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Table of Contents

THE SAME SUBJECTS CONTINUED.

Paris, June 14, 1818.

As I promised, at the conclusion of my last, you shall accompany me immediately to the ROYAL LIBRARY; and taking down a few of the more ancient MANUSCRIPTS relating to Theology--especially those, which, from age, art, or intrinsic worth, demand a more particular examination--we will both sit down together to the enjoyment of what the librarians have placed before us. In other words, I shall proceed to fill up the outline (executed with a hurrying pencil) which was submitted to you in my previous letter. First, therefore, for

BIBLES, LITURGIES, RITUALS, LEGENDS, MORAL TREATISES, &C.

Quatuor Evangelia. "Codex Membranaceus, Olim Abbatiæ S. Medardi Suessionensis in uncialibus litteris et auricis scriptus. Sæc. VI." The preceding is written in an old hand, inserted in the book. It is a folio volume of unquestionably great antiquity; but I should apprehend that it is antedated by at least two centuries. It is full of embellishment, of a varied and splendid character. The title to each Gospel is in very large capital letters of gold, upon a purple ground: both the initial letter and the border round the page being elaborately ornamented. The letter prefixed to St. Matthew's Gospel is highly adorned, and in very good taste. Each page consists of two columns, in capital letters of gold, throughout: within borders of a quiet purple, or lilac tint, edged with gold. It has been said that no two borders are alike altogether. A portrait of each Evangelist is prefixed to the title; apparently coeval with the time: the composition is rather grotesque; the colours are without any glaze, and the perspective is bad.

LATIN BIBLE OF CHARLES THE BALD. Folio. When this volume was described by me, on a former occasion,30 from merely printed authorities, of course it was not in my power to do it, if I may so speak, "after the life,"--for although nearly ten centuries have elapsed since this Bible has been executed, yet, considering its remote age, it may be said to be fresh and in most desirable condition. The authority, just hinted at, notices that this magnificent volume was deposited in the library by Baluze, the head librarian to Colbert; but a note in that eminent man's hand writing, prefixed, informs us that the Canons of the Cathedral church at Metz made Colbert a present of it.

The reverse of the last leaf but one is occupied by Latin verses, in capital letters of gold, at the top of which, in two lines, we make out--" Qualiter uiuian monachus sci martini consecrat hanc bibliam Karolo ipatorj," &c. The ensuing and last leaf is probably, in the eye of an antiquarian virtuoso, more precious than either of its decorative precursors. It exhibits the PORTRAIT OF CHARLES THE BALD; who is surrounded by four attendants, blended, as it were, with a group of twelve below--in the habits of priests--listening to the oration of one, who stands nearly in the centre.31 This illumination, in the whole, measures about fourteen inches in height by nearly ten and a half in width: the purple ground being frequently faded into a greenish tint. The volume itself is about twenty inches in height by fifteen wide.

PSALTER OF CHARLES THE BALD. This very precious volume was also in the library of the Great Colbert. It is a small quarto, bound in the most sumptuous manner. The exterior of the first side of the binding has an elaborate piece of sculpture, in ivory, consisting of small human figures, beasts, &c.; and surrounded with oval and square coloured stones. The exterior of the other, or corresponding, side of the binding has the same species of sculpture, in ivory; but no stones. The text of the volume is in gold capitals throughout; but the ornaments, as well as the portrait of Charles, are much inferior to those in that just described. However, this is doubtless a valuable relic.

PRAYER BOOK OF CHARLES THE BALD; in small 4to. This is rather an Evangelistarium, or excerpts from the four Gospels. The writing is a small roman lower-case. The illuminations, like those in the Bible, are rubbed and faded, and they are smaller. The exterior ornament of the binding, in the middle, contains a group of ivory figures--taken from the original covering or binding.

BOOK OF THE GOSPELS, OF THE EMPEROR LOTHARIUS. Although it is very probable that this book may be of a somewhat earlier date than the MS. just described, yet as its original possessor was brother to Charles the Bald, it is but courtesy to place him in the second rank after the French monarch; and accordingly I have here inserted the volume in the order which I apprehend ought to be observed. An ancient ms. memorandum tells us that this book was executed in the 855th year of the Christian era, and in the 15th of the Emperor's reign. On the reverse of the first leaf is the portrait of the Emperor, with an attendant on each side. The text commences on the recto of the second leaf. On the reverse of the same leaf, is a representation of the Creator. Upon the whole, this book may be classed among the most precious specimens of early art in this library. On the cover are the royal arms.

LATIN BIBLE. Fol. This MS. of the sacred text is in four folio volumes, and undoubtedly cannot be later than the thirteenth century. The text is written with three columns in each page. Of the illuminations, the figures are sketches, but freely executed: the colouring coarse and slightly put on: the wings of some of the angels reminded me of those in the curious Hyde-Book, belonging to the Marquis of Buckingham at Stowe; and of which, as you may remember, there are fac-similes in the Bibliographical Decameron.32 The group of angels (on the reverse of the fourth leaf of the first volume), attending the Almighty's commands, is cleverly managed as to the draperies. The soldiers have quilted or net armour. The initial letters are sometimes large, in the fashion of those in the Bible of Charles the Bald, but very inferior in execution. In this MS. we may trace something, I think, of the decline of art.

PSALTERIUM LATINÈ, 8vo. If I were called upon to select any one volume, of given octavo dimensions, I do not know whether I should not put my hand upon the present--for you are hereby to know that this was the religious manual of ST. LOUIS:--his own choice copy--selected, I warrant, from half a score of performances of rival scribes, rubricators, and illuminators. Its condition is absolutely wonderful--nor is the history of its locomotiveness less surprising. First, for an account of its contents. On the reverse of the first fly-leaf, we read the following memorandum--in red: "Cest psaultier fu saint loys. Et le dõna la royne Iehanne deureux au roy Charles filz du roy Iehan, lan de nres' mil troys cens soissante et neuf. Et le roy charles pnt filz du dit Roy charles le donna a madame Marie de frãce sa fille religieuse a poissi. le iour saint michel lan mil iiij^c." This hand writing is undoubtedly of the time.

A word now about the history of this volume. As this extract indicates, it was deposited in a monastery at Poissy. When that establishment was dissolved, the book was brought to M. Chardin, a bookseller and a bibliomaniac. He sold it, some twenty-five years ago, to a Russian gentleman, from whom it was obtained, at Moscow, by the Grand Duke Nicholas.33 The late King of France, through his ambassador, the Count de Noailles, obtained it from the Grand Duke--who received, in return, from his Majesty, a handsome present of two Sèvre vases. It is now therefore safely and judiciously lodged in the Royal Library of France. It is in wooden covers, wrapped in red velvet. The vellum is singularly soft, and of its original pure tint.

HISTORICAL PARAPHRASE OF THE BIBLE. Lat. and Fr. Folio. If any MS. of the sacred text were to be estimated according to the number of the illuminations which it contained, the present would unquestionably claim precedence over every other. In short, this is the MS. of which Camus, in the Notices et Extraits des MSS. de la Bibliothèque Nationale, vol. vi. p. 106, has given not only a pretty copious account, but has embellished that account with fac-similes--one large plate, and two others--each containing four subjects of the illuminations. After an attentive survey of the various styles of art observable in these decorations, I am not disposed to allow the antiquity of the MS. to go beyond the commencement of the XVth century. A sight of the frontispiece causes a re-action of the blood in a lover of genuine large margins. The book is cropt--not quite to the quick! … but then this frontispiece displays a most delicate and interesting specimen of graphic art. It is executed in a sort of gray tone:--totally destitute of other colour. According to Camus, there are upwards of five thousand illuminations; and a similar work, in his estimation, could not now be executed under 100,000 francs.

A SIMILAR MS. This consists but of one volume, of a larger size, of 321 leaves. It is also an historical Bible. The illuminations are arranged in a manner like those of the preceding; but in black and white only, delicately shaded. The figures are tall, and the females have small heads; just what we observe in those of the Roman d'Alexandre, in the Bodleian library. It is doubtless a manuscript of nearly the same age, although this may be somewhat more recent.

LIBER GENERATIONIS IHI XTI. Of all portions of the sacred text--not absolutely a consecutive series of the Gospels, or of any of the books of the Old Testament--the present is probably, not only the oldest MS. in that particular department, but, with the exception of the well known Codex Claromontanus, the most ancient volume in the Royal Library. It is a folio, having purple leaves throughout, upon which the text is executed in silver capitals. Both the purple and the silver are faded. On the exterior of the binding are carvings in ivory, exceedingly curious, but rather clumsy. The binding is probably coeval with the MS. They call it of the ninth century; but I should rather estimate it of the eighth. It is undoubtedly an interesting and uncommon volume.

EVANGELIUM STI. IOHANNIS. This is a small oblong folio, bound in red velvet. It is executed in a very large, lower-case, coarse gothic and roman letter, alternately:--in letters of gold throughout. The page is narrow, the margin is large, and the vellum soft and beautiful. There is a rude portrait of the Evangelist prefixed, on a ground entirely of gold. The capital initial letter is also rude. The date of this manuscript is pushed as high as the eleventh century: but I doubt this antiquity.

LIBER PRECUM: CUM NOTIS, CANTICIS ET FIGURIS. I shall begin my account of PRAYER BOOKS, BREVIARIES, &C. with the present: in all probability the most ancient within these walls. The volume before me is an oblong folio, not much unlike a tradesman's day-book. A ms. note by Maugerard, correcting a previous one, assigns the composition of this book to a certain Monk, of the name of Wickingus, of the abbey of Prum, of the Benedictin order. It was executed, as appears on the reverse of the forty-eighth leaf, "under the abbotships of Gilderius and Stephanus." It is full of illuminations, heavily and clumsily done, in colours, which are now become very dull. I do not consider it as older than the twelfth century, from the shield with a boss, and the depressed helmet. There are interlineary annotations in a fine state of preservation. In the whole, ninety-one leaves. It is bound in red morocco.

BREVIARE DE BELLEVILLE: Octavo. 2 volumes. Rich and rare as may be the graphic gems in this marvellous collection, I do assure you, my good friend, that it would be difficult to select two octavo volumes of greater intrinsic curiosity and artist-like execution, than are those to which I am now about to introduce you:--especially the first. They were latterly the property of Louis XIV. but had been originally a present from Charles VI. to our Richard II. Thus you see a good deal of personal history is attached to them. They are written in a small, close, Gothic character, upon vellum of the most beautiful colour. Each page is surrounded by a border, (executed in the style of the age--perhaps not later than 1380) and very many pages are adorned by illuminations, especially in the first volume, which are, even now, as fresh and perfect as if just painted. The figures are small, but have more finish (to the best of my recollection) than those in our Roman d'Alexandre, at Oxford.

At the end of the first volume is the following inscription--written in a stiff, gothic, or court-hand character: the capital letters being very tall and highly ornamented. "Cest Breuiare est a l'usaige des Jacobins. Et est en deux volumes Dont cest cy Le premier, et est nomme Le Breuiaire de Belleville. Et le donna el Roy Charles le vj^e. Au roy Richart Dangleterre, quant il fut mort Le Roy Henry son successeur L'envoya a son oncle Le Duc de Berry, auquel il est a present." This memorandum has the signature of "Flamel," who was Secretary to Charles VI. On the opposite page, in the same ancient Gothic character, we read: "Lesquelz volumes mon dit Seigneur a donnez a ma Dame Seur Marie de France. Ma niepce." Signed by the same. The Abbé L'Epine informs me that Flamel was a very distinguished character among the French: and that the royal library contains several books which belonged to him.

BREVIARY OF JOHN DUKE OF BEDFORD. Pursuing what I imagine to be a tolerably correct chronological order, I am now about to place before you this far-famed Breviary: companion to the MISSAL which originally belonged to the same eminent Possessor, and of which our countrymen34 have had more frequent opportunities of appreciating the splendour and beauty than the Parisians; as it is not likely that the former will ever again become the property of an Englishman. Doubtless, at the sale of the Duchess of Portland's effects in 1786, some gallant French nobleman, if not Louis XVI. himself, should have given an unlimited commission to purchase it, in order that both Missal and Breviary might have resumed that close and intimate acquaintance, which no doubt originally subsisted between them, when they lay side by side upon the oaken shelves of their first illustrious Owner. Of the two performances, however, there can be no question that the superiority lies decidedly with the Missal: on the score of splendour, variety, and skilfulness of execution.

The last, and by much the most splendid illumination, is that for which the artists of the middle age, and especially the old illuminators, seem to have reserved all their powers, and upon which they lavished all their stock of gold, ultramarine, and carmine. You will readily anticipate that I am about to add--the Assumption of the Virgin. One's memory is generally fallacious in these matters; but of all the exquisite, and of all the minute, elaborate, and dazzling works of art, of the illuminatory kind, I am quite sure that I have not seen any thing which exceeds this. To equal it--there may be some few: but its superior, (of its own particular class of subject) I think it would be very difficult to discover.

HORÆ BEATÆ MARIÆ VIRGINIS. This may be called either a large thick octavo, or a very small folio. Probably it was originally more decidedly of the latter kind. It is bound in fish skin; and a ms. note prefixed thus informs us. "Manuscrit aqui du C^en Papillon au commencement du mois de Frimaire de lan XII. de la République." This is without doubt among the most superb and beautiful books, of its class, in the Royal Library. The title is ornamented in an unusual but splendid manner. Some of the larger illuminations are elaborately executed; especially the first-- representing the Annunciation. The robe of the Angel, kneeling, is studded with small pearls, finished with the minutest touches. The character of ART, generally throughout, is that of the time and manner of the volume last described: but the present is very frequently inferior in merit to what may be observed in the Bedford Breviary. In regard to the number of decorations, this volume must also be considered as less interesting: but it possesses some very striking and very brilliant performances. Thus, St. Michael and the Devil is absolutely in a blaze of splendor; while the illumination on the reverse of the same leaf is not less remarkable for a different effect. A quiet, soft tone--from a profusion of tender touches of a grey tint, in the architectural parts of the ornaments--struck me as among the most pleasing specimens of the kind I had ever seen. The latter and larger illuminations have occasionally great power of effect, from their splendid style of execution--especially that in which the central compartment is occupied by St. George and the Dragon. Some of the smaller illuminations, in which an Angel is shewing the cruelties about to be inflicted on the wicked, by demons, are terrific little bits! As for the vellum, it is "de toute beauté."

HISTORIA BEATÆ MARIÆ VIRGINIS. Folio. This is briefly described in the printed catalogue, under number 6811. It is a large and splendid folio, in a very fine state of preservation; but of which the art is, upon the whole, of the ordinary and secondary class of merit. Yet it is doubtless a volume of great interest and curiosity. Even to English feelings, it will be gratifying to observe in it the portrait of Louisa of Savoy, mother of Francis I. That illustrious lady is sitting in a chair, surrounded by her attendants; and is in all probability a copy from the life. The performance is a metrical composition, in stanzas of eleven verses. I select the opening lines, because they relate immediately to the portrait in question.

Tres excellente illustre et magnificque Fleur de noblesse exquise et redolente Dame dhonneur princesse pacifique Salut a ta maieste precellente Tes seruiteurs par voye raisonnable Tant iusticiers que le peuple amyable. De amyens cite dicte de amenite Recomandant sont par humilite Leur bien publicque en ta grace et puissance Toy confessant estre en realite Mere humble et franche au grant espoir de France.

The text is accompanied by the common-place flower Arabesques of the period.

HOURS OF ANNE OF BRITTANY. The order of this little catalogue of a few of the more splendid and curious ILLUMINATED MANUSCRIPTS, in the Royal Library of France, has at length, my worthy friend, brought me in contact with the magical and matchless volume usually designated by the foregoing title. You are to know--in the first place--that, of ALL the volumes in this most marvellous Library, the present is deemed THE MOST PRECIOUS. Not even the wishes and regulations of Royalty itself allow of its migration beyond the walls of the public library. There it is kept: there it is opened, and shewn, and extolled beyond any limits fixed to the admiration of the beholder. It is a rare and bewitching piece of art, I do assure you: and so, raising your expectations to their highest pitch, I will allow you to anticipate whatever is wonderful in FRANCESCO VERONESE and gorgeous in GIROLAMO DEI LIBRI.35 Perhaps, however, this is not the most happy illustration of the art which it displays.

The first view of this magical volume is doubtless rather disheartening: but the sight of the original silver clasps (luckily still preserved) will operate by way of a comforter. Upon them you observe this ornament:

denoting, by the letter and the ducal crown, that the book belonged to Anne, Duchess of Brittany. On the reverse of the second leaf we observe the Dead Christ and the three Maries. These figures are about six inches in height. They are executed with great delicacy, but in a style somewhat too feeble for their size. One or two of the heads, however, have rather a good expression.

Opposite to this illumination is the truly invaluable PORTRAIT OF ANNE herself: attended by two females, each crowned with a glory; one is displaying a banner, the other holding a cross in her hand. To the left of these attendants, is an old woman, hooded, with her head encircled by a glory. They are all three sweetly and delicately touched; but there are many evident marks of injury and ill usage about the surface of the colouring. Yet, as being ideal personages, my eye hastily glided off them to gaze upon the illustrious Lady, by whose orders, and at whose expense, these figures were executed. It is upon the DUCHESS that I fix my eye, and lavish my commendations. Look at her36 as you here behold her. Her gown is brown and gold, trimmed with dark brown fur. Her hair is brown. Her necklace is composed of coloured jewels. Her cheek has a fresh tint; and the missal, upon which her eyes are bent, displays highly ornamented art. The cloth upon the table is dark crimson.

The Calendar follows; in which, in one of the winter months, we observe a very puerile imitation of flakes of snow falling over the figures and the landscape below. The calendar occupies a space of about six inches by four, completely enclosed by a coloured margin. Then begins a series of the most beautiful ornaments of FLOWERS, FRUITS, INSECTS, &C. for which the illuminators of this period were often eminently distinguished. These ornaments are almost uniformly introduced in the fore-edges, or right-side margins, of the leaves; although occasionally, but rarely, they encircle the text. They are from five to six inches in length, or height; having the Latin name of the plant at top, and the French name at the bottom. Probably these titles were introduced by a later hand. It is really impossible to describe many of them in terms of adequate praise. The downy plum is almost bursting with ripeness: the butterfly's wings seem to be in tremulous motion, while they dazzle you by their varied lustre: the hairy insect puts every muscle and fibre into action, as he insinuates himself within the curling of the crisped leaves; while these leaves are sometimes glittering with dew, or coated with the finest down. The flowers and the vegetables are equally admirable, and equally true to nature. To particularise would be endless. Assuredly these efforts of art have no rival--of their kind. Scripture Subjects. Saints, Confessors, &c. succeed in regular order, with accompaniments of fruits and flowers, more or less exquisitely executed:--the whole, a collection of peculiar, and, of its kind, UNRIVALLED ART. This extraordinary volume measures twelve inches by seven and a half.

HOURS BELONGING TO POPE PAUL III. 8vo. The portrait of the Pope is at the bottom of the first ornament, which fixes the period of its execution to about the middle of the sixteenth century. Towards the end the pages are elaborately ornamented in the arabesque manner. There are some pleasing children: of that style of art which is seen in the Missal belonging to Sir M.M. Sykes, of the time of Francis I.37 The scription is very beautiful. The volume afterwards belonged to Pius VI., whose arms are worked in tambour on the outside. It is kept in a case, and is doubtless a fine book.

MISSALS: numbers 19–4650. Under this head I shall notice two pretty volumes of the devotional kind; of which the subjects are executed in red, blue, &c.--and of which the one seems to be a copy of the other. The borders exhibit a style of art somewhat between that of Julio Clovio and what is seen in the famous Missal just mentioned.

MISSAL OF HENRY IV. No. 1171. This book is of the end of the XVIth century. The ground is gold, with a small brilliant, roman letter for text. The subjects are executed in a pale chocolate tint, rather capricious than tasteful. It has been cropt in the binding. The name and arms of Henry are on the exterior.

Thus much, my dear friend, for the SACRED TEXT--either in its original, uninterrupted state--or as partially embodied in Missals, Hours, or Rituals. I think it will now be but reasonable to give you some little respite from the toil of further perusal; especially as the next class of MSS. is so essentially different. In the mean while, I leave you to carry the image of ANNE OF BRITTANY to your pillow, to beguile the hours of languor or of restlessness. A hearty adieu.