, 1787: 58 n 2, 1056 n 98, 2512: 58 n 2, 1056 n 98, 9225: 1072 and n 164, 1076, 9229–30: 1072 and n 164, 1076, 9234: 1076 and n 183, 9243: 905 and n 41, 991, 9245: 1072, 1074 n 170, 1076, 1085, 1137 fig. 155, 9246: 9, 125, 158, 159, 193 n 1, 205, 207 n 22, 227, 293 n 14, 330 and n 8, 333 fig. 5, 439, 444 n 41, 529 n 7, 610 n 13, 613 n 25, 678–95, 686 fig. 1, 687 fig. 2, 688 fig. 3, 689 fig. 5, 690 fig. 6, 691 fig. 7, 961 n 6, 1016, 9391: 126, 226 n 12, 284 n 55, 390, 879, 1060, 9492–3: 1037, 9503–9504: 679, 9627–9628: 129, 193 n 1, 228, 229, 231 fig. 2, 272, 283 and nn 50, 52, 350 and n 42, 353, 365 fig. 9c, 465 n 87, 466 n 91, 551 n 25, 617, 995, 1003, 9630: 1037 and n 31, 10228: 284 n 55, 879, 1061, 10607: 9, 21 fig. I–12, 558, 664

fig. 30, 668 n 122, 669, 670 n 126, 673, 675 n 157, 988, 989 n 51, 10753: 102 n 13, 11040: 49 n 17, 94 n 4, 237 n 36, 324 and n 14, 667 n 122, 11220–21: 669 n 126, 18295: 1037 and n 30, 19132–66: 268, II 2523: 54 n 31, IV 319: 6, IV 852: 1024 n 11, Cambrai, BM: 87: 102 n 13, 99: 102 n 13, 153–154: 52 n 27, 102 n 13, 126, 545 n 12, 1063, 1176, 157: 1070, 189–190: 52 n 28, 317 and n 7, 320 fig. 1, 1051 and n 81, 234: 738, 741 fig. 3, 345–346: 624 n 54, 682: 1044 n 59, Cambridge, Corpus Christi College: 16: 655 n 87, 1079 n 193, 47: 1004, 194: 1154, 476: 1145 fig. 5, 1153, Ferrell-Voguë, loan: 719 n 26, Cambridge, Fitzwilliam Museum: 298: 55 n 34, 300: 52 n 28, 302 f. 100v: 1182, Add. 290: 1063, 1065 and n 131, 1085, 1111 fig. 96, 1112 figs. 99–100, McClean 179: 284 n 55, 879 n 13, 1061, Cambridge, St John’s College: B 9: 1029 n 2, 1035 and n 17, 1038 and n 33, 1039, 1040, 1082, 1089 fig. 12,

INDEX

Cambridge, Trinity College: O.9.34: 27, 1139 and n 8, B.11.22: 88, 90 fig. 22, 100 fig. 7, 104, 260 n 19, 261 n 22, 262, Cambridge, University Library Add. 7071: 389 n 30, D.d.15.12: 1181, Ee.3.59: 446 n 49, 447, 658, 1139 and n 7, Cape Town, Grey Collection: 1074 n 170, Carpentras, Bibl. Inguimbertine: 59: 635 fig. 13, 656, 403: 1074 n 170, 404: 1162, 1182, 1188, Carlisle, Cumbria Record Office: Holm Cultram Cartulary ff. 1 and 286: 1181, Castres (sn): 1072, Chantilly, Musée Condé: 76(1362, olim latin 13621): 9, 65(1284): 680, 288(714): 878 n 11, 472(626): 1025 n 19, 1026, 1031, 476(644): 142, 391 n 34, 977 n 28, 1004, 590 (433): 1036 and n 22, 643 (307): 695, 1013, 645–47 (315–17): 1164 n 14, 1179, 1191, 648 (404): 130, 1014, 1163 n 13, 1178, 1190, 669 (1111): 995, 1006, Chartres, BM 549 (destroyed): 229 n 20, Chicago, Newberry Library f21Ry.3412261: 129, 1003, Città del Vaticano, BAV: Pal. lat. 1964: 129, 1065 n 133, 1164, 1178, 1189, Reg. lat. 727: 1190,

1295 Reg. lat. 1320: 263, 264, 992 n 65, Reg. lat. 1490: 349 n 37, Reg. lat. 1522: 1076 and n 184, 1087, 1137 fig. 160, Urb. lat 376: 375, 974 n 18, Vat. lat. 3203: 284 n 55, 879, 889 fig. 4, 1061, Vat. lat. 3207: 377 and n 29, Vat. lat. 3867: 735 n 16, Vat. lat. 8541: 446 n 47, Vat. Ross. 457: 1074 n 170, Cleveland, Museum of Art, J.H. Wade Fund 1952.565: 51 n 24, Collegeville, MN, Hill Monastic Manuscript Library: MS 8 (Bean 3): 446 n 47, Cologny-Geneva, Fondation Bodmer: 78: 736 and n 20, 79: 3 n 5, 82: 1182, 105: 680, 1015, 147: 132, 134, 135 fig. 2, 192 n 2, 202 n 4, 203, 223, 228, 230, 249 n 7, 330 n 7, 551 n 25, 556 and n 1, 611 n 16, 616 and n 28, 657 n 93, 695, 817 n 2, 970 fig. 9, 985, 996, 999, 1009, 148: 1179, 1192, 164: 1178, 1190, olim Bodmer (sn): 695, 1013, Copenhagen, KB: GKS 1606 4o: 354, GKS 3384 8o: 103 n 17, 260 n 19, 261 n 22, 262, 263 n 25, 285 and n 59, 287, Thott 7. 2: 1038 and n 34, 1082, 1090 fig. 13, Thott 1047: 193 n 1, 977 n 28, Thott 1087: 1002, Cremona, Bibl. statale, Deposito libreria civica, BB.1.2.5: 423 n

1296 15, Dallas, TX, Southern Methodist University, Bridwell Library 13: 265 n 35, Darmstadt LUB: 394: 261 n 21, 447 n 53, 2543: 127, 695, 1009, Dijon, BM: 113: 1066 n 135, 527: 130, 192 n 2, 551 n 25, 1014, 1178, Douai, BM 22: 355, 356, 363 fig. 7c, 367, 193: 44 fig. 16, 52 and n 27, 102 n 13, fig. 16, 711: 51 n 24, 797: 102 n 13, 880: 138, 907, 960 n 5, 1148 n 11, 1155, Dublin, Trinity College E.i.40: 1139 n 7, Durham, Cathedral Library, A.II.1: 119 n 37, Edinburgh, NLS: Adv. MS 19.2.1 (Auchinleck MS): 68, 1078 n 189, Adv. 19.1.3: 1189, Edinburgh, University Library: D.b.VI.6: 371, 434 n 6, Escorial, Realbibl. P.II.22: 1013, Florence, Bibl. Medicea-Laurenziana Ash. 121: 128, 131, 461 figs. 12, 13, 465, 551 n 25, 552 n 27, 623, 625, 626, 627 nn 59, 60, 631 fig. 5, 633 fig. 9, 653, 667 n 122, 884, 885 n 35, 1011, Ash. 122: 51 n 25, 646 fig. 34, 647 figs. 35, 36, Ash. 125: 51 n 24, 324, 667 n 122, Plut. LXI. 10: 981 n 35, Florence, Bibl. Nazionale, Pal 556:

73, 462 figs. 14, 15, 625, 628, 634 fig. 11, 635 fig. 12, 650 and nn 63–67, 651, 652, 962 n 9, 992, 993, 997, Geneva, Bibliothèque de Genève: 178: 1074 n 170, 189: 130, 1178, 1191, 190: 961 n 6, Comites Latentes 144: 1062 n 121, Ghent, Rijksarchif, Inv. Gaillard 3: 675 n 157, Inv. Gaillard 24: 675 n 157, 676 n 145, Inv. Gaillard 27, 29: 675 n 157, Inv. Gaillard 31, 32, 40, 42, 45, 46, 55, 59: 675 n 157, Inv. Gailllard 746: 675 n 157, Raad van Vlanderen 8731: 675 n 157, Saint-Genois 1056: 675 n 157, Wyffels 281: 675 n 157, Giessen, Univ.bibl. 93–94: 1017, Göttweig, Stiftsbibl. 55: 355, Grenoble, BM: 53: 262, 865: 804, The Hague, KB : 71 A 23: 1072, 1076, 74 G 31: 58 n 2, 1056 n 98, 76 F 5: 287, 377, 559, 701, 76 F 13: 95 and n 7, 98 fig. 3, 376, 76 J 18: 1051, 1054, 1056, 1084, 1101 figs. 63, 64, 78 D 47: 1042 n 50, 79 B 40: 1074 n 170, 135 E 15: 263, The Hague, KA: XVI: 264, XX: 261 n 22, 263 n 25, 960 n 6, 986 and n 45, 990, 997,

INDEX

The Hague, Museum MeermannoWestreenianum: 10.B.21: 263 and n 29, 701 n 8, Hannover, Gottfried Wilhelm Leibniz Bibliothek-Niedersächische Landesbibl.: I 82: 326 and n 24, IV 578: 1140 and n 15, 1141, 1142 and n 20, 1143 fig. 2, 1157, Heidelberg, UL: Pal. Germ. 112: 26, 30, 31, 34 fig. 1, Pal. Germ. 848: 615 n 26, 736 and n 24, Hildesheim, St Godehard Treasury, St Albans Psalter: 467 and n 96, 536 fig. 13, 547 and nn 14–17, Kansas City leaf: 1042 n 53, Karlsruhe, Badische Landesbibl. : Aug. 129: 1200 n 22, St Peter Perg. 92: 669 n 125, 1064 and n 128, 1065, Kew, Public Record Office, E122/100/13B: 1021 n 1, Krakow, Bibl. Jagiellońska: 816: 759 n 73, Kraus, see Amsterdam Kraus, H.P., Catalogue 77, no. 88: 67 n 127, Laon, BM 216: 1200 n 24, Leiden, UB Voss. G. G. Fol. 3A: 1070 and n 148, Le Mans, MM 354: 126, 132, 139 fig. 4, 142, 160, 192 n 2, 193 n 1, 196, 206, 210, 226 and n 12, 230, 232 fig. 3, 236, 281 fig. XIV–9, 284, 285 n 57, 318, 9, 330 n 7, 348 n 33, 385 fig. 21, 390, 391, 405, 407, 408, 415 fig. 10. 417 figs. 14, 16, 420 fig. 20, 425–31, 442, 443 and n 39, 451 n 64, 452, 454, 525 n 3,

1297 526, 527, 532 fig. 6, 542, 543, 554, 610 n 13, 613 n 25, 639 fig. 20, 661, 662 nn 108, 111, 684, 685, 692, 694, 753 n 50, 757 n 61, 766 n 8, 772 n 30, 879 n 13, 1005, 1041, 1042, 1045, 1061, 1082, 1090 fig. 16, 1202, Lerida, Archivo Capitolare 1: 734 n 10, Lille, ADN, Fonds de la Chambre de comptes B 278 (no. 5475): 676 n 141, Lille, BM: 835–838 (1–4): 624 n 54, Lille, Musée: SA 367: 441 n 34, 649 figs. 39, 40, 659 n 99, 670 n 127, 671, Lincoln Cathedral Library: 19 (Thornton): 962 n 7, London, Alpine Club: 1014, London, BL: Add. 5474: 52 n 27, 102 n 13, 126, 205, 223, 226, 228, 610 n 13, 1008, 1171 fig. 12, 1176, 1177, 1188, Add. 10292–4: i, 7 n 21, 18 fig. 7, 31 n 11, 77 n 51, 80, 85 fig. 16, 94 n 4, 103 and n 17, 113 fig. IV–20, 118, 119, 127, 130, 131, 138, 139 fig. 4, 143, 156, 157, 158, 160, 168, 169 fig. 1, 170 fig. 3, 171 fig. 5, 177, 178, 193 and n 1, 194, 195, 196, 202 n 4, 204, 208 figs. 3, 4, 211 n 23, 212, 217, 218, 223, 225, 226, 228, 230, 238, 251 and n 12, 252, 260 and n 19, 261, 264 and n 34, 265 and n 35, 268, 269, 271 n 14, 272, 275 and n 42, 276 n 48, 277 fig. 1, 283 n 52, 284 n 54, 285 nn 56, 58, 59, 288 n 71, 291 and n 7, 298 figs.

1298 6, 7, 299 fig. 8, 9, 304, 305, 306 n 24, 307, 312, 313, 314, 315, 318 and nn 9, 11, 319 and n 11, 321 fig. 4, 330, 331 fig. 1, 334 fig. 7, 335 fig. 9, 336 fig. 12, 338, 390, 391, 403 n 1, 406, 414 fig. 8, 437 n 16, 440, 449, 452, 453 and nn 75, 77, 465, 466, 525 n 3, 526, 527 and n 5, 528, 529, 530 fig. 2, 532 fig. 5, 533 fig. 8, 536 fig. 14, 537 fig. 15, 540 fig. 22, 541 fig. 23, 542, 543 and n 9, 544, 545 n 12, 548 and n 20, 549, 550, 551, 552, 553, 554 and n 30, 555, 557 and n 5, 561 fig. 2, 568 fig. 15, 569 fig. 17, 571 fig. 21, 573 fig. 25, 575–78, 613 n 25, 616 n 27, 621, 622, 623 n 48, 624 n 52, 627 n 60, 632 fig. 6, 654 n 83, 659 n 100, 695, 703 and n 13, 704–07, 709, 710–11, 712–15, 716, 723 figs. 3a, 3c, 725 fig. 6b, 726 fig. 7a, 729 fig. 10b, 730, 731, 742 fig. 5, 746 fig. 12, 751 and n 42, 756 n 58, 57 n 61, 759 and n 75, 760, 765 n 5, 770 n 21, 771, 772 n 30, 776 fig. 8, 779 figs. 13, 14, 782 fig. 20, 783, 784 and n 37, 786, 789– 814, 824 fig. 2, 827 fig. 7, 828 fig. 10, 830 fig. 14, 833 fig. 19, 835 fig. 23, 836 fig 25, 837 fig. 27, 838, 839, 840, 841, 842–73, 875, 876, 877 n 7, 881 nn 23, 24, 883, 885, 886, 887 and n 40, 888 fig. 1, 890 fig. 5, 893 fig. 12, 894 fig. 14, 895 fig. 15, 897 fig. 19, 898 fig. 20, 900 figs. 24, 25, 901 fig. 26, 902 fig. 29, 903 fig. 30, 905, 907, 909, 910–11, 912, 913–15, 918–21, 921–23, 925–30, 931–37, 937–46, 949–

52, 952–54, 954–55, 957, 971 fig. 12, 973, 982 n 38, 986 and n 45, 987, 988, 989, 990, 991, 992, 996, 997, 1010, 1149 figs. 13, 14, 1153, 1155, Add. 11619: 67, 122, 1139 and n 4, 1183, Add. 11639: 1038 n 35, Add. 17443: 142, 776 n 8, 999, 1003, Add. 17444: 1060, Add. 17868: 1039 and n 40, 1044 n 58, 1082, 1090 fig. 143, Add. 19669: 1042 n 50, Add. 23929: 1187, Add. 24681: 263 n 29, 670 n 127, Add. 28784: 251 n 12, 260 and n 19, 261, Add. 29407: 670 n 127, Add. 29253: 261 n 22, 262. Add. 32125: 389 n 30, 390 n 33, 545, 1011, Add. 35321: 961 n 6, 987 and n 48, Add. 36614: 1027 n 34, Add. 36684: 103 n 17, 211 n 23, 260 n 19, 264, 291 n 7, 324 n 13, 624 n 52, Add. 38117: 128, 224, 227, 229, 613 n 25, 757 n 62, 1010, Add. 54180: 7 and n 22, 720 n 28, Add. 59678 (Winchester 13): 962 n 7, Cott. Caligula A. IX: 962 n 7, Cott. Claud. B. VII: 67, 961 n 5, 1153 n 22, Cott. Galba Charter XIV, 4: 1139 and n 9, Cott. Otho C.XIII: 962 n 7, Egerton 274: 51 n 24,

INDEX

Egerton 630: 1083, 1095 fig. 41, Egerton 989: 1192, Egerton 2515: 1007, Egerton 2652: 355, 367, Egerton 3028: 68, 123, 136 fig. 3, 137–38, 962 n 9, 986–87,997, 1138–58, figs. 1, 3–4, 1146 fig. 7, 8, 1147 fig. 10, 1150 figs. 15, 16, 1151 fig. 17, 1152 fig. 19, Harley 49: 1187, Harley 978, ff. 171d–172d: 1182, Harley 1526–7: 32 n 12, 119 n 37, 352 n 48, 353 and n 51, 355, 737 n 28, Harley 1629: 284 n 55, 879 n 13, 1061, Harley 2252: 962 n 7, Harley 4389: 1186, Harley 4425: 4, 8, 13 fig. I–1, Harley 4419: 1006, Harley 4979: 49 n 17, 94 n 4, 237 n 36, 324 and n 14, 451 n 64, Harley 6340: 1017, Harley 6341–2: 1017, Landsdowne 757: 350, 1001, Landsdowne 782: 27, 1139 and n 5, Royal 13 A.III: 960 n 5, Royal 14 E.III: 4 n 10, 31 n 11, 77 n 51, 94 n 4, 103 and n 17, 118 and n 36, 119, 127, 143, 144 fig. 7, 145 fig. 8, 160, 168, 172, 177, 178, 193 n 1, 194, 196, 204, 205, 212, 217, 218, 225, 226, 228, 251, 252 and nn 15 and 17, 261, 265, 268, 269, 272, 275 and n 42, 276 n 48, 283 n 52, 284 n 54, 285 nn 56, 58, 286, 288 n 71, 291 and nn 7, 8, 292 n 8, 294 fig. 3, 302, 304, 310, 318, 319 and

1299 n 11, 322 fig. 5, 325, 330, 331 fig. 2, 337, 338 and n 14, 390, 406, 437 n 16, 440, 448, 449, 450, 452, 453 and n 73, 459 fig. 9, 465, 466, 525 n 3, 526, 527, 528, 529, 531 fig. 3, 537 fig. 16, 538 fig. 18, 539 fig. 20, 542, 543 and n 9, 544, 551, 552, 553, 554 and n 30, 555, 557 and n 5, 562 figs. 3, 4, 564 figs. 7, 8, 565 fig. 10, 567 fig. 13, 569 fig. 18, 571 fig. 22, 573 fig. 26, 575–78, 613 n 25, 624 n 52, 627 n 60, 654 n 83, 659 and n 100, 660, 661 and n 105, 692, 695, 703 and n 13, 709, 710–11, 714–15, 751 n 42, 756 n 58, 757 n 61, 759 n 75, 772 n 30, 784 n 37, 786, 790–814, 825 fig. 3, 827 fig. 8, 829 fig. 11, 831 fig. 15, 838, 839, 840, 841, 842–73, 876, 877 n 7, 885, 891 fig, 7, 915, 921–23, 949–52, 957, 982 n 38, 986 and n 45, 989, 990, 999, 1011, Royal 14 E.V: 997, Royal 16 G.VI: 1070 and n 149, Royal 19 B.VII: 1007, Royal 19 D.I: 116 n 31, 1074 n 170, Royal 19 C.XII: 160, 389 and n 30, 390, 405, 425–31, 1003 Royal 19 C.XIII: 350, 977 n 28, 1002, Royal 20 A.II: 123, 715 n 20, 986 n 44, 1011, 1139 and n 9, 1145 fig. 6, 1153, 1157, Royal 20 B. VIII: 350, 1004, Royal 20 C.VI: 66 fig. III–3, 67, 122, 787 n 42, 999, 1007, 1139 n 12, 1152 fig. 20, Royal 20 D.II: 129, 1037 and n 28, 1162, 1187,

1300 Royal 20 D.IV: 4 n 9, 127, 228, 236, 237, 615 n 27, 622, 630 fig. 3, 1010, Royal 20 D.XI: 1076 and n 180, Stowe 17: 103 n 17, 104, 260, 261, 545 n 11, Yates Thompson 8: 55 n 34, Yates Thompson 13: 1078 n 190, Yates Thompson 15: 1062 n 121, Yates Thompson 19: 324, 667 n 122, Yates Thompson 22: 54 n 31, 624 n 54 Yates Thompson 43: 52 n 27, 102 n 13, 126, 205 Becket Leaves loan: 1139 and n 7, incunable: C.7.d.1: 724 fig. 5, London, Christie’s, 3.iv.1984, lot 62: 167 n 3, 16.xi.2011, lot 13: 261 n 22, 519 n 48, London, Lambeth Palace 6: 960–61 n 6, 997, London, Sotheby’s 1.vii.1946, lot 8 (ex-Phillipps 1046): 248 n 7, 1.vii.1946, lot 10 (ex-Phillipps 1047) : 229, 1.vii.1946, lot 14 (ex-Phillipps 1045, see New Haven, Yale University, Beinecke Library 227): 248 n 7 28.xi.1967, lot 93: 1042 n 39, 4.vi.1974, lot 2916; 670 n 127, 14.vii.1981, lot 30: 167 n 3, 7.xii.1982, lot 44: 670 n 127, 671 n 128, 7.xii.1992, lot 50: 670 n 127, 22.vi.1993, lot 61: 657 n 90, 7.xii.2010, lot 33 (see also Amsterdam BPH 1): 96 n 10,

143, 168, 203 n 9, 248 n 3, 291 n 7, London, Victoria and Albert Museum: 706–16: 55 n 34, L. 475–1918: 656 n 87, London, Westminster Abbey: 24: 1147 fig. 9, Los Angeles, The J. Paul Getty Museum: Getty Ludwig I 8: 54 n 31, 624 n 54, 739 n 38, 742 fig. 4, Getty Ludwig VI. 5 (MS 83.ML.99): 445 n 47, Getty Ludwig IX 3 (Ruskin Hours): 102 n 13, 1064 n 125, Getty Ludwig XV 3: 110 fig. 15, 115, Getty Ludwig XV 4: 52 n 27, 126, Getty Ludwig XV 5: 129, 1074 n 170, 1075 n 173, 1164 and n 14, 44: 445 n 47, 1169 fig. 9, 1170 fig. 10, 1189, 46 (92.MK.92): 672 n 130, 1051, 1052, 1083, 1100 fig. 59, Lyon, BM 410–411: 734 n 10, Palais des Arts 29: 1037 and n 24, 1082, 1089 fig. 11, Palais des Arts 77: 881 n 25, Madrid: Archivo Histórico Nacional: AHN, CLERO-SECULAR_ REGULAR, Carpeta 712, Número 19: 1199 n 19, BN: 17805: 736 and n 20, 758 n 68, Manchester, The John Rylands University Library: Fr. 1: 31 n 11, 38 fig. 6, 77 n 51, 87 n 63, 96 n 10, 101, 103 n 17, 127, 143, 168, 170 fig. 4, 177, 178, 192 n 2, 193 n 1, 194, 203,

INDEX

204, 205, 212, 217, 218, 223, 226, 228, 230, 239, 240, 241 fig. 1b, , 242 fig. 2b, 243 fig. 3b, 247, 250, 251, 252, 253 fig. 1, 257 fig. 8, 260 n 19, 261, 262, 263, 265, 268, 269, 275, 276 n 48, 282 fig. 12, 283 n 52, 285 and n 59, 286, 287, 288 n 69, 292, 300 fig. 11, 301 figs. 12, 13, 305, 306, 312, 313, 318, 319 and n 11, 325 figs. 11, 12,13, 334 fig. 8, 338, 364 figs. 8d, 8e, 437 n 16, 465, 466, 525 n 3, 554, 557 and n 4, 563 figs. 5, 6, 565 fig. 9, 566 fig. 11, 567 fig. 14, 574 fig. 27, 575, 609 n 13, 613 n 25, 616 n 27, 623 and n 48, 624 n 52, 627 n 60, 632 fig. 7d, 654 n 83, 659 n 100, 703 and n 13, 709, 712–14, 754 n 54, 756 n 58, 759 n 75, 765 n 5, 770 n 20, 784 n 37, 786 and n 41, 790–814, 825 fig. 4, 829 fig. 12, 831 fig. 16, 833 fig. 20, 834 fig. 22, 838, 839, 840, 841, 842–73, 876, 877 n 7, 882, 883, 885, 891 fig. 8, 892 fig. 9, 904 fig. 31, 915, 921–23, 957, 982 n 38, 984, 986 and n 45, 989, 990, 994, 1011, lat. 16: 624 n 54, lat 22: 354, 356, 360 fig. 4a, 362 fig. 6c, 363 fig. 7b, 366, 367, Marseille, BM 111: 9, 127, 132, 264 n 35, 545 n 12, 558, 640 fig. 22, 642 fig. 25, 645 fig. 32, 659 n 99, 665, 667 n 122, 668 and n 124, 767, 818, 988, 1177, Martin le Roy Collection see Weigel Metz, AD de la Moselle, H 4085 (5): 207, Middlehall, Phillipps Collection: 1047: 610 n 13,

1301 Milan: Biblioteca Trivulziana: N 1395: 268, Veneranda Biblioteca Ambrosiana: I 78 Sup. : 2 n 5, H 106 Sup. : 1077 n 185, Minneapolis, University of Minnesota, James Ford Bell Library B1280fVi: 102 n 13, Modena: Archivio di Stato, Arch. d’Este, Ministerio Affari Esteri, Atti segreti, F. 6: 284 n 55, 1021 n 1, 1023 n 10, Bibl. Estense, alpha E 39: 125, 223, 226, 228, 350, 351 and 44, 365 fig. 9a, 372, 373, 374, 375, 376, 384 fig. 19, 389, 435 n 11, 908 n 45, 977 n 28, 999, 1001, E 40/59 (alpha T.3.11): 1186, Mons, Archives de l’État: Cartulaire de la Trésorerie des Comtes de Hainaut, cart. 19: 675 n 157, 676 n 140, Mons, Bibl. Universitaire de Mons en Hainaut 331/206: 123, 345 n 11, 1026, 1027 n 34, 1029 n 2, 1030 and n 5, 1048–58, 1056, 1079, 1082, 1083, 1092 figs. 27–29, 1093 figs. 30–34, 1094 figs. 35–39, Montpellier, Bibl. Interuniversitaire, Sect. Méd.: H 196: 45 fig. 18, 46 fig. 19, 54 and n 33, 55, 736 and n 21, 758 n 67, H 249: 62 n 13, 88, 123, 124, 345 n 11, 759 n 73, 1029 n 2, 1034–38, 1082, 1088 figs. 1–7, 1089 figs. 8–9, H 251: 962 n 9,

H 252: 1070, Munich, BSB: Cgm 19: 26, 49 n 17, 64, 435 n 9, 758 n 70, Cgm 51: 49 n 17, 64, 1160, Cgm 63: 615 n 26, 736 and n 23, Cgall 11: 202, 718–19, 729 fig. 10a, Clm 4660 and 4660a: 615 n 26, 735 and n 15, 1078 n 191, Clm 6389: 1200 n 24, Clm 10177: 974 n 18, 1073 and n 168, 1132 figs. 137–139, 1189, Namur, Bibl. du Séminaire: 37: 1200 n 24, New Haven, Yale University, Beinecke Library 227: 96 n 10, 227, 330 n 7, 438 and n 19, 448, 451 n 64, 452, 453 nn 75, 76, 455 fig. 2, 613 n 25, 657 n 90, 658, 659 n 99, 695, 1012, 1040 n 45, 229: 4, 5, 8, 9, 11, 15 fig. 3, 21 fig. 11, 22 fig. 13, 127, 132, 134, 156, 192 n 2, 204, 223, 224 nn 4 and 6, 226, 227, 238, 275 and n 45, 276 and n 48, 280 fig. 7, 283 n 52, 286, 288 and nn 71, 72, 296, 297 fig. 5, 298, 304, 305, 307, 312, 313, 315, 319 n 12, 437 nn 16, 17, 466 n 91, 525 n 3, 528 n 6, 538 fig. 17, 540 fig. 21, 541 fig. 24, 546 n 12, 500, 551 n 25, 553, 554 and n 30, 556–606 figs. 1, 12, 16, 20, 23, 24, 28, 607–77, 613 n 25, 615 n 27, 616, 617, 618 and n 34, 629 figs. 1, 2, 633 fig. 8, 634 fig. 11, 635 fig. 12, 641 figs. 23, 24, 642 fig. 26, 643 figs. 27, 28, 644 fig. 29, 645 fig. 31, 760, 765 n 5, 767, 775 fig. 5, 780 fig. 15, 781

fig. 18, 784, 785, 786, 787, 817, 880 n 17, 883 n 32, 884, 885 n 35, 886, 890 fig. 6, 896 fig. 17, 906, 915, 954–55, 956,969 fig. 8, 970 fig. 10, 971 fig. 11, 984, 984,985, 987, 988, 989 and n 51, 991, 992, 994, 996, 997, 1009, 1040 n 45, 1043 n 57, 1044, 1082, 1092 fig. 24, 1177, 404: 87, 89 figs. 20, 21, 102 n 13, 104, 107 figs. 8, 9, 168 n 6, 1064, 425: 1191, New York, Metropolitan Museum of Art, The Cloisters: MS 54.1.1: 467 n 98, MS 199.516: 446 n 47, Morgan Library and Museum: G.31: 355, 356, 362 fig. 6d, 367, G.59: 1062, M.38: 679 n 6, 1015, M.41: 130, 1173 fig. 16, 1178, 1191, M.79: 52 n 27, 102 n 13, 126, 1176, M.92: 355, M.108: 102 n 13, M.207–208: 130, 330 n 7, 695, M.240: 8, 32 n 12, 352 n 51, 367, M.322–323: 271 and n 16, 1072 and n 157, 1073, 1074 n 170, 1085, 1133 fig. 140, M.396: 717, 720 n 29, 726 fig. 7c, 728 figs. 9a, 9b, M.494: 1038 and n 35, M.503: 1074 n 170, M.638: 7, 40 figs. 9, 10, 48, 51 n 24, 53, 54, 237, 442 n 34, 739 and n 38, 745 fig. 11, 756–57 and n 59,

INDEX

M.730: 285 n 55, M.751: 102 n 13, M.754: 103 n 17, 260 n 19, 264, 291 n 7, 324 n 13, 623 n 52, M.805–6: 4, 12, 14 fig. 2, 77 n 51, 78 fig. 8, 79, 110 fig. 14, 114, 116, 118, 128, 167 n 6, 225, 226, 228, 230, 236, 237, 269, 270, 272, 279 fig. 5, 303, 613 n 25, 615 n 27, 621 n 43, 624, 703 and n 12, 724 fig. 4, 725 fig. 6c, 732 and n 1, 740 fig. 1, 751, 760 n 77, 771, 772, 775 fig. 6, 784 n 36, 792 and n 11, 880 n 17, 1010, 1022 n 2, M.807: 130, 1015, M.917/945: 546, M.969: 126, 265 n 35, New York, Phillips Family Collection: 167 n 4, New York Public Library 4: 51 n 24, 624 n 54, Nottingham, University Library: WLC Lm6: 124, 125, 366, 370– 381 fig. 13, 387 fig. 24, 388 fig. 25, 393–402, 434 n 6, WLC Lm7: 160, 370, 386 fig. 23, 389–92, 405 and n 6, 407, 408, 411 fig. 3a, 416 figs. 12, 13, 419 fig. 18, 424–31, 437 n 16, 1001, Nürnberg, SB, Solger 40, 4: 51 n 25, Oxford, Bodleian Library: Ashmole 828: 127, 205, 228, 271 n 14, 322 fig. 7, 324, 325, 615 n 27, 688 n 122, 750 n 40, 1009, 1201, Bodley 264: 4, 8, 10, 127, 150, 228 n 20, 229 n 29, Bodley 270b: 32 n 12, 39 fig. 8, 352 n 48, 353 and n 51, 355, 737 n 28,

1303 Bodley 986: 1190, Bodley Rolls 3: 1139 and n 9, Digby 23: 960 n 4, Digby 223: 126, 142, 226, 275 n 41, 284 n 55, 318, 319, 465 n 87, 466 n 91, 610 n 13, 879 n 13, 986 and n 45, 999, 1004, 1061, Douce MSS 5–6: 260 n 19, 261 and n 22, 263 n 25, 291 n 7, Douce MS 24: 52 n 27, 102 n 13, Douce MS 49: 102 n 13, Douce MS 50: 8, 51 n 24, Douce MS 178: 330 n 7, 695, 1005, Douce MS 180: 67, 123, Douce MS 199: 225, 228, 275 n 41, 465 n 87, 466 n 91, 1012, 1085, 1086, 1128 figs. 126, 127, Douce MS 215: 77 n 51, 86 fig. 19, 87, 88, 94 n 4, 96 and n 10, 99 fig. 6, 101, 103 and n 17, 104, 127, 143, 168, 177, 178 n 29, 193 n 1, 194, 203, 204, 205, 217, 218, 223, 226, 228, 230, 239, 240, 241 fig. 1a, 242 fig. 2a, 243 fig. 3a, 245, 247, 250, 251, 252, 256 fig. 6, 257 fig. 7, 261, 262, 263, 265, 268, 269, 275 and n 42, 276 n 48, 285, 286, 287, 288 n 69, 291, 319 and n 11, 321 fig. 3, 325, 437 n 16, 539 fig. 19, 550, 551, 551 n 25, 554, 557 and n 4, 570 fig. 19, 576–78, 609 n 13, 613 n 25, 616 n 27, 624 n 52, 654 n 83, 659 n 100, 703 and n 13, 709, 714–15, 754 n 54, 756 n 58, 759 n 75, 765 n 5, 770 n 20, 784 n 37, 786, 790–814, 840, 842–73, 876, 877 n 7, 882, 883, 982 n 38, 986, 989, 990, 1011, Douce MS 303: 126, 284 n 55,

1304 391 n 34, 694, 1005, Douce MS 308: 55 n 34, Douce MS 360: 1071 and n 156, Douce MS 381: 8, 20 fig. 10, 51 n 24, e Mus. 78: 268, Douce d. 6: 1181, 1183, French d. 16: 122, 371, 1160 and n 2, 1165 fig. 1, 1181, 1182, Rawlinson D. 874: 1013, Rawlinson D.899: 965 fig. 1, 983 n 40, 984, 984,985, 994, 995, 1002, 1042 n 49, Rawlinson Q.b.6: 129, 142, 205, 226, 227, 229, 283 nn 50, 52, 336 fig. 11, 338, 465 n 87, 466 n 91, 551 n 25, 610 n 13, 613 n 25, 618 n 33, 621 n 43, 623 n 48, 624 n 54, 750 n 40, 772 n 28, 985, 996, 1010, Oxford, Christ Church College: 98: 879 n 13, 1060 and n 112, Paris, Archives nationales: AE I 25, no. 6 (MM 648): 316 n 2, Pièce S 1626: 981 and n 35, 1036 and n 21, Paris, Bibl. de l’Arsenal: 288: 55 n 34, 2510: 1051, 2996: 1012, 2997: 349, 389 n 30, 3139: 12, 41 fig. 11, 49 and n 22, 50 and n 24, 52 n 28, 3142: 6, 3340: 228, 350 and n 41, 368, 374, 434 n 6, 699, 721 fig. 1a, 774 fig. 3, 3347: 129, 881 n 26, 999, 3349: 1015, 3350: 679 n 6, 1016, 3355: 284 n 55, 879 n 13, 1061,

3357: 1192, 3479–3480: 129. 130, 202 n 4, 203 and n 8, 204, 212, 213, 219, 220, 293, 295, 297, 298, 303, 305, 306, 312, 314, 441, 551 n 25, 575, 610 n 13, 695, 768 n 14, 882, 999, 1014, 1178, 3481: 129, 205, 223, 225, 228, 235 fig. 6, 236 and n 33, fig. 6, 610 n 13, 693, 750 n 40, 772 n 28, 1011, 1074 n 170, 3482: 205, 225, 228, 236, 272, 283 n 50, 465 n 87, 466 n 91, 613 n 25, 616 n 27, 625, 627 and n 60, 968 fig. 6, 984, 985, 994, 1012, 3516: 102 n 13, 225 n 8, 879 n 13, 1045, 1046, 1049, 1082, 1092 fig. 25, 1138, 3517: 1059, 3527: 1049, 1050, 1051, 1052, 1053, 1054, 1057, 1083, 1095 fig. 45, 1096 figs. 46–47, 5058: 9, 5059: 80, 82 fig. 13, 1076, 1164, 5077: 997, 5080: 1070 and n 148, 5193: 961 n 6, 5203: 720 n 29, 5218: 32 n 11, 38 fig. 7, 227, 228, 236, 611 n 16, 615 n 27, 625, 628 and n 61, 658 n 96, 1012, 5220: 352 and n 49, Paris, Bibl. Mazarine 34: 54 n 33, Paris, BNF: fr 60: 1074 n 170, fr 91: 125, 205, 610 n 13, 613 n 25, 1016, fr 94: 1186, fr 95: 9, 11, 22 fig. 14, 23 fig. 15, 118 n 36, 127, 131–32, 133 fig.

INDEX

1, 143, 167 n 4, 168 n 6, 192 n 2, 204, 223, 224 nn 4 and 6, 226, 227 and n 14, 230, 238, 247, 264 n 35, 275 n 45, 276 n 48, 278 fig. 4, 284 n 54, 285 n 56, 288, 296, 304, 319 n 12, 330 n 7, 390 n 33, 406, 413 fig. 7, 437 n 16, 438, 448, 451 n 64, 528 n 6, 545 and nn 12, 13, 549, 554 n 30, 556 n 1, 558, 607–77, 613 n 25, 615 n 27, 616, 617, 618 and nn 33, 34, 636 fig. 15, 637 fig. 16, 682, 692, 695, 757 nn 61, 62, 772 n 30, 783 n 32, 817–, 880 n 17, 883 and n 32, 884, 885 n 35, 886, 887, 902 fig. 28, 905, 906, 907, 909, 911, 912, 915, 918–21, 925–30, 931–37, 952–54, 1009, 1040 n 44, 1153, 1155, 1177, fr 96: 9, 130, 131, 330 n 7, 692, 695, 1014, fr 97: 1163 and n 13, 1168 fig. 7, 1172 fig. 14, 1177, 1190, fr 98: 202 and n 4, 1014, fr 99: 1164 n 14, 1172 fig. 15, 1173 fig. 17, 1174 fig. 18, 1177, 1179, 1191, fr 100–101: 130, 1163 n 13, 1166 fig. 4, 1177, 1190, fr 102: 130, 1178, 1191, fr 103: 128, 1174 fig. 19, 1179, 1192, fr 104: 128, 1178, 1186, fr 105: 129, 158, 159, 192 n 2, 198, 207 n 22, 223, 225, 228, 236 and n 31, 293 and n 14, 308, 309, 330, 332 fig. 4, 391, 407, 443, 444, 452, 458 fig. 7, 527, 528 and n 7, 529, 534 fig. 9, 542, 544, 549, 550, 555, 610 n 13, 613 n 25, 616 n 27, 682, 683 and n 23, 684 and n 28, 688

1305 fig. 4, 691 fig. 8, 692, 693, 695, 1011, 1074 n 170, fr 110: 52 and n 27, 86 fig. 18, 87, 88, 94 n 4, 96, 99 fig. 5, 101, 102 and n 17, 104, 105, 115 n 29, 117 n 33, 126, 130, 202 n 4, 205, 207, 209, 210, 212, 215, 216, 223, 225, 226, 228, 248 n 6, 275 n 41, 284 n 54, 285 n 56, 292 and n 10, figs. 18, fig. 5, 330 n 7, 441 n 31, 465 n 87, 466 n 91, 545 n 12, 610 n 13, 613 n 25, 616 n 27, 621 n 43, 622, 654 n 83, 692, 694, 750 n 40, 754 and n 51, 755, 757 nn 61, 62, 760 n 77, 772 nn 28, 30, 783 n 32, 784 n 36, 841, 999, 1008, 1041 and n 48, 1063, 1084, 1176, fr 111: 192 n 2, 283 n 50, 297, 298, 305, 306, 307, 312, 313, 681, 750 n 40, 986 and n 46, 990, 991, 995, 996, 1016, fr 112: 125, 131, 156, 202, 203 n 8, 204, 205, 212, 213, 219, 220, 283 n 50, fig. 12, 410 fig. 2, 434 n 7, 450 n 59, 464 fig. 17, 465, 551 n 25, 610 n 13, 613 n 25, 618 n 33, 621 n 43, 622 n 47, 627 n 60, 652, 654 n 83, 661 n 104, 680, 703 and n 13, 708, 709 n 16, 717, 727 fig. 8a, 744 fig. 8, 751 and n 44, 752, 753, 761 and n 81, 765 n 4, 768, 770, 771, 773 fig. 1, 784 n 36, 877 n 9, 880 n 17, 882, 885 and n 36, 886, 909, 916, 924–25,947–48, 958, 978 and n 29, 985, 986 and n 46, 987, 988, 990, 991, 992, 996, 997, 1015, 1179, 1191, fr 113–116: 125, 130, 131, 156, 167 n 4, 192 n 2, 201, 202 and n 4, 203 and n 8, 204, 205, 212,

1306 213, 219, 220, 267 n 2, 283 n 50, 293, 294, 295, 297, 298, 299, 302, 303, 305, 306, 307, 308, 310, 311, 312, 313, 333 fig. 6, 337, 338, 409 fig. 1, 434 n 7, 441, 442, 449, 450, 451 n 64, 453, 457 fig. 5, 463 fig. 16, 465, 551 n 25, 610 n 13, 613 n 25, 621 n 43, 622 n 47, 627 n 60, 655 n 83, 660, 661, 680, 692, 695, 703 and n 13, 708, 709 and n 16, 711 n 15, 714, 717, 727 fig. 8b, 744 fig. 9, 749 fig. 18, 751, 752, 753, 765 n 4, 768, 769, 773 fig. 2, 782 fig. 19, 785, 787, 877 n 9, 880 n 17, 882, 885 and n 36, 886, 892 fig. 10, 904 fig. 32, 909, 916, 924–25, 947–48, 958, 978 and n 30, 984, 985, 990,995, 1015, 1179, 1191, fr 117–120: 3, 8 n 24, 9, 12, 85 fig. 17, 129, 130, 167 n 4, 192 n 2, 202 n 4, 203 and n 8, 204, 205, 212, 213, 219, 220, 267 n 2, 293, 295, 297, 298, 303, 305, 306, 312, 314, fig. 17, 434 n 7, 441, 450 n 59, 465, 575, 610 n 13, 613 n 25, 621 n 43, 622 n 7, 627 n 60, 661 n 104, 695, 703 and n 13, 708, 709 n 16, 711 n 15, 743 fig. 7, 748 fig. 16, 749 fig. 17, 751 and n 43, 752, 753, 761, 765 n 4, 768 and n 14, 771, 776 fig. 7, 791 n 9, 877 n 9, 880 n 17, 882, 885 and n 36, 886, 893 fig. 11, 909, 916, 924–25, 947–48, 958, 990, 999, 1014, 1177, fr 121: 1016, fr 122: 127, 150, 151 fig. 12, 152 fig. 13, 167 n 4, 192 n 2, 226, 227, 236, 237, 271, 272, 279 fig.

6, 551 n 25, 615 n 27, 621 n 43, 622, 631 fig. 4, 747 fig. 15, 761, 765 n 4, 784 n 36, 999, 1012, 1070, fr 123: 66 fig. 4, 67, 68, 122, 465 n 87, 466 n 91, 551 n 25, 618 n 33, 621 n 43, 624 n 54, 983 n 42, 995, 1004, 1139 and n 12, fr 146: 49 n 17, 205 n 14, 293 n 13, 443 n 40, 1072 and n 163, 1079, fr 229: 992 n 65, 999, fr 236: 997, fr 241: 111 fig. 16, 115, 974 n 18, 1072, 1073, 1085, 1133 fig. 141, fr 295: 262, 263 n 30, fr 296–299: 679, fr 310: 907 and n 43, 961 n 6, fr 332: 1017, fr 333: 129, 225, 226, 228, 236, 616 n 27, 624, 1011, fr 334: 129, 130, 192 n 2, 1065 n 133, 1076 and n 177, 1085, 1087, 1137 fig. 157, 1164, 1166 fig. 3, 1178, 1189, fr 335–336: 130, 1177, 1190, fr 337: 1002, fr 339: 129, 152 fig. 14, 228, 229, 283 and nn 50, 52, 350 n 42, 351 and n 46, 353, 365 fig. 9b, 390, 465 n 87, 466 n 91, 551 n 25, 617, 999, 1003, fr 340: 1163 n 13, 1177, 1190, fr 341: 1013, fr 342: 12, 31 and n 11, 36 fig. 4, 126, 156, 226, 227, 236, 283 n 50, 284 n 55, 318, fig. 4, 348 and n 33, 443 n 39, 465 n 87, 466 and n 92, 551 n 25, 610 n 13, 613 n 25, 615 n 27, 617, 621 n 43, 622 n 47, 623, 662 n 111,

INDEX

685, 765 n 5, 766 and n 8, 767, 774 fig. 4, 780 fig. 16, 785, 787, 841, 879 n 13, 884, 916, 963 n 10, 999, 1004, 1041 and n 47, 1043, 1061, 1084, 1104 fig. 77, fr 343: 73 n 39, 125, 131, 202 n 4, 339 and n 15, 467, 996, 1013, 1187, fr 344: 128, 130, 204, 205, 207 and n 21, 210, 211, 212, 215, 216, 223, 227, 229 and n 27, 234 fig. 5, 238, 248 n 6, 271 n 14, 283 n 50, 284 n 54, 288 n 71, 292, 294, 296, 298, 302, 304, 307, 308, 309, 311, 312, 313, 330 n 7, 391, 406, 413 fig. 6, 442, 444, 451, 452, 458 fig. 6, 460 figs. 10, 11, 465 n 87, 466 n 91, 551 n 25, 610 n 13, 613 n 25, 694, 750 n 40, 757 n 61, 772 n 30, 969 fig. 7, 984, 996, 1008, fr 349: 1163 n 13, 1190, fr 350: 1063, 1064, 1065, 1084, 1085, 1110 fig. 94, 1111 figs. 95, 97, fr 354: 1006, fr 356–357: 679, fr 364: 681, fr 375: 1026 and n 25, 1031, 1046 n 66, 1061, 1063, 1064, 1065, 1084, 1106 fig. 86, 1108 fig. 88, fr 380: 3, 8 n 24, fr 412: 57 and n 2, 60 fig. 1, 670 n 126, 700 and n 6, 1026, 1055, 1056, 1058, 1083, 1097 fig. 51, 1098 figs. 55, 56, fr 422: 1059, fr 423: 1003, fr 566: 878 and n 11, 888 fig. 2, fr 567: 324. 667 n 122, fr 571: 1064,

1307 fr 574: 1077 n 185, fr 607: 750 n 39, fr 698: 679, fr 747: 389 n 30, 694, 881 n 21, 1002, fr 748: 204, 224, 226, 227, 229, 434 n 6, 438, 610 n 13, 1002, fr 749: 118 n 36, 127, 205, 228, 319, 323 fig. 6, 330 n 7, 439, 451, 452, 456 fig. 3, 613 n 25, 659 n 99, 682, 683, 692, 695, 1009, 1201, fr 750: 27, 72, 73 n 39, 128, 964 n 13, 1161, 1180, 1185, fr 751: 1002, fr 752: 1001, fr 753: 1016, fr 754: 204, 224, 226, 227, 229, 610 n 13, 1002, fr 755: 1186, fr 756–757: 129, 1186, fr 757: 1163 n 13, fr 758: 127, 1062, 1064, 1084, 1106 fig. 85, 1176, 1188, fr 759: 1162, 1187, fr 760: 1186, fr 767: 1007, fr 768: 126, 226, 350, 433 n 5, 702 n 11, 908 n 45, 1001, fr 769: 695, 1012, fr 770: 118 n 36, 126, 132, 138, 140 fig. 5, 141 fig. 6, 142, 143, 160, 206, 210, 223, 225, 226, 227, 230, 236, 284 nn 54, 55, 285 n 56, 318, 319, 320 fig. 2, 330 n 7, 348 n 33, 390, 391, 405, 407, 408, 415 fig. 11, 417 fig. 15, 418 fig. 17, 421 figs. 22, 23, 425–31, 443 n 39, 448, 451 n 64, 452, 610 n 13, 611 n 16, 613 n 25, 662 n 111, 685, 692, 694, 750 n 40, 757 nn 61, 62, 766 n

1308 8, 772 nn 28, 30, 783 n 32, 879 n 13, 986 and n 45, 1005, 1061, fr 771: 1002, fr 772: 129, 1162, 1163 and n 13, 1167 fig. 6, 1168 fig. 8, 1187, fr 773: 1007, fr 776: 127, 1062, 1063, 1084, 1107 fig. 87, 1160 n 3, 1164, 1165 fig. 2, 1188, fr 778: 1076 and n 179, fr 779: 352 and n 49, fr 786: 1049 and n 77, 1050, 1056 n 99, 1057, 1058, 1083, 1094 fig. 40, fr 794: 123, 372 and n. 10, 433 n 5, 1025 n 23, 1029 n 2, 1031, fr 795: 284 n 55, 879 n 13, 1059, fr 802: 24 fig. 17, 25, 974 n 18, fr 846: 1066–67, 1085, 1117 fig. 107, 1118 fig. 109, 1119 fig. 112, 1120 fig. 114, fr 1110: 284 n 55, 878 n 11, 889 fig. 3, 1061, fr 1376: 124, 1025 n 21, 1027 n 33, 1029 n 2, 1066–67, 1079, 1085, 1115 fig. 105, 1116 fig. 106, 1118 fig. 108, 1119 figs. 110, 111, 1120 fig. 113, fr 1422–1424: 127, 150, 192 n 2, 227, 228, 229, 237, 283 n 50, 390 n 33, 465 n 87, 551 n 25, 994, 1012, fr. 1426: 545, 1017, fr 1427: 204, 434 n 7, 681, 1017, fr 1430: 385 fig. 22, 392, 1003, fr 1433: 49 n 17, 124, 227 n 16, 237, 757 n 65, 758, 783 n 33, 1022 n 2, 1029 n 2, 1030 and nn 5, 6, 1068–70, 1085, 1122 fig. 118, 1123 fig. 119, 1124 figs. 120, 121, 1125 fig. 122, 1126

figs. 123, 124, 1127 fig. 125, fr 1434: 1186, fr 1446: 1052, fr 1450: 134, 1025 n 19, 1026, 1027 n 31, fr 1453: 88 and n 67, 123, 129, 1026, 1029 n 2, 1070–77, 1079, 1085, 1135 figs. 145–148, 1136 figs. 149–154, 1164, 1189, fr 1456: 1076 and n 178, 1087, 1137 fig. 159, fr 1463: 1185, fr 1469: 1016, fr 1533 and n 27, fr 1553: 225, fr. 1559: 3 n 5, fr 1565: 1074 n 170, fr 1584: 720 nn 27, 29, fr 1588: 156, 717, 726 fig. 7b, 1189, fr 1610: 10, 26, 49 n 17, 237, 350 n 42, 352 and n 48, 353, 735, fr 1628: 1162, 1187, fr. 1633: 5, fr 1638: 1024 n 12, 1025 n 22, 1029 n 2, 1180 and n 25, fr 2171: 1181, fr 2164: 128, 146, 147 fig. 9, 148 fig. 10, 149 fig. 11, fr 2183: 700 and n 2, fr. 2186: 6, 8, 10, 17 fig. 6, 19 fig. 9, 26, 49 n 17, 51 n 24, 80, 83 fig. 14, 84 fig. 15, 124, 237 and n 35, 356 n 69, 615 n 25, 735 n 15, 736, 877 n 10, 1022 n 2, 1028 n 35, 1183, fr 2455: 129, 1008, fr 2630: 352 and n 49, fr 2634: 1076 and n 181, 1087, 1137 fig. 158, fr 2695–6: 7,

INDEX

fr 2754: 648 figs. 37, 38, 667 n 122, 671 and n 128, fr 2827: 352 and n 49, fr 5237: 205, fr 5594: 681 and n 16, fr 9081: 8, 18 fig. I–8, 356, 357 fig. 1b, 368, fr 9084: 981n 35, fr 9123: 129, 158, 159, 192 n 2, 205, 223, 225, 228, 236 and n 33, 293, 294, 302, 308, 309, 311, 330 n 7, 391, 407, 444 n 41, 451 n 64, 527, 528 and n 7, 529, 531 fig. 4, 534 fig. 10, 542, 544, 545, 549, 550, 554, 610 n 13, 613 n 25, 682, 683 and n 23, 684, 685, 692, 693, 695, 1011, 1072 and n 158, 1072, 1074 n 170, 1085, 1134 fig. 143, 1164, fr 9221: 720 n 29, fr 10132: 528 n 7, fr 10135: 700 n 2, fr 12203: 284 n 5, 879 n 13, 1061, fr 12467: 4 n 8a, fr 12471: 1060 n 109, fr 12558: 49 n 17, 237, fr 12559: 49 n 17, fr 12560: 1025 n 20, 1027 n 33, fr 12569: 224, 237, 676, fr 12571: 146, fr 12573: 128, 228, 618 n 33, 621 n 43, 624 n 54, 760 n 77, 980 n 32, 999, 1010, fr 12576: 60 fig. 2, 61, 62, 88, 90 fig. 23, 123, 345 n 11, 368 and n 85, 616 n 29, 1022 n 2, 1025 n 19, 1026, 1028, 1029 n 2, 1030 and n 5, 1040–47, 1042 and n 49, 1043, 1044, 1063 n 124, 1081, 1082, 1090 fig. 15, 1091 figs. 18–22, 1182,

1309 fr 12577: 88 n 67, 123, 345 n 11, 434, 1026, 1029 n 2, 1030 n 5, 1070 and n 150–1077, 1079, 1085, 1129 fig. 130, 1131 figs. 131, 132, 133, 1132 figs. 134, 135, 136, 1164 and n 14, 1189, fr 12580: 129, 205, 349, 965 fig. 2, 981, 982, 983, 984, 999, 1008, 1082, 1089 fig. 10, 1162, fr 12581: 349 and n 38, 1005, fr 12582: 228, 389 n 30, 613 n 25, fr 12603: 123, 1046 n 66, 1062, 1063, 1064, 1065, 1066, 1085, 1113 figs. 101, 102, 1114 fig. 104, fr 12599: 1160 n 3, 1161, 1186, fr 14356: 318 n 8, fr 14962: 318, 443 n 39, 662 n 111, 754 n 50, 766 n 8, 879 n 13, 883 n 31, 1041 and n 47, 1043, 1061, fr 14964: 284 n 55, fr 14970: 1051, 1052 n 53, fr 15104: 5, 16 fig. 4, 670 n 126, 672 n 130, 966 fig. 4, 980 and n 32, 1051, 1052 and n 83, 1083, 1097 figs. 50, 52, 1098 fig. 53, fr 15106: 1051, 1052 n 53, fr 15213: 1074 n 170, fr 16998: 1006, fr 16999: 129, 192 n 2, 205, 225, 271 n 14, 1012, fr 17177: 1042 n 50, fr 17229: 1046, 1047, 1055 n 96, 1082, 1092 fig. 26, fr 19093: 724 n 11, fr 19162: 52 n 27, 102 n 13, 126, 192 n 2, 205, 226, 227, 284 n 54, 285 n 56, 330 n 7, 390 n 33, 404 n 3, 406, 412 fig. 4, 441, 535 fig. 11, 545 and n 12, 610 n 13,

1310 613 n 25, 694, 757 n 61, 772 n 30, 1005, fr 19166: 1037, fr 19531: 1060, fr 20047: 344 n 5, 348, 435 n 10, 1004, fr 20118: 1039 and n 37, fr 22495: 6, 1073 and n 167, 1074 n 170, 1085, 1133 fig. 142, fr 22500: 681, fr 22545: 720 n 29, fr 22548: 1085, 1129 fig. 128, fr 22928: 1042 n 51, 1082, 1091 fig. 17, fr 24208: 352 and n 49, fr 24209: 1074 n 170, fr 24364: 27, 1139 and n 8, 1142 fr 24367: 1013, fr 24388: 1074 n 170, fr 24391: 1189, fr 24394: 52 n 27, 102 n 13, 118 n 36, 126, 192 n 2, 205, 226, 228, 284 n 54, 285 n 56, 330 n 7, 390, 404 n 3, 406, 412 fig. 5, 441, 545 n 12, 610 n 13, 613 n 25, 694, 757 n 61, 772 n 30, 1005, fr 24400: 1192, fr 24403: 124, 126, 1029 n 2, 1030 n 5, 1046 n 66, 1061, 1063, 1084, 1105 figs. 78–83, 1106 fig. 84, 1176, fr 24430: 349, fr 25520: 966 fig. 3, 977 n 28, 981,983, 984, 985, 995, 999, 1007, lat 523A: 207, lat 920: 685, lat 1023: 7, 51 n 25, lat 1073A: 354, 356, 361 fig. 5b, 367, lat 1076: 9, 24 fig. 16, 127, 132

545 n 12, 558, 659 n 98, 667 and n 122, 668 and n 124, 669, 767, 818, 1177, lat 1361: 55 n 34, lat 1328: 1062, lat 1392: 354, 367, lat 1394: 670 n 127, lat 2321: 1200 n 24, lat 4915: 907 n 43, lat 5286: 544 n 10, lat 6191: 366, lat 6749A: 1190, lat 7134: 95, 97 fig. 2, lat 7936: 106, 228, 371, 434 n 6, 735 n 16, 766 and n 7, 974 n 18, lat 8501A: 122, 907 n 42, 961 n 5, lat 8504: 6 and n 17, 17 fig. 5, lat 8865: 669 n 125, 1042 n 53, lat 9436: 445 n 47, lat 10525; 442 n 34, 551, lat 11560: 32 n 12, 352 n 48, 353 and n 51, 355, 737 n 28, lat 11907: 1037 and n 23, 1038, lat 13048: 1200, lat 13836: 544 n 10, lat 15377: 1065, 1084, 1109 figs. 89–91, 1110 fig. 92, lat 16719–20: 54 n 31, 624 n 54, lat 16745: 734 n 10, lat 17326: 467 and n 97, lat 18014: 728 and n 33, lat 18262: 1051, 1056, naf 934 no. 28: 1013, naf 1098: 352, 353, 355, naf 1104: 1182, naf 1119: 999, naf 4166: 128, 1010, naf 5237: 1009, 1162, 1187, naf 6295: 721 fig. 1b, naf 6345: 670 n 127, naf 6579: 126, 1171 fig. 13,

INDEX

1176, 1177, 1188, naf 6614: 1028, 1182, naf 23686: 1042 n 52, naf 24920: 683, naf 16251: 51 n 24, 58 n 2, 439 n 25, 447 n 53, 1039 n 35, 1055 and n 97, 1056, 1057 and n 102, 1083, 1098 fig. 54, 1099 fig. 57, nal 406: 67 n 127, nal 1390: 445, nal 2294: 757 n 59, nal 3178: 262, Smith-Lesouëf 20: 324, 667 n 122, Paris, Bibl. Sainte–Geneviève: 8, 9, 10: 372, 22: 1072 and n 160, 1077 n 185, 782: 1044 n 59, 1269: 1021, 1023 n 10, 1188, 2200: 52 n 27, 57 n 2, Paris, Danon: 21.iii. 73, lot 13: 670 n 127, Paris, École nationale des Beaux-Arts: Masson 787: 1187, Paris, Hôtel Drouot: 17.vi.60, lot 2: 670 n 127, 31.iii.1977, no. 136: 1048 n 75, 1980: 670 n 127, Paris, Musée du Louvre: Cabinet des Dessins, R.F. 29940: 446 n 47, Philadelphia, Free Library: Lewis Coll E 185: 354, 357 fig. 2b, Widener 9: 284 n 55, 879 n 13, 980 n 32, 1059, 1061, 1084, 1103 fig. 73, 1104 figs. 74–76, Phillipps Collection: see Amsterdam BPH 1, see Cologny-Geneva, Bodmer Foundation 147, Phillipps 1047: 205, Pistoia, Archivio di Stato, Doc. vari

1311 27: 1024 n 14, Pommersfelden, Gräflich von Schönborn’schen Bibliothek: 295: 1042 n 50, Porto, BN 623: 670 n 127, Prague, Národní knihhovna: XXIII. C. 120: 55 n 34, 261 n 21, XIV. A. 17: 80, 82 fig. 12, 734 n 12, Princeton, University Library: Garrett 125: 124, 967 fig. 5, 980, 1022 n 2, 1029 n 2, 1058–66, 1079, 1084, 1102 figs. 65–69, 1103 figs. 70–72, Garrett 128: 974 n 18, Princeton University Museum of Art 44–18: 264 n 29, Private Collection: 49 n 17, 94 n 4, 237 n 36, 694, 1007, Private Collection, Boisrouvray Psalter: 980 n 32, 1058 and n 105, Private Collection, olim Busch Collection: 1074 n 170 fig. 144, 1085, 1134 fig. 144, Private Collection, J. Paul Getty, Life of Thomas Becket (on loan to London, BL): 1139 and fig. 7, Private Collection, Lebaudy: 694, 1008, Private Collection, olim Newcastle 937: 1013, Private Collection, Tristan fragments: 1175 fig. 20, 1187, Private Collection, Turin Tristan fragments: 1181, Reims, BM: 39–42: 324, 217: 128, 230: 1039 and n 39, Rennes, BM: 255: 62 n 13, 118 n 36, 125,

1312 160, 193 n 1, 196, 197, 204 and n 11, 224, 225, 227, 228, 229, 231 fig. 1, 276 and n 48, 277 fig. 2, 283 n 50, 284 n 54, 285 n 56, 288 n 71, 330 n 7, 343, 344 and n 3, 346, 347 and n 28, 348, 349, 350, 351, 353, 355, 357 fig. 1a, 358 fig. 2a, 359 figs. 3a, 3b, 3c, 361 figs. 5c, 5d, 362 fig. 6a, 6b, 364 figs. 8a, 8b, 8c, 366, 368, 372, 373, 374, 376, 382 figs. 14, 15, 16, 383 fig.17, 384 figs. 18, 20, 389, 390, 391, 404, 405 n 5, 407, 408, 414 fig. 9, 419 fig. 19, 420 fig. 21, 422 fig. 24, 425–431, 433 n 5, 437 n 16, 438, 441, 444, 448, 451, 453 nn 74, 76, 455 fig. 1, 525 n 3, 526, 530 fig. 1, 533 fig. 7, 543, 554, 613 n 25, 637 fig. 17, 657 and n 94, 659 n 99, 676, 684, 692, 694, 702 n 11, 750 n 40, 753 n 49, 757 n 61, 772 nn 28, 30, 778 fig. 12, 908 n 45, 982 n 38, 1001, 1035 n 18, 1040 n 45, 1161, 1202, 593: 344 and n 4, 1071 and n 155, Rouen, BM: O.4 (1044): 1077 n 185, U. 12 (1050): 616 n 29, 1043 and n 57, 1044, 1082, 1091 fig. 23, A 211 (185): 1053, 1054, 1083, 1100 figs. 60, 61, 'S Heerenberg, Huis Berg: 352 n 48, 735, Saint-Omer, BM: 5: 44 fig. 15, 45 fig. 17, 52 and n 27, 54 n 32, 174: 1042 n 53, 270: 103 n 17, 126, 144, 168,

169 fig. 2, 211 n 23, 252, 259 fig. 11, 260, 265, 287 n 66, 291 n 7, fig. 2, 11, 759 n 75, 784 n 37, 990, San Marino, CA, Huntington Library: EL 26 C 9: 27, HM 268: 987 n 48, HM 3027: 109 fig. 13, 114, 376, 974 n 18, Santa Barbara, CA, University of California Santa Barbara, BS 75 1250: 55 n 33, St Gall, Bibl. Vadiana 302: 31, 35 fig. 2, 49 n 17, 615 n 26, 1078 n 191, 1080 n 195, Sankt Marienstern (O. Cist.): Oct. 3: 668 n 122, St Petersburg, Academy of Sciences F 403: 126, 284 n 55, 766 n 8, 879 n 13, 1060 and n 113, St Petersburg, The Hermitage Museum: MSS E 16930–16934: 446 n 47, St Petersburg, NLR: Fr.F.v.III.4: 324, 667 n 122, Fr. F.v.XII. 2: 1189, Fr.F.v.XIV.9: 1042 n 51, Fr.F.v.XV.5: 129, 142, 143, 205, 225, 228, 229, 330 n 7, 610 n 13, 684, 1010, 1076 and n 182, 1085, 1137 fig. 156, Lat. Q.v.I.24: 1053 n 89, Lat. Q.v.I.67: 354, Lat. Q.v.1.78: 324, Santiago de Compostela, Archivo de la Catedral 1: 371, Sion College see Los Angeles Stockholm, Nationalmuseum: B.1648: 324, 446 n 48, B 1655–6: 1062 n 121, Stonyhurst College 62: 263, Strassbourg, Protestant Seminary:

INDEX

fragments Str1, 2, 3: 1181, Stuttgart, Württembergische Landesbibl.: Bibl. fol. 23: 79 and n 53, 81 fig. 9, 734 and n 9, HB XIII 1: 615 n 26, 736 and n 24, Toledo Cathedral, Tesoro, Biblia de San Luis: 32 n 12, 353 n 51, 368, 737 n 328, Toledo, Archivo Capitulare 56–19: 51 n 24, 52 n 28, 106, 108 figs.10, 11, 119 n 37, 316 n 7, 1051 and n 81, 1054, 1056, 1057, 1083, 1084, 1099 fig. 58, 1100 fig. 62, Tournai Cathedral: A 16: 51 n 24, 1056 n 99, H 12/2: 672 n 130, Tournai, Bibl. de la Ville: 31bis: 252 n 17, 101: 1070, 1085, 1129 fig. 129, Tours, BM: 942: 1023, 951: 27, 129, 192 n 2, 205, 224, 227, 229, 330 n 7, 453 n 74, 613 n 25, 694, 757 n 61, 772 n 30, 981 and n 35, 1008, 1037 and n 29, 1162, 1202, 1018: 984, Troyes, BM: 458: 734 n 10, 1905: 1138, 1869: 79, 81 fig. 10, 82 fig. 11, 734 n 12, Turin, BNU: L.II.14: 128 L.III.8: 1052, L.III.12: 127, 205, 319, 325, 1009, 1201, L.VI.12: 524 n 2, L.V.30 (*1688): 1013, Udine, Bibl. Arcivescovile 64/177:

1313 1006, Utrecht, Universiteitsbibliotheek, MS Bibl. Rhenotraiectinae I Nr 32: 94 n 2, Valenciennes, BM: 10: 734 n 10, 838: 54 n 31, 126, 226 n 12, 284 n 55, 390, 766 n 8, 879, 1060 and n 111, Venice, Biblioteca Marciana: Fr. 11 (olim XI 254): 1006, Fr. 12 (olim XII 255): 1006, Fr. Z. 15 (olim 228): 1007, Verdun, BM 107: 47 fig. 20, 55 and n 34, Vienna, Österreichische Nazionalbibliothek: 443: 1198, 458: 1200, 507: 735 and n 13, 580: 1200 n 24, 609: 1200 and n 22, 1142: 355, 1179: 32 n 12, 353 n 51, 354, 356, 361 fig. 5a, 366, 367, 368, 908 and n 46, 2537: 130, 1177, 1190, 2539–2540: 130, 1191, 2542: 2 n. 3, 127, 1160 n 3, 1164, 1170 fig. 11, 1182, 1188, 2554: 32 n 12, 353 nn 51, 52, 440 n 28, 739, 757 nn 59, 60, 908 and n 46, 2595: 7, 2980: 546 and n 13, s.n.12771: 58 n 2, 1056 n 98, Vienna, Museum für Angewandte Kunst: 237, Weigel Collection, see London, Christie’s, 16.xi.2011, lot 13, Winchester Cathedral, Bible: 119 n 37,

1314 Wrocław, Biblioteki Uniwersyteckiej we Wrocławiu: Ms. I F 380,

Zürich, Zentralbibl.: Rheinau 73: 1200 n 22.

Index of Medieval Works of Art and Architecture Cited Amiens Cathedral, West façade, Virtues: 467, 737 and n 27, Anchin, Abbey (OSB): 960, Arras Cathedral, triptych: 466 n 89, Ashridge Priory: 656 n 87, Avignon, Cathedral of Notre-Dame des Doms, tomb of Pope John XXII: 627 n 59, Banagher (Ireland), relief: 73 n 40 Basel Cathedral: 72 n 37, Beaulieu Abbey: 443 n 40, Boston, Museum of Fine Arts: comb, Inv. 57.7 (www.gothicivoriescoultauld.ac.uk): 1184, casket from San Millán de la Cogolla (Logroño), Death of St Aemilian, Inv. 36.626: 984 Boulogne-sur-Mer, Saint-François de Sales, Holy Blood reliquary: 286 n 60, 655 n 86, Bourges, House of Jacques Coeur, corbel: 1185, Bruges, Gruthuyse Museum, corbel: 1185, Cahors, Chartreuse: 627 n 59, Cambrai, Musée, Pyramus and Thisbe from Saint-Géry-au-Mont-desboeufs: 70 fig. 6, 71, 72 n 37, 735 n 15, Chambéry, Chapelle du Château:

683, Chambéry, Musée Savoisien, wall paintings from the château of Verdon Dessous at Cruet: 1200, Chartres Cathedral: 29, 31, 33 and n 2, 36 fig. 3, 183, 185 figs. 3, 4, 368 n 83, Città del Vaticano, Museo Sacro: Virgin shrine: 664 n 117, Stanze by Raphael: 447 n 50, Conques, Abbey of Sainte-Foy: 443 n 40, Copenhagen, Thorvaldsenmuseum: painting attr. Taddeo di Bartolo: 467 n 98, Cremona Cathedral: 1, Cressac-Saint-Genis (Charente), Templar Commandery: 1200, Dover Castle: Great Hall (Arthur’s Hall): 65, Guinevere’s Chamber: 65, Evreux, Saint-Taurin, shrine: 663 and n 114, Frankfurt am Main, Städelmuseum: mirror-case: 758 n 71, panel painting: 467 n 98, Fröskog: folding tabernacle: 664 n 117, Frugarolo (Alessandria), Stanze de Artu: 1201 and n 28,

1316 Genoa, Cathedral of San Lorenzo, ‘emerald’ vessel: 408, 422 fig. 25, 490 n 16, 1198, Glastonbury Abbey: tomb of King Arthur: 975, 977 n 28, 982 and n 38, St Joseph’s Chapel: 87 n 65, Gloucester Cathedral: Tomb of King Edward II: 1140, 1151 fig. 18, Granada, Alhambra, Sala de Justicia, ceiling painting: 73 n 39, Halesowen Abbey: Chertsey tiles: 1183, Hardham, Sussex, St Botolph: 286 n 60, Hasselt, Church of Saint-Quentin/Stellinwerff-Waerdenhof Museum: monstrance of Herkenrode: 451 n 66, 664 n 117, Hayles Abbey: 656 n 87, Ivories: 1184, 1196–97, and www. gothicivoriescoultauld.ac.uk Baltimore, Walters Art Museum, Inv. 71. 264 Birmingham, Barber Institute of Fine Arts, Inv. N. 39.26 (olim Mrs. St. John Mildmay) Boston, Museum of Fine Arts, 64.1467 Crakow, Cathedral Treasure Florence, Museo Bargello, Inv. 123c 248170 London, British Museum, Inv. 1856,0623 (Dalton no. 368) London, Victoria and Albert Museum, Inv. 146–1866 New York, Metropolitan Museum, Inv. 17. 190, 173 Paris, Musée national du Moyen Âge, Musée de Cluny, Cl. 23840

Paris, Musée du Louvre, OA 10958 St-Petersburg, Musée de l’Hermitage I, Inf. N T. 60 St-Petersburg, Musée de l’Hermitage II, Inf. N. T. 61(olim Collection Basilewsky). Jerusalem, Basilica of Constantine: 1198, Jerusalem, Church of the Holy Sepulchre: 449 n 57, 659, 1198, Jerusalem, exedra outside the Church of the Holy Sepulchre: 1199, 1200, Jerusalem, Temple: 449 n 57, Kastoria: 494 n 24, Krakow, Cathedral Treasure, crowns and cross: 1197, Kurbinovo: 494 n 24, Lantien (Cornwall), tomb: 73 n 40, León, San Isidoro, Tesoro: chalice of Queen Urraca: 1199 and n 21, Lincoln Cathedral, West façade, South Porch: 655 n 87, London, British Museum: 1867, 0120.1, Franks Casket: 1, Sutton Hoo Treasure: Sword, 548 n 20, Chertsey Tiles: 736, 1161, 1183, London, National Gallery, inv. NG 3099: 683 and n 21, London, Westminster Abbey: North transept, Central Portal: 655 n 87, Shrine of Edward the Confessor: 983 and n 41, Tomb of Edward I: 982 n 38, Lucas de Heere, Drawings of Stonehenge: 1154, Madrid, Museo Lázaro Galdiano, inv 1577, comb: 1184 and www. gothicivoriescoultauld.ac.uk,

INDEX

Mantua: Castello, frescos by Pisanello: 1201, San Andrea: Holy Blood reliquary: 653 n 78, Mantua, Gonzaga Camera painting by Pisanello: 654, Mechelen, Mechelse Vereniging voor Archeologie, shoe: 62 and n 12, 1185, Milan: Poldi Pezzoli Museum, Inv. 355, goblet: 1185, San Ambrogio, altar: 984, Modena, Cathedral, North Door sculpture: 1, 69, 72 n 36, 73, 122, 1161 n 4, Mont-Saint-Michel: 122, 907, 908, 960 and n 5, Namur, Musée provincial des Arts anciens du Namurois-Trésor d’Oignies (TreM.a), Inv. 29, writing tablets with case and stylus: 1184, 1185, and www.gothicivoriescoultauld.ac.uk New York, Metropolitan Museum: Floreffe Triptych: 664 n 17, Nivelles, Collegiate church of SainteGertrude, shrine: 663 and n 116, Ochrid: 494 n 24, Orense Cathedral, Solomon, Sheba, and Marculph: 70, Orvieto Cathedral, Capella del Corporale, reliquary of the Corporal of Bolsena by Ugolino di Vieri (1337–8) and frescos of the miracle by Ugolino di Prete Ilario: 446 n 50, 447 and n 51, 472, Oslo, Museum: Virgin shrine from Hedalen: 663 n 117, Panel painting of St Peter: 663 n

1317 117, Otranto Cathedral, mosaic: 69, 73, 122, Paris, Bbliothèque nationale de France, Cabinet des monnaies et médailles: Sword of Childeric: 548 n 20, Paris, Musée de Cluny, St Martin embroidery: 33, Paris, Musée du Louvre, Département des Objets d’art, Dove tabernacle (OA 8104): 466 n 89, Paris, Sainte-Chapelle: 49, Perceval ivories: Aachen Suermondt-LudwigMuseum, KK 998: 435 n 12, Cleveland, The Cleveland Museum of Art, 1978.39c: 435 n 12, Paris, Musée du Louvre, OA 122: 435 n 12, Saint Petersburg, The State Hermitage Museum, Inv. F 60, 435 n 12, Peñamaior, Santa María: 122, Perros (Brittany), relief: 73 n 40, Perth, Perth Museum and Art Gallery, Mirror case, pewter, acc. no. 2151: 1184, Pittsburgh, Carnegie Museum of Art: inv. no. 56.3.1, ivory Virgin shrine: 668 n 117, Prilep: 494 n 24, Princeton University, Index of Christian Art: 75, Ravenna, Mausoleum of Galla Placidia: 329 n 4, Ravenna, San Vitale, Apse: 435 n 9, Reims Cathedral, west façade interior sculpture: 49, Reims, Abbey of Saint-Nicaise (OSB): 324 n 17,

1318 Rouen, Saint-Romain, shrine: 663 and n 114, Saint-Denis, Abbey (OSB): 186 figs. 5, 6, 187 fig. 7, 443 n 40, Saint-Floret (Auvergne), château, wall paintings: 1185, 1201 and n 30, Saint-Omer, Collegiate Church, shrine: 663, monstrance from Clairmarais: 451, 665 and n 120, Saint-Omer, Abbey of Saint-Bertin: 961 n 6, Santa Marta de Tera: 72 n 36 Santa María de Peñamaior: 122 Santiago de Compostela Cathedral, Puerta de la Platerías, tympanum: 70, 71 fig. 5, 72 n 36, Santiago de Compostela Cathedral, Puerta Francigena, column: 72, 73, 78 fig. 7, 122, 1167 fig. 5, 1183, Santiago de Compostela Cathedral, Portico de la Gloria: 72 n 38, 443 n 40, Schmalkalden Castle: 757, South German Last Supper groups: 80 Southwell Minster: 49 Theys (Isère), château: 1201, Tristan ivories: boxes: 1184 (see also www.gothicivoriescoultauld. ac.uk) Baltimore, Walters Art Museum, Inv. 71. 264 Birmingham, Barber Institute of Fine Arts, Inv. N. 39.26 (olim Mrs. St. John Mildmay) Boston, Museum of Fine Arts, 64.1467 Krakow, Cathedral Treasure Florence, Museo Bargello, Inv. 123c 248170

London, British Museum, Inv. 1856,0623 (Dalton no. 368) London, Victoria and Albert Museum, Inv. 146–1866 New York, Metropolitan Museum, Inv. 17. 190, 173 Paris, Musée national du Moyen Âge, Musée de Cluny, Cl. 23840 Paris, Musée du Louvre, OA 10958 St-Petersburg, Musée de l’Hermitage: I, Inf. N T. 60 II, Inf. N. T. 61(olim Collection Basilewsky) Tristan ivories: Mirror cases: 1184 (see also www.gothicivoriescoultauld. ac.uk) Antwerp, Museum Mayer van den Bergh MMB.0448 Città del Vaticano, Museo del Vaticano, Inv. 1856–6–12 166 (65008) Hamburg, Museum für Kunst und Gewerbe inv. 1893.200 (19th c. ?) London V&A 221–1867 Paris, Musée national du Moyen Âge (Musée de Cluny) Cl. 13298 Paris, Musée national du Moyen Âge (Musée de Cluny), Cl. 383 Turin, Cathédrale: Saint Linge (suaire de Lirey): 683, Turin, Museo Civico, inv. 105, hair parter: 1184, Valencia Cathedral, onyx chalice: 490 n 16, 1199 and n 19, Varambon, Château: 683, Venice, Cathedral of San Marco: Holy Blood reliquary: 654 n 78, Vézelay Abbey (OSB), Ganymede capital: 70,

INDEX

Westminster Palace, Painted Chamber: 65 and n 20, http://www.medart.pitt.edu: 184 figs. 1, 2, 185 figs. 3, 4,

1319 Wienhausen Abbey, Tristan textiles: 1196, Worcester Cathedral, Seal: 547 n 15.

Index of Medieval Authors and Texts Cited Here I list texts by author where known, even if my references give only the titles. Adamnan of Iona, 490 and n 16, 1200, Adenet le Roi: 5, 6, 8, 27 n 50, Berthe aux grands pieds: 1076, 1200–01 and n 26, Cléomadès: 1076, 1087, 1137 fig. 159, Enfances Ogier: 4 n 8a, 1062, 1065–66, 1085, 1112 fig. 101, Affinity and Consanguinity Tables: 1048, Agravain: 21 fig. 11, 67, 101 and n 10, 126, 127, 128, 129, 204 and n 11, 205, 210, 211, 212, 216, 218, 220, 239, 240, 243 fig. 3b, 245, 248, 253 fig. 1, 257 fig. 8, 290, 297 fig. 5, 298 figs. 6, 7, 299 figs. 8, 9, 300 figs. 10, 11, 301 figs. 12, 13, 303, 304, 306, 307, 328, 334 figs. 7, 8, 335 figs. 9, 10, 336 fig. 11, 337, 338, 346, 349, 556–606, 607–677, figs. 1–4, 6–7, 27–29, 703 n 13, 784 n 36, 879 n 13, 887, 906, 1000–1017, 1061, 1086, 1128 figs. 126, 127, Aelfric, Heptateuch: 544 n 11, Aimon de Varennes, Florimont: 1066, 1085, 1116 fig. 106, Albert d’Aix, Chronique: 286 n 60,

Albrecht, Jünger Titurel: 449 n 57, 489 n 21, Aldebrandin de Sienne, Le Régime du corps: 1051, Alexander Neckam, De naturis rerum libri duo: 273 n 34, Alexandre de Paris, Roman d’Alexandre en vers: 1049, 1083, 1094 fig. 40, Aliscans: 1083, 1095 fig. 44, Alfonso X el Sabio, Las Cantigas de Santa Maria: 27, 1078 n 191, Alliterative Morte Arthur: 907 and n 44, 962 n 7, 976, 977 n 27, Almanach aux juifs: 1071 n 155, Amadas et Ydoine: 1022 n 2, Ambrose, St, Commentaries: 547, André, Pénitence Adam: 9 and n 28, 131, 134, 204, 611 and n 17, 618 n 34, 1009, Annales regni francorum: 477 n 139, 654 n 78, Anon., Dialogue of Solomon and Saturn: 544 n 11, Anonyme de Béthune, Chronique: 700, 721 fig. 1b, Antiphonary (Antiphoner): 261 n 22, 262, 326, 445 n 47, 519 n 48, Apocalypse: 67, 123, 519 n 48, 548, 1062, 1063, 1084, 1108 fig. 88, Aristotle,

INDEX

Ethics in Latin: 735, 741 fig. 2, Éthique in French: 287 n 67, Medical treatises: 911 n 48, Opera: 974 n 18, Armorials: 986 n 45, Le Breton: 673, Chifflet-Prinet/Ost de Flandre: 673–74 and n 136, Wijnbergen: 673 and n 136, Atre périlleux: 1068, 1085, 1122 fig. 118, 1123 fig. 119, 1124 figs. 120, 121, Augustine, St, Commentaries: 547, Bartholomeus Anglicus, De proprietatibus rerum: 911 n 48, Becket Leaves: 1139 and n 7, Bede, Venerable, PL 93, 198 on emerald: 273 n 34, 489 and n 16, 548 n 18, 1200 n 24, Benoît de Sainte-Maure (Saint-More), Roman de Troie: 1, 10, 26, 49 n 17, 124, 134, 201, 228, 237, 350, 352 and n 48, 368, 374, 379 figs. 2, 3, 4, 5, 380 figs. 6, 7, 387 fig. 24, 393–96, 434 n 5, 611 n 16, 699 and n 1, 721 fig. 1a, 735, 774 fig. 3, 765, 1009, 1026, 1031, 1063 n 124, 1068 n 142, Bernard, St., Commentary on the Song of Songs: 734 n 12, Béroul, Tristan: 1, 1181, Bestiary: 51 n 24, 52 n 27, 102 n 13, 110 fig. 15, 115, 373, 374, 375, 470 n 113, 623, 1051, Bible: 9, 11, 25, 30 n 5, 31, 33, 44 fig. 15, 45 fig. 17, 49, 51 n 24, 52 and n 27, 53, 54 and n 31, 55 n 33, 76 n 48, 77, 80, 102 n 13, 126, 229, 238, 324, 374, 624 and n 54, 734 and n 10, 799, 984, Bible en français: 134, 137, 1038, 1053, 1054, 1082, 1083, 1090

1321 fig. 13, 1100 figs. 60, 61, Bible en images: 286, Bible, glossed: 362 fig. 6d, 363 fig. 7c, Bible, Heisterbach: 230 n 31, Bible, Itala: 105, Bible historiale: 9, 80, 82 fig. 13, 265 n 35, 271, 1071, 1072, 1076, 1086, 1090 fig. 13, 1133 fig. 140, 1164, Bible, Manerius: 372, Bible moralisée: 8, 32, 39 fig. 8, 48, 119 n 37, 125, 353 and nn 51, 52, 355, 361 fig. 5a, 366, 367, 368, 374, 440 n 28, 737 and n 28, 739 and n 37, 757 and n 60, 908, 909 n 46, 1071, Bible, Old Testament Picture: 7 nn 20 and 21, 40 figs. 9, 10, 48, 49, 50, 237, 736 n 18, 737 n 26, 739 and n 38, 742 fig. 4, 745 fig. 11, 756, 757 n 59, 772, Bible, Puiset: 119 n 37, Bible, Winchester: 119 n 37, Bliocadran: 1048, 1049, 1083, 1092 fig. 28, Boccaccio, De casibus virorum illustrium: 8 n 24, 26 n 46, 70 n 36, 961 n 6, 964 and n 14, 987, 997, Bonus Socius, Livre d’échecs: 102 n 13, Book of Hosea: 734, Book of Hours: 9, 10, 51 n 24, 88, 90 fig. 22, 100 fig. 7, 102 n 13, 103 n 17, 104, 127, 211 n 23, 226 n 12, 260, 262, 263 and n 29, 264, 266 n 35, 291 n 7, 324, 545 n 12, 558, 635 fig. 13, 636 fig. 14, 640 figs. 21, 22, 642 fig. 25, 645 fig. 32, 649 figs. 39, 40, 668 n 122, 671, 675 n 137, 685, 738, 739 n 36, 767, 988, 1039, 1049, 1060, 1069 n 145, 1083, 1097 fig. 48, 1104 fig. 76, 1177,

1322 Breviarius de Hierosolyma: 1198 n 14, Breviary: 7 and 22, 30 n 5, 47 fig. 20, 51 n 25, 55, 102 n 13, 261 n 21, 262, 447 n 53, 488 n 7, 501 fig. 12, 1084, 1085, 1101 figs. 63, 64, 1110 fig. 93, 1111 fig. 98, 1120 fig. 115, 1121 figs. 116, 117, 519 n 49, 675 n 137, 989 n 53, 1054, 1062, 1065, 1066 and n 135, 1069 n 145, Brunetto Latini, Le Trésor: 51 n 25, 126, 263, 284 n 55, 324, 646 fig. 34, 647 fig. 35, 667 n 122, 671, 878 and n 11, 888 fig. 2, 889 figs. 3, 4, 911 n 48, 990 n 66, 1060 n 109, 1061, Calendar: 9, 95, 98 fig. 3, 102 n 13, 103 n 17, 225 n 8, 229 n 26, 252 n 13, 261, 324, 354 n 55, 671 n 128, 1049, 1055, 1056 and n 99, 1097 fig. 48, Carmina Burana: 615 n 26, 735 and n 15, 877 n 10, 1078 n 191, Cartulaire: 675 n 138, Cartularium universitatis parisiensis: 1071 n 153, Censier de Sainte-Geneviève, Paris: 349 n 37, 981 and n 35, 1036, De la Chandele d’Arras: 1082, 1092 fig. 26, Chaillou de Pestain, Roman de Fauvel: 49 n 17, 129, 155, 158, 205, 225 n 10, 228 n 20, 236 n 33, 271 n 16, 293, 308, 407, 528 n 7, 974 n 18, 1032 n 12, 1068 n 142, 1070 n 150, 1072, 1079, Chanson d’Aspremont: 27, 124, 370 n 1, 373, 377, 400–02, 1139 and n 5, Chanson de Roland: 1, 2, 26, 960 n 4, Chansonnier: 45 fig. 18, 46 fig. 19, 51 n 24, 54, 55 n 33, 76, 377, 1046,

1066, 1080, 1085, 1117 fig. 107, 1118 fig. 109, 1119 fig. 112, 1120 fig. 114, Chevalerie Vivien: 1050, fig. 42, 1083, 1095 fig. 42, Chevalier au cygne: 12, 41 fig. 11, 49 n 17, 50, 224, 237, 352 n 48, 676, 1068 n 142, Chevalier aux deux épées: 1062, 1063, 1085, 1113 fig. 103, Chrétien, Guillaume d’Angleterre: 1029 n 2, 1039 n 7, 1034–35 and n 17, 1038, 1082, 1089 fig. 12, Chrétien de Troyes: i, 1, 2, 59 and n 8, 60, 61, 62, 72 and n 38, 88, 123, 124, 127, 134, 146, 150, 166, 167, 193, 226 n 12, 227, 269 n 7, 283 n 50, 284 n 55, 317 n 4, 368 and n 85, 372, 374, 423 and n 18, 972 n 16, 980 n 32, 1021–1137, 1141 n 16, Cligés: 83, 91, 124, 1028 and n 35, 1062, 1084, 1106 fig. 86, Erec et Enide: 124, 127, 404 n 7, 1022 n 2, 1028, 1061, 1062, 1065, 1084, 1085, 1105 figs. 82, 83, 1106 fig. 84, 1115 fig. 105, 1118 fig. 108, 1119 figs. 110, 111, 120 fig. 113, Lancelot (Chevalier de la charette): 123, 150, 372, 1022 n 2, 1028, 1058, 1084, 1102 fig. 68, Perceval and Continuations: 59, 60 fig. 2, 61, 62, 72 and n 38, 88, 90 fig. 23, 123, 129, 345 n 11, 351 n 44, 433 and n 3, 434, 469 and n 108, 553, 625, 758 and n 66, 759 n 73, 783 n 34, 1022 n 2, 1024, 1026, 1027 n 32, 1028, 1034, 1040, 1043, 1044, 1047, 1048, 1049, 1065 and nn 132, 133, 1068, 1082–86, 1088–89

INDEX

figs. 1–9, 1090 fig. 15, 1091 figs. 18–21, 1092 figs. 26, 27, 1093– 94 figs. 30–39, 1130 fig. 130, 1131 figs. 131–133, 1132 figs. 134–136, 1135 figs. 145–148, 1136 figs. 149–154, 1164, 1182, 1201, Yvain: 49 n 17, 124, 237, 757 and n 65, 1022 n 2, 1028, 1058, 1062, 1068, 1084, 1085, 1102 figs. 66, 69, 1103 figs. 70, 71, 1114 fig. 104, 1125 fig. 122, 1126 figs. 123, 124, 1127 fig. 125, Christine de Pizan: 1022 and n 4, Epitre Othéa: 76, 972 n 16, Live de la mutacion de fortune: 202, 403, 718, 729 fig. 10a, 750 n 39, Chronique d’Angleterre: 248, Chronicle of the Kings of England (Bodley Roll): 1139 and n 9, Chronicle of Flanders: 675 n 137, Cicero, De inventione and Rhetorica ad Herennium, tr. Johan d’Antioche: 1036 and n 21, Codex Calixtinus (Jacobus, Liber sancti Jacobi): 368 n 83, Couronnement Renart: 1052, Cross Legends: 546 and n 13, 547, Crusade Cycle: 1049, 1061, Cyril of Alexandria, Commentary on the Song of Songs: 489 n 19, Dante, Divina Comedia: 26, 27, 443 n 40, 1078 n 191, Destruction de Rome: 137, 1140 and nn 14, 15, 1141, 1143 fig. 2, 1156, 1157, Didot-Perceval: 908 n 45, 1001, 1010, Diurnal: 519 and n 48, 675 n 137, 1063, 1065, 1085, 1111 fig. 96, 1112 figs. 99, 100,

1323 Donnei des amants: 1182, Easter Table: 1066, Elucidation: 1029 n 2, 1048, 1049, 1082, 1092 fig. 27, Enfances Godefroi: 879 n 13, Epiphanius the Monk, Description of Palestine: 423 and n 17, 1198, Epistolary and Evangeliary: 52 n 28, 104 n 19, 317, 320 fig. 1, 675 n 137, 1051, 1064, Ernoul, Chronique des Croisades: 1059, L’Estoire del saint Graal: i, 2, 9, 23 fig. 15, 32 n 13, 42 fig. 12, 43 fig. 13, 62 n 13, 96 n 10, 113 fig. 19, 118, 126, 127, 128, 129, 130, 131, 134, 137, 138, 139 fig. 4, 142, 143, 144 fig. 7, 158, 159, 160, 167 and n 5, 169 fig. 1, 193, 194, 198, 201, 203, 204, 205, 206 n 17, 207 n 22, 209 fig. 2, 210, 211, 212, 213, 215, 217, 219, 224, 226, 227, 231 fig. 1, 232 fig. 3, 233 fig. 4, 236 n 33, 239, 248, 252, 255 figs. 3, 4, 256 fig. 5, 258 fig. 9, 273 n 30, 274, 275, 276, 277 fig. 2, 278 fig. 4, 280 fig. 8, 281 figs. 9, 10, 281, 282 fig. 11, 283 n 48, 284, 285, 289, 290, 291, 292, 293 n 14, 294 figs. 1, 3, 295 fig. 2, 296 fig. 4, 302, 303, 304, 305, 306, 307, 308, 311, 318, 319, 325, 328, 329, 330, 331–33 figs. 1, 2, 3, 4, 5, 6, 338, 344, 346, 351 n 43, 357 fig. 1a, 359 fig. 3a, 3b, 3c, 362 figs. 6a, 6b, 363 fig. 7a, 364 fig. 8a, 8c, 370, 372, 382 figs. 14, 16, 384 fig. 20, 385 fig. 21, 386 fig. 23, 389, 392, 403–31, figs. 3a–24, 433, 441, 444, 445, 448, 449, 452, 455 figs. 1, 2, 456 fig.

1324 3, 457 figs. 4, 5, 458 figs. 6, 7, 459 figs. 8, 9, 460 figs. 10, 11, 469, 471, 477, 479, 481, 483, 484, 495 fig. 1, 496 fig. 3, 497 figs. 4, 5, 498 figs. 6, 7, 499 figs. 8, 9, 500 figs. 10, 11, 502 figs. 13, 14, 503 figs. 15. 16, 504 fig. 17, 505 figs. 18, 19, 506 fig. 20, 509 fig. 25, 524–55, figs. 1–12, 14, 15, 607–677, figs. 15–20, 685, 688 fig. 4, 691 fig. 8, 757, 766 n 8, 770, 772, 777–78 figs. 10–12, 789, 796 fig. 7, 876, 877, 879 n 13, 908, 909, 949–52, 977, 981 n 35, 1000–1017, 1035 n 18, 1040 n 45, 1041, 1045, 1061, 1072, 1076, 1082, 1086, 1090 fig. 16, 1134 fig. 143, 1137 fig. 156, La Estoire de seint Aedward le rei: 446 n 49, 658 and n 96, Exodus: 548, Faits des romains: 134, 262, Fauveyn: 1064, 1069 n 145, Fierabras: 123, 137, 1062, 1085, 1112 fig. 102, 1140 and nn 14, 15, 1141, 1143 fig. 1, 1156, 1157, La Fille du comte de Ponthieu: 138, 142, 879 n 13, 1005, 1061, Flores historiarum: 1147 fig. 9, Folie Tristan: 1182, Foucher de Chartres, Histotia hierosolimitana 1095–1127: 284 n 54, 286 n 60, Fuerre de Gadres: 375, 381 figs. 10, 11, 399–400, Garin le Loherain: 1037, Garin de Monglane: 1058, 1061, 1062, 1080, 1084, 1105 figs. 80, 81, Gautier d’Arras, Ille et Galeron: 124, 373, 376, 378 fig. 1, 381 fig. 13,

396–97, Gautier de Coinci, Miracles de Nostre Dame: 351 n 43, 61 n 6, 1003, 1037, 1042 n 51, 1059, 1091 fig. 17, Gautier le Leu, Fabliaux: 124, 402, Gautier Map, see Walter Map Gautier de Belleperche, Roman de Judas Machabé: 967 fig. 5, 980, 1058, 1084, 1102 figs. 65, 67, 1103 fig. 70, Geoffrey Chaucer, Canterbury Tales: 27, 1022 n 3 Geoffrey of Monmouth, Historia regum britanniae: 122, 138, 221, 907 and n 42, 960 and n 5, 961, 976 and n 26, 985, 1138, 1140, 1148 fig. 11, 1153, 1155, Geoffrey of Monmouth, Prophecia Merlini: 67, 960 n 5, 1145 fig. 5, 1153, Geoffroy de Villehardouin, Conqueste de Constantinople: 345 and n 10, Gerald of Wales (Giraldus Cambrensis), De principis instructione: 963 n 10, 975, 976, 982, Gerbert de Montreuil, Continuation of Chrétien’s Perceval: 616 n 29, 1044, 1082, 1091 figs. 20, 21, Gesta francorum: 286 n 60, Geste de Guillaume d’Orange: 43, 52 n 27, 102 n 13, Gilles de la Colonne (Aegidius de Columna), De regimine principum: 878 n 11, Gilles de Paris, Miroir des princes: 366, Gilles li Muisit (Muisis), Chroniques (Annales): 104, 127, 1069 n 145, Poésies: 1069 n 145, Tractatus: 1069 n 145, Giovanni Colonna, Mare historiarum:

INDEX

907 n 43, Giovanni Fiorentino, Il Pecorone: 72 n 36, Girart d’Amiens, Roman de Méliacin: 5, 8, 1162, Girart de Viane: 1076, Glastonbury Chronicle: 87 n 65, Gospels: 433 n 3, 984, 1009, Gossuin de Metz, Image du monde: 102 n 13, 155, 284 n 55, 318, 391 n 34, 442 n 39, 754 n 50, 766 n 8, 879 n 13, 883 n 31, 1004, 1041, 1043, 1071, 1077 n 185, Gottfried von Straßburg, Tristan: 49 n 17, 64, 615 n 26, 758 and n 70, 1160, Grandes chroniques de France: 528 n 7, 700, 1044 n 59, 1070, 1071 and n 151, 1072, Gratian, Decretum: 80, 158, 196, 229 n 22, 795 fig. 6, 798 n 15, 799, 912 n 49, Gregory the Great, Registrum: 1050, 1083, 1084, fig. 41, Moralia in Job: 262, Gregorius ? Expositio in canticum canticorum: 79, 81 fig. 10, 82, fig. 11, Gregory IX, Decretals: 493 n 23, 796 fig. 8, 799, Guido de Columnis, Historia Troiae: 758 and n 68, Gui de Chauliac, Cyrurgie: 95, 98 fig. 4, Gui de Mori, Roman de la rose: 1069, 1070, 1086, 1129 fig. 129, Guibert de Nogent, De pignoribus sanctorum; 446 and n 48, Guillaume de Lorris and Jean de Meun, Roman de la Rose: 2, 8, 13

1325 fig. 1, 24 fig. 17, 76, 175, 375, 717, 972 n 16, 974 n 18, 1024 and n 17, 1074 n 170, 1086, 1134 fig. 144, Guillaume de Machaut, Livre du Voir Dit: 202, 403, 717, 720 and n 29, 726 fig. 7c, 728 figs. 9a, 9b, Guillaume d’Orange: 43 fig. 14, 754 n 51, 1041n 48, 1049, 1063, figs. 42–44, 1176, Guillaume de la Pierre, adaptation of Estoire and Merlin: 158, 207 n 22, 528 n 7, 610 n 13, 678–95 figs. 1–3, 5–7, 1016, Giullem Torella, La Faula: 964 n 15, Guillaume de Tyr, Historia rerum in partibus transmaris gestarum...: 408 and n 14, Histoire de la guerre sainte (Histoire d’Outremer or Eracles): 8, 18 fig. 8, 25 n 38, 27, 50 n 23, 76, 229, 350 n 42, 352 and n 49, 356 n 68, 357 fig. 1b, 368, 648 figs. 37, 38, 671, 981 and n 36, 1005, 1024, 1037, 1076, 1080, 1082, 1086, 1087, 1089 fig. 11, 1133 fig. 142, 1137 fig. 158, 1199 and n 17, Guillaume le Breton, Philippide: 345, Guillaume le Clerc, Bestiaire, Lapidaire: 1051, Roman de Fergus: 1025 and n 24, Guiron le Courtois: 125, 129, 1062, 1080, 1084, 1085, 1110 fig. 94, 1111 figs. 95, 97, Hartmann von Auwe, Erec: 1197, Iwein: 63, Hebrew Miscellany: 1038 n 35, Heinrich von Veldecke, Eneit: 26, 49 n 17, 64, 67, 615 n 26, 735 and nn 16, 17, 758 and n 69, 1078

1326 n 191, Heldris de Cornuälle, Le Roman de Silence: 124, 375, 380 figs. 8, 9, 397–99, Hélinand de Froidmont, Vers de la Mort: 1003, Henri de Gauchi, tr. of Gilles de la Colonne: 878 n 11, Henri de Mondeville, Chyrurgia: 155, Herrad of Landsberg, Hortus deliciarum: 31 n 7, 739 n 35, 877 n 10, Histoire ancienne: 974 n 18, 1042, Histoire d’Outremer et du roi Saladin: 138, 879 n 13, 1005, Historia Troiana: 972 n 16, Histoire universelle: 1037, Honorius Augustodunensis, Imago mundi: 548 n 18, Hue de Rotelande, Ipomedon, Prothesiliaus: 1007, Hugues de Fouilloy, Bestiaire: 126, Jacques Bretel, Le Tournoi de Chauvency: 55 n 34, 292 n 11, Jacques de Guise, Annales hannoniae: 961 n 6, Jacob van Maerlant: 64, Der naturen bloeme: 264 Rijmbijbel: 263, 701 and nn 8, 9, Spieghel Historiael: 262, 325 n 23, 960 n 6, 977 n 27, 986, 990, 997, Jacobus (Codex Calixtinus, Liber sancti Jacobi): 984 n 43, Jacobus de Voragine, Chronica civitatis Ianuensis ab origine urbis usque ad annum MCCXCVII: 1199 n 17, Legenda aurea: 55 n 34, 109 fig. 13, 111 fig. 16, 376, 974 n 18, 1086, 1132 figs. 137–139, Jacot de Forest, see Jean de Thuin

Jakemes, Le Châtelain de Coucy: 70 n 36, Jehan de Blois, Le conte dou Baril: 351 n 43, Jean de Joinville, Credo: 1037, 1038, Jean de Thuin, Roman de Jules César: 616 n 29, 703 n 13, 1043, 1044, 1061, 1082, 1091 fig. 23, Jean de Vignay, tr. Legenda aurea: 111, 1086, 1133 fig. 141, Jean de Vignay, tr. Speculum historiale: 907 n 43, 961 n 6, 1032 n 12, 1070, Jean Wauquelin, Chroniques de Hainaut: 905, 961 n 6, 977 n 28, 992, Johannes, tr., Pseudo-Turpin Chronicle: 1022 n 2, John Gower: 1022 and n 3, John Lydgate, Fall of Princes: 987 n 48, Jongleur de Nostre Dame, Le: 1082, 1092 fig. 25, Josep (Portuguese): 347 and nn 27, 28, 608 n 2, Justinian: 1076, Lai de l’Ignaure: 70 n 36, Lambert of Saint-Omer, Liber floridus: 669 n 125, Lambert li Tort, Roman d’Alexandre: 1068 n 142, Lancelot: 2 and n 3, 3, 4, 5, 8, 9, 11, 12, 14 fig. 2, 21, 25, 27, 31, 36 fig. 4, 37, 38, 51, 52, 53, 62, 75, 78 fig. 8, 79, 80, 85 figs. 16. 17, 86 fig. 18, 87, 94 n 4, 95, 96, 97, 99 fig. 5, 101, 102, 103, 104, 105, 110 fig. 14, 112, 113, 114, 115 nn 27, 28, 116, 117, 118, 119, 124, 127, 129, 132, 134, 135, 150, 151 fig. 12, 152 figs. 13, 14, 153, 154, 156, 157, 159, 167 n 3, 170 fig. 3, 171 figs. 6,

INDEX

7, 193, 194, 199 fig. 1, 203, 204 n 11, 205, 206 n 18, 208 figs. 1, 4, 210–220, 224, 225, 226, 227, 229, 234 fig. 5, 235 fig. 6, 238, 239, 240 n 11, 248, 249 and n 7, 251, 252, 258 fig. 10, 261, 263 n 26, 264, 265, 267, 268 n 4, 269, 271 n 14, 275 nn 44, 45, 279 figs. 5, 6, 283 nn 48, 49, 290 n 4, 303, 307, 322 fig. 7, 323 fig. 6, 324, 345, 346, 347, 348, 349, 350, 351 n 45, 352, 359 figs. 3b, 3c, 361 figs. 5c, 5d, 364 fig. 8b, 372, 373, 383 fig. 17, 384 fig. 18, 385 fig. 22, 390, 392, 409 fig. 1, 410 fig. 2, 702, 722–26, figs. 2–7a, 733, 740 fig. 1, 742–45 figs. 5–10, 746–49 figs. 12–18, 773 figs. 1, 2, 779 fig. 13, 780 fig. 15, 789–814 figs. 1–5, 880 n 17, 881, 883, 887 n 40, 897 figs. 18, 19, 898 figs. 20, 21, 899 fig. 22, 903 fig. 30, 906, 937–48, 954–55, 977, 981 n 35, 1000–1017, 1027 n 32, 1035 n 18, 1036, 1040 n 45, 1063, 1068, 1070, 1080, 1153 n 24, Lancelot-Grail (Lancelot-Graal, prose Lancelot, Vulgate Cycle): i, ii, 38, 113, 122, 125, 126, 128, 129, 130, 131, 132, 134, 138, 139, 140, 141, 142, 144, 145, 150, 153, 156, 157, 165, 166, 168 n 6, 171, 173, 175, 177 n 17, 179, 180, 181, 190, 191, 192, 193, 196, 198, 200, 201, 202, 203, 206 n 13, 207, 221, 222, 223, 225, 227, 228, 229, 230, 233, 234, 236, 237, 238, 251, 252 n 15, 254, 255, 256, 258, 269, 281, 282, 290, 291, 293, 295, 306, 317, 318 and n 11, 319,

1327 325, 326, 328, 339, 343, 345, 346, 350, 366, 369, 370, 392, 403–404, 410 fig. 2, 433, 437, 483, 485–523, 556, 685, 717, 727 fig. 8a, 732–62, 773 fig. 1, 789–814, 875, 877, 879, 884, 908, 913–15, 981 n 35, 982, 990, 1001–1017, 1024, 1040 n 45, 1041, 1077, 1084, 1104 fig. 77, 1153, 1162, 1176, 1177, 1178, 1179, 1180, Laurent, Frère, La Somme le roi: 7, 326, 1069 n 145, Laurent de Premierfait, tr. Des cas des nobles hommes et femmes: 961 n 6, 964, 987, 997, Layamon, Brut: 961, 962 n 7, 976 and n 27, Lectionary: 518 n 47, Legendary: 126, 284 n 55, 766 n 8, 1060 n 113, Livre d’Artus: 1002, 1007, Livre d’images de Madame Marie: 1055 and n 97, 1057 and n 102, 1083, 1098 fig. 54, 1099 fig. 57, Luce de Gast and Hélie de Boron, Roman de Tristan: 610 n 13, 964 n 11, 1008, 1013, 1014, 1037, 1062, 1065 and n 133, 1071 n 151, 1074 n 170, 1075 n 173, 1076, 1080, 1084, 1087, 1107 fig. 87, 1137 fig. 157, 1139 and n 4, 1159–92, 1165 fig. 2, 1166 figs. 3, 4, 1167 fig. 6, 1168 figs. 7, 8, 1169 fig. 9, 1170 figs. 10, 11, 1171 figs. 12, 13, 1172 figs. 14, 15, 1173 figs. 16, 17, 1174 figs. 18, 19, 1175 figs. 20, 1182– 1192, Manessier, Third Continuation of Chrétien’s Perceval: 61, 345, 616 n 29, 1044, 1083, 1094 fig. 36,

1328 1086, 1132 figs. 135, 136, 1136 figs. 153, 154, Manessische Liederhandschrift: 615 n 26, 736, Marbode, Lapidaire: 351 n 44, 372, 908 n 45, 1001, Marguerite de Navarre, Heptameron: 72 n 36, Marie de France, Chevrefeuille: 1181, Fables: 1062, Ysopet: 1052, Martinus Polonus, Chronicle: 1051, 1154 n 27, Martyrology and Obituary: 126, 284 n 55, 1060, Martyrological Calendar: 354 nm 56–58, 60, Matfre Ermengau, Breviari d’amor: 155, Matthew Paris, Chronica maiora: 1139, 1142, Vie de seint Auban: 1139 and n 7, Maurice de Sully, Sermons: 134, 611 n 16, 1009, Merlin: 2, 9, 22 fig. 14, 91, 96, 125, 126, 127, 129, 131, 132, 133 fig. 1, 140 fig. 5, 141 fig. 6, 143, 138, 193, 194, 201, 204, 205, 210, 211, 212, 213, 215, 217, 219, 224, 226, 239, 248, 249, 254 fig. 2, 265, 304, 319, 328, 344, 346, 347, 351 n 43, 358 fig. 2a, 365 fig. 9a, 372, 382 fig. 15, 384 fig. 19, 404, 607–677, 677 and n 145, 703 n 13, 714–16, 757, 779 fig. 14, 783, 790, 879 n 13, 881, 882, 883, 885, 890 figs. 5, 6, 901 figs. 26, 27, 902 figs. 29, 29, 905, 906, 908 and n 45, 910, 911–13, 915, 918–21, 925–30, 931–337,

952–54, 981 n 35, 1000–1017, 1027 n 32, 1035 n 18, 1040 n 45, 1061, 1072, 1084, 1142, 1148 fig. 12, 1149 figs. 13, 14, 1153, 1155, 1201, Merlin (Huth Merlin): 128, 229, 1001, Miracles de Notre Dame: 675 n 137, Miracles de sainte Foi: 371 n 5, Miscellany: 284 n 55, 1083, 1084, 1095 fig. 45, 1096 figs. 46, 47, Missal: 10, 30 n 5, 51 n 24, 52 n 27, 102 n 13, 106, 109 fig. 12, 115, 119 n 37, 126, 128, 218, 324, 675 n 137, 738, 739, 741 fig. 3, 989 n 53, 1039, 1054 n 91, 1063, 1070, Monaldus de Ancona, Summa de iure canonico, 646 fig. 33, Monty Python: 150, Mort Artu: 2, 18 fig. 7, 22 fig. 13, 25 n 38, 61 n 11, 66 figs. 3, 4, 68, 75, 76, 77 n 49, 101 n 12, 115 n 28, 122, 126, 127, 128, 129, 131, 132, 134, 135 fig. 2, 137, 143, 150, 153, 156, 193, 194, 201, 204, 205, 208, 210, 211, 212, 213, 214, 216, 220, 227, 228, 231 fig. 2, 238, 239, 240, 241 fig. 1b, 244, 245, 252 n 14, 267 n 3, 272, 273, 274, 303, 318, 319 n 11, 320 n 11, 329, 337, 344, 346, 347, 348, 349, 351 nn 45, 46, 365 fig. 9c, 372, 390, 404, 471, 556, 557, 556– 606, 607–677, figs. 24, 26, 717, 720 and n 30, 727 figs. 8a, 8b, 729 fig. 10b, 733, 756 n 58, 761, 764, 766, 773 figs. 1, 2, 774 fig. 4, 775–77 figs. 5–9, 780–82 figs. 16–20, 787, 789, 790, 824–73 figs. 1–28, 874–879 n 13, 880 n

INDEX

17, 881, 882, 883, 885 n 37, 888 fig. 1, 904 figs. 31, 32, 906, 908, 915, 956–58, 959n 2, 963 and n 10, 964, 965 figs. 1, 2, 966 fig. 3, 968 fig. 6, 969 figs. 7, 8, 970 figs. 9, 10, 971 figs. 11, 12, 972, 974, 977, 978, 979, 981 n 35, 983 n 42, 985, 990, 991, 994–97, 998–99, 1000–1017, 1042 n 49, 1061, 1082, 1092 fig. 24, La Nativite Nostre-Dame: 1082, Le Nécrologe de la confrérie des jongleurs et des bourgeois d’Arras: 1046 n 64, Les neuf Joies de Notre-Dame: 351 n 43, Nicodemus, Pseudo-Gospel: 433 n 3, Ogier le Danois: 1061, 1084, 1105 fig. 78, Old Testament: 436, 440, 442 and n 34, 489 n 13, 1160, Olivier de la Marche, Le chevalier délibéré: 1022–23, Ordinary: 1053, 1055, 1057, L’Ordre de chevalerie: 138, 879 n 13, 1005, Ovid, Metamorphoses: 72, 403, 717, Ovide moralisé: 1077 n 185, Pamphile et Galathee: 1069 n 145, Papias, Vocabularium: 911 n 48, Paris tax rolls: 4 n 7, 33 n 14, 101 n 13, Paschasius Radbertus, De corpore et sanguine domini: 446 n 48, La Passion de Jésu-Crist: 351 n 43, 1051, 1083, 1084, 1095 figs. 45, 47, Passionary of Abbess Cunigunda: 80, 82 fig. 12, Perceforest: 125, Perceval en prose: 372, Peter of Eboli, Liber ad honorem Augusti sive de rebus Siculis: 877

1329 n 10, Peter Langtoft, Chronicle: 68, 123, 715 n 20, 976 and n 27, 985, 1139 and n 11, 1145 fig. 6, 1152 fig. 20, 1153, Petrarch (Francesco Petrarcha), Itinerarium ad sepulchrum domini nostri Yesu Christi : 423 and nn 15, 16, 1198 and n 16, Petrus Pictavensis (Pierre de Poitiers), Abrégée de l’histoire: 102 n 13, Peter Tudebode, Itineris Hierosolymitani: 286 n 60, Philippe de Beaumanoir (de Remi), Roman de la Manekine: 156, 202, 403, 717, 726 fig. 7b, 1062 n 120, Piacenza Pilgrim: 492 and n 19, 1199 and n 18, Pictor in carmine: 106 and n 2, Picture-Book: 513 and n 35, 559, 701, Pierre de Beauvais, Pseudo-Turpin in French: 1041 n 47, Pierre du Riés, La noble chevalerie de Judas Machabé et de ses nobles freres: 16 fig. 4, 672 n 130, 966 fig. 4, 980 and n 32, 989 n 52, 1051, 1054, 1080, 1083, 1097, figs. 50 52, 1098 fig. 53, Pierre Gentien, Le Tournoi as dames de Paris: 1077, 1087, 1137 fig. 160, Pierre Sala, Tristan: 1179, Yvain: 434, 1080, 1180, Pilgrim’s Guide to Santiago de Compostela: 70 and n 36, 72, Pontifical: 51 n 24, 55 n 34, 106, 108 figs. 10, 11, 119 n 37, 228 n 20, 261 n 21, 989 n 53, 1051, 1054, 1057, 1059, 1083, 1084, 1099 fig. 58, 1100 fig. 62,

1330 Prise de Jerusalem: 611 n 16, 1061, Prise d’Orange: 1083, 1095 fig. 43, Prophécies de Merlin: 879 n 13, 1010, 1061, 1071, Psalter: 4 n 9, 8, 9, 10, 11, 12, 20 fig. 10, 21 fig. 12, 24 fig. 16, 25 n 38, 26 n 31, 30 n 5, 44 fig. 16, 51 n 24, 52 and nn 27, 28, 52 n 28, 53 n 29, 74, 79, 81 fig. 9, 94 n 2, 95 and n 7, 98 fig. 3, 102 n 13, 103 n 17, 106 and n 22, 125, 126, 127, 168, 169 fig. 2, 205, 211 n 23, 228 n 20, 252, 259 fig. 11, 260, 261, 262, 263 n 29, 285 n 59, 317 n 7, 324, 329 n 4, 354, 355, 358 fig. 2b, 360 fig. 4a, 362 fig. 6c, 363 fig. 7b, 364 figs. 8d, 8e, 366, 367, 368, 376, 377, 440 n 28, 441 n 34, 518 n 47, 536 fig. 13, 557, 623 n 51, 644 fig. 30, 645 fig. 32, 658 n 96, 667–68 n 122, 669–70 nn 125, 126 127, 671 n 130, 675 n 137, 734 n 9, 759 n 75, 784 n 37, 879 n 13, 988, 989 n 53, 1039, 1052, 1053, 1054, 1055, 1058, 1059, 1060, 1061, 1082, 1083, 1090 fig. 14, 1097 fig. 49, 1100 fig. 59, 1103 fig. 73, 1104 figs. 74, 75, 1177, Psalter-Hours: 9, 11, 52 n 27, 74, 211 n 23, 226 n 12, 260 n 19, 284 n 55, 324 n 13, 361 fig. 5b, 519 n 48, 623 n 52, 669 n 125, 766 n 8, 1059, 1060, 1061, 1084, 1103 fig. 73, 1104 figs. 74–76, Pseudo-Gospels: 191, Pseudo-Turpin in Latin: 221, 371, 960, 1024 and n 14, Pseudo-Turpin in French: 1059, Psychomachia: 30, 31 n 7, La Queste del saint Graal: 2, 4, 15 fig.

3, 25 n 38, 29 n 4, 31, 32, 37 fig. 5, 38 figs. 6, 7, 67, 68 n 28, 75, 76, 77 n 49, 86 fig. 19, 87, 95 n 5, 96 n 10, 97 fig. 1, 99 fig. 6, 101 n 12, 112 figs. 17, 18, 113 fig. 20, 115 n 28, 116, 117, 126, 127, 128, 129, 131, 143, 144, 145 fig. 8, 146, 150, 153, 167 n 4, 170 fig. 4, 193, 194, 201, 204, 205, 210, 211, 212, 213, 214, 216, 218, 220, 227, 238, 239, 240, 241 fig. 1a, 242 figs. 2a, 2b, 243 fig. 3a, 256 fig. 6, 257 fig. 7, 277 fig. 1, 278 fig. 3, 280 fig. 7, 282 fig. 12, 283, 284, 285, 287, 291 n 8, 303, 306 and n 22, 318 and n 10, 319 and n 11, 321 figs. 3, 4, 322 fig. 5, 328, 336 fig. 12, 338, 339, 344, 345, 346, 347, 348, 349, 351 nn 45, 46, 365 fig. 9b, 390, 433, 461 figs. 12, 13, 462 figs. 14, 15, 463 fig. 16, 464 fig. 17, 469, 471, 478, 479, 483, 484, 495 fig. 2, 507 figs. 21, 22, 508 figs. 23, 24, 510 fig. 26, 524–55, figs. 16–24, 556–606 figs. 1–28, 607–677, fig. 5, 8, 9, 10, 23, 31, 703 n 13, 733, 767, 780 fig. 15, 784, 789 and n 4, 790, 877 n 7, 879 n 13, 880 n 17, 881, 883, 884, 885 and nn 35, 37, 891 figs. 7, 8, 892 figs. 9, 10, 893 fig. 11, 916, 921–24, 977, 978, 981 n 35, 1000–1017, 1061, 1062, 1069 n 145, 1082, 1085, 1089 fig. 10, 1106 fig. 85, La Queste post-Vulgate: 125, 339, 470, 473 and n 125, 474 and nn 126– 29, 472–75 and nn 130–32, 476, 479, 1001, 1013, Ralph of Coggeshall, Chronicon Anglicanum: 975, 976,

INDEX

Raoul de Houdenc, La Vengeance Raguidel: 124, 372, 381 fig. 12, 388 fig. 25, 402, Raymond d’Aguilers, Chronique: 286 n 60, Raymond de Béziers, Le livre de Kalila et Dimna: 6 and n 17, 17 fig. 5, Renclus de Moiliens, Miserere, Carité: 1034, 1043, 1045, 1082, 1091 fig. 22, René d’Anjou, Le livre du coeur d’amour épris: 6, 7, 8, id., Le Livre des tournois: 6, 7, 8, 10, Richard de Fournival, Bestiaire d’amour: 57, 60 fig. 1, 76, 155, 700 and n 6, 1055, Richard le Pèlerin and Graindor de Douai, La Chanson d’Antioche: 224 and n 6, 237, 676, Robert de Boron, Estoire, Joseph, Merlin: 125, 142, 193, 227, 248 n 5, 345, 347, 348, 351 n 44, 372, 433, 435, 472 n 118, 908 n 45, 1002–1017, Robert le Moine, Historia Hierosolymitana: 286 n 60, Roger de Salerno (Frugardi), Chirurgia: 237, Rollandus, Chirurgia: 96, 97 fig. 2, Roman d’Alexandre en prose: 2, 25 n 38, 49 n 17, 76, 94 n 4, 237 n 36, 260 n 18, 324 n 14, 667 n 122, 972 n 16, 1068 n 142, 1080, Roman d’Alexandre en vers: 2, 4, 8, 10, 11, 25 n 38, 28 n 51, 76, 124, 127, 150, 229 n 29, 375, 972 n 16, 1080, Roman de l’Atre périlleux: 237, 1030, 1068, 1085, 1122 fig. 118, 1123 fig. 119, 1124 figs. 120, 121, Roman de Cassidorus, d’Elkanus et Peliarmenus: 1052,

1331 Roman de Charlemagne: 1201 and n 26, Roman d’Énéas: 1, 134, 1062, Roman de Jaufré: 128, 146, 147 fig. 9, 148 fig. 10, 149 fig. 11, 150, Roman de Laurin: 879 n 13, 1061, 1086, 1129 fig. 128, 1137 fig. 155, Roman de Marques de Rome: 879 n 13, 1037, 1061, Roman de Renart: 1071, Roman des Loherains: 1071 n 152, Roman des Sept Sages: 9 and n 28, 126, 131, 132, 204, 284 n 55, 611, 618 n 34, 647 fig. 36, 879 n 13, 1009, 1061, 1182, Roman de Thèbes: 1, Romance of Beves of Hampton: 1078 n 190, Rothschild Canticles: 87, 89 figs. 20, 21, 102 n 13, 104, 107 figs. 8, 9, 1036 n 19, 1064, Rudolf von Ems, Wilhelm von Orlens: 615 n 26, 736, Weltchronik: 615 n 26, 1080 n 195, Ruolantesliet: 26, 30, 31, 34 fig. 1, Rupert of Deutz: 548 n 18, Rusticien de Pise, Compilation: 130, Sacramentary: 989 n 53, St Albans Chronicle: 960–61 n 6, 977 n 27, 997, Scala mundi: 1154, Seneca, De copia uerborum: 1065, 1084, 1109 figs. 89, 91, 1110 fig. 92, Seneca, Summa de matrimonio: 1084, 1109 fig. 90, Song of Songs: 734 and n 10, Stanzaic Morte Arthur: 976, 977 n 27, Der Stricker, Karl der Große: 31, 35

1332 fig. 2, 49 n 17, 615 n 26, 1078 n 191, Suite vulgate du Merlin: 131, 193, 201, 203, 204, 205, 208 fig. 3, 210, 211, 212, 213, 215, 217, 227, 234 fig. 5, 249 n 7, 318, 319, 320 fig. 2, 325, 328, 779 fig. 14, 881, 883, 886, 893 fig. 12, 894 figs. 13, 14, 895 figs. 15, 16, 896 fig. 17, 899 fig. 23, 900 figs. 24, 25, 908, 908, 910, 911, 952–54, 1000–1017, 1105 fig. 79, 1201, Tavola Ritonda: 435, 470 and n 113, 477, 479, 481, 625, 627 n 59, 634 fig. 11, 635 fig. 12, 650–53, 962 and n 9, 992 and n 65, Thibaut, Roman de la Poire: 6, 8, 10, 17 fig. 6, 19 fig. 9, 26, 49 n 17, 51, 72 n 37, 80, 83 fig. 14, 84 fig. 15, 124, 237, 352 n 48, 356 n 69, 615 n 25, 735 n 15, 736, 877 n 10, 1022 n 2, 1068 n 142, Thomas, Tristan: 1, 371, 372, 1160, 1165 fig. 1, 1181, Thomas Aquinas (?), Corpus Christi liturgy: 446, Thomas de Cantimpré, De rerum natura: 207, 911 n 48, Liber de nomstruosis hominibus: 1051, Thomas Hoccleve, Regiment of Princes: 27, Thomas of Kent, Roman de toute chevalerie: 27, 1139 and n 8, 1142, Thomas Malory, Morte Arthur: 962 and n 7, 976, 977 n 27, Thomas le Myésier, Electorium parvum seu Breviculum: 1064, Trésor des histoires: 961 n 6, 987, 997, Trial of Robert d’Artois: 1068, Tristan Menestrel: 1182,

Tristan Rossignol: 1182, Troper: 675 n 137, Le Turpin français: 75, 1059, Vie de du Guesclin: 1013, Vies des pères: 351 n 43, 611 n 16, 675 n 137, 1004, 1060, 1096 fig. 46, Vie de saint Denis: 351–52, 353, 544 n 10, 1068 and n 140, Vie de seint Edward le rei: 1139 n 7, Vie de sainte Benoîte d’Origny: 127, 168 n 6, 269 n 9, 303, 732 n 4, 1043 n 57, 1079 n 193, Vie de sainte Catherine: 351 n 43, Vies des saints: 371, 377, 974 n 18, 1046, 1056, 1059, 1072, 1083, 1092 fig. 26, 1097 fig. 51, 1098 figs. 55, 56, 1133 fig. 141, Villard de Honnecourt, Sketchbook: 734 n 11, Vincent of Beauvais, Speculum doctrinale: 766 n 8, 879 n 13, 1060, Speculum historiale: 102 n 13, 114 n 26, 264, 319 n 13, 668 n 122, 911 n 48, 961 n 6, 977 n 27, 1044 n 59, 1069 n 145, 1072, 1177, Speculum maius: 174, 283 n 50, Speculum naturale: 284 n 55, Vindicta Salvatoris: 434 n 3, Virgil, Opera: 735 n 16 Virgil and other classical texts: 106, 228, 368 n 82, 434 n 5, 735 n 16, 765 and n 7, 974 n 18, Vita sancti Albini: 371 n 5, 445, Vita sancti Audomari: 371 n 5, Vita sancti Martini: 371 n 5, 984, Vita sancti Quentini: 371 n 5, Wace, Roman de Brut: i, 68, 123, 134, 136 fig. 3, 137, 962 and nn 9, 10, 976 and n 26, 985, 986, 987,

INDEX

997, 1062, 1138–58, 1143 fig. 1, 1144 figs. 3, 4, 1146 figs. 7, 8, 1147 fig. 10, 1150 figs. 15, 16, 1151 fig. 17, 1152 fig. 19, Conception nostre Dame: 1138, Vie de sainte Marguerite: 77 n 49, 443 n 40, Vie de saint Nicolas: 1138, Walter Map, De nugis curialium: 963 n 10, Walter Map, Mort Artu: 68, 193, 212, 218, 219, 972, 978, see also Mort Artu Walter von der Vogelweide: 988 n 50, Weingartner Liederhandschrift: 615 n 26, 736,

1333 William of Malmesbury, Gesta regum anglorum: 976 and n 26, Wills: 677 and n 144, 991 n 63, Wolfram von Eschenbach, Parzival: 26, 49 n 17, 64, 433 n 3, 435, 482 n 157, 487, 615 n 26, Titurel: 615 n 26, Tagelieder: 615 n 26, Yves de Saint-Denis, Historia Francorum scriptores coaetanei: 544 n 10, see also Grandes chroniques de France Zuliano di Anzoli, Filocolo: 650 and n 64.

Index of Selected People, Places, and Things Abbess: 832 fig. 18, 833 figs. 19, 20, abbey (unspecified; see also White Abbey and named abbeys): 14 fig. 2, 297, 559, 586, 604, 620, 629, 707, 863, Abishag: 758 n 71, Abner, Old Testament: 736, Abraham: 750 n 39, Absalom: 736 and n 18, 739 and n 38, 742 fig. 4, Achilles: 379 fig. 5, 394, 395, Acre: 349 n 37, 1008, 1036, 1162, Acre, Fall of (1291): 349, Adam and Eve (see also Fall): 243 fig. 3a, 406, 538 fig. 18, 544, 546 n 13, 548, 550, 551, 555, 576, 596, 597, 693, Adamnan, Abbot of Iona: 490, 1200, Adelheid von Diest, Abbess of Herkenrode (O. Cist), patron: 451 n 66, Adenet le Roi: 5, 6, 8, 27 n 50, Adoration of the Magi: 1084, 1103 fig. 73, adultery: 733, 756, 760, 761, 763, 764, 767, 772, 784, 838, Aeneas: 716, 735 and n 16, 763, Affinity and Consanguinity Tables: 1048, Agamemnon, King: 396,

Aglodas: 797, 808, 809, Agnus: 396, Agolant, Saracen King: 375, 400, 401, 402, Agravain: 211, 212, 216, 218, 220, 316, 853, 854, 904 fig. 32, 916, Agrestes, King: 391, 407, 770, 777 fig. 10, Aguisant, King: 402, Ahaziah (Ochozias), King: 362 fig. 6d, 624 and n 54, Aigremor, La Tour: 1143 fig. 1, Alain le Gros (Helain): 255 fig. 3, 309, 408, 421 fig. 22, 422 fig. 24, 431, 452, 453, 454, 460 fig. 11, 503 fig. 16, 504 fig. 17, 505 fig. 18, 506 fig. 20, 514, 515 n 38, 516, 522, 523, 684, 1082, 1089 fig. 16, Alardin and Carados, Guignier, Cador: 1083, 1094 fig. 35, Albinus of Angers, St: 445 and nn 45, 47, 446 n 48, 446 and n 48, Alboin, King: 72, Alexander the Great: 2, 4, 10, 15, 25 n 38, 28 n 51, 49 n 17, 69, 73, 76, 78, 94 n 4, 122, 228 n 20, 237 and n 36, 260, 265 n 35, 324, 325, 375, 399, 400, 789, 1083, 1094 fig. 40,

INDEX

Alexander III, Pope: 69, Alfasar: 1110 fig. 94, Alfonso the Wise, King: 1078 n 191, Alianor Hawte, niece of Richard Roos, owner: 143, Aliscans, Battle of: 1083, 1095 fig. 44, Alix de Clermont-Nesle, owner?: 672 n 129, Allier: 374 n 19, 1039, Alphasem (Arphasam), King: 453, 454, 479, 484, 504 fig. 17, 505 figs. 18, 19, 506 fig. 20, 515, 516, 523, Amalekite: 1084, 1104 fig. 75, Amasa, Old Testament figure: 737, Amaury de Lusignan, King of Jerusalem: 345 n 10, 981, Ambrose, St: 984, Ambrosius, King: 1154, Amédée V, comte de Savoie: 1067, amie of Cadrès: 1085, 1123 fig. 119, amie of King of the Red City: 1085, 1123 fig. 119, Amiens: 5, 79 n 52, 102 n 13, 124, 126, 129, 205, 206, 207, 223, 225, 226, 236, 284 n 55, 292, 338, 348, 467, 669 n 125, 753, 766 and n 8, 879 n 13, 980 n 32, 995, 999, 1005, 1010, 1033, 1039 n 35, 1041 n 47, 1043, 1046, 1055, 1057, 1058, 1059, 1061, 1063, 1176, Amiens, Abbey of Saint-Jean (O. Praem.): 1053, Amor (god of love): 19 fig. 9, 84 fig. 15, 1086, 1129 fig. 129, Amustans: 798, 810, anathema (excommunication): 795 figs. 5, 6, 798, Anchin, Abbey (OSB): 907, 1140 n 13, 1155, angel(s): 23 fig. 15, 38 fig. 7, 60 fig.

1335 2, 243 fig. 3a, 358 fig. 2b, 438, 441, 442, 450, 455 fig. 2, 459 fig. 8, 465, 473, 474, 490, 491, 496 fig. 3, 498 fig. 7, 500 figs. 10, 11, 511, 516, 522, 572 fig. 24, 634 fig. 11, 635 fig. 12, 636 fig. 14, 637 fig. 16, 638 figs. 18, 19, 689 fig. 5, 750 n 39, 1082, 1083, 1086, 1091 fig. 21, 1094 fig. 39, 1136 fig. 153, Angers: 7 n 19, 130, 1014, Anglo-Saxon: 734 n 10, anima: 658n 96, Anne de Graville, owner: 1192, Anne de Lusignan et de Chypre: 678, 683, Annonay: 123, Annunciation to the Virgin: 644 fig. 30, 750 n 39, 1085, 1111 fig. 96, 1121 fig. 117, Annunciation to the Shepherds: 1084, 1103 fig. 73, Anseau de Garlande, seigneur de Tournon, owner?: 674, Ansquetin the Norman: 401, Antenor: 394, Anthony Bek, Bishop of Durham, owner: 54 n 33, Anthiochus V Eupator: 1102 fig. 67, Antilochus: 395, Antioch: 286, 559, 656 n 89, Antoine Vérard, printer: 680 n 9, Antoney de Racygnano, owner: 134, Antrit: 758 n 70, ape astride peacock: 21 fig. 12, apes in cart: 1085, 1121 fig. 117, Apocalypse: 519 n 48, 1108 fig. 88, apple, poisoned: 733, 780 fig. 16, 781 figs. 17, 18, 784, 785, 786, 822, 827 figs. 7, 8, 828 figs. 9, 10, 829 figs. 11, 12, 847, 885 n 37, Aramont, Lord of Britanny: 125, 359

1336 fig. 3b, 702 n 11, Arcan, brother of Saxon king: 866, Archbishop: 873, Arculf of Gaul, Bishop: 490, 1200, Argan: 329, 330, 332 fig. 4, 408, Arelius Ambrosius: 1153–4, Arides: 1083, 1094 fig. 38, ark: 442, 443, 444, 458 figs. 6, 7, 459 fig. 9, 481, 490, 491, 492, 496 fig. 3, 497 figs. 4, 5, 638 figs. 18, 19, 649 fig. 40, 683, 684 n 28, 689 fig. 5, 692, 693, Arma Christi: 443 and n 40, 452, 491, 656 n 89, arms (see also shield, below): 17 fig. 6, 19 fig. 9, 47 fig. 20, 84 fig. 15, 135 fig. 2, 145 fig. 8, 151 figs. 12, 13, 988, 989, 995, 1110 figs. 92, 94, arms of England: 983 n 42, 985, 1150 fig. 15, arms of France: 17 fig. 5, 152 fig 13, 456 fig. 3, arms of the Grail knights: 241 1a, 256 fig. 6, 277 fig. 1, 278 fig. 3, 320 fig. 2, 321 figs. 3, 4, 322 fig. 7, 323 fig. 8, 539 fig. 19, 550, arms of Guillaume de Sainte-Aldegonde: 169 fig. 2, 259 fig. 11, 990, arms of Hector: 379 figs. 3, 4, arms charged with the Virgin Mary: 68, 985, 1152 fig. 20, arms of King Arthur: 899 fig. 22, 983, 986 and n 45, 1148 fig. 12, 1150 fig. 15, 1152 fig. 20, arms of Lancelot: 38 fig. 6, 86 fig. 19, 99 fig. 6, 113 fig. 20, 171 figs. 5, 6, 242 fig. 2a, 258 fig. 10, 301 fig. 12, 541 fig. 23, 571 figs. 21, 22, 793 figs. 1, 2, Arnulphus de Kayo, scribe: 102 n 13,

126, 205, 207, 283, 284 n 55, 319 n 12, 348 and n 33, 467, 753 and n 50, 754, 755, 883 and n 31, 1005, Arras: 5 n 14, 48, 50 n 24, 51 n 24, 102 n 13, 115, 119 n 37, 124, 224 n 6, 229, 283 n 50, 285 n 55, 348, 671, 676, 978, 986 and n 45, 991, 999, 1009, 1010, 1027 n 32, 1041 n 47, 1045, 1046, 1047, 1059, 1060, 1061, 1062, 1064, 1065, 1071 n 151, 1079, 1164, 1176, 1188, Arras Candle, Miracle of : 1047, 1055 n 96, Arthur, King: 1 n 1, 22, 27 n 48, 29, 61 and n 11, 63, 65, 68, 69, 70 n 33, 73, 106, 121, 122, 123, 131, 132, 133 fig. 1, 134, 135, 136 fig. 3, 137, 138, 143, 144, 145 fig. 8, 153, 156, 157, 158, 167, 170 fig. 4, 197, 201, 202, 212, 213, 214, 215, 216, 218, 219, 220, 228 n 17, 241 fig. 1b, 267, 273, 274, 316, 319, 325 and n 23, 365 fig. 9c, 402, 403, 404, 409 fig. 1, 410 fig. 2, 453, 454, 461 fig. 12, 465, 507 figs. 21, 22, 517, 523, 559, 560 fig. 1, 561 fig. 2, 562 fig. 3, 563 fig. 6, 564 figs. 7, 8, 565 figs. 9, 10, 566 fig. 11, 580, 582, 603, 641 fig. 24, 643 fig. 27, 702 and n 11, 715, 716, 717, 718 and n 23, 720, 727 figs. 8a, 8b, 729 fig. 10b, 730, 737 n 29, 760 n 77, 763, 764, 766, 767, 768, 769, 770 and n 21, 773 figs. 1, 2, 774 fig. 4, 775 fig. 5, 778 fig. 11, 785, 787, 792, 794 figs. 3, 4, 795 fig. 5, 797, 798, 804, 806, 807, 808, 809, 810, 811, 820, 821, 824 fig. 1, 826 fig. 6, 827 figs. 7,

INDEX

8, 830 figs. 13, 14, 831 figs. 15, 16, 832 fig. 17, 834 figs. 21, 22, 835 figs. 23, 24, 836 figs. 25, 26, 837 figs. 27, 28, 838, 839, 842, 844, 848, 849, 850, 851, 853, 854, 855, 856, 857, 858, 860, 861, 862, 863, 864, 867, 868, 869, 870, 874–893 fig. 12, 894 fig. 13, 958 figs. 1, 5, 6, 7, 8, 9, 10, 11, 12, 13, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 30, 31, 32, 960 nn 5, 6, 968 fig. 6, 1082–86, 1088 fig. 4, 1089 fig. 10, 1091 fig. 20, 1094 fig. 38, 1102 fig. 68, 1104 fig. 77, 1105 fig. 83, 1110 fig. 94, 1115 fig. 105, 1131 fig. 133, 1135 figs. 145, 146, 1136 fig. 151, 1146 fig. 8, 1147 figs. 9, 10, 1148 figs. 11, 12, 1149 figs 13, 14, 1150 fig. 53, 1152 fig. 20, 1154, 1157, Arthur and Guinevere: 145 fig. 8, 170 fig. 4, 507 fig. 22, 560 fig. 1, 561 fig. 2, 5562 fig. 3, 563 fig. 6, 564 fig. 8, 565 fig. 9, 566 fig. 11, 572 fig. 23, 794 fig. 4, 892 fig. 9, 895 figs. 15, 16, 896 fig. 17, 897 fig. 18, Arthur’s knights: 365 fig. 9c, 643 fig. 27, 761, 784 n 36, 794 figs. 3, 4, 795 fig. 5, 797, 804, 806, 807, 810, 821, 824 fig. 1, 834 figs 21, 22, 835 fig. 24, 836 fig. 25, 842, 844, 851, 853, 858, 864, 867, 893 fig. 11, 906, 914, 923, 924, 926, 928, 959, 970 fig. 9, 987, 993, 995, 1084, 1104 fig. 77, Arthur’s sword see Excalibur Arthur’s tomb: 963 n 10, 975 and n 23, 976, 977 n 27, 978, 979, 980, 982 and n 38, Artois: 3 n 7, 4 n 8a, 5, 6, 48 n 15,

1337 54 n 31, 67, 76 n 48, 87, 122, 124, 126, 127, 129, 168, 223, 225, 229, 247, 264 n 33, 318 n 8, 376, 377, 448, 494, 549, 669 n 125, 674, 703, 794 figs. 3, 4, 818, 878 n 11, 978, 986, 988, 988 n 53, 990, 991, 1033, 1045, 1055, 1057, 1064, Atre périlleux, scenes: 1122 fig. 118, 1123 fig. 119, Arundel, Earls of, patrons?: 1157, Ascension of Christ: 518 n 47, Ashridge Priory (Boni homines): 656 n 87, Aspremont: 401, Assisi: 51 n 24, Archbishop: 642 fig. 26, Arviragus, King: 1142, Athelstan, King: 1155, Athens: 396, Audret: 1163, Augis: 912, 913, Augustine of Canterbury, St: 1155, Augustinians: 324 Aumon, King: 401, Avalon (Aveloun): 838, 975, 977 n 27, 992, 998, 1155, Avenable: 887, Averlain: 847, Avignon: 468, 470, 471, 472, 476, 480, 481, 482, 484, 517, 656, 1011, Aymon de Savoie, owner?: 1067, Aymon de Varennes: 1120 fig. 113, Bagomedés: 1086, 1136 fig. 150, Balan, envoy of King Agolant: 400, Baldwin (Baudouin) of Flanders, Count: 477 n 139, Baldwin (Baudouin) I, King of Jerusalem: 981, Ban, King of Benoic: 213, 215, 216, 217, 219, 234 fig. 4, 235 fig. 5,

1338 289, 620, 702, 703, 704, 705, 706, 708, 710 n 17, 722 fig. 2, 723 figs. 3a, 3b, 3c, 724 figs. 4, 5, 757, 779 fig. 14, 783, 789, 792, 801, 802, 819, 887, 894 fig. 14, 926, 927, banquet: 145 fig. 8, 461 fig. 12, 507 figs. 21, 22, 561 fig. 2, 562, fig. 3, 563 fig. 6, 780 fig. 16, 781 fig. 18, 782 fig. 20, 828 figs. 9, 10, 829 figs. 1, 2, 1084, 1102 fig. 68, 1104 fig. 77, 1106 fig. 85, Baptism: 139 fig. 4, 361 fig. 5a, 504 fig. 17, 693, 1085, 1120 fig. 115, Barbara of Brandenburg, patron: 477 n 139, 654 n 78, Bardoyn de Milly, owner?: 674, Bari atelier: 1039, Basilica of Constantine in Jerusalem: 1198 Bathsheba: 745 fig. 11, 756, 757 n 59, bat game: 45 fig. 18, battle see combat Battle of Hastings: 1155, Baudemagus, King: 150, 151, 168, 170 fig. 3, 171 figs. 5, 6, 172, 242 fig. 2b, 273, 279 fig. 6, 559, 566 fig. 12, 583, 584, 806, 1086, 1137 fig. 155, Baudouin III, Emperor, Coronation: 648 fig. 37, Baudouin III falling from his horse: 1087, 1137 fig. 158, Bauduin, enlumineur: 675 n 137, Béatrix de Gavre, owner?: 376, Beaulieu: 443 n 40, Beaupré, Abbey, (O. Cist): 326 Bede, Venerable: 490, Bediver (Bedevere): 907, 975, 977 n 27, Bel-Acueil: 13 fig 1,

Belgium: 1185, Belle Garde, Duke of: 289, 291, 292, 294 fig. 1, 296 fig. 4, 310, Beloé, Dame de: 865, Beloé, husband of Dame de: 865, Benedict XIV, Pope: 29 n 1, Benedictines: 262 Benjamin, Old Testament figure: 735, Benjaminites: 737 n 26, Benoïc: 823, 857, 926, 927, 928, Benoîte d’Origny, St: 127, 128, 168 n 6, 226 n 13, 269 n 9, 303, 769 n 18, Berengar of Tours: 445, Bergen: 673, Bergheim: 674, Bergues, Guilbert, châtelain de Bergues et seigneur de Saint-Winnoc, owner?: 674, Bernabò Visconti, owner: 73 n 39 Bernard of Clairvaux, St: 445 n 47, Berthaud d’Achy, owner: 974 n 18, Bertholais: 792, 797, 798, 804, 808, 809, 905, 906, Bertram (Bertrand Goyon), Monseigneur, syre de Matignon, owner: 1026, 1027, Béthune, comtes de Flandre: 142, Betis, Duke of Gadres: 399, Biaurepaire: 1082, 1089 fig. 9, bishop(s): 501 fig. 12, 684, 795 fig. 6, 823, 859, 878 n 12, 890 figs. 5, 6, 920, 1083, 1099 fig. 58, Black Knights: 592, Blaise, tutor of Merlin: 140 fig. 5, 143, 901 figs. 26, 27, 902 figs. 28, 29, 908, 909, 910, 911, 912, 913, Blanche d’Artois, owner: 67, 122, 983 n 42, 1004, Blanche de Bourgogne, owner?: 1067, Blanche de Castille, owner: 32 n 12,

INDEX

346, 367, 669 n 125, Blanche de France, widow of Ferdinand de la Cerda, owner?: 6, Blanchefleur (Blanscheflur): 758 and nn 67, 70, 759 n 73, 783 n 34, 1086, 1135 fig. 147, bleeding: 32, 33, 159, 442, 473, 475, Bleeding Host: 636 fig. 14, 656 and n 90, Blioberis: 642 fig. 26, 873, Blois: 131, 150, 203, blood (sang): 72 n 37, 95, 96, 134, 159, 215, 220, 275 n 35, 281, 285, 286, 289, 291, 293, 295, 302, 310, 311, 313, 440, 442, 444, 457 fig. 5, 473, 475, 476, 477, 479, 484, 488, 489, 491, 494 n 25, 495 figs. 1, 2, 550, 552, 601, 620, 628, 652, 653, 656, 662, 709, 711, 714, 770, 947, bloodletting: 95, 97 figs. 1, 2, 98 figs. 3, 4, 102, 131, 437 n 17, 476 and n 135, 516, 552 and n 27, 576, 653, Bodmer, Martin, owner: 134, Bohemia: 80, Bohort, King of Gaunes: 213, 215, 217, 219, 704, 706, 791, 792, 801, 802, 887, 926, boiling fountain: 144 fig. 7, 215, 289, 290, 292, 294 fig. 1, 297 fig. 5, 298 fig. 7, 301 fig. 12, 303, 305, 309, 310, 311, 314, 619, 621, 629 fig. 1, 710, 712, 713, boiste (box), container for Holy Blood: 444, 459 fig. 8, Bologna: 1005, 1007, Bolsena: 446, Boniface de Remenant, scribe: 992 n 65, 998, Bonifacio Bembo, artist: 474, 477,

1339 478, 650 and n 65, 654 and n 82, Bonifacio de Gualandis, scribe: 1006, book sent by God: 687 fig. 2, 908, book of Lancelot’s adventures: 914, booksellers, sworn: 1071, 1072, Boort (Bohort), knight of the Round Table: 22 fig. 13, 68, 135 fig. 2, 137, 215, 216, 218, 219, 220, 241, 244, 272, 274, 275, 277, 280 fig. 7, 339, 365 fig. 9b, 469, 470, 476 n 135, 477 and n 140, 480, 481, 482, 484, 516, 537 fig. 16, 539 figs. 19, 20, 540 fig. 21, 542, 547, 550, 551, 554, 576, 577, 593, 594, 595, 598, 599, 600, 604, 606, 608 n 8, 627, 631 fig. 5, 641 fig. 23, 641 fig. 24, 642 fig. 26, 654 n 79, 706, 708, 791, 821, 840, 844, 848, 850, 853, 860, 871, 872, 873, 904 fig. 32, 916, 970 fig. 9, 975, 995, Bouchard d’Avesnes: 675, Bouchorst: 673, Boucicaut Master: 8 and n 24, 246, 997, Boulogne-sur-Mer, Notre-Dame: 286 n 61, 478, 479 and n 147, Boulogne-sur-Mer, Saint-François de Sales: 286 n 61, 479 n 147, 655, Bourges: 130, 1016, 1178, Bourgogne, daughter of Amaury de Lusignan: 345 n 10, Bourguignon dialect: 1066 n 136, Bouvines, Battle of: 345, bowls (game): 456 fig. 3, Brabant, Jean I, duc de, owner?: 674, 878 n 12, Brabant, Mademoiselle de, owner?: 675 n 137, Bran de Lis: 1086, 1131 fig. 132, Brangoire, King: 22 fig. 14, 477 n 139, 609 n 8, 654 n 79,

1340 bread: 652, 656, 657, Breton, Hector le: 316 n 2, Brexianus de Salis, podestà of Modena, owner: 1006, Brichanteau, C. de, owner: 138, Bringvain: 758 n 71, Brisane: 761, Britain: 699, 715, 870, 871, 882, 1159, Brittany: 798, Bron: 329, 1170 fig. 11, Bruges: 252 n 17, 286, 478, 655, 1015, Bruillant, King: 408, Brunel, Clovis: 146, Brunetto Latini: 646 fig. 34, Burgundy: 352 n 48, 656, 1033, 1187, burial: 642 fig. 26, 691 figs. 7, 8, burial ship: 541 figs. 23, 24, 570 fig. 20, 571 figs. 21, 22, 822, 830 figs. 13, 14, 831 figs. 15, 16, 1174 fig. 19, Burning Bush: 87, 88, Bute Painter: 1051–57, Byzantium: 627 n 60, Cadoc: 1084, 1106 fig. 84, Cador: 397, 398, Caesar: 887, 1082, 1091 fig. 23, Caesar’s daughter: 887, Caesarea: 408, 423 n 114, 1199, Cain and Abel: 273, 406, 534 figs. 9, 10, 535 fig. 12a, 538 fig. 17, 547, 548, 551, 576, 596, 597, 693, Caix (Somme): 348 n 33, Calafer: 526, 542, Calogrenant: 594, 1085, 1125 fig. 122 (or Yvain ?), 1126 fig. 123, Cambrai: 48, 51 n 24, 102 n 13, 205, 207, 223, 225, 247, 261, 262, 265, 318 n 8, 352 n 48 n 48, 467,

840, 988, 990, 991, 995, 999, 1005, 1008, 1009, 1053, 1055, 1057, 1063, 1070, 1176 and n 15, 1188, Cambrai, Abbey of Saint-Sépulcre (OSB): 3, 1063, Cambrai, Saint-Géry-au-Mont-desBoeufs: 70, 71 fig. 6, Cambron, Abbey (O. Cist): 445 n 47, 1050, Camelot (Kamaalot): 218, 272, 580, 609 n 8, 820, 821, 824 fig. 1, 828 fig. 9, 843, 846, 847, 848, 849, 850, 853, 854, 864, 921, 1084, 1104 fig. 77, Camille: 760 n 77, 887 n 40, Candle: 60 fig. 2, 1082, 1091 fig. 21, 1092 fig. 26, Candle, Miracle of: 1047, canonization: 982, Capetians: 983, 993, Carados (Karados): 609 n 8, 641 fig. 24, 860, 867, 1086, 1135 fig. 148, 1136 fig. 149, Carados’ father: 1086, 1135 fig. 148, Carados’ mother: 1086, 1135 fig. 148, Carafa family of Naples, owners: 129, 1186, Carcelois (Marche d’Escoche): 577, 598, 599, Carn Meini (Pembrokeshire): 1154, Carole, Magic: 436 n 17, 621, 624, 630 figs. 2, 3, 631 fig. 4, Carolingian: 734, 769, 1160, cart (charette): 790, 986, casket of arm of maimed valet: 1085, 1123 fig. 119, Cassandra: 395, 396, Castle of Belle-Garde: 294 fig. 3, 295 fig. 4, Castle of Maidens: 575, 586, 587,

INDEX

Castor: 393, Cat of Lausanne: 900 fig. 25, 906, 908, Catalonia: 146, Cathars: 908, Il Catino: 408 and nn 11–14, 422 fig. 25, Cave of Love: 1183, Cayeux-sur-Mer (Somme): 126, 142, 283, 284 n 55, 348 n 33, 766 n 8, Cecily, daughter of King Edward IV and Elizabeth Woodville, owner: 143, 172, Celice, eau de: 329, Celidoine: 384 fig. 20, 391, 407, 417 figs. 14, 15, 418 fig. 17, 419 fig. 19, 427, 429, 431, 453, 526, 527, 542, 684, 693, centaur: 364 fig. 8c, 374, 382 fig. 16, Centre of France: 130, 995, 996, 998, 999, 1015, chain, gold: 328, 329, chalice: 31, 32, 33, 61, 217, 328, 356, 408, 438, 440, 441, 444, 448, 453, 459 fig. 8, 466 n 89, 467, 468, 473, 477, 479 and n 150, 480, 483, 489, 515, 518, 519, 520, 521, 522, 658 n 96, 1197, 1198, 1200, chalice and cross: 32, 328, 467, 481, 483, 521, 1197, Châlons-sur-Marne (Châlons-enChampagne): 519 n 48, Chambéry: 683, Champagne, shield of: 366 n 69, Champagne, County of: 374 n 19, 376, 683 n 23, 908 n 45, 1001, 1005, 1015, Chanaam: 407, chancellor of King Ebain: 398, Channel: 906, 907, Chapele Veroie: 869,

1341 Charlemagne, Emperor: 29 and n 1, 31 n 8, 35 fig. 2, 36, 123, 221, 325, 375, 400, 401, 656, 960, 983, 984, 1024, 1041 n 47, 1084, 1105 fig. 78, 1140, 1152 fig. 19, 1157 and n 30, Charlemagne Master, artist: 1188, Charles the Bald, owner: 443 n 40, Charles I de Savoie, owner: 680, Charles V, King of France, owner: 699, Charles VI, King of France: 700, Charles VII, King of France: 1027, Chartres Use: 263 n 29, Châtre de Cangé, owner: 1066, Chauvency, Tournoi de: 55 n 34, 292 n 11, chess and chessboard, magic: 622, 624, 630 fig. 2, 915, Chester, Count of: 397, Chevalier aux deux épées: 1113 fig. 103, Chevalier Vermeil: 1082, 1086, 1090 fig. 15, 1130 fig. 130, Chevalier Noir: 402, Child in Tree: 90 fig. 23, 1086, 1136 fig. 152, Christ (Nostre Seigneur, see also Tout-en-Tout): 9, 10, 25, 32, 42 fig. 12, 79 n 53, 70, 72 n 36, 79 n 53, 80, 81, 82, 91, 125, 131, 134, 142, 159, 191, 211, 212, 215, 216 n 62, 217, 220, 233 fig. 4, 284, 317, 329, 330, 338, 339, 356 and n 68, 357 figs. 1a, 1b, 358 figs. 2a, 2b, 399, 406, 423, 438, 439, 442, 444, 445 and n 47, 449, 450, 452, 453, 455 fig. 1, 456 fig. 3, 458 fig. 7, 462 fig. 14, 465, 466, 467 n 96, 469, 470, 471, 473, 474, 475, 477, 479, 480, 482, 483, 484, 488, 491,

1342 493, 494, 496 fig. 3, 500 figs. 10, 11, 501 fig. 12, 511, 512, 513, 514, 515, 517, 518, 520, 526, 530 fig. 2, 531 figs. 3, 4, 546, 553, 599, 605, 609 n 8, 623, 626, 627 n 60, 628, 633 fig.9, 634 fig. 11, 635 fig. 12, 638 fig. 19, 639 fig. 20, 651, 652, 657, 658 n 96, 660, 682, 684 and n 28, 689 fig. 5, 690 fig. 6, 709, 734 and n 10, 736 and n 25, 738, 739, 750, 757 n 59, 769, 799, 812, 813, 814, 878 n 12, 908, 909, 910, 984, 988 n 50, 1082, 1083, 1086, 1095 fig. 45, 1101 fig. 63, 1134 fig. 143, 1197, 1198, 1199, Christ and Ecclesia: 81 fig. 10, 82 figs. 11, 12, Christian converts: 770, Christian sinners: 256 fig. 5, Christina of Markyate, anchorite, owner?: 467, 547, Christine de Pizan: 718, 729 fig. 10a, 750 n 39, ciborium: 328, 408, 449, 465, 466 and n 89, 468, 477, 480, 482, 483, 493, 514, 515, 517, 518, 522, 553, 599, 1197, Cistercian Abbey (see also White Abbey): 126, 261, 262, 559, 658 n 96, 1003, Cistercian patrons: 767, Cité des Dames, Master of: 999, Clairmarais, Abbey (O. Cist): 451, Clairvaux, Abbey (O. Cist): 79, Clarence, duc de: 248, Clarmondine: 1087, 1137 fig. 159, Claudas, King: 125, 215, 216, 217, 253 fig. 1, 289, 643 fig. 27, 702, 705, 706, 789, 791, 792, 801, 802, 926, 927, Claudius: 609 n 8,

Claudin: 609 n 8, Clémence de Hongrie, owner: 1071 n 155, 1077 n 185, Clement, St: 54 n 31, Clement V, Pope, patron, owner: 885 n 35, Cleodalis, senechal of King Leodegan: 905, Cleodalis’ wife: 905, Cleomades: 1087, 1137 fig. 159, clerics: 984, Clermont: 284 n 54, Cligès: 83 fig. 14, 91, 124, 735 n 15, 1028, n 35, Cluny: 518 n 47, Cnut, King: 1155, Colbert: 153, Cole, Dame, owner: 677 n 145, Colin li Fruitier, scribe: 1025, 1031, Collegeville, MN, St John’s University, Hill Monastic Manuscript Library: 174, Cologne: 260, 758 n 71, colophon: 658 n 97, colours: 548 and nn 18, 19, 552, 576, combat, on foot: 147 fig. 9, 148 fig. 10, 1148 figs. 11, 12, 1149 fig. 14, combat, mounted: 14 fig. 2, 16 fig. 4, 22 fig. 14, 34 fig. 1, 40 fig. 10, 43 figs. 13, 14, 242 fig. 2b, 278 fig. 3, 279 fig. 5, 282 fig. 11, 333 fig. 9, 561 fig. 2, 641 fig. 23, 969 fig. 7, 826 fig. 6, 827 figs. 7, 8, 835 fig. 24, 836 fig. 25, 965 fig. 1, 966 fig. 3, 969 figs. 7, 8, 970 fig. 9, 985, 988, 994, 1084, 1105 fig. 78, 1150 fig. 15, 1155, communion: 552, 578, Conques: 443 n 40, Conquest, Norman: 1155, consecration: 108 fig. 10, 109 fig. 12,

INDEX

690 fig. 6, 1083, 1099 fig. 58, Constantin, King of Britain: 1142, 1154 n 25, Constantine, Emperor: 492, 1198, Constantine V Copronymus: 647 fig. 35, Constantinople: 656, 683, convent (nunnery): 562 fig. 4, 832 fig. 18, 833 figs. 19, 20, Copenhagen: 467 n 98, Copts: 1200, Corbie Abbey (OSB): 1059, Cornwall: 398, 1169 fig. 9, coronation: 113 fig. 19, 648 fig. 37, 657, 961 n 6, 962 n 9, 1146 fig. 8, 1147 fig. 9, 1154, Corpus Christi, Feast of (Fête-Dieu): 436, 446 and n 50, 452 and n 67, 483, 513–14 and n 36, Council of devils: 254 fig. 2, Court: 673, Coward Knight: 1086, 1132 fig. 136, Crainhem, owners?: 674, Crechy, owners?: 673, Crèvecoeur, owners?: 672 n 129, cripple: 463 fig. 16, 554, 606, 627 n 60, 1150 fig. 16, 1156, crozier: 684, 690 fig. 6, Croquoison family, owners?: 318 n 8, Cross of Christ (True Cross): 406, 440, 1181, crucifix: 39 fig. 8, Crucifixion: 9, 142, 213, 220, 436, 439, 440 and n 27, 441, 457 fig. 4, 472, 483, 488, 489, 490, 495 figs. 1, 2, 513, 522, 545, 683, 909, Crudens, King: 391, Crusaders: 408, 701, 1036, Crusades: 478, 655, 701, 1080, Cunigunda (Kunigunda), Abbess of St George (OSB), Prague: 80

1343 curing: 515–16, 544 and n 10, 575, 683, 688 figs. 3, 4, 692, Cyprus: 1008, 1162, Damascus, siege of: 648 fig. 38, damsel: 559, 560 fig. 1, 561 fig. 2, 562 fig. 3, 564 fig. 8, 580, 582, 891 fig. 7, 921, 1082, 1089 fig. 10, 1085, 1086, 1120 fig. 114, 1122 fig. 118, 1128 fig. 127, 1131, fig. 131, 1137 fig. 155, Dames de Paris: 1087, 1137 fig. 160, Danain le Roux: 1085, 1111 fig. 97, Dangier: 1086, 1134 fig. 144, Daniel, Prophet: 1083, 1100 fig. 61, Dares: 395, David, King: 24 fg. 16, 40 fig. 9, 51 n 25, 53, 54, 362 fig. 6c, 548, 649 fig. 39, 704, 735, 745 fig. 11, 756, 757 n 59, 758 n 71, 772, 801, 850, 988 n 50, 1083, 1084, 1085, 1097 fig. 49, 1100 fig. 59, 1101 fig. 64, 1104 fig. 75, 1112 fig. 100, 1121 fig. 116, 1112 fig. 100, 1160 and nn 2,3, deathbed: 421 fig. 22, 422 fig. 24, 460 fig. 11, 503 fig. 16, 504 fig. 17, 540 fig. 22, 568 fig. 15, 572 fig. 24, 573 figs. 25, 26, 574 fig. 27, 634 fig. 10, 898 figs. 20, 21, 899 fig. 22, Debate between Pride and Humility: 1181, December, Labour, knocking down acorns for pig: 1097 fig. 48, Denis, St: 445 n 47, Deposition: 483, Desier: 1086, 1137 fig. 155, devil(s): 338, 489, 522, 527, 528, 529, 577, 589, 591, 693, 882, devil as a Black Horse: 1083, 1094 fig. 36, devil as a creature: 1083, 1096 fig. 46,

1344 devil of Perilous Cemetery: 1085, 1122 fig. 118, Dictis: 395, Dido: 735 and n 16, Dinadan: 1084, 1107 fig. 87, Dinan: 1160, Diomedes: 396, doctor: 759 n 73, 844, 846, Doeg: 363 fig. 7b, dog: 364 figs. 8c, 8d, Dolorous Garde: 219, 267, 290, Dominican patron: 1054, Douai: 51 n 24, 52 and n 27, 102 n 13, 138, 226, 236, 285 n 55, 390, 443 n 39, 766 and n 8, 879, 978, 986 and n 45, 991, 999, 1004, 1005, 1027 n 32, 1041 n 47, 1060, 1061, Douai, Saint-Amé, Collegiate Church: 766 n 8, 879, Douai, Notre-Dame-des-Prés (O. Cist.): 766 n 8, 879, 1060, Douce, Sir Francis, owner: 250, Dove of the Holy Spirit: 438, 439, 682, 738, dove tabernacle: 466 n 89, Dover: 823, 864, dragon: 379 fig. 2, 393, 906, dragon standard: 906, 926, dragons, red and white: 1144 fig. 3, 1145 fig. 5, 1153, drawing sword from anvil: 133 fig. 1, 1155, dream: 75, 396, 542, 720, 730–731, 757 nn 62, 63, 761, 783 and n 32, 823, 824 figs. 21, 22, 825 fig. 23, 834 figs. 21, 22, 865, 874, 886, 887, 906, 925, 927, 928, 929, 930, 937, 947, 968 fig. 6, 978, 984, 990, 994–95, 1134 fig. 144, Dream of Rose: 1086, 1134 fig. 144,

Drias: 220, Duke (sometimes named as Bellegarde), murderer of King Lancelot: 709 and n 16, 710, Dunois Master, artist: 130 dwarf: 298 fig. 6, 620 and n 41, 621, 712, Dyakene: 757 n 60, eagle: 366, 374, 375, 382 fig. 10, 382 fig. 14, 399, Eastern France: 352 n 48, 996, 1002, 1009, 1189, Ebains, King: 397, 398, 399, Ecclesia: 32 n 12, 80, 81, 82, 91, 734, 757 n 59, 769, Edmund, Earl of Cornwall: 656 n 87, Edmund Crouchback, Earl of Lancaster: 67, 122, 983 n 42, 1004, Edouard, Comte de Savoie, owner?: 1067, Edward the Confessor, King of England, St: 446 and n 49, 472, 658, 983, 1140, 1155, 1156, Edward, Prince of Wales: 67, Edward I, King of England: 54 n 33, 65, 67, 68, 123, 982 and n 38, 1156, Edward II, King of England: 123, 286 n 61, 479 n 147, 1140, 1156, Edward III, King of England: 286 n 60, 1064, 1140, 1156, Edward IV, King of England: 143, 172, Elaine, Queen: 213, 216, 217, 219, 235 fig. 6, 289, 703, 704, 705, 706, 707, 708, 722 fig. 2, 723 figs. 3b, 3c, 724 figs. 4, 5, 725 fig. 6b, 757, 779 fig. 14, 783, 791, 801, 802, 803, 887, 894 fig. 14, 926, 927, Elaine, see Pelles’ daughter (usually nameless),

INDEX

Eleanor of Aquitaine, Queen of England: 68, 122, 346, 963 n 10, Eleanor of Castile, Queen of England, owner: 879 n 13, eleousa: 734 n 10, Eleazar kills elephant: 44 fig. 15, Eleazar (Elyezer): 53, 273, Eleutherius, St: 252 n 17, 287 n 66, elevation of the host: 6657 n 94, Elijah, prophet: 362 fig. 6d, 514, Elisha: 514, Elizabeth, cousin of the Virgin Mary: 79 and n 53, 734 n 9, Elizabeth, daughter of King Edward IV and Elizabeth Woodville, owner?: 143, 172 Emenidus: 375, 381 fig. 11, 400, ‘emerald’ vessel in Genoa: 408, Emperor of Rome: 647 fig. 36, 862, 1155, Empire: 1078, Engenor, King: 402, England, English: 256 fig. 5, 391, 407, 408, 440 n 27, 701 n 9, 864, 963, 995, 997, 999, 1001, 1004, 1007, 1011, 1012, 1013, 1064, 1078, 1138, 1139, 1157, 1162, 1180, 1183, 1187, 1188, Enguerrand de Créquy, Bishop of Cambrai, owner: 317 n 7, 1051, 1054, 1099 fig. 58, Enguerrand, seigneur de Fiefes: 326, Enide: 1084, 1105 fig. 82, Entombment of Christ: 42 fig. 12, 233 fig. 4, 439, 441, 457 fig. 5, 483, 488, 513, 522, 642 fig. 25, 683, Erec: 1084, 1105 fig. 82, 1106 fig. 84, 1197, Ernoul d’Amiens, scribe: 129, 1010, Esau: 735, Escalot, Demoiselle d’: 154, 208 fig.

1345 1, 211, 216, 241 fig. 1b, 822, 830 figs. 13, 14, 830 figs. 13, 14, 831 figs. 15, 16, 838, 844, 846, 849, Escalot, brothers of: 844, 846, Escanor de la Montagne: 1085, 1122 fig. 118, Escaut, River: 1070, Escavalon: 1091 fig. 19, Esclados le Roux: 1085, 1126 fig. 123, Escorant, King: 481, escuele (dish): 356, 359 fig. 3a, 408, 439, 440, 449, 451, 452, 454, 483, 487, 488, 489, 511, 513, 515, 518, 522, 657, Estragoire: 22 fig. 14, estranges ranges: 576, Ethelbert, King: 1155, eucharist, eucharistic Host: 436, 445 and nn 45–47, 446 and n 48, 448, 450, 451, 465, 477, 483, 484, 487 n 4, 490, 493, 499 figs. 8, 9, 500 figs. 10, 11, 501 fig. 12, 511, 513, 656, 658 and n 94, Eudes IV duc de Bourgogne, owner?: 1067, Eudes de Sully, Bishop: 445 and n 45, Eufeme, Queen, wife of King Ebains: 397, 398, Eufemie, daugher of Renalt de Cornuälle: 397, Eugene IV, Pope: 657 n 90, eulogia: 445, Eure: 1077 n 185, Europeana Regia: 175 n 14, Eustache Gomer de Lille, Abbot of Saint-Bertin (OSB), owner: 102 n 13, 264, 292 n 9, 961 n 6, 1177, Evalach (Eualach, Elzalach), King, see Mordrain Evane, Queen: 706, 707, 792, 802,

1346 803, 887, 926, Evangelists, Four: 330, 339, 470 and n 110, Eve: 70 n 36, 243 fig. 3a, 406, 534 fig. 10, 535 fig. 11, 544, 548, 550, 551, 555, 576, 596, 597, 693, Evrard d’Espingues, artist: 130, 204, 205, 293, 303, 306, 308, 312, 703 n 13, 1179, 1191, examination, rectal: 759 n 73, Excalibur: 836 fig. 26, 837 fig. 27, 839, 870, 882, 886, 970 fig. 10, 971 fig. 12, 978, 988, 990, 992, 998, exclusion from altar: 796 fig. 8, Expulsion of Adam and Eve from Paradise: 243 fig. 3a, 257 fig. 7, 544, Fall of Adam and Eve: 533 fig. 8, 538 fig. 17, 544, 551, 576, False Prophet: 1084, 1108 fig. 88, Fauvel Master and Sub-Fauvel Master, artists: 129, 158, 205 n 14, 293, 443 n 41, 1071 n 150, 1072, 1079, Fécamp: 377, 479 n 147, 655 n 86, Félix, King: 1116 fig. 106, Fenice: 83 fig. 14, 91, 735 n 15, 1028 n 35, Ferdinand de la Cerda († 1275): 6, Fernando of Castile, King: 1200, Ferrand of Portugal: 61 n 10, 345, Fiennes: 673, Fierabras: 1140, 1157 and n 30, fire: 826 fig. 6, 827 figs. 7, 8, 852 fig. 6, 853, Filippo Maria Visconti, Duke of Milan, owner: 611, First Crusade: 357 fig. 1b, 559, First Kiss of Lancelot and Guinevere: 78 fig. 8, 85 figs. 16, 17, 740 fig. 1, 742 fig. 5, 743 figs. 6, 7, 744 figs. 8, 9, 745 fig. 10, 775 fig. 6,

776 figs. 7, 8, 777 fig. 9, Fiseus, Emperor: 1086, 1129 fig. 128, Fisher King (roi Mehaignié): 462 fig. 15, 1083, 1086, 1093 fig. 34, 1131 fig. 131, 1132 fig. 134, 1136 figs. 153–54, Fisher King’s queen: 1086, 1131 fig. 131, Flanders: i, 3, 4 n 9, 5, 9, 76 n 48, 87, 91, 124, 129, 142, 157, 168, 225, 229, 262, 286, 292, 306, 325, 338, 448, 477 n 139, 494, 550, 656, 673, 677 n 145, 683 n 23, 701 n 9, 703, 818, 876, 878 n 11, 963, 978, 988 n 53, 991, 995, 999, 1055, 1057, 1058, 1064, 1078, Flanders, Counts of: 884, 974 n 17, 982 and n 40, 986, 988, Flegentine: i, 143, 169 fig. 1, 407, 427, 428, 526, 542, 684, 685, 691 figs. 7, 8, 789, 876, 982 n 38, flesh: 652, Fontevrauld, Abbess of, owner?: 391, 405 n 5, Fortune: 718, 719, 720 and n 30, 728 figs. 9a, 9b, 730, 731 and n 33, 823, 835 fig. 23, 865, 874, 876 n 4, 877 and n 10, 878, 879, 888 figs. 1, 2, 889 figs. 3, 4, Fortune’s Salle merveilleuse: 729 fig. 10a, Fortune’s Wheel: 719, 720 and n 30, 729 fig. 10b, 730, 823, 835 fig. 23, 865, 874, 877–78 and n 10, 888 figs. 1, 2, 889 figs. 3, 4, Foucant M., owner?: 674, fountain: 290, 620, 621, 710, 711, 712, 713, 848, 850, Four Beasts: 329, 339, France: 699, 701 n 9, 857, 963, 993, 999, 1013, 1016, 1017, 1078,

INDEX

1140, 1156, 1157, 1159, 1162, Franchelein: 674, francien: 1039, 1077 n 185, Francion: 699, Francis, St: 668 n 124, Franciscan: 262, François 1er, King, owner: 203, François de Tournon, owner: 1179, 1192, Frankfurt: 467 n 98, Frederick I Barbarossa, Emperor: 29, 69, Frederick II, Emperor: 128, Frog in the Middle (game): 46 fig. 19, 151 fig. 12, 1085, 1121 fig. 116, Frollo: 1155, Fulk, King of Jerusalem: 981, funeral: 965 fig. 2, 966 figs, 3, 4, Gadifer: 399, 400, Gaheriet (Gaheru): 316, 318, 586, 587, 644 fig 29, 673 n 135, 781 figs. 17, 18, 782 figs 19, 20, 785, 786, 822, 843, 847, 854, 887 n 40, 1170 fig. 10, Galaad, son of Lancelot: 112 fig. 17, 116, 117, 118, 144, 170 fig. 4, 213, 214, 216, 218, 220, 269, 273, 275, 278 fig. 3, 280 fig. 7, 282 fig. 11, 282 fig. 12, 283, 284, 317, 319, 336 fig. 12, 337, 338, 339, 365 fig. 9b, 462 fig. 15, 464 fig. 17, 468, 469, 470, 471, 476 n 135, 479, 480, 481, 482 and n 157, 484, 516, 517, 537 fig. 16, 539 figs. 19, 20, 540 fig. 21, 542, 546, 547, 550, 551, 553, 554, 559, 562 fig. 4, 563 fig. 6, 564 figs. 7, 8, 565 fig. 9, 566 fig. 12, 567 figs. 13, 14, 568 fig. 16, 569 figs. 17, 18, 570 fig. 19, 572 fig. 24, 573 figs. 25, 26, 574 fig. 27, 575, 576, 578, 580, 581, 582,

1347 583, 584, 585, 586, 594, 595, 598, 599, 600, 601, 602, 604, 605, 606, 609 n 8, 625, 626, 627, 634 fig. 10, 651, 652, 714 n 19, 715, 756, 760, 783, 884, 885, 886, 891 figs. 7, 8, 921, 922, 923, 1085, 1128 fig. 126, Galaad, brother of Josephé: 113 fig. 19, 118 and n 36, 363 fig. 7a, Galegantin le Galois: 868, Galehodin: 609 n 8, Galehot, King: 14 fig. 2, 78 fig. 8, 79, 80, 85 figs. 16, 17, 158, 197, 216, 217, 270 n 11, 279, 733, 737, 738, 740 fig. 1, 742 fig. 5, 743 figs. 6, 7, 744 figs. 8, 9, 745 fig. 10, 751, 752, 754, 755, 769, 771, 772 and n 28, 775 fig. 6, 776 figs. 7, 8, 777 fig. 9, 792, 797, 805, 806, 807, 808, 809, 810, 811, 905, Ganor, Duke: 362 fig. 6a, 429, Ganor, daughter of emperor: 381 fig. 13, Garden of Gethsemani: 1083, 1095 fig. 45, Garin de Monglane: 1084, 1105 fig. 80, Garter, Order of the: 286 n 60, Gaufroi de Monglane: 1084, 1105 fig. 81, Gaulle (Gaul, Gaule): 125, 204 n 11, 210, 211, 215, 217, 219, 862, Gaunes: 802, 839, 858, 860, 871, Gautier de Keu, seee Walterus de Kayo Gautier de Montbelial, patron, dedicee, owner?: 345, Gauvain (Gawain): 22 fig. 13, 158, 170 fig. 3, 197, 218, 220, 240, 272, 275 n 44, 279, 316 and n 3, 317 and n 5, 318 and n 8, 319,

1348 320 fig. 2, 322 fig. 7, 323 fig. 6, 381 fig. 12, 402, 550, 559, 563 fig. 5, 581, 586, 587, 592, 593, 594, 608 n 8, 641 fig. 24, 760 n 77, 784 n 36, 797, 807, 809, 820, 821, 822, 823, 838, 839, 843, 844, 849, 850, 851, 857, 858, 860, 861, 862, 864, 865, 884, 885, 892 fig. 10 (or Perceval), 903 fig. 30, 904 fig. 32, 905, 913, 914, 916, 927, 928, 968 fig. 6, 978, 984, 990, 994, 1050, 1082, 1083, 1084, 1085, 1091 fig. 19, 1092 fig. 24, 1093 figs. 32, 33, 1094 figs. 35, 39, 1105 fig. 79, 1122 fig. 118, 1123 fig. 119, 1124 fig. 120, 1131 fig. 132, Geltholf, owner?: 674, Genesis: 576, Geneva: 679, 680, Genoa: 73 n 39, 471, 472 n 118, 408, 995, 1006, 1186, Gentile Bellini, artist: 683, Geoffroy de Saint-Ligier, artist?: 225, 229, 236, 1071, 1072, 1073, 1074, Geographic Information Systems (GIS): 175, 179, George, St: 242 fig. 2b, 282 figs. 11, 12, 285, 286, 287 and n 66, 559, 575, 701, Gerard IV of Zottegem, owner?: 326, Gérard de Montaigu, owner: 1072, 1077, Gerard Mulet, owner: 677 n 144, 1027 n 32, Geresme, M. de, owner: 138, Germany: 440 n 27, 1078, Gertrude of Nivelles, St: 1057 n 102, Ghent (Gand): 127, 143, 247, 252 n 17, 261, 262, 265, 268, 285

n 59, 290, 406, 519 n 48, 819, 842, 876, 988, 990, 996, 997, 998, 999, 1009, 1010, 1011, Giant: 43 fig. 14, 876, 1154, Giant (géant) of Mont-Saint-Michel: 136 fig. 3, 137, 138, 899 fig. 23, 900 fig. 24, 906, 907, 908, 1147 fig. 10, 1148 figs. 11, 12, 1149 fig. 13, 1155, Giants’ Ring: 1146 fig. 7, 1153, Giflet (Girflet): 823, 836 fig. 26, 837 fig. 27, 869, 870, 886, 970 fig. 10, 971 fig. 12, 974, 975, 978, 979, 984, 988, 990, 992, 998, Gilbert de Berneville, poet: 1085, 1117 fig. 107, Gilbert (Guibert) de Nogent: 446, Gilbert (Guilbert) de Sainte-Aldegonde, owner: 103 n 17, 144, 168, 169, 211 n 23, 252, 260, 265, 287, 291 n 7, 759 n 75, 784 n 37, 790, Gilles, St: 109, 114, 183, Gilles Gassien de Poitiers, scribe: 1179, 1191, Gilles le (li) Muisis, Monk then Abbot of Saint-Martin de Tournai (OSB), patron and owner: 104, 127, 1064 and n 127, 1069 and n 145, Gilles de Sens, seigneur de Flagi, dedicee: 346, Gilon de Bruges, libraire?: 675 n 137, Girart (de Roussillon): 375, 402, Glastonbury: 975, 976, 977 and n 27, 982, Gloucester: 137, 1156, God: 406, 438, 439, 448, 493, 498 fig. 6, 538 fig. 18, 551, 555, 596, 682, 719, 738, 739 n 37, 783, 812, 1083, 1085, 1086, 1097 fig. 49, 1121 fig. 116, 1133 fig. 140,

INDEX

Godefroy de Bouillon: 286, 478, 655, Godefroi, seigneur de Naste et d’Oostereeke, owner: 677 n 143, Godwin Earl of Kent: 65 n 22, Golgotha: 490, Goliath: 24 fig. 16. 40 fig. 9, 49, 53, 271, 704, 801, Gomer: 80, 82, 91, 734, Gomorrah: 739 n 37, Gonzaga Family of Mantua, patrons, owners: 477, 478 and n 141, 654, Gordianus, St: 1132 fig. 138, Gorhans, Saracen: 401, Gornemant de Gohort: 1082, 1083, 1088 fig. 6, 1092 fig. 29, Gosnay, château: 1080 n 196, Graal (Grail, Holy Grail, Saint Graal, saint vessel): 29, 31, 32, 36, 37 fig. 5, 38 figs. 6, 7, 51, 60 fig. 2, 61, 175 n 18, 190, 212, 214, 219, 255 fig. 3, 273 n 30, 286, 292 n 8, 304, 306, 319, 328, 329, 339, 343, 356, 359 fig. 3a, 389, 391, 408, 420 fig. 21, 421 fig. 21, 423 and n 18, 431, 432– 484, 459 figs. 8, 9, 460 figs. 10, 11, 461 figs.12, 13, 462 fig. 15, 463 fig. 16, 464 fig 17, 485–523, 497 figs. 4, 5, 498 figs. 6, 7, 499 fig. 8, 502 figs. 13, 14, 503 figs. 15, 16, 504 fig. 17, 505 figs. 18, 19, 507 figs. 21, 22, 508 figs. 23, 24, 509 fig. 25, 510 fig. 26, 514– 23, 524, 526, 542, 554, 559, 565 fig. 10, 566 fig. 11, 574 fig. 28, 575, 577, 578, 582, 588, 591, 605, 608, 612 n 20, 625–28, 633 figs. 8, 9, 634 fig. 11, 635 fig. 12, 637 fig. 17, 639 fig. 20, 650, 651, 652, 653, 657, 682, 684, 702, 709, 790, 798, 812, 813, 881, 884, 885, 886, 892 fig. 9,

1349 893 fig. 11, 923, 924, 1043 n 55, 1082, 1086, 1091 fig. 21, 1094 fig. 39, 1131 fig. 131, 1132 fig. 134, 1136 fig. 153, 1197, 1198, 1199 and nn 17–20, 21, Graelans: 402, Grail Castle; 453, 603, 651, Grail Chapel: 652, Grail King: 1131 fig. 131, 1132 fig. 134, Grail Knights (Perceval, Boors, Galaad): 241 fig. 1a, 256 fig. 6, 277 fig. 1, 321 figs. 3, 4, 322 fig. 5, 365 fig. 9b, 463 fig. 16, 464 fig. 17, 537 fig. 16, 539 figs. 19, 20, 574 fig. 28, 634 fig. 11, 635 fig. 12, Grail liturgy (Grail Mass): 455 fig. 2, 461 fig. 13, 496 fig. 3, 633 figs. 8, 9, 634 fig. 11, 635 fig. 12, 636 fig. 15, 798, 812, Grail Maiden: 60 fig. 2, 1091 fig. 21, 1131 fig. 131, 1132 fig. 134, Grail Table (Table du Graal): 329, 462 fig. 16, 466, 469, 480, 517, 520, 554, 606, 627 n 60, 651, 652, Grenoble: 262, Greviloïne: 381 fig. 12, 402, griffon: 398, 401, Groins Pittingin, scribe: 1192, Grusch atelier, artists: 1054 n 91, Gruythuse family, patrons?: 673, Guerrehet: 316, 760 n 77, 853, 854, 1082, 1089 fig. 8, Gui de Bourgogne: 1140, Gui de Dampierre, Count of Flanders, patron? owner?: 4, 5, 9, 21, 558 and n 8, 644 fig. 30, 668 nn 122, 124, 669 and n 126, 670 n 126, 672 and n 129, 673, 675 and n 137, 677 n 145, 767, 884 n 33, 988, 989,

1350 Gui de la Roche, Duke of Athens: 615 n 25, Gui de Laval: 376, Gui de Lévis, maréchal d’Albigeois, owner?: 674, Guibourc: 1083, 1095 fig. 44, Guignier: 1086, 1136 fig. 149, Guilbert, see Gilbert Guillaume d’Angleterre, King, and his Queen: 1039, 1082, 1089 fig. 12, Guillaume d’Aquitaine: 445 n 47, Guillaume d’Avesnes, Bishop of Cambrai, owner: 3, 1176, Guillaume de Cayeux, patron: 1041 n 47, Guillaume de Fiennes, connétable de Boulonnais, owner?: 674, Guillaume de Hainaut, Bishop of Cambrai, owner: 1063, Guillaume de La Pierre, translator: 330 n 8, 529 n 7, 610 n 13, 678–94, Guillaume d’Orange: 29, 43 fig. 14, 52 n 27,102 n 13, 207, 1095 figs. 42, 43, Guillaume de Sainte-Aldegonde, owner: 169 fig. 2, 259 fig. 11, 990, Guillaume de Saint-Étienne, owner: 1036, Guillaume de Termonde, dedicee, owner?: 4, 5, 8, 9, 15 fig. 3 (?), 558 n 9, 671, 672 and n 129, 674, 677 n 143, 760, 767 and n 11, 784, 787, 884 n 33, 989 and n 52, Guillaume de Villehardouin, Prince of the Morea: 615 n 25, Guillaume Flote, owner?: 1077 and n 185, Guillaume Julien, goldsmith: 286 n 61, 478–479 and n 147, 655 and

n 86, Guillaume Lambert, artist: 679, Guillaume Vrelant (Wielant), artist: 961 n 6, Guinas: 609 n 8, 673 n 135, Guinevere (Guenièvre): 22 fig. 13, 65 and n 22, 66 fig. 3, 68, 78 fig. 8, 79, 80, 85 figs. 16, 17, 88, 122, 123, 131, 143, 150, 151, 153, 156, 157, 158, 168, 170 fig. 4, 171 figs. 5, 6, 172, 195, 197, 201, 202, 253 fig. 1, 270, 271, 272, 279 figs. 5, 6, 403, 465, 507 fig. 22, 518, 560 fig. 1, 561 fig. 2, 562 fig. 3, 563 fig. 6, 564 fig. 8, 565 fig. 9, 566 fig. 11, 580, 582, 603, 609 n 8, 619, 624, 716, 726 fig. 7a, 730, 732, 733, 737, 740 fig. 1, 742 fig. 5, 743 figs. 6, 7, 744 figs. 8, 9, 745 fig. 10, 746 fig. 12, 747 fig. 15, 748 fig. 16, 749 fig. 17, 751, 753, 759, 760 and n 76, 761, 763, 770 and n 21, 771, 772, 775 fig. 6, 776 figs. 7, 8, 777 fig. 9, 779 fig. 13, 780 fig. 16, 781 figs. 17, 18, 782 figs. 19, 20, 783, 784 and nn 35, 36, 785, 786, 787, 789, 792, 794 fig. 4, 797, 798, 804, 806, 807, 808, 809, 810, 811, 820, 823, 826 figs. 5, 6, 827 figs. 7, 8, 828 figs. 9, 10, 829 figs. 11, 12, 832 fig. 18, 833 figs. 19, 20, 838, 846, 847, 851, 852, 853, 858, 859, 862, 863, 864, 881, 885 and n 37, 887, 891 figs. 8, 9, 891 fig. 9, 895 figs. 15, 16, 896 fig. 7, 897 fig. 18, 905, 906, 923, 965 fig. 1, 975, 982 and n 38, 993, 1086, 1136 fig. 150, Guinevere’s messenger: 253 fig. 1, Guinevere, image of: 726 fig. 7a,

INDEX

Guinevere, False: 157, 158, 192, 194, 195, 196, 197, 199, 306 n24, 404 n 2, 770, 792, 794 figs. 3, 4, 797, 798, 804, 806, 807, 808, 809, 810, 819, 898 figs. 20, 21, 899 fig. 22, 906, False Guinevere’s demoiselle(s): 794 figs. 3, 4, 797, 804, 806, 897 figs. 18. 19, 905, Guiot, scribe: 123, 1025 and n 23, 1031, Guiot le Peley de Troyes, owner: 680, 999, Guitekins: 401, Gurguint, King: 1155, Habakkuk: 542, 1083, 1100 fig. 61, Hainaut: 318 n 8, 658 n 97, 674, 961 n 6, 988, 988 n 53, 991, 992, 1033, 1055, 1057, 1064, Hainaut, Counts of, owners: 884, 982 and n 40, 1043 n 54, 1071, Ham, Augustinian house: 376, Hand of God: 211, 217, 278 fig. 4, 499 fig. 9, 636 fig. 15, Harold, King: 1155, Harpin de la Montagne: 1084, 1103 fig. 71, harpist: 1165 figs. 1, 2, Harrowing of Hell: 213, 215, 217, 219, 254 fig. 2, 358 figs. 2a, 2b, 365 fig. 9a, 382 fig. 15, 431, 882, Hasselt: 451 n 66, Haute-Marne: 374 n 19, Hayles Abbey (O. Cist): 656 n 87, Head of God: 498 fig. 6, 499 fig. 8, head, severed: 3, 52, 53, 70, 215, 216, 289, 290, 291, 292, 294 fig. 1, 297 fig. 5, 298 fig. 7, 301 fig. 12, 302, 303, 304, 305, 306, 307, 309, 310, 311, 313, 314, 620 and n 38, 621, 629 fig. 1, 645 fig. 32, 709, 711 and n 18, 712,

1351 healing: 36 fig. 4, 131, 453, 459 fig. 8, 462 fig. 15, 463 fig. 16, 504 fig. 17, 508 figs. 23, 24, 509 fig. 25, 510 fig. 26, Hebrew: 1038 n 35, Hector: 375, 379 figs. 3, 4, 393, 394, Hector (Hestor) des Mares: 270 n 12, 272, 578, 592, 593, 603, 609 n 8, 641 fig. 24, 839, 850, 860, 871, 872, 975, 1084, 1086, 1094 fig. 39, 1107 fig. 87, 1136 fig. 153, Hector, King of Val Penee: 401, Hecuba: 395, 396, Heere, Lucas de, artist: 1154, Helain le Blanc, Emperor of Constantinople: 477 n 140, 654 n 79, Helaine: 609 n 8, Heldris de Cornouälle: 380 fig. 8, 397, Helen, St, mother of Constantine: 492, Hélène, daughter of the Duke of Brittany: 138 Hélias (Helyes): 797, 805, Hellespont: 371, hem of Josephé’s alb: 502 fig. 14, 503 fig. 15, Hengist: 1142, Henry I, King: 1156, Henry II, King: 68, 122, 212, 218, 219, 821, 824 figs. 1, 2, 825 figs. 3, 4, 842, 904 fig. 31, 909, 915, 963 and n 10, 974, 975 n 23, 979, Henry III, King: 65, Henry III, Emperor: 477 n 139, Henri IV, Count of Luxemburg, Emperor: 878 and n 12, Henri, Maître, artist: 58 and n 2, 513, 701, 1055 and n 96, 1056, 1057, 1058, Henri de Bayon (Bayou): 324 n 18,

1352 Henry of Ventimiglia, owner: 263, 264, 992 n 66, heraldry: 356 n 68, 366, 1075 and n 174, 1137 fig. 160, 1157 and nn 30–34, 1201 n 32, Hercules: 393, 882 n 28, Herkenrode, Nunnery (O. Cist.): 451 n 58, Hermione: 396, hermit-author (priest-author) of Estoire: 42 fig. 12, 209 fig. 2, 211, 215, 217, 233 fig. 4, 356, 357 fig. 1a, 438, 455 figs.1, 2, 456 fig. 3, 465, 682, 687 fig. 2, 908, 909, 1082, 1086, 1089 fig. 16, 1134 fig. 143, hermit (preudome): 12, 86, 87, 88, 89 figs. 20, 21, 90 fig. 22, 99 figs. 5, 6, 100 fig.7., 107 figs. 8, 9, 242 fig. 2a, 290, 292, 298 fig. 7, 299 fig. 8, 301 fig. 12, 304, 338, 437 n 17, 505 fig. 19, 553, 563 fig. 6, 564 fig. 7, 591, 629 fig. 1, 683, 713, 848, 850, 872, 1096 fig. 46, 1169 fig. 9, Hernaut: 1084, 1105 fig. 80, Herod, King: 361 fig. 5b, Hervé de Léon, owner: 1077 n 185, Hesdin: 5 n 14, 318 n 8, 1065, Hesione: 393, Hildesheim, St Godehard: 467 n 96, Hippocras: 407, 427, 428, 526, Hippolytus, St: 1097 fig. 51, 1132 fig. 139, Hoel, Duke: 1155, Holland: 701 n 9, 1185, Hollywood: 699, Holy Blood: 215, 220, 286, 436, 439, 440, 441, 449, 457 figs. 4, 5, 474, 477, 478, 490, 491, 493, 650, 653 and n 78, 654, 655 and n 86, 660, 656, 951, 952,

Holy Ghost (Spirit): 798, 799, 812, Holy Lance: 38 fig. 7, 61, 444, 449, 465, 473, 475, 482, 492, 515, 634 fig. 11, 651, 652, 653, 656 n 89, 1047, 1086, 1131 fig. 131, 1132 fig. 134, 1133 fig. 142, Holy Land (Terre sainte): 128, 129, 345, 423, 1161, 1162, 1185, 1198, Holy Sepulchre: 356, 357 fig. 1b, 423, 1198, 1199, Holy Shroud (Saint Linge): 683, Honoré, Maître, artist: 7 and n 22, 8, 51 n 25, 129, 1068, Hosea and Gomer: 80, 82 fig. 13, 91, 734, Hospitaller Master, artist: 129, 349 n 37, 981, 999, 1036, 1037, 1038, 1162, 1187, Hospitallers of St John of Jerusalem: 1036, hospitable vavassour and his daughter: 1085, 1126 fig. 124, Host, bleeding: 636 fig. 14, 656, Host, eucharistic: 32, 33, 436, 445, 446, 447, 448, 450, 451, 452, 466, 471, 472, 474, 477, 480, 483, 484, 494, 499 figs. 8, 9, 500 figs. 10, 11, 501 fig. 12, 511, 512, 599, 625, 626, 633, 634 fig. 11, 636 fig. 15, 638 fig. 19, 657, 658, 661, 664, 665, 944, Hugh de Puiset, Bishop of Durham, owner: 119 n 37, Hugo, Master, of Bury St Edmunds, artist: 74 n 44, Hugues de Saint-Cher: 353 n 51, Humphrey of Bohun, owner: 4 n 9, Hundred Years’ War: 1140, 1156, hunting: 11, 216, 588, 598, 848, 851, 949, 1085, 1115, fig. 105, hybrid: 380 fig. 7, 394, 396, 401,

INDEX

idol(s): 623, 624 and n 24, 632 figs. 6, 7, 647 fig. 35, 690 fig. 6, 1143 fig. 2, IHS (cryptograph of the Holy Name of Ihesus): 511, Ille: 378 fig. 1, 397, Ile estrange: 590, incest: 739, infidels: 907, Ingeborg of Denmark, Queen of Philippe Auguste, owner: 518 n 47, Innocents, Massacre of: 356, 361 fig. 5b, Instruments of the Passion of Christ: 491, 492, 493, 497 figs. 4, 5, 498 fig. 7, 638 fig. 18, 639 fig. 20, 652, 656 n 87, 689 fig. 5, Inventory of the Treasury of the Abbey of San Juan de la Peña: 1199, Ireland, Irish: 73 n 40, 859, 906, 1154, Isaac, nephew of Nicodemus: 479 n 147, 655 n 87, Isabelle de France, daughter of Philippe le Bel, wife of King Edward II, owner: 52 n 28, 286 n 61, 479 n 147, 655 n 86, Isabelle d’Angoulême, wife of King John Lackland: 346 Isabelle de Clermont-Nesle: 672 n 129, Isabelle de Luxembourg, Madame de Namur, borrowed a book: 677 n 145, Italy: 262, 656, 699, 963, 1078, 1185, 1186, Italie du sud: 128, 1185, J. de Rochemure, Fr, scribe: 204, 1016, Jacob, Old Testament prophet: 735, Jacob Suneson, owner: 355, 367,

1353 Jacquemart de Hesdin: 8 and n 24, Jacques Coeur, owner: 175 n 18, Jacques d’Armagnac, duc de Nemours, owner: 80, 121, 125, 130, 156, 193, 205 n 13, 214, 267 and n 2, 293, 302, 303, 306, 307, 308, 337, 404, 440, 441, 442, 449, 450 n 59, 465, 468, 469, 476 n 135, 480, 482, 488 and n 8, 489, 493, 517, 522, 525 n 4, 625 n 56, 680, 703 and n 13, 708, 709 and n 16, 715 n 20, 718, 731, 732 n 2, 751, 760 n 78, 761, 768 and nn 13, 16, 771, 784 nn 36, 37, 787, 819, 877 n 9, 882, 885 and n 36, 906, 909, 915, 916, 978, 990, 991, 992, 996, 998, 1000, 1025, 1177, 1178, 1188, 1190, 1191, Jacques de Matignon, owner: 1027 n 31, Jacques du Fou, owner?: 996, Jacques Raponde, libraire: 204, 205 n 13, 214, 303, 440, 488, 575, 768 n 14, 1177, 1178, James the Greater, St: 640, fig. 21, 984, James Douglas, Sir, Lord of Douglas, owner?: 521 n 53, Jane Grey, owner?: 143, 172, Jaquemin d’Acre, scribe: 391 n 34, 1004, Jason: 758, Jaufré: 146, 147 fig. 9, 148 fig. 10, 149 fig. 11, 150, Jawbone of an Ass: 544 and n 11, Jean II le Bon, duc de Normandie, King of France, owner: 138, 1071, Jean Cole, owner: 91, 224, 265, 677 n 145, 991, 1027 n 32, Jean Colombe, artist: 9, 130, 159,

1354 680, 681 and n 16, 683, 685, 693, 694, Jean d’Aigreville, seigneur, owner: 138, 142, Jean d’Avesnes, comte de Hainaut, owner: 3, 223, 672 n 129, 675, 1027 n 32, Jehan de Courceles, purchaser: 1027 n 32, Jean de Dampierre, owner?: 670 n 126, Jean Deloles, scribe: 438, 511, 658, Jean de Grise, artist: 150, 1069, Jean de Namur, owner?: 670 n 126, Jean de Velaines, owner?: 674, Jean d’Ypres, artist: 262, 265, Jean de la Rivière, seigneur de Champlemy, owner: 138, 142 Jean du Mas, seigneur de l’Isle-surArnon, owner: 1179, 1190, Jean du Fou, owner: 1016, Jean du Pré: 680 n 9, Jehan du Roux, owner: 138, Jean, duc de Berry, owner: 3, 4, 9, 12, 76, 80, 91, 121, 129, 193, 204, 205 n 13, 267 n 2, 293, 303, 306, 312, 440, 450 n 59, 467 n 98, 469, 488, 517, 575, 680, 738, 751 and n 43, 761, 768 and n 14, 771, 877 n 9, 882, 885 n 36, 886, 906, 909, 973 n 17, 978, 990, 1000, 1025, 1177, 1178, 1190, Jean, duc de Bourgogne, owner: 204, 576, 768 n 14, 1178, Jean II, duc de Brabant (1275–1312), owner: 6 n 16b, Jean et Gaillard Le Bourgeois, printers: 680 n 9, Jean Galiot du Pré, printer: 680 n 10, Jehan Madot, scribe?: 1026 and n 25, 1031,

Jean Makiel, klerk en ontvanger: 675 n 137, Jean Papeleu, scribe: 80, 1076, 1164, Jean Paumier, receveur des finances de Lyon: 992 n 65, 998, Jean Pucelle, artist: 8, 443 n 40, 1068, 1080 and n 194, Jean-Louis de Savoie, owner: 9 n 33, 125, 158, 207 n 22, 330, 444 n 41, 529 n 7, 678–94, Jeanne, comtesse de Flandre, dedicee: 61 and n 10, 345 and n 11, Jeanne de Bourgogne-Artois:, dedicee 1064, Jeanne de Châtillon, comtesse de Blois: 5, Jeanne de Hainaut, owner: 1071 n 152, Jeanne de Toucy-Châtillon, patron and owner?: 324 n 17, Jeanne de Montbaston, illuminatrix et libraria: 225, 1071, 1072, 1189, Jeremiah: 53 and n 31, Jerusalem: 18 fig. 8, 287, 442 n 34, 449 n 57, 490, 546 n 13, 559, 701, 988 n 50, Jerusalem, Patriarch of: 286 n 62, 478, 655, Jews: 907, 908, 909 n 46, Joab, Old Testament: 736, Joel, Prophet: 1082, 1089 fig. 13, Johan d’Antioche, translator: 1036, John the Baptist, St: 1085, 1120 fig. 115, John the Evangelist, St: 80, 440, 441, 488, 489, 736 and n 25, 738, 739, 750, 1084, 1108 fig. 88, John XXII, Pope, owner: 128, 324 n 13, 627 n 59, 883, 885 n 35, John Lackland, King of England: 65 n 22, 346, 1156, Johannes Phylomena, scribe: 51 n 24,

INDEX

317 and n 6, 1051, Johannes Stones, scribe: 1154 n 27, Johan von Valkenburg, artist: 260, Joïe, heroine: 726 fig. 7b, jokes: 88 and n 68, 91, Jonah and Whale: 21 fig. 12, Jonathan: 735, jongleur: 1045, 1082, 1092 figs. 25, 26, Joseph of Arimathea: 42, 87 n 65, 117, 134, 213, 215, 220, 233 fig. 4, 274, 284, 331 figs. 1, 2, 439, 440, 441, 442, 449, 450, 457 figs. 4, 5, 459 fig. 9, 484, 488, 489, 490, 491, 492, 495 figs. 1, 2, 497 figs. 4, 5, 498 fig. 6, 511, 512, 526, 626, 638 fig. 18, 682, 796 fig. 7, 799, 813, 909–10, 1086, 1134 fig. 143, 1137 fig. 156, 1170 fig. 11, Josephé, bishop, son of Joseph of Arimathea: 38 fig. 7, 113, 117, 118 and n 36, 159, 255 fig. 3, 274, 281 figs. 9, 10, 284, 292 n 8, 309, 329, 330, 331 figs. 1, 2, 332 fig. 3, 332 fig. 4, 333 figs. 5, 6, 359 fig. 3a, 363 fig. 7a, 384 fig. 20, 391, 407, 408, 414 fig. 9, 419 fig. 19, 420 fig. 21, 421 figs. 22, 23, 422 fig. 24, 428, 430, 431, 441, 442, 443, 448, 449, 450, 451, 452, 453, 454, 455 fig. 2, 458 figs. 6, 7, 459 fig. 9, 460 fig. 11, 461 fig. 13, 468, 471, 472, 474, 475, 481, 482, 484, 490, 491, 492, 496 fig. 3, 497 figs. 4, 5, 498 figs. 6, 7, 499 figs. 8, 9, 500 figs. 10, 11, 502 fig. 14, 503 figs. 15, 16, 504 fig. 17, 511, 512, 513, 514, 522, 526, 543, 554 n 30, 574 fig. 28, 609 n 8, 626, 627, 628, 633 fig. 8, 634 fig.

1355 11, 636 fig. 15, 637 fig. 17, 638 figs. 18, 19, 639 fig. 20, 650, 651, 652, 657, 658, 682, 684, 686 fig. 1, 689 fig. 5, 690 fig. 6, 692, 693, 770, 796 fig. 7, 799, 812, 813, 814, 1082, 1089 fig. 16, joust: 1086, 1132 fig. 136, Joyeuse Garde: 854, 855, 857, Judas Iscariot: 736, 1084, 1104 fig. 74, Judas Maccabeus: 16 fig. 4, 61 and n 11, 134, 966 fig. 4, 967 fig. 5, 980, 1084, 1097 fig. 50, 52, 1098 fig. 53, 1102 figs. 65, 67, 1103 fig. 72, Judea: 1083, 1097 fig. 52, Judith: 134, Judith of Flanders, wife of Welf IV, owner: 477 n 139, Juliers (Jülich): 672 n 130, 1053, Julien du Mans, St: 1083, 1098 fig. 55, Julius Caesar: 328, Julius II, Pope, owner: 447 n 50, Jumièges, Abbey (OSB): 391, 1004, Justinian: 175 n 18, Karabel, le sire de: 252, 876, Katherine of Alexandria, St: 1083, 1098 fig. 56, Keu (Kay): 1086, 1136 fig. 150, 1171 fig. 12, King and Queen (Arthur and Guinevere or Henry II and Eleanor of Aquitaine): 66 fig. 4, Kiss: 732, 733 and n 4, Kiss of Betrayal: 736, Kiss of Fealty: 736, Kiss of Lancelot and Guinevere: 740 fig. 1, 742 fig. 5, 743 figs. 6, 7, 744 figs. 8, 9, 745 fig. 10, 750, 752, 753, 755, 760 n 77, 761, 762, 769, 772, 775 fig. 6, 776

1356 figs. 7, 8, 784 n 36, Kiss of Peace: 79, 81 fig. 9, 651, 734, 769, knighting: 145 fig. 8, 562 fig. 4, 1083, 1092 fig. 29, 1095 figs. 42, 43, knight on horseback: 1083, 1085, 1097 fig. 50, 1113, fig. 103, 1125 fig. 122, Krakow Crown: 1030 and n 7, Label, King: 694, Lac, Dame du (Lady of the Lake, Viviane): 150, 216, 218, 234 fig. 5, 235 fig. 6, 289, 329, 509 fig. 25, 702, 707, 724 figs. 4, 5, 725 figs. 6a, 6b, 6c, 733, 791, 803, Laid Hardi, knight: 1085, 1124 fig. 120, Lamb of God: 1084, 1108 fig. 88, Lambert, M., avocat du Mans, owner: 138, Lancaster, House of : 143, Lancelot, King: 144 fig. 7, 159, 215, 289, 290, 291, 292, 293, 296 fig. 4, 297 fig. 5, 298 fig. 7, 303, 305, 307, 310, 311, 312, 391, 404 n 2, 408, 453, 620, 621, 684 n 29, 709 and n 16, 710 and n 17, 711, Lancelot du Lac: 3, 21 fig. 11, 22 fig. 13, 32, 36 fig. 4, 37 fig. 5, 38 fig. 6, 68, 78, 79, 80, 85 figs. 16, 17, 86 figs. 18, 19 , 87, 88, 96, 99, 101, 103, 110 fig. 14, 113 fig. 20, 116, 131, 144, 150, 151 fig. 12, 152 fig. 14, 153, 154, 156, 157, 158, 159, 168, 171 figs. 5, 6, 172, 201, 202, 203, 206, 208 figs. 1, 4, 211, 212, 213, 216, 217, 218, 219, 220, 224, 235, 237, 242 fig. 2a, , 243 fig. 3b, 251, 257 fig. 8, 258, 267, 270, 271, 272, 273, 274, 278 fig. 3, 279 figs. 5, 6, 283, 284, 289,

290, 297 fig. 5, 298 figs. 6, 7, 299 figs. 8, 9, 300 fig. 10, 301 fig. 12, 302, 303, 304, 305, 307, 309, 311, 312, 313, 314, 315, 329, 334 figs. 7, 8, 335 figs. 9, 10, 336 fig. 11, 337, 338, 361 fig. 5c, 403, 404, 436 n 17, 453, 459 fig. 9, 466, 468, 470, 471, 475, 480 n 152, 482, 508 figs. 23, 24, 509 fig. 25, 510 fig. 26, 516, 519, 520, 521, 522, 541 figs. 23, 24, 553, 559, 560 fig. 1, 561 fig. 2, 562 figs. 3, 4, 564 fig. 8, 570 fig. 20, 571 figs 21, 22, 572 fig. 23, 575, 577, 578, 580, 581, 587, 591, 592, 601, 602, 609 n 8, 619, 620, 624, 625, 629 fig. 1, 630 figs. 2, 3, 631 fig. 4, 632 figs. 6, 7, 634 fig. 10, 641 fig. 24, 642 fig. 26, 651, 652, 702, 703, 706, 707, 708, 709, 711 n 18, 712, 713, 714, 716, 717, 718, 722 fig. 2, 723 figs. 3a, 3b, 3c, 724, figs. 4, 5, 726 fig. 7a, 727 figs. 8a, 8b, 730, 732, 733, 737 and n 29, 738, 740 fig. 1, 742 fig. 5, 743 figs. 6, 7, 744 figs. 8, 9, 745 fig. 10, 746 figs. 12, 13, 747 figs. 14, 15, 748 fig. 16, 749 figs. 17, 18, 750 n 41, 751, 752, 754 and n 54, 759, 760 and n 76, 761, 763, 765, 770 and n 21, 771, 772, 775 fig. 6, 776 figs. 7, 8, 777 fig. 9, 778 fig. 11, 779 fig. 13, 780 fig. 15, 783, 784 and nn 35, 36, 788, 789, 793 figs. 1, 2, 3, 798, 801, 802, 803, 805, 806, 808, 809, 820, 822, 826 fig. 6, 827 figs. 7, 8, 830 figs. 13, 14, 831 figs. 15, 16, 838, 839, 840, 843, 844, 848, 849, 851, 852, 853, 854, 855, 856, 857, 858, 860, 861,

INDEX

870, 871, 872, 873, 884, 885, 887, 891 fig. 7, 905, 914, 921, 923, 965 fig. 1, 975, 993, 1173 fig. 16, 1197, Lancelot’s paintings: 156, 157, 716, 717, 718, 727 figs. 8a, 8b, 730, 763, 764, 765, 766, 773 figs. 1, 2, 774 fig. 4, 775 fig. 5, 785, 787, 832 fig. 17, Lando Belloni, cloth merchant: 627 n 60, Lanfranc of Bec: 445, Lanfranco, architect: 72 n 36, Lang, Robert, owner: 249, 250, Languedoc: 146, Laon: 236, 769, 1002, 1010, Last Judgement: 20 fig. 10, 655 n 87, 1083, 1091 fig. 22, 1098 fig. 54, Last Supper: 439 and n 23, 477 and n 137, 488 and n 7, 512, 1198, Lateran Council, Fourth (1215): 436, 494, 797 n 14, Latin Kingdom of Jerusalem: 1187, Laudine: 757 n 65, 758, 783 n 34, 1103 fig. 70, 1127 fig. 125, Laurin: 1086, 1137 fig. 155, Laval family, owners: 376, La Vallière, owner: 246, Lay: 1160 n 3, 1161 n 8, lechery: 739, Leodegan, King, father of Guinevere: 143, 905, leper, enemy of Jaufré: 147, fig. 9, 148, fig. 10, leprosy: 453, 476, 504 fig. 17, 515, 652, Leprous Damsel: 97 fig. 1, 552, 600, 601, 714, 715, Leprous Damsel’s castle: 568 fig. 16, 569 figs. 17, 18, 570 fig 19, letter(s) and books, reading, writing: 241 fig. 1a, 256 fig. 6, 277 fig.

1357 1, 280 fig. 7, 320 figs. 3, 4, 539 figs. 19, 20, 541 figs. 23, 24, 550, 552, 553, 570 fig. 20, 571 figs 21, 22, 576, 598, 601, 621, 797 and nn 13, 14, 804, 823, 824 fig. 1 859, 904 figs. 31, 32, 914, liberalitas: 735, 741 fig. 2, libraires: 1071, Liège: 247, 260, 265, 446, 451 n 66, 878 n 11, Liège, Collegiate Church of SaintJacques: 261 and n 21, 262, Liège Cathedral: 512, Lille: 51 n 24, Lille, Collegiate Church of SaintPierre: 1049, Limburg: 451 n 66, 878 n 12, Limburg brothers, artists: 8, 9, 973 n 17, line drawing: 1185–6, 1190, line drawing and colour wash: 1142 and n 17, lion rampant: 366, lion(s): 279 fig. 6, 295 fig. 2, 297 fig. 5, 298 fig. 7, 299 fig. 9, 300 fig. 10, 328–39, figs. 1, 2, 333 figs. 5, 6, 334 figs. 7, 8, 335 fig. 10, 336 figs. 11, 12, 337, 338, 374, 375, 398, 417 fig. 14, 620, 621 and n 43, 693, 709, 711 and n 18, 713, 1083, 1084, 10815, 1098 fig. 53, 1102 figs. 66, 69, 1127 fig. 125, Lionel (Lyonnel): 240, 244, 296, 576, 577, 594, 609 n 8, 621, 629 fig. 1, 641 fig. 23, 706, 708, 712, 791, 871, 975, 1086, 1128 fig. 127, Lirey: 683, Lis, Pucelle de, and son: 1131 fig. 132, Lisabetta: 70, Lisias, regent of empire: 1102 fig. 67,

1358 Lit de la merveille: 1083, 1093 fig. 32, litter: 216, 466, 468, 508 figs. 23, 24, 520, 521, 822, 843, Livy (Tite-Live): 719, Llywelyn ap Griffyd: 1157, Lodovico Gonzaga: 477 n 139, 653 n 78, Logres: 823, 858, Lombardy: 339, 470, 473, 476, 479, London: 67, 365 fig. 9c, 863, 1004, 1007, London, Tower of: 838, 860, 863, Longinus: 653 n 78, 656 n 87, Longman and Co, auctioneers: 249 n 7, Longuenesse, Charterhouse: 144, 168, 211 n 23, 252, 260, 287, 291 n 7, 759 n 75, 784 n 37, 790, 990, Lore de Carduel: 751, Lorraine: 223, 229, 292, 1189, Lot, Old Testament: 40 fig. 10, 739 and n 37, Lot’s daughters: 739, Lot’s wife: 739 n 37, Lot, King: 316, 325, 886, Louis VIII, King: 32 n 12, 346, 367, 368, 908, Loucharde, 9th Abbess of NotreDame-des-Prés, Douai (O. Cist): 1060 n 111, Louis IX, King, Saint: 32 n 12, 324, 353, 367, 615 n 25, 669 and n 125, 961 n 6, 989, 1056, 1060 n 111, 1066 n 135, Louis X, King: 1077 n 185, Louis XI, King: 986 n 46, 992, 1027, Louis XII, King: 132, 150, Louis XIV, King: 146, Louis (Loys) Daymereyes, scribe: 679 n 6, 1015, Louis de Bruges, owner: 150,

Louis de Male, count of Flanders, owner: 1080 n 196, Louis de Laval, owner: 681 and n 10, 685, Louis, comte de Savoie: 678, Louis I, duc de Bourbon, owner: 1077 n 185, Louis Malet de Graville, owner: 681, Love potion: 1174, fig. 19, 1179, Lover (of Rose): 13 fig. 1, 24 fig. 17, lovers: 19 fig. 9, 84 fig. 15, Loyset Liedet, artist: 961 n 6, Lucan le Bouteillier: 609 n 8, 869, 886, 970 fig. 10, 988, 998, Lucius, Roman Emperor: 906, Lunete: 1127 fig. 125, Luttrell, Narcissus: 137, luxuria: 70, 737, Lyon: 992 n 65, 998, Maastricht: 669 n 125, Mabille: 1084, 1105 fig. 80, Maccabees in combat: 16 fig. 4, 44 fig. 15, Madame Marie, owner: 51 n 24, 1057 n2, Magic Throne: 632 figs. 6, 7, Mador: 839, 848, 851, 853, Mahaut, comtesse d’Artois, owner: 3, 4 n 8a, 5, 6, 627 n 60, 676 and n 143, 1027 n 32, 1064, 1065, 1071, Maidens, Castle of: 318, Male: 675 n 137, Malehaut (Malohaut), Dame de: 78 fig. 8, 85 figs. 16, 17, 152 fig. 14, 153, 154, 279 fig. 5, 740 fig. 1, 742 fig. 5, 743 figs. 6, 7, 744 figs. 8, 9, 751, 752, 753, 755, 772 and n 28, 775 fig. 6, 776 figs. 7, 8, 777 fig. 9, mandylion: 683 n 23, Mantua: 474, 477, 653 and n 78,

INDEX

654, Manuel, King: 375, 401, Marcel, St: 1086, 1132 fig. 137, Marche, La: 992, Marchiennes, Abbey (OSB): 102 n 13, Margaret of Scotland, owner: 130, Margondas: 212, 218, Marguerite de Bar, Abbess of SaintMaur de Verdun, owner: 1066 n 135, Marguerite de Bourgogne, owner: 1027 n 33, Marguerite de Brabant, owner?: 878 and n 12, Marguerite, comtesse de Flandre (r 1244–1280), owner: 656 n 87, 670 n 126, 675, 1025, 1060 n 111, Marguerite Baudaine, owner: 677 n 144, Marguerite de Charny: 683, Marguerite de France (1282–1318ns), dedicee: 5, Marguerite, reine de Jérusalem et de Sicile, comtesse de Tonnerre, owner: 677 n 143, Marguerite de Hainaut, owner?: 1071 n 148, Marguerite de Luxembourg, owner: 128, Marguerite de Savoie, owner?: 1067, marginal notes: 77 n 51, 94, figs. 10, 11, 108, 109 figs. 12, 13, 110 figs. 14, 15, 111 fig. 16, 113 figs. 19, 20, 255 fig. 4, 375, 785, 786 and nn 40, 41, 973, marginalia: 11, 74 n 46, 88 n 68, 556 n 2, 560 fig. 1, 561 fig. 2, 562 figs 3, 4, 566 fig. 12, 572 figs. 23, 24, 575, 581, 583, 585–606, 629 fig. 1, 630 figs. 2, 3, 637 fig.

1359 16, 639 fig. 20, 640 fig. 21, 641 fig. 24, 642 figs. 25, 26, 644 fig. 29, 645 fig. 32, 646 figs. 33, 34, 647 fig. 36, 648 figs. 37, 38, 649 fig. 39, 767 n 12, 822, 840 and n 13, 842–73, 926–37, 949–50, 952–57, marginal sketch: 25, 77, 786, Margondas: 208 fig. 4, 212, Marie de Beuri (de Insula), 6th Abbess of Notre-Dame-des-Prés (O. Cist), Douai: 1060 n 111, Marie de Brabant (1254–1322ns), patron, owner?: 5, 6, Marie de Champagne, patron: 123, 372, 1026, 1033, Marie de Gavre, owner?: 51 n 24, 1058 n 102, Marie de Hainaut, owner?: 1077 n 185, Marie de Luxembourg, owner: 1025 and n 33, 1066–67, Marie de Muerchin, patron: 1060 n 111, Marie de Rethel, Dame d’Enghien, owner: 513 and n 33, Maries, Three: 317, 358 fig. 2b, Mark (Marc), King: 736, 758 nn 70, 71, 788, 1160, 1163, 1165 fig. 2, 1168 figs. 7, 8, 1171 fig. 13, 1172 figs. 14, 15, 1177, Marquette, Abbey (O Cist), nuns: 54 n 31, 102 n 13, marriage: 895 fig. 16, 896 fig. 17, 1084, 1085, 1103 fig. 70, 1124 fig. 121, Mars: 758 n 69, Martin, St: 287 and n 67, 984, Martín of Aragó, King: 1199, Martin Le Roy see Weigel Martyrology: 54 n 31, 126, 226 n 12, 284 n 55,

1360 Mary, Blessed Virgin: 47 fig. 20, 79 and n 53, 80, 329, 440, 441, 488, 489, 518 n 47, 546, 644 fig. 30, 734 nn 9, 10, 750 n 39, 1082, 1085, 1091 fig. 17, 1111 fig. 98, Mary of Bethzaba: 701, Mary Magdalen: 70 n 36, 760, 1084, 1100 fig. 62, Mass: 436, 439, 445, 455 fig. 2, 461 fig. 13, 469, 472, 483, 496 fig. 3, 501 fig. 12, 516, 657, 798, 810, 812, 813, 814, Massacre of the Innocents: 361 fig. 5b, Master of 1404, artist: 703 n 13, Master of Adelaïde de Savoie, artist: 130, Master of Charles du Maine, artist: 130, 1178, 1190, Master of Berry’s Cleres femmes, artist: 8 n 24, 1178, Master of fr 114, artist: 1191, Master of fr. 1453 (Papeleu Master), artist: 1189, Master of fr. 12577, artist: 1189, Master of fr. 24388, artist: 1189, Master of Jacques d’Armagnac, artist: 703 n 13, Master of Jouvenal des Ursins, artist: 703 n 13, Master of the Versailles Livy, artist: 1191, Master of the Vie de sainte Benoîte d’Origny, artist: 127, Master of the Yale Missal (Beinecke MS 425), artist: 130, 1178, 1191, Matagran: 329, 408, Mattathias: 1083, 1098 fig. 53, Matthew Paris, author, scribe, artist: 27, 122, 356 n 69, 655 n 87, 1142, Maubeuge Master, artist: 129, 158,

225, 229, 1164, 1189, Mechelen shoe leather: 62, 63, 1185, Medea: 758, Mehaignié, roi: 454, 468, 479, 480 n 150, 484, Mehmet II, Sultan: 683, Meleagant, son of King Baudemagus: 150, 213, 216, 217, 220, 806, 1102 fig. 68, Meleagant’s half-sister: 213, 220, Méliacin Master, artist: 4 n 8a, 129, 1162, 1163, 1187, Méliant (Melian): 318, 575, 578, 585, 587, Mellic del Tertre: 609 n 8, Memory’s Tower and its Doors: 57, 58, 60 fig. 1, 155, 700, 701, Menelaus, King: 396, Menton fuyant, Maître du, artist: 127, Merlin: 3, 67, 134, 140 fig. 5, 143, 193, 194, 201, 204, 205, 208 fig. 2, 210, 211, 212, 213, 215, 217, 219, 224, 215, 226, 229, 239, 248, 249 n 7, 254, 265, 328, 384 fig. 19, 399, 715, 716, 887, 901 figs. 26, 27, 902 figs. 28, 29, 905, 906, 908, 909, 910, 911, 912, 913, 927, 928, 960 n 5, 1142, 1144 fig. 4, 1145 fig. 5, 1146 fig. 7, 1153, Merlin’s mother: 908, 911, 1142, mermaid, winged: 394 Mesconneu, le: 1110 fig. 94, messenger of King Ris: 1113 fig. 103, messenger (female) of Palamède: 1087, 1137 fig. 157, messenger: 1083, 1085, 1097 fig. 52, 1111 fig. 97, Metz: 229, 292, 352 n 48, 389 n 30, 996, 1008, 1014, Michael nomine felix, scribe: 1005, Michel (Micheau) Gonnot de Cro-

INDEX

zant, scribe: 202, 703 n 13, 751, 768, 990 and n 58, 1015, 1179, 1191, Michel le Noir, printer: 680 n 10, Michiel van der Borch, artist: 251 n 12, 263 and n 29, Milan: 73 n 39, 1013, 1186, 1187, Milan, Dukes of, patrons: 131, 478 and n 143, Millán (Aemelian), St: 984, Minnesota: 102 n 13, 106 n 23, 114 n 26, Miracles of Christ: 360 fig. 4a, misericords: 74 n 46, mobility: 1023 n 8, models and model books (see also marginal sketches): 77 n 51, 94, Modena: 995, 1006, Moissac: 183, Monaldus de Ancona: 646 fig. 33, Mons: 961 n 6, 991, 1057 n 102, Mons Perceval Painter: 1048–58, monstrance: 451, 452, 466 n 89, 513 n 36, 630 fig. 21, Montaigu family, owners: 326, Montlair: 706, 802, Mont-Saint-Éloi, Augustinian canons, Arras: 1063, Mont-Saint-Michel Abbey (OSB): 122, 136, 137, 138, 907, 960 n 5, 1155, Montbaston Master, artist: 129, 225, 229, Montreuil-sur-Mer: 318 n 8, Mordrain (Evalach), King: 125, 159, 211, 216, 231 fig. 1, 232 fig. 3, 281 fig. 10, 284, 285, 362 fig. 6b, 384 fig. 20, 407, 419 fig. 19, 431, 453, 458 fig. 6, 468, 472, 480 and n 150, 482 n 157, 526, 527, 528 and n 6, 529, 530 figs. 1, 2, 531 figs. 3, 4, 543, 550, 553, 554,

1361 559, 572 fig. 24, 573 figs. 25, 26, 574 fig. 27, 578, 584, 604, 625, 628, 634 fig. 10, 684, 685, 691 figs. 7, 8, 693, 757, 772, 778 fig. 12, 783, 1086, 1137 fig. 156, Mordred (Mordret): 18 fig. 7, 21 fig. 11, 134, 231 fig. 2, 272, 306, 307, 334 fig. 8, 335 figs. 9, 10, 336 fig. 11, 337 and n 10, 338, 609 n 8, 709, 711 n 18, 714, 835 fig. 24, 836 fig. 25, 838, 839, 853, 858, 859, 860, 863, 865, 867, 868, 869, 866, 893 fig. 12, 894 fig. 13, 960–61 n 6, 966 fig. 3, 969 fig. 8, 975, 978, 981, 983, 985, 987, 988, 994, 995–97, Mordred’s son: 871, Morgan (Morgain), sister of King Arthur: 156, 201, 243, 257, 273, 403, 404, 409 fig. 1, 716, 717, 718 and n 23, 727 fig. 8b, 733, 737 n 29, 763, 764, 766, 767, 768, 773 fig. 2, 774 fig. 4, 775 fig. 5, 820, 832 fig. 17, 837 fig. 28, 838, 844, 870, 961 n 6, 971 fig. 11, 977 n 27, 978, 987, 988, 992 n 65, 998, Morgan’s prison: 243 fig. 3b, 257 fig. 8, Morgause, King Lot’s wife: 886, 893 fig. 12, 894 fig. 13, Morhaut: 1161, Morinie: 338, Mortaigne: 673, Moses, prophet: 39 fig. 8, 649 fig. 40, Moses (Moys): 87, 408, 440 and n 28, 546, Moses, automaton of, 967, fig. 5, 980, Moulins: 1039, 1049 n 2, Mount Killarus (Ireland): 1153, Moutiers-Tarantaise: 679, Mozarabic: 440 n 27,

1362 Muslims of Egypt: 1199, Nabor: 252, 876, Namles, Duke: 375, 401, Namur, Madame de, patron: 675 n 137, Nantes, King of: 43 fig. 13, Naples: 129, 262, 1007, 1186, Narpus: 384 fig. 20, 419 fig. 19, Nascien (Seraphe): 3, 139, 142, 224, 276 n 48, 277 fig. 2, 278 fig. 4, 281 fig. 9, 283, 284, 288, 289, 384 fig. 20, 407, 415 figs. 10, 11, 419 fig. 19, 426, 429, 431, 453, 459 fig. 8, 490, 526, 527, 532 figs. 5, 6, 533 fig. 7, 537 fig. 15, 542, 543, 546, 555, 684, 693, Nativity of Christ: 1084, 1104 fig. 76, 1142, Nauplus: 396, Navarre, shield of: 366 n 69, Nevers: 1039, Nicea: 41 fig. 11, Nicodemus: 479 n 147, 655 n 86 Nicholas of Bari, St: 1083, 1099 fig. 57, 1138 and n 2, Nicolas de Fontaines, Bishop of Cambrai, owner: 317 and n 7. 1051, Nièvre: 374 n 19, 1039, Noire Chapele: 886, 975, 998, Noli me tangere: 1083, 1096 fig. 47, Norgales: 441, 450, 452, 460 fig. 10, 502 figs. 13, 14, 513, 657, Norgales, daughter of King of: 760 n 77, 784 n 36, Normandy: 1010, Norse: 758 n 71, Northern France: 390, 656, 735, 1001, 1002, 1003, 1004, 1012, 1013, 1187, Northumbria (Northombrie): 407, Northwyck: 673, Notre-Dame-des-Prés, Abbey (O.

Cist), nuns, Douai: 126, 226 n 12, 390, nuns: 707, 832 fig. 18, 833 figs. 19, 20, 863, Ochozias (Ahaziah): 624 and n 54, October, Labour of the month of: 1083, 1097 fig. 48, Oddo, scribe: 1161, 1186, Office of the Dead: 984, Ogier: 401, 1084, 1105 fig. 78, Oise: 1077 n 185, Old Testament Scenes: 649 fig. 40, 984, oliphant: 31, Oliver: 1143 fig. 2, Omons, scribe: 352 n 48, onyx cup: 1199, opening miniatures: 1040 n 45, 1041 n 47, Orange, surrender of: 1083, 1095 fig. 43, Orcanie: 886, Orcaut, King: 408, 430, Orcaut’s daughter: 417 fig. 16, Orestes: 396, Orgueilleux de la Lande: 1083, Orvieto Cathedral: 446 and n 50, 447 and n 51, 472, Otin de Biancourt, scribe: 207, Oxford, Synod of: 286 n 60, Padua: 377, paintings by Lancelot: 787, 838, Palamedes: 394, 396, Palladion: 396, Pandragon, King: 384 fig. 19, 715, Papeleu Master, artist: 80, 82, 129, 1189, paper, manuscripts on: 1192, Paradise: 406, 472, 546, Paris, hero: 394, Paris: 4 n 8, 5 n 14, 6, 7 n 22, 33, 73 n 39, 75, 80, 93 n 1, 105, 114

INDEX

n 25, 116, 121, 123, 124, 125, 129, 130, 142, 153, 158, 175 n 18, 198, 205, 225, 228, 229, 230, 236, 286 n 61, 293, 302, 338, 346, 352 n 48, 353, 368, 369, 390, 424, 445, 451 n 66, 468, 527, 657, 676, 701 n 9, 973 n 17, 982, 993, 994, 995, 997, 999, 1001, 1003, 1008, 1010, 1011, 1012, 1013, 1014, 1015, 1033, 1034, 1036, 1037, 1038 n 35, 1039, 1044, 1065 n 132, 1068, 1070, 1071, 1162, 1163, 1164, 1178, 1187, 1189, 1190, 1197, Paris, Centre national de la Recherche scientifique, Institut de recherche et d’histoire des textes: 174 n 12, Paris, Sainte-Geneviève Abbey (OSB): 1036 and n 21, Paris, University of: 1071, Passion of Christ: 436, 440, 449, 475, 481, 487 n 4, 652, 683, paten: 442, 449, 466 n 89, 468, 483, 484, 489, 493, 512, Patrice, brother of Avenable: 887, Patroclus: 393, Pavia: 131, 612, 1187, Paul, St: 1084, 1100 fig. 62, Paul the Deacon: 72, paupers: 994, Peleas of Leonois, King: 1169 fig. 9, Pelican in her Piety: 375, 380 fig. 9, 398, 470 n 113, 623, 625, 631 fig. 5, Pelles, King: 273, 578, 603, 604, 609 n 8, 619, 733, Pelles’ daughter (nameless): 619, 733, 746 fig. 13, 747 fig. 14, 749 figs. 17, 18, 760 and n 76, 761, 780 fig. 15, 783, 784 nn 35, 36, 884, 887, 914,

1363 Pendarves, W.C., owner: 137, Pendragon: 912, 913, penitents: 1083, 1093 fig. 31, Pentecost (Whitsun): 518 n 47, 559, 1085, 1111 fig. 98, Penthesilea, Queen: 395, Perceval: 59, 60–62, 72, 88, 90 fig. 23, 123, 240, 275, 277, 278 fig. 3, 280 fig. 7, 283, 284, 319, 336 fig. 12, 338, 339, 365 fig. 9b, 469, 470, 476 n 135, 480, 481, 482, 484, 516, 537 fig. 16, 539 figs. 19, 20, 540 fig. 21, 542, 547, 550, 551, 553, 554, 563 fig. 5, 568 fig. 16, 569 figs. 17, 18, 570 fig. 19, 572 fig. 24, 575–78, 581–82, 587–90, 595, 598–601, 604, 627, 714 n 19, 715, 758 and n 67, 759 n 73, 783 n 34, 885, 892 fig. 10 (or Gauvain), 1035, 1082–83, 1085–86, 1088 figs. 1–7, 1089 figs 8–9, 1090 fig. 15, 1091 figs. 18, 21, 1092 figs. 27–29, 1093 figs. 30, 31, 34, 1094 figs. 37–39, 1128 fig. 126, 1130 fig. 130, 1131 fig. 131, 1132 figs. 134–36, 1135 figs. 145, 147, 1136 figs. 152–54, Perceval’s aunt: 577, 588, Perceval’s mother: 1086, 1130 fig. 130, Perceval’s (un-named) sister (see also bloodletting): 95, 97 fig. 1, 131, 277 fig. 1, 280 fig. 7, 283, 319, 321 fig. 4, 322 fig. 5, 339, 469, 476 and nn 135, 136, 481, 516, 537 fig. 16, 539 fig. 20, 540 figs. 21, 22, 541 fig. 23, 549, 550, 551, 553, 568 fig. 15, 570 fig. 20, 571 figs 21, 22, 575, 576, 577, 595, 598, 600, 601, 602, 652, 714,

1364 Perceval’s uncle: 1082, 1091 fig. 18, Perilous Bed: 1050, Perilous Seat: 559, 563 fig. 6, 564 fig. 7, 581, 884, 922, Perron (Pierre): 329, 408, 417 fig. 16, 430, Perrot de Nesle, scribe: 1025, 1026 and n 25, 1031, personifications: 1086, 1134 fig. 144, Peter, St: 513, 1084, 1100 fig. 62, Peter Martyr, St: 1056, Peter the Hermit: 356 n 68, 357 fig. 1b, Petrus Cantor: 353 n 51, 368 n 80, Pharain: 118 n 36, 430, Philippe II Auguste, King: 91, 129, 367, 368, 1008, Philippe III le Hardi, King (r1270– 1285): 5, 6, 91, Philippe IV le Bel, King (r1285– 1314): 5, 6, 7, 17 fig. 5, 33 n 14, 156, 286 n 61, 479 and n 147, 655 n 86, Philippe V le Long, King (r 1317– 1322): 1064, Philippe d’Alsace, Count of Flanders: 1026, 1033, Philippe le Hardi, Duke of Burgundy: 204, 657 n 90, 669 n 125, 1025, 1067, Philippe le Bon (Philip the Good), Duke of Burgundy: 33 n 13, 961 n 6, 1025, Philip of Macedonia, King: 1085, 1116 fig. 106, Philippine (Philippa) of Hainaut: 1027 n 32, 1053 n 88, 1064, Philippine de Luxembourg: 672 n 129, 676 n 140, Phillipps, Sir Thomas: 134, 248, 249, Piat, St: 252 n 17, 287 n 66, Picardie: 247, 262 n 24, 669 n 125,

Pierre II de Luxembourg, comte de Saint-Pol: 1067, Pieron, frère, paymaster: 675 n 137, Pierre des Essarts, owner?: 138, 142, Pierre de Savoie: 679, Pierre de Tiergeville, scribe: 128, 964 n 13, 1161, 1185, Pierart dou Thielt, scribe, illuminator, binder: 32, 227, 236, 472, 473, 611 n 16, 628 and nn 61, 62, 1069, Pierre Honnorez of Neufchâtel (Normandy), owner: 1071, 1077 and n 185, Pierre Sala, author and owner: 1023 n 7, 1192, Pierron (Perron): 118 n 36, 417 fig. 16, pilgrims: 1198, Pisanello, artist: 477, 654, Plantagents: 976, Poitiers: 130, 298, 306, 995, 1014, 1016, Polixena: 394, Pollux: 393, Pompey: 1082, 1091 fig. 23, Ponthieu, comtes de:, patrons? 142, 206, 674, Pontigny, Abbey (O. Cist): 392 and n 36, Pontius Pilate: 215, pope: 795 fig. 5, 798, 856, 906, Presley Range (Pembrokeshire): 1154, Priadan: 593, Priam, King: 316 n 2, 380 fig. 6, 393, 394, 395, Priest-narrator: see Hermit-author priest(s): 873, Prigent de Coëtivy, owner: 130, Princeton, NJ, Princeton University, Index of Christian (now Medieval) Art: 174, 176 n 23

INDEX

Prüm, Sankt Salvator Abbey (OSB): 261 n 21, Pucelle de Lis and her son: 1086, 1131 fig. 132, Pucelle du Pavillon, La: 1083, 1094 fig. 35, Pygmalion: 156, 202, 403, 717, Pyramus and Thisbe: 71 fig 6, 735 n 15, pyx: 466 n 89, 474, Quedlinburg: 105, Raguidel: 402, Raoul de Clermont, seigneur de Nesle, owner: 672 n 129, rape: 757 n 59, Raphael, artist: 446 n 50, Ravenna, Tomb of Galla Placidia: 329 n 4, Ravenna, San Vitale: 435 n 9, Raymond de Béziers: 6 n17, Red City, King of: 1085, 1123 fig. 119, Regnault du Montet, libraire: 751 n 43, 768 n 14, Reims: 669, Reims, Abbey of Saint-Nicaise: 1039, relics of the Holy Blood: 478, relic and reliquary of the Corporal of Bolsena: 446 and n 50, relic of the Holy Lance at Mantua: 477 n 139, relics of the Passion: 1140, relics of saints: 914, reliquary, reliquaries: 380 fig. 6, 451, 487 n 4, 513 n 36, Renaud de Bar, Bishop of Metz, owner: 261 n 21, 519 n 48, 1066 n 135, Renaut le sauvage: 674, René, duc d’Anjou, author, owner: 6, 7, 8, 10, 1178, Renier de Creil, owner?: 674,

1365 Rennes: 424, Renoaurt: 1083, 1095 fig. 44, Resurrection of Christ: 320 fig. 1, 1084, 1101 fig. 63, Reynard the Fox: 74 n 46, Rhineland: 261, Richard Lionheart: 286 n 60, Richard de Montbaston, libraire: 225, 229, 1071, 1072, 1073, 1074, 1075, Richard Roos, owner: 143, 172, righteousness and peace: 81 fig. 9, ring, magic: 915, Rion, King, giant: 882 and n 28, Riwalin: 758 n 70, Robastre, giant: 1084, 1105 fig. 81, Robber Knight: 1083, 1094 fig. 36, Robert, comte d’Artois, owner: 3, 1068, Robert, comte d’Artois, Trial of: 1068, Robert II, duc de Bourgogne and titular King of Salonika, patron: 1067, Robert the Bruce, King: 521 n 53, Robert de Béthune, count of Flanders, owner: 3, 224, 675 n 137, 676 and n 141, 700, 1027 n 32, Robert de Coucy, owner: 1070, Robert de Nesle, connétable de France, owner: 677 n 143, Robert Thornton, scribe: 962 n 7, Robin Boutemont, scribe: 1071, Rochechouart, family, owners: 271 Rochefoucauld, Dukes of, owners: 248 n 7, Rochegude, Henri-Pascal de, owner: 146, Rodenegg, Schloß: 63, 64, Rogelyon: 397, Roland: 1 n 1, 29 and n 2, 31 and n 8, 35 fig. 2, 36 fig. 3, 402, 984, 1143 figs. 1, 2,

1366 rolls of arms: 356 n 69, Romanesque 734 n 10, Romans: 906, 907, Rome, emperor of: 378 fig. 1, 397, 839, Roncevaux, Battle of: 371, Ronwen: 1142, Rose: 13 fig. 1, 1086, 1134 fig. 144, Roses, Wars of: 143, Roskilde: 367, Rouen: 1192, Round Table: 91, 121, 130, 158, 204 n 11, 212, 216, 267, 268, 290 n 3, 317, 460 fig. 12, 465, 507 figs. 21, 22, 517, 563 fig. 6, 564 fig. 7, 582, 702, 811, 885 and n 36, 886, 893 fig. 11, 905, 914, 923, 961 n 6, 987, rubricator: 785, rusticus: 70, Sadoc: 1169 fig. 9, Sagremor: 844, 1083, 1094 fig. 36, sailors at sea: 1084, 1101 fig. 64, Saint, unidentified: 640 fig. 22, Saint-Amé, Abbey (OSA) at Douai: 126, 226 n 12, 390, 1060, Saint-Bénigne, Abbey (OSB), Dijon: 1066, 1067, Saint-Bertin, Abbey (OSB), at SaintOmer: 124, 264, 286, 292 n 9, 377, 559, 575, 961 n 6, 1055, 1177, Saint-Denis, Abbey (OSB): 183, 186, 187, 190, 352, 443 n 40, St Edward’s Day: 655 n 87, Saint-Floret family, patrons: 326, Saint-Gilles, Abbey (OSB): 183, St Louis, MO, St Louis University, Vatican Film Archive: 174 Saint-Martin de Tournai, Abbey (OSB): 1064, Saint-Omer: 102 n 13, 104 n 17, 124,

126, 127, 143, 168, 205, 207, 211 n 23, 225 n 8, 229 n 26, 247, 252, 259, 260, 262, 264, 265 and n 36, 268, 286, 287 and n 66, 290, 292 and n 9, 308, 312, 319 n 11, 338, 377, 403, 406, 451, 559, 669, 671 n 128, 674, 790, 818, 819, 842, 876, 978, 988, 990, 994, 996, 998, 999, 1005, 1010, 1011, 1045, 1046, 1054, 1055, 1058, 1060, 1061, 1063 and n 2, 1064 n 125, 1176 and n 15, 1177, 1188, St Peter BlandinAbbey (OSB), Ghent: 262 Saint-Quentin: 269 n 9, 769, 1010, 1044, Saint-Vaast, Abbey (OSB), Arras: 1062, Saladin (Salatin): 138, 142, 399, Salisbury (Salesbieres): 866, 914, 974, 979, 998, 1153, 1154 n 25, Salisbury, Earls of, owners?: 1157, samit: 627 n 60, 628, Samson: 850, San Francisco: 260 n 18, sang see blood Santiago de Compostela: 71 fig. 5, 78 fig. 7, 443 n 40, Saracen(s): 47 fig. 20, 701, 984, Sarracinte, Queen: 442, 458 fig. 6, 684, 685, 691 figs. 7, 8, 757, 772, 778 fig. 12, Sarraz (Sarras): 469, 480, 517, 812, 813, 814, Saul, King: 363 fig. 7b, 1160, Saulaincourt, seigneur de, owner?: 674, Sauuagains (Tanaguin): 826 fig. 5, Savoie: 1002, Saxons: 43 fig. 13, 770, 906, 1153, 1155,

INDEX

Scandinavian Use: 1039, Scheldt, River: 991, sciapod: 364 fig. 8b, 384 fig. 18, Scots, King of: 1155, scribe(s): 66 fig. 4, 785, 824 fig. 1, 825 figs. 3, 4, 881, 915, 916, scribe (female): 1004, 1041 n 47, seal: 797 n 14, Segurades: 1171 fig. 13, Segurades’ wife: 1171 fig. 13, 1174 fig. 18, Seneca: 1084, 1109 figs. 89, 91, Seraphe see Nascien seraphim: 444, 458 fig. 7, 684 n 28, Seth: 546 and n 13, Sforza, Dukes of Milan, patrons, owners: 612, 654 and n 82, Sheba, Queen of: 1199, shield of King Mordrain (Evalach) then Galaad, argent a cross gules: 112 fig. 17, 139 fig. 4, 281 figs. 9, 10, 282 figs. 11, 12, 452, 566 fig. 12, 567 figs. 13, 14, 578, 584, 756, shield, split: 733 and n 5, shield, silver: 1086, 1136 fig. 151, Shiloh, daughters of: 737 n 26, shrine of Edward the Confessor: 1150 fig. 16, shroud: 628 n 60, Sicambria: 699, siege: 18 figs. 7, 8, 41 fig. 11, 231 fig. 2, 648 fig. 38, Silence (heroine): 397, 398, 399, silk, protective: 375, Simeu (Symeu): 408, 429, Simon the Leper: 1084, 1100 fig. 62, Simon de Mons, debtor: 1026, Simon Magus: 980, 1084, 1100 fig. 62, Simon Master, artist: 74 n 44, Simon Thasis: 1084, 1103 fig. 72,

1367 Sinagon: 401, Sion: 1084, 1108 fig. 88, Sixtus IV, Pope: 477 n 139, 653 n 78, sketch (marginal): 24 fig. 17, 109 fig. 13, 375, 973, snail: 443 n 37, 496 fig. 3, Sodom: 739 n 37, Sodomites: 757 n 59, Soissons: 1002, 1060, 1061, Solomon, King: 363 fig. 7c, 406, 535 fig. 14, 546, 548, 549, 699, 721 fig. 1a, 774 fig. 3, 1083, 1100 fig. 60, 1199, Solomon’s enchanted ship: 198, 241 fig. 1a, 256 fig. 6, 277 figs 1, 2, 278 fig. 4, 280 figs. 7, 8, 319, 321 figs. 3, 4, 322 fig. 5, 365 fig. 9b, 406 and n 10, 407, 414 fig. 9, 415 figs. 10, 11, 426, 525, 527, 532 figs. 5, 6, 533 fig. 7, 536 fig. 14, 537 figs. 15, 16, 539 figs. 19, 20, 540 fig. 21, 542, 543, 544, 546, 548, 550, 551, 552, 553, 554, 555, 576, 595, 598, 682 n 18, 686 fig. 1, Solomon’s (unnamed) Queen: 536 fig. 14, 548, 549, 551, Sorelois: 204 n 11, 213, 216, 217, 810, 906, South of France: 146, 701 n 9, 996, 1002, 1009, 1186, South-East France 1188, South of Italy: 1161, Souvigny, Priory (OSB): 1040 n 42, spade: 534 figs. 9, 10, 535 fig. 12a, 545, Spain: 440 n 27, 984, 1013, 1078, 1140, spectacles (espectacle): 675 n 137, sponsus and sponsa: 88, stag: 631 fig. 4, Stag (cerf ), White, with chain and

1368 lions: 21, 299 fig. 9, 304, 305, 306, 307, 315, 328–39, fig. 1, 2, 331 figs. 1, 2, 333 figs. 5, 6, 334 figs. 7, 8, 335 fig. 10, 336 figs. 11, 12, 337, 338, 339, 408, 470 and n 113, 475, 578, 599, 623 and n 48, 651, 709, 711 n 18, 713, 714, 1084, 1085, 1105 fig. 83, 1115 fig. 105, 1128 fig. 126, Stephen, St: 53, 54, Stephen Langton: 353 n 51, Stonehenge: 1153, 1154 and nn 25, 26, 27, stone-thrower: 45 fig. 17, 53, ‘style Graal’: 669 n 125, 1041 n 47, Sunderland Collection: 246, surrender: 208 fig. 4, sword, Arthur’s (see also Excalibur): 823, 836 fig. 25, 837 fig. 27, 882, 890, sword in anvil: 882, 890 figs. 5, 6, 918, 919, 920, sword, broken: 330, 332 fig. 3, 468, 543, 553, 604, sword bridge: 150, 168, 171 figs. 5, 6, 172, 251, 258 fig. 10, 279 fig. 6, 754 n 54, 788, 790, 791, 793 figs. 1, 2, 794 fig. 3, 1180, sword, David’s: 1086, 1131 fig. 131, 1132 fig. 134, sword in stone: 563 fig. 5, 564 fig. 8, 565 fig. 9, 581, 882, 891 figs. 7, 8, 892 fig. 10, 893 fig. 11, 922, sword, Solomon’s: 280 fig. 7, 363 fig. 7c, Synod of Paris: 658 n 94, tabernacle: 466 and n 89, 483, 623 and n 51, 640 fig. 22, 641 fig. 23, Taddeo di Bartolo, artist: 467 n 98, tailloir d’argent: 61, Tanaguis (Tanaguin, Sauuagin): 852, Tanebourc: 820, 844,

Tanor, King: 1169 fig. 9, Taurus, King: 1084, 1105 fig. 79, tax records: 973, telling the adventures: 901 figs. 26, 27, 902 figs. 28, 29, 903 fig. 30, 904 fig. 32, Temple of Solomon: 356, Temptation scenes: 71 fig. 5, Ter Doest, Abbey (O. Cist): 262, 766 n 8, 1060 n 114, Tertre: 629 fig. 1, Thérouanne: 9, 102 and n 13, 131, 132, 205, 207, 223, 225, 247, 265, 290, 376, 451, 467, 478, 494, 655, 667 n 122, 668, 669, 673, 674, 767, 818, 840, 978, 988, 990, 994, 995, 996, 998, 999, 1002, 1005, 1008, 1009, 1044, 1055, 1064 n 125, 1176, 1177, 1188, Thibaut, comte de Bar, patron?: 324 n 17, Thibaud de Blois, comte de Champagne, patron?: 376, Thierry d’Alsace, patron?: 286, 478, 655, Thieves, two: 440, 489, Thoas: 394, Tholomer, King: 142, 157, 232 fig. 3, 282 fig. 10, 284, 285, 559, 797, 806, Thomas Aquinas, St: 446, Thomas Becket, St: 367, 1086, 1133 fig. 141, Thomas de Maubeuge, libraire: 225, 229, 529 n 7, 1027 n 32, 1065 n 133, 1071, 1073, 1074, Thomas de Maurienne: 345, Thomas of Lancaster: 265 n 35, Tiberius: 688 figs. 3, 4, Tintagel: 1154, Titus: 159, 692, 701,

INDEX

Toledo: 51 n 24, tomb: 61 n 11, 127, 143, 169, 289, 290, 291, 305, 306, 309, 310, 311, 313, 584, 585, 620, 621, 684 and n 29, 685, 709, 711, 982 and n 38, tomb of Edward II: 1151 fig. 17, 1156, tomb of Josephé: 384 fig. 20, 419 fig. 19, Tombs of Judgement: 169 fig. 1, 526, 876, Tomb of King Lancelot: 295 fig. 2, 297 fig. 5, 298 fig. 7, 300 fig. 10, 3–1 fig. 11, Tomb of the Maccabees: 967 fig. 5, 1084, 1103 fig. 72, Tombeleaine: 138, Tournai: 48, 51 n 24, 127, 143, 150, 229, 236, 237, 247, 252 and n 17, 260, 262, 265, 268, 287 n 66, 472, 478, 655, 677 n 145, 761, 840, 876, 990 and n 58, 991, 994, 999, 1010, 1011, 1012, 1027 n 32, 1049, 1055, 1056 n 99, 1058, 1069, tournament: 208 fig. 1, 509 fig. 25, 820, 1084, 1111 fig. 95, 1173 fig. 17, Tours: 130, 1014, Tout-en-Tout: 231 fig. 1, 526, 527, 528, 529, 530 fig. 2, 531 figs. 3, 4, 555, Toute Belle: 719, 726 fig. 7c, 728 fig. 9a, Tower of London: 18 fig. 7, Tower of Memory: 60 fig. 1, Tradelmant, King of Norgales: 215 transubstantiation: 445, 447 and n 51, 471, 472, 473, 479, 494, 628 n 62, 657 and n 91, Trèbes: 213, 215, 216, 217, 219, 234

1369 fig. 5, 235 fig. 6, 404 n 2, 702, 705, 722 fig. 2, 791, 801, 802, 887, 926, trees: 536 fig. 13, 546, 547, Tree of Life (Arbre de vie): 406, 411 fig. 3b, 412 figs. 4, 5, 413 figs. 6, 7, 535 figs. 11, 12a, 12b, 536 fig. 13, 538 fig. 18, 544, 545, 551, 576, 597, 693, Treviso: 377, Trier: 261 n 21, Trinity: 23 fig. 15, 45 fig. 18, 46 fig. 19, 438, 439, 456 fig. 3, 471, 637 fig. 16, 658, 682, 687 fig. 2, 738, 739 and n 36, 741 fig. 3, 750, 909, 1082, 1089 fig. 14, Tristan: 62, 65, 69 n 31, 72 and n 38, 73, 122, 125, 130, 227, 717, 735 n 15, 736, 758 nn 70, 71, 788, 964 n 15, 983 n 42, 1087, 1137 fig. 157, 1159–92 figs. 1–3, 5, 8–9, 1160 and nn 1–3, 1172 figs. 14, 15, 1174 fig. 19, 1197, Tristan tapestries: 64, trobaritz: 377, Troy: 156, 316 n 2, 374, 393, 394, 395, 403, 699–700, 702, 716, 718 and n 25, 719, 721 figs. 1a, 1b, 731, 758, 763, 765, 774 fig. 3, Trojans: 393, Troyes: 424, 1039 n 35, Tryst beneath the Tree: 62, 69, 72, 1159, 1163, 1167 fig. 6, 1168 fig. 7, 1177, 1180, 1183, turban: 683, Turin: 683, Turning Island: 526, 527, 542 and n 8, Tuscany: 1007, Ugolino di Vieri, metalworker: 446, Ugolino di Prete Ilario, painter: 446

1370 n 50, Ulysses: 396, unicorn and virgin: 623, Urban II, Pope: 284 n 54, Urban IV, Pope: 446 n 50, Urraca, Queen of Castile, León and Galicia: 1199, Ursula, St: 1142, Uter, King: 715, 912, 913, 1154 and n 25, Uterpendragon, King: 125, 132, 359 fig. 3b, 702 n 11, Utrecht: 247, 263, 265, Val d’Oise: 1077 n 185, Val-Sainte-Aldegonde: 671 n 128, Valet a la Cote Maltaillie, Le: 1082, 1091 fig. 20, Valigues, Count, daughter of: 644 fig. 29, Varambon, Château: 683, Venice: 1005, Venus: 758 n 69, Verdun: 1008, Vernicle: 683, 688 figs. 3, 4, 692, 1086, 1134 fig. 143, Vespasian: 159, 683, 688 figs. 3, 4, 692, 701, 1086, 1134 fig. 143, Vézelay: 183, Viane family: 326, Villers-Saint-Josse: 102 n 13, Virgin and Child: 169 fig. 2, 259 fig. 11, Virgin and Child, statue of: 1045, 1082, 1092 fig. 25, Virgin Mary and Candle: 1092 fig. 26, Virgin Mary, Life of: 1091 fig. 17, Virgins of Cologne, 11,000: 1142, virtues: 367 and n 72, 720 n 28, Visconti-Sforza, patrons, owners: 478, Visitation of Mary and Elizabeth: 79 and n 53,

Viviane: 960, Vivien: 1083, 1095 figs. 42, 44, Vortigern, King: 67, 68, 123, 528 n 7, 715, 716, 960 n 5, 1142, 1144 figs. 3, 4, 1145 figs. 5, 6, 1153, 1157, Vulcan: 758 n 69, 882 n 28, Wales: 137, Walking on water: 332 fig. 4, 333 fig. 5, Wallincourt, Sire de, owner?: 674, Walterus de Kayo, scribe: 126, 142, 226 n 12, 284 n 55, 318, 319 n 12, 753 n 50, 754 n 50, 766 n 8, 879 n 13, 883 n 31, 1005, 1041, 1043, 1061, Walter Map: 68, 212, 218, 219, 580, 821, 842, 904 fig. 31, 909, 915, 963 and n 10, 974, 979, Waningus, St: 376 wassail cup: 1142, watermarks: 1015, 1016, wattles: 87 n 65, Waudru of Mons, St: 1057 n 102, Weingarten, Abbey (OSB): 477 n 139, Welf IV, Duke: 477 n 139, Wenceslas atelier: 1054 n 91, Western France: 1013, 1016, White (Cistercian) Abbey: 562 fig. 4, 566 fig. 12, 577, 581, 582, 583, 585, 604, 921, White Knight (Blanc Chevalier) (see also St George): 232 fig. 3, 242 fig. 2b, 285, 559, 566 fig. 12, 567 figs. 13, 14, 578, 584, 602, White Knights: 592, White Stag (see Stag, White): Wild Man: 74 n 46, Wiligelmo, sculptor: 72 n 36, William the Conqueror, King: 1155, William, Abbot: 367,

INDEX

William Caxton, printer: 962, William of Devon painter: 787 n 42, William see also Guillaume Winchester (Wincestre): 137, 216, 219, 272, 274, 820, 821, 843, 871, 872, 975, 1156, Wise Men: 1086, 1137 fig. 156, Worcester: 1156, Wound in Christ’s Side, Measure of: 635 fig. 12, 655 n 87, 656 and n 87, Wounds of the Passion: 651, wounded, wounding: 14 fig. 2, 38 fig. 6, 72, 289, 400, 401, 432, 453, 454, 466, 468, 479, 484, 505 fig. 19, 508 figs. 23, 24, 510 fig. 26, 515–16, 519, 520, 521, 523, 543, 544 n 10, 575, 578, 585, 588, 591, 609, 620, 635 fig. 13, 653, 820, 836 fig. 25, 844, 848, 864, 865, 869, 915, 927, 961 n 6, 964 n 16, 974, 978, 979, 986, 996, 1047, 1150 fig. 15, Wynkyn de Worde, printer: 962 and n 8, Xerxes: 371, Yarnold, Charles, book dealer: 248 n 7, Yder: 402, Ygern: 1154,

1371 Yon, King of Ireland: 866, 996, Ypolite (Hippolitus): 1083, 1086, 1097 fig. 51, 1132 fig. 139, Ypres: 265, 324, 1044, Ysember des Rolin, owner: 679 n 6, Yseut (Isolde, Iseut): 62, 122, 735 n 15, 758 nn 70, 71, 789, 1137 fig. 157, 1160, 1163, 1166 figs. 3, 4, 1169 fig. 9, 1170 fig. 10, 1172 figs. 14, 15, 1174 fig. 19, 1177, 1179, 1181, 1183, Ysolde’s mother: 758 n 71, Yvain (Ivain): 122, 318, 586, 587, 592, 757 n 65, 758, 783 n 34, 788, 866, 964 n 15, 992, 1084, 1085, 1102 figs. 66, 69, 1103 figs. 70, 71, 1125 fig. 122 (or Calogrant), 1126 fig. 124, 1127 fig. 125, Yvon du Fou (or his son), owner: 306, 307, 312, 681, 986 n 46, 996, 1016, Yvonet: 1086, 1135 fig. 146, Zaragossa, Palace of the Kings of Aragón: 146, Zuliano di Anzoli, scribe and/or editor: 474, 650 and n 64.