DOI Page / Citation link:
https://doi.org/10.11588/diglit.22423#0115
Letter XXIV.
ITALIAN MSS.
103
ducing the pictures, to Nuremberg, then so celebrated for this
branch of art. Also some of the borders, which arc in pure
German taste, were probably added there. The fourteen pictures
representing the subjects usual in such works are chiefly taken
from compositions of Albert Durer, but spirited and carefully exe-
cuted, and with a singular power of colour. The lights in the
hairs, draperies, and landscapes, are richly heightened with gold.
The last picture, the Descent of the Holy Ghost, is feebler.
Italian Miniatures.
A Sacramentarium (Bodl. Auch. D 1, 20), small folio, of the
9th century, is only remarkable for some splendid initials with
golden flourishes and vermilion outlines, the fillings consisting of
the parchment itself. The initial in p. 36 b is particularly re-
markable. I may also notice here a small altar-piece in bone,
formerly fastened on to the front of the upper cover, with the Virgin
and Child in the centre, St. Peter and St. Paul on each side, and
St. Lawrence and another saint on the wings. Judging from the
motives and the proportions, from the good plastic style, though
inferior execution, this work may belong to the 13th century.
An Evangeliarium (Bodl. Canon. Bibl. Cat. 61), folio, 169
leaves, written in Longobardian minuscule letters, in one column,
in the 9th century. The most remarkable features in this MS. are
a large number of initials of very narrow form, and almost all
extending below into long limbs. Here the snakes' and birds'
heads, which are so characteristic of Irish art, frequently appear.
Thus the initial, p. 4 a, terminates on each side with a snake's
head, while an A, p. 7 b, is particularly rich in birds' heads.
Occasionally, also, the heads of wild beasts, and even of men, are
introduced. Next ensue initials entirely of animals ; for instance,
of eagles, lions, and oxen, as the attributes of the Evangelists ; also
of peacocks, doubtless as the symbol of immortality : as for in-
stance, in pp. 64 b and 65 a. Finally the Evangelists themselves are
sometimes introduced as initials. P. 44 b represents St. Matthew
looking upwards ; a few pages further on is St. John pointing
upwards ; and again, further on, the same conceived young. The
initials are executed with beautiful but generally gaudy body
colours. This remark especially applies to the citron yellow,
which is of singular freshness, and to the vermilion, both of which
are much used in the flourishes within the initials. After these a
more subdued blue and green seem to be most approved. A gra-
ITALIAN MSS.
103
ducing the pictures, to Nuremberg, then so celebrated for this
branch of art. Also some of the borders, which arc in pure
German taste, were probably added there. The fourteen pictures
representing the subjects usual in such works are chiefly taken
from compositions of Albert Durer, but spirited and carefully exe-
cuted, and with a singular power of colour. The lights in the
hairs, draperies, and landscapes, are richly heightened with gold.
The last picture, the Descent of the Holy Ghost, is feebler.
Italian Miniatures.
A Sacramentarium (Bodl. Auch. D 1, 20), small folio, of the
9th century, is only remarkable for some splendid initials with
golden flourishes and vermilion outlines, the fillings consisting of
the parchment itself. The initial in p. 36 b is particularly re-
markable. I may also notice here a small altar-piece in bone,
formerly fastened on to the front of the upper cover, with the Virgin
and Child in the centre, St. Peter and St. Paul on each side, and
St. Lawrence and another saint on the wings. Judging from the
motives and the proportions, from the good plastic style, though
inferior execution, this work may belong to the 13th century.
An Evangeliarium (Bodl. Canon. Bibl. Cat. 61), folio, 169
leaves, written in Longobardian minuscule letters, in one column,
in the 9th century. The most remarkable features in this MS. are
a large number of initials of very narrow form, and almost all
extending below into long limbs. Here the snakes' and birds'
heads, which are so characteristic of Irish art, frequently appear.
Thus the initial, p. 4 a, terminates on each side with a snake's
head, while an A, p. 7 b, is particularly rich in birds' heads.
Occasionally, also, the heads of wild beasts, and even of men, are
introduced. Next ensue initials entirely of animals ; for instance,
of eagles, lions, and oxen, as the attributes of the Evangelists ; also
of peacocks, doubtless as the symbol of immortality : as for in-
stance, in pp. 64 b and 65 a. Finally the Evangelists themselves are
sometimes introduced as initials. P. 44 b represents St. Matthew
looking upwards ; a few pages further on is St. John pointing
upwards ; and again, further on, the same conceived young. The
initials are executed with beautiful but generally gaudy body
colours. This remark especially applies to the citron yellow,
which is of singular freshness, and to the vermilion, both of which
are much used in the flourishes within the initials. After these a
more subdued blue and green seem to be most approved. A gra-