DOI Page / Citation link:
https://doi.org/10.11588/diglit.22421#0186
122
THE BRITISH MUSEUM.
Letter V.
evangelists; below are St. Longinus (the centurion), with the
spear, and a figure with the sponge and vinegar. Below the cru-
cifixion is an altar, with a red heifer being offered, doubtless to
show the distinction between the burnt-offering of the old cove-
nant, and the Divine atonement in the new. At the side are two
saints, full-lengths ; the one St. Luke, from which it may be
inferred that the other is also an evangelist. P. 197 a is a large
picture. Above is the Ascension in an almond-shaped glory, open
at the top, with the hand of the Almighty seen grasping that
of Christ, and drawing him upward; two angels are by; below,
at the sides, are the Virgin and the apostles ; below them, as the
heading to his Gospel, the venerable St. John enthroned, holding
the eagle with a glory upon his lap—a new conception to me.
At the sides are the attributes of the evangelists and three saints.
A Missal (Addit, No. 16,949), small folio, 134 leaves, with very
large and powerful minuscule letters, in one column, belonging
to the latter half of the 12th century, and designated as written
for the service of St. Bavon's church at Ghent. The few pictures
it contains display a decided Byzantine influence. They are far
more remarkable for technical skill and beautiful colours than for
any merit of conception or artistic interest; for the motives are
generally lame, the heads of one type, the drawing feeble, and the
folds of the drapery mechanical. A large P, p. 51 a, is especially
beautiful, the perpendicular portions in silver, the rest of the letter
in gold ; the broad and well-arranged flourishes white, with slight
indications of shadows in red and green, and the ground blue.
P. 58 a, the Crucifixion. The Byzantine influence is here seen,
not only in the conception of the Saviour, but in the long propor-
tions and drapery of the Virgin and St. John. The green draperies
have not only a lozenge-shaped pattern, which prevents any indica-
tions of folds, but are also characterized by a rude imitation of rich
borders of Byzantine taste. The feet of the Virgin are shod, those
of St. John bare. Above are two angels with censers ; in a semi-
circular projection is the grey lamb of the Apocalypse, with th*e
cross. The features of the faces are indicated in brown red, the
flesh part of a very light colour ; the gold ground is very beautiful.
P. 59 a, in the place of the initial is a square, with the Mosaic
type of Christ enthroned in the almond-shaped glory, and giving
the benediction according to the Latin rite ; with the reddish hair
THE BRITISH MUSEUM.
Letter V.
evangelists; below are St. Longinus (the centurion), with the
spear, and a figure with the sponge and vinegar. Below the cru-
cifixion is an altar, with a red heifer being offered, doubtless to
show the distinction between the burnt-offering of the old cove-
nant, and the Divine atonement in the new. At the side are two
saints, full-lengths ; the one St. Luke, from which it may be
inferred that the other is also an evangelist. P. 197 a is a large
picture. Above is the Ascension in an almond-shaped glory, open
at the top, with the hand of the Almighty seen grasping that
of Christ, and drawing him upward; two angels are by; below,
at the sides, are the Virgin and the apostles ; below them, as the
heading to his Gospel, the venerable St. John enthroned, holding
the eagle with a glory upon his lap—a new conception to me.
At the sides are the attributes of the evangelists and three saints.
A Missal (Addit, No. 16,949), small folio, 134 leaves, with very
large and powerful minuscule letters, in one column, belonging
to the latter half of the 12th century, and designated as written
for the service of St. Bavon's church at Ghent. The few pictures
it contains display a decided Byzantine influence. They are far
more remarkable for technical skill and beautiful colours than for
any merit of conception or artistic interest; for the motives are
generally lame, the heads of one type, the drawing feeble, and the
folds of the drapery mechanical. A large P, p. 51 a, is especially
beautiful, the perpendicular portions in silver, the rest of the letter
in gold ; the broad and well-arranged flourishes white, with slight
indications of shadows in red and green, and the ground blue.
P. 58 a, the Crucifixion. The Byzantine influence is here seen,
not only in the conception of the Saviour, but in the long propor-
tions and drapery of the Virgin and St. John. The green draperies
have not only a lozenge-shaped pattern, which prevents any indica-
tions of folds, but are also characterized by a rude imitation of rich
borders of Byzantine taste. The feet of the Virgin are shod, those
of St. John bare. Above are two angels with censers ; in a semi-
circular projection is the grey lamb of the Apocalypse, with th*e
cross. The features of the faces are indicated in brown red, the
flesh part of a very light colour ; the gold ground is very beautiful.
P. 59 a, in the place of the initial is a square, with the Mosaic
type of Christ enthroned in the almond-shaped glory, and giving
the benediction according to the Latin rite ; with the reddish hair