DOI Page / Citation link:
https://doi.org/10.11588/diglit.22421#0189
Letter V.
NETHEKLANDISH MSS.
125
delicacy. Among the representations of a dramatic character,
the beheading of St. John the Baptist, p. 381 b, is the most suc-
cessful. The rarely treated subject of the Emperor Constantine
bearing the true cross, which was found by his mother, St.
Helena, p. 390 b, is by a French hand, who, with the exception
of the uniform character of heads and the dulness of the colours—
both peculiarities of the French school of miniature-painting of
that period—has successfully adopted the Netherlandish manner.
P. 447 b, St. Catherine, by the same hand, and particularly suc-
cessful. The whole work is of the most refined character.
Office of the Virgin and other prayers (Addit., No. 16,997),
small octavo, on fine parchment, with a broad border; a beautiful
full minuscule letter, in one column. Judging from the mixture
of the earlier and later style in the border decorations, and the
larger feeling for space, the date of this valuable MS. may be
assumed as 1410-1415. And although the appearance of the
names of the two French saints St, Genevieve and St. Denys,
written in gold letters in the unornamented calendar, prove it to
have been executed for a French patron, yet the finest Nether-
landish art predominates throughout the work. The first picture,
the Annunciation, is of singular delicacy and very warm flesh
tones. The motives are the same which Roger van der Weyde
the elder has rendered so popular. The windows in the well-
understood Gothic chamber are of silver, blackened with time.
The rich border is in the later style, with only the golden little
knobs as relics of the earlier taste. Here are three singing
angels, which in action, drawing, execution, and heads, show an
advanced state of art. The Virgin and Child, also in a D, are
very delicate. The Visitation and the Nativity proceed from a
less skilful French hand; while the Adoration of the Shepherds,
in ease of arrangement, naivete, and animation of feeling, bears
witness to the Netherlandish artist first named. The Adoration
of the Kings is again by the French hand; the Presentation in
the Temple by the Netherlandish, though in this instance less
successful. The Coronation of the Virgin is also by the Nether-
lander. David penitent before the Almighty ; the First Person
of the Trinity being here represented, by way of exception, as a
whole-length figure, surrounded by cherubim and seraphim. The
letters r. r. intertwined refer doubtless to the patron of the work.
NETHEKLANDISH MSS.
125
delicacy. Among the representations of a dramatic character,
the beheading of St. John the Baptist, p. 381 b, is the most suc-
cessful. The rarely treated subject of the Emperor Constantine
bearing the true cross, which was found by his mother, St.
Helena, p. 390 b, is by a French hand, who, with the exception
of the uniform character of heads and the dulness of the colours—
both peculiarities of the French school of miniature-painting of
that period—has successfully adopted the Netherlandish manner.
P. 447 b, St. Catherine, by the same hand, and particularly suc-
cessful. The whole work is of the most refined character.
Office of the Virgin and other prayers (Addit., No. 16,997),
small octavo, on fine parchment, with a broad border; a beautiful
full minuscule letter, in one column. Judging from the mixture
of the earlier and later style in the border decorations, and the
larger feeling for space, the date of this valuable MS. may be
assumed as 1410-1415. And although the appearance of the
names of the two French saints St, Genevieve and St. Denys,
written in gold letters in the unornamented calendar, prove it to
have been executed for a French patron, yet the finest Nether-
landish art predominates throughout the work. The first picture,
the Annunciation, is of singular delicacy and very warm flesh
tones. The motives are the same which Roger van der Weyde
the elder has rendered so popular. The windows in the well-
understood Gothic chamber are of silver, blackened with time.
The rich border is in the later style, with only the golden little
knobs as relics of the earlier taste. Here are three singing
angels, which in action, drawing, execution, and heads, show an
advanced state of art. The Virgin and Child, also in a D, are
very delicate. The Visitation and the Nativity proceed from a
less skilful French hand; while the Adoration of the Shepherds,
in ease of arrangement, naivete, and animation of feeling, bears
witness to the Netherlandish artist first named. The Adoration
of the Kings is again by the French hand; the Presentation in
the Temple by the Netherlandish, though in this instance less
successful. The Coronation of the Virgin is also by the Nether-
lander. David penitent before the Almighty ; the First Person
of the Trinity being here represented, by way of exception, as a
whole-length figure, surrounded by cherubim and seraphim. The
letters r. r. intertwined refer doubtless to the patron of the work.