DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14714#0078
DESCRIPTION OF MS.
ILLUMINATED ROMAN HISTORY
IN THE LIBRARY OE THE ARSENAL OF PARIS.
OMPARING the beautiful manuscript, from which this specimen is
taken, with other Italian manuscripts of the end of the loth and beginning
of the 16th century, I am inclined, in the absence of a date, armorial bearings,
or other positive indications as to the period of its execution, to assign it rather
to the latter period. The Italian illuminators began about the middle of the
preceding century to mingle portions of ancient Roman art with their
composition, modifying them at times in their copy so as to harmonise
well with their own decorations—at other times, blending the two styles
so badly that a very disagreeable incongruity of effect was the consequence.
It was not till after the practise of half a century that the true modern Italian
arabesque resulted from the combination ; and not till after Raphael had
shown its capacities in his decorations of the loggia of the Vatican, that a
positive and complete style was formed; and this occurred about the beginning
of the 16th century, though tolerably complete specimens of a somewhat
earlier date certainly occur—but rather in decorative sculpture than painting.
Our present specimen is almost the only one I have met with of the
earliest development of the complete Italian arabesque being applied to book
decoration; and I am inclined to attribute it to one of the scholars of Raphael
himself, several of whom, it is well known, after the fame acquired by the Vatican decorations, gave themselves up almost entirely to
decorative works. Nothing can be more perfect in its treatment than the composition of these arabesque borders; they possess a
completeness and continuousness of idea that is seldom found in any decorative works, excepting those of the ancients; and if the border
had continued along the bottom, in a manner suggested by the top, the composition would have been perfect; but we should hardly like
to lose the quaint picture which occupies that portion of the lower border, relating no doubt to some feat of arms connected with
the family for whom the book was made. The combatants are cased in the armour of the period, which appears to be of about the
time specified above for the execution of the work. The picture within the border refers to the matter of the volume, a history of
Korac, and represents a Roman triumph. A car drawn by elephants was sometimes used by the victors of the period of the empire, as
represented on coins and other authorities; and such a car has been selected by the artist as more picturesque than one drawn by horses:
indeed, a triumphal car drawn by elephants had for some time been a favourite subject with the Italian illuminators, and; was frequently
used in illuminated copies of the works of Petrarch, of which an immense number exist, and prove the great popularity of the poet
in times nearly contemporary with his own. In the Roman triumph of our present illumination, the city of Rome, personilied, is seated
on the car, and the city itself, seen in the distance, is distinguished by the word "Roma" in gold letters above. In the procession are
seen captive kings guarded by Roman soldiers, and captured standards and other trophies, such as chests of treasure, rich vases, and
various spoils being carried towards the city. The length of the pageant is well expressed by a portion of the line seen winding-
round a promontory in the middle distance, which seems to unite itself behind the hill with the figures in front, and thus convey an
idea of the great length of the line of figures; and it is seen again winding round another promontory, behind which a still greater
extension of the line may be imagined. By such palpable devices, so easy of comprehension to all, the illuminators of the middle ages
succeeded in imparting an interest to their miniature pictures which the highest art of later and greater masters has scarcely supplanted,
for the realism of those old illuminations possesses an indefinable charm even for those who are cultivated to the appreciation of a nobler
class of art.
The opposite page to the present is quite as profusely decorated, and the arabesque composition is, perhaps, more complete, being
carried all round ; but the ground being white renders it not altogether so rich in effect as our specimen; yet seen together, composed as
they are for the express purpose of producing a fine contrasted effect, they form perhaps the richest opening to a volume that 1 have ever
met with among illuminated manuscripts.
The borders of the rest of the volume never occupy more than one side of a page, and are by a different hand, in the common style
of Italian illuminations of the period, but done in a bold free manner that is very attractive ; some of the capital letters are very fine,
and touched with great freedom, and others are peculiarly interesting as containing in their design the fac-simile of a Roman coin
belonging to the reign or period treated of in the text, and these are finished with the aid of bronze or gold with so much sharpness
and accuracy as to be almost deceptive.
There are also a number of large miniatures in the volume wrought with much more care and extreme finish than either that of our
page, which may be said to form the frontispiece, or the first page, which is opposite to it. They appear, indeed, to be by a different
hand, and if so, three, or perhaps four artists have been employed upon this elegant volume, which is certainly one of the most beautiful
monuments of the art of illumination that I have met with, though perhaps not so absolutely elaborate as some, of the works of the
^iorth of Europe of a somewhat earlier date. The border to this description is one of the general borderings of the volume above
alluded to, and the large C one of the capitals first spoken of.
ILLUMINATED ROMAN HISTORY
IN THE LIBRARY OE THE ARSENAL OF PARIS.
OMPARING the beautiful manuscript, from which this specimen is
taken, with other Italian manuscripts of the end of the loth and beginning
of the 16th century, I am inclined, in the absence of a date, armorial bearings,
or other positive indications as to the period of its execution, to assign it rather
to the latter period. The Italian illuminators began about the middle of the
preceding century to mingle portions of ancient Roman art with their
composition, modifying them at times in their copy so as to harmonise
well with their own decorations—at other times, blending the two styles
so badly that a very disagreeable incongruity of effect was the consequence.
It was not till after the practise of half a century that the true modern Italian
arabesque resulted from the combination ; and not till after Raphael had
shown its capacities in his decorations of the loggia of the Vatican, that a
positive and complete style was formed; and this occurred about the beginning
of the 16th century, though tolerably complete specimens of a somewhat
earlier date certainly occur—but rather in decorative sculpture than painting.
Our present specimen is almost the only one I have met with of the
earliest development of the complete Italian arabesque being applied to book
decoration; and I am inclined to attribute it to one of the scholars of Raphael
himself, several of whom, it is well known, after the fame acquired by the Vatican decorations, gave themselves up almost entirely to
decorative works. Nothing can be more perfect in its treatment than the composition of these arabesque borders; they possess a
completeness and continuousness of idea that is seldom found in any decorative works, excepting those of the ancients; and if the border
had continued along the bottom, in a manner suggested by the top, the composition would have been perfect; but we should hardly like
to lose the quaint picture which occupies that portion of the lower border, relating no doubt to some feat of arms connected with
the family for whom the book was made. The combatants are cased in the armour of the period, which appears to be of about the
time specified above for the execution of the work. The picture within the border refers to the matter of the volume, a history of
Korac, and represents a Roman triumph. A car drawn by elephants was sometimes used by the victors of the period of the empire, as
represented on coins and other authorities; and such a car has been selected by the artist as more picturesque than one drawn by horses:
indeed, a triumphal car drawn by elephants had for some time been a favourite subject with the Italian illuminators, and; was frequently
used in illuminated copies of the works of Petrarch, of which an immense number exist, and prove the great popularity of the poet
in times nearly contemporary with his own. In the Roman triumph of our present illumination, the city of Rome, personilied, is seated
on the car, and the city itself, seen in the distance, is distinguished by the word "Roma" in gold letters above. In the procession are
seen captive kings guarded by Roman soldiers, and captured standards and other trophies, such as chests of treasure, rich vases, and
various spoils being carried towards the city. The length of the pageant is well expressed by a portion of the line seen winding-
round a promontory in the middle distance, which seems to unite itself behind the hill with the figures in front, and thus convey an
idea of the great length of the line of figures; and it is seen again winding round another promontory, behind which a still greater
extension of the line may be imagined. By such palpable devices, so easy of comprehension to all, the illuminators of the middle ages
succeeded in imparting an interest to their miniature pictures which the highest art of later and greater masters has scarcely supplanted,
for the realism of those old illuminations possesses an indefinable charm even for those who are cultivated to the appreciation of a nobler
class of art.
The opposite page to the present is quite as profusely decorated, and the arabesque composition is, perhaps, more complete, being
carried all round ; but the ground being white renders it not altogether so rich in effect as our specimen; yet seen together, composed as
they are for the express purpose of producing a fine contrasted effect, they form perhaps the richest opening to a volume that 1 have ever
met with among illuminated manuscripts.
The borders of the rest of the volume never occupy more than one side of a page, and are by a different hand, in the common style
of Italian illuminations of the period, but done in a bold free manner that is very attractive ; some of the capital letters are very fine,
and touched with great freedom, and others are peculiarly interesting as containing in their design the fac-simile of a Roman coin
belonging to the reign or period treated of in the text, and these are finished with the aid of bronze or gold with so much sharpness
and accuracy as to be almost deceptive.
There are also a number of large miniatures in the volume wrought with much more care and extreme finish than either that of our
page, which may be said to form the frontispiece, or the first page, which is opposite to it. They appear, indeed, to be by a different
hand, and if so, three, or perhaps four artists have been employed upon this elegant volume, which is certainly one of the most beautiful
monuments of the art of illumination that I have met with, though perhaps not so absolutely elaborate as some, of the works of the
^iorth of Europe of a somewhat earlier date. The border to this description is one of the general borderings of the volume above
alluded to, and the large C one of the capitals first spoken of.