625 lumnoftzm
period follow the traditioiu of C«rlovingian illumi- tween the Bodleian Library, the Biblioth^ue Nation- natioD, but they are eveu more complex and the ale (rf Paris, and the Britiah Museum. The Psalter of human figure ■■■■iinwi an inereaflingly important Ingeburg (Huafe Condd at Cbantill;^) and that of Sts.
plAoe. S<nite o! them are ful.
length portTftits of prophets
orapoBtlee; in othera complete
scenes (battles, besieged cities,
etc.) aredeveloped in the midst
of pillars. The great differ-
ence between this and the Car-
lovingian period lies in the ap-
pearance of naturalism and of
anachrooism (prophets with
pointed shoes, etc.). Lastly
there ate many points of re-
semblance between the develop-
ment of miniature painting and
that of other arts of dcilgn.
The abort and badly drawn
figures were succeeded, at the
end of the twelfth century, bv
more slender portraits whicn
resemble the elongated statues
of Charties. Such ia the char-
acter of the ornamental school
which produced innumerable
works in France, Germany,
Northern Italy, Spaij
piliMUsltBttuiHtitijrriutgrrtTiisrtf
(ntdo«iiTiwiiftnnic()rtliatnnhj rr otniiitri obnnuic m
Louis and Blanche <rf Castile
(Arsenal Library) belong by
their ornamentation to the
monastic art of the twelfth
century. On the other hand
new tendencies appear in the
worlLS of the second half of
the thirteenth century, e. g. the
Evangeliarium of the Saint«-
Chapelle (Bib. Nat.), the two
Psalters of St. Louis (Paris,
Bib. Nat., and collection <rf H.
Y. Thompson), the works (rf
profane literature (chansons de
geste,etc.). Gothic ornamenta-
tion with its wealth a! roee and
quatrefoil decoration, gables,
Rinnacles, and foliage often >rms the framework for these ' vignettes. The gold back- grounds are almoet always cov' I ered with designs, sometimes in relief. Instead of foliage and fantastic animals the hu* man figure holds the predomi- painting as in the sculpture
aeriiKint - FnTud Bible (7CII centucT)
the Two Biciliee. (Here it is difficult to trapse the nantplace. ^.. „
boundary between Western miniature painting and of the thirteenth century may be observed the li_ the Bysantine which made its influence felt in the gress of realism and the exact obitervation of the living workrooms of Monte Cassino and especially in the model. ■ These beautiful miniatures of the Books m
beautiful paintings of the rolls — -— — - Hours revive for us with their
'ning the toxtof the "Ex- | ...... JIIS'WI^ i| still admirable eoloure the coe^
ullet" of Holy Saturday.) Also
worthy of mention is an attempt
of the Cistercians to infuse more
at Clteaux, in which gold and
painting were replaced by a
calligraphic decoration in perfect
taste. There is an intimate rela-
tion between this severe elegance
and Cistercian architecture.
.ThirU^nth Ciniu™.— In the thirteenth century iuumination, like calligraphy, ceased to be the specialty of the monasteries. Id France and about the Univer-
minated MSS. spread more and
more, and important studios of
illuminators arose, the heads of
which often furnished sketches
of miniatuivs to be executed.
On the other hand the illumina-
tions took a more and more im-
portant place at the expense of
the text. Tbe artists were no
longer satisfied with ornamented
initials, but in a series of medal-
lions arran)^ like those deco-
rating the stained glass windows
they developed whole cycles of
sacred or profane history. There
were then composed Rcture
Bibles " made up of a continuous
series of miniatures (Bible of Sir
Thomas Philippe), or "Serm<xi
Bibles" ventable illustmted
theological summaries, giving for
rd^l'i'lhiW-uiiv"
tiiUnKi'iii'dii.iiit JiiKii
Ljiiwulr,iu«».'mj'i .ni4Uifl.'UUi«.IJirdu)'i.n4i'ini(>iiiAi itwffll moniiW: iniCfliB-Otmif .itui ftanrl'mnifirin.d.ilijn.'iicili.l tiui'Ti 4ii!Dnin1iuiiuiianiiu^i]rnlteiVi( nxtmrun.^ni'i.aBMcu. *
flMila<mic>tciit>lui0ii<inm'ni'> Qu* Brwn.1 or St. Jauks From ChrBuiit-Ferruid Bibia (XII caaturyl
each verse of Scripture the" literal, symbolical, and same period the I moral interpretations. This immense work, which mu*t markaole works have eontamed 5000 figures, has not reached us com- plete. AMS.inSvols.ofaSermoD Bible isdividedbe-
tumes of the contemporaries of
St. Louis and Philip the Fair.
Such is the style which hence-
forth dominates French mini-
ature painting and which speed-
ily spread throughout Europe,
especially Ed gland.
Early FourUenlh Century. — This period is represented chiefly by the Parisian illuminator Jeao Pucelle, whose name has been discovered on several HSS. One of the most beautiful <d his works is the Breviary of Belleville (Bib. Nat.Ut. 104S3-S4), executed in collaboration with Mabiet Anoe- let and J. Chevrier. The new school was remarkaUe for its borders, formed of wonderful
S»riwKls of interlaoed fcdiage and ewers, no longer eonvvntiooal as f ormedy, but copied from na- ture. Between the border and tbet«
■ piper pla^g for dancing p^s-
ants, or animals, birds, monkeys,
sculptured paneb of the oathe-
drali of the same period. Tmeesof
Italian inspiration appear in the
architecture, which is of a mixed
Gothic character. Among the
works of this school the " Bo<^
of the Miracles of Our Lady"
(Seminary of Soissons) is one of
the most exquisite. During the
D^ish miniaturists produced re-
"Oueen Mary's Psalter"
