DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22421#0163
Letter V.
BYZANTINE MSS.
99
Foss, having been formerly in the great Chartreuse at Grenoble,
and thence passed into the possession of Dr. Comermont of Lyons.
From the circumstance of the death of Baldwin II., King of Jeru-
salem, and that of his Queen, Emorfia—events which occurred on
the 2nd of August, and 1st of October, 1131—being mentioned in
the calendar, as well as from the contents of some prayers, it
appears probable that this MS. was originally executed for Meli-
senda, the eldest daughter of that couple, wife of Fulques Count
of Anjou, who followed her father to Jerusalem in 1131, and died
1144. In corroboration of this, we find the cross from the arms of
the King of Jerusalem worked on the back of the volume. The
ivory covers containing this work are the most beautiful specimen
I know of alto-rilievo work in the romanesque style * of the 12 th
century. In the centre of the upper side are six elegantly enframed
circles, containing David killing the lion and the bear—anointed
by Samuel—overcoming Goliah, whose shield is like that in the
tapestry at Bayeux—receiving the sword from Abimelech—as a
penitent before the Almighty—and, finally, accompanied by the
four strong men, playing the Psalter. In the spandrils of these
circles are seven Virtues subduing seven Vices : Fides conquering
Idolatria; Humilitas, Superbia ; Fortitudo, strange to say, Ava-
ritia ; Concordia, Discordia ; Sobrietas, Luxuria ; Pudicitia, Libido ;
and Patientia, Ira. In the four corners are Bonitas, Benignitas,
Beatitudo, and Leticia (sic); in the centre, between the two last,
Largitas. All the names of the beings represented, and even of the
animals, are incised and filled with vermilion; all the eyes and
stars are expressed with little black stones. The border is
decorated with the richest design in the Romanesque taste, with
fishes, doves, and grapes, introduced, doubtless, with some sym-
bolical intention, and set with numerous turquoises and garnets.
The lower side, which is similarly ornamented and subdivided,
contains the six works of mercy in the six circles, each of which
is pei4"ormcd by a king, in the richly jewelled costume of the
Greek emperor, indicating, probably, King Fulco of Jerusalem.
In the angles, well arranged as regards the space they occupy, are
two animals torn by panthers, with peacocks, doves, and other
* The "romanesque style" is the term given on the Continent to that style of
architecture also called the circular, or Norman, which occurs between the antique
and the Gothic—that is, from about the year 900 to 1200. It is applied equally to
the sculpture, carving, and painting of that period.
H 2
BYZANTINE MSS.
99
Foss, having been formerly in the great Chartreuse at Grenoble,
and thence passed into the possession of Dr. Comermont of Lyons.
From the circumstance of the death of Baldwin II., King of Jeru-
salem, and that of his Queen, Emorfia—events which occurred on
the 2nd of August, and 1st of October, 1131—being mentioned in
the calendar, as well as from the contents of some prayers, it
appears probable that this MS. was originally executed for Meli-
senda, the eldest daughter of that couple, wife of Fulques Count
of Anjou, who followed her father to Jerusalem in 1131, and died
1144. In corroboration of this, we find the cross from the arms of
the King of Jerusalem worked on the back of the volume. The
ivory covers containing this work are the most beautiful specimen
I know of alto-rilievo work in the romanesque style * of the 12 th
century. In the centre of the upper side are six elegantly enframed
circles, containing David killing the lion and the bear—anointed
by Samuel—overcoming Goliah, whose shield is like that in the
tapestry at Bayeux—receiving the sword from Abimelech—as a
penitent before the Almighty—and, finally, accompanied by the
four strong men, playing the Psalter. In the spandrils of these
circles are seven Virtues subduing seven Vices : Fides conquering
Idolatria; Humilitas, Superbia ; Fortitudo, strange to say, Ava-
ritia ; Concordia, Discordia ; Sobrietas, Luxuria ; Pudicitia, Libido ;
and Patientia, Ira. In the four corners are Bonitas, Benignitas,
Beatitudo, and Leticia (sic); in the centre, between the two last,
Largitas. All the names of the beings represented, and even of the
animals, are incised and filled with vermilion; all the eyes and
stars are expressed with little black stones. The border is
decorated with the richest design in the Romanesque taste, with
fishes, doves, and grapes, introduced, doubtless, with some sym-
bolical intention, and set with numerous turquoises and garnets.
The lower side, which is similarly ornamented and subdivided,
contains the six works of mercy in the six circles, each of which
is pei4"ormcd by a king, in the richly jewelled costume of the
Greek emperor, indicating, probably, King Fulco of Jerusalem.
In the angles, well arranged as regards the space they occupy, are
two animals torn by panthers, with peacocks, doves, and other
* The "romanesque style" is the term given on the Continent to that style of
architecture also called the circular, or Norman, which occurs between the antique
and the Gothic—that is, from about the year 900 to 1200. It is applied equally to
the sculpture, carving, and painting of that period.
H 2