DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22423#0083
Letter XXIY.
FRENCH MSS.
71
compartments of that Gothic form of which Giotto availed
himself in the well-known Campanile at Florence and on other
occasions, are the four Evangelists in the corner; between them,
at the sides, the Annunciation, the Visitation, the Adoration
of the Kings, and the Coronation of the Virgin. In the centre
of the opposite page, in quite a similar arrangement, the Cru-
cifixion, with the Saviour just dead—the limbs meagre, but the
figure nobly conceived ; at the sides the two thieves, the Virgin,
and two female saints and St. John. In the border, above, the
pelican, the well-known allusion to the Atonement; below, the
opening of the graves at the death of Christ; at the sides the
New Covenant, as a crowned female with Bible and chalice ; and
the synagogue, or Old Covenant, as a female with eyes bound—
the tables of the law and a broken spear in her hands. In the
corners, the Flagellation, Christ before Pilate, the Entombment,
and the Ascension. In the calendar that follows, occupying six
sheets, appears the second and much darker and more powerful
hand, with the use of Indian ink. On the outermost side, in two
compartments, above, the occupation of the month ; below, the sign
of the zodiac. By the same hand are also a large number of very
animated and original representations, chiefly introduced into the
text as vignettes, or occasionally in the borders, where they have
unfortunately been in some measure sacrificed by too close clipping
of the leaves. This artist has made use of violet generally for the
glories. P. 232 b and the page following are again by the first hand.
Below is Christ before Pilate, a rich composition, within a Gothic
architecture of very peculiar arches, decorated with small arches ;
above, the Flagellation of Christ; on the following page the Cruci-
fixion again, with great detail. Besides the thieves, the disciples,
and many spectators, are several horsemen, one of whom, an action
new to me, is springing forward and blowing the trumpet. Pilate,
who is also present, has just written the letters I. N. R. I. Several
of the figures—for instance, St. John—are very nobly conceived.
The next page contains, above, the Descent from the Cross; and,
below, again a rich, very beautiful, and peculiar composition, the
carrying away of the body in a large cloth. The page opposite
represents the sepulchre—conceived as a large Gothic tabernacle
—in which the Entombment is going on. After this follow many
vignettes by the second hand, among which is much that is beau-
tiful, especially the expression of pain in the Virgin at the
FRENCH MSS.
71
compartments of that Gothic form of which Giotto availed
himself in the well-known Campanile at Florence and on other
occasions, are the four Evangelists in the corner; between them,
at the sides, the Annunciation, the Visitation, the Adoration
of the Kings, and the Coronation of the Virgin. In the centre
of the opposite page, in quite a similar arrangement, the Cru-
cifixion, with the Saviour just dead—the limbs meagre, but the
figure nobly conceived ; at the sides the two thieves, the Virgin,
and two female saints and St. John. In the border, above, the
pelican, the well-known allusion to the Atonement; below, the
opening of the graves at the death of Christ; at the sides the
New Covenant, as a crowned female with Bible and chalice ; and
the synagogue, or Old Covenant, as a female with eyes bound—
the tables of the law and a broken spear in her hands. In the
corners, the Flagellation, Christ before Pilate, the Entombment,
and the Ascension. In the calendar that follows, occupying six
sheets, appears the second and much darker and more powerful
hand, with the use of Indian ink. On the outermost side, in two
compartments, above, the occupation of the month ; below, the sign
of the zodiac. By the same hand are also a large number of very
animated and original representations, chiefly introduced into the
text as vignettes, or occasionally in the borders, where they have
unfortunately been in some measure sacrificed by too close clipping
of the leaves. This artist has made use of violet generally for the
glories. P. 232 b and the page following are again by the first hand.
Below is Christ before Pilate, a rich composition, within a Gothic
architecture of very peculiar arches, decorated with small arches ;
above, the Flagellation of Christ; on the following page the Cruci-
fixion again, with great detail. Besides the thieves, the disciples,
and many spectators, are several horsemen, one of whom, an action
new to me, is springing forward and blowing the trumpet. Pilate,
who is also present, has just written the letters I. N. R. I. Several
of the figures—for instance, St. John—are very nobly conceived.
The next page contains, above, the Descent from the Cross; and,
below, again a rich, very beautiful, and peculiar composition, the
carrying away of the body in a large cloth. The page opposite
represents the sepulchre—conceived as a large Gothic tabernacle
—in which the Entombment is going on. After this follow many
vignettes by the second hand, among which is much that is beau-
tiful, especially the expression of pain in the Virgin at the