Illuminated Manuscripts. John William Bradley

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Illuminated Manuscripts - John William Bradley

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XII

       Table of Contents

      Introductory—Monasteries and their work from the sixth to the ninth century—The claustral schools—Alcuin—Warnefrid and Theodulf—Clerics and monastics—The Golden Age of monasticism—The Order of St. Benedict—Cistercian houses—Other Orders—Progress of writing in Carolingian times—Division of labour

       CHAPTER XIII

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      The copyist—Gratuitous labour—Last words of copyists—Disputes between Cluny and Citeaux—The Abbey of Cluny: its grandeur and influences—Use of gold and purple vellum—The more influential abbeys and their work in France, Germany, and the Netherlands

       CHAPTER XIV

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      Departure from Carolingian—Bird and serpent—Common use of dracontine forms in letter-ornament—Influence of metal-work on the forms of scroll-ornament—The vine-stem and its developments—Introduction of Greek taste and fashion into Germany—Cistercian illumination—The Othonian period—Influence of women as patronesses and practitioners—German princesses—The Empress Adelheid of Burgundy—The Empress Theophano—Henry II. and the Empress Cunegunda—Bamberg—Examples of Othonian art

       CHAPTER XV

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      The later Saxon schools—Bernward of Hildesheim—Tuotilo and Hartmut of St. Gallen—Portrait of Henry II. in MS. 40 at Munich—Netherlandish and other work compared—Alleged deterioration of work under the Franconian Emperors not true—Bad character of the eleventh century as to art—Example to the contrary

       CHAPTER XVI

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      The “Manual”—Its discovery—Its origin and contents—Didron's translation—The “Compendium” of Theophilus—Its contents—English version by Hendrie—Benedictine and Cistercian illumination—How they differ—Character of monastic architects and artists

       CHAPTER XVII

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      Germany the chief power in Europe in the twelfth century—Rise of Italian influence—The Emmeram MSS.—Coronation of Henry II.—The Apocalypse—The “Hortus Deliciarum”—Romanesque—MS. of Henry the Lion—The Niedermünster Gospels—Description of the MS.—Rise of Gothic—Uncertainty of its origin—The spirit of the age

       Table of Contents

       CHAPTER I

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      The Gothic spirit—A “zeitgeist” not the invention of a single artist nor of a single country—The thirteenth century the beginning of the new style—Contrast between North and South, between East and West, marked in the character of artistic leaf-work—Gradual development of Gothic foliage—The bud of the thirteenth century, the leaf of the fourteenth, and the flower of the fifteenth—The Freemasons—Illumination transferred from the monastery to the lay workshop—The Psalter of St. Louis—Characteristics of French Gothic illumination—Rise of the miniature as a distinct feature—Guilds—Lay artists

       CHAPTER II

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      The fourteenth century the true Golden Age of Gothic illumination—France the cradle of other national styles—Netherlandish, Italian, German, etc.—Distinction of schools—Difficulty of assigning the provenance of MSS.—The reason for it—MS. in Fitzwilliam Museum, Cambridge—The Padua Missal—Artists' names—Whence obtained

       CHAPTER III

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      Ivy-leaf and chequered backgrounds—Occasional introduction of plain burnished gold—Reign of Charles VI. of France—The Dukes of Orleans, Berry, and Burgundy; their prodigality and fine taste for MSS.—Christine de Pisan and her works—Description of her “Mutation of Fortune” in the Paris Library—The “Roman de la Rose” and “Cité des Dames”—Details of the French style of illumination—Burgundian MSS., Harl. 4431—Roy. 15 E. 6—The Talbot Romances—Gradual approach to Flemish on the one hand and Italian on the other

       CHAPTER IV

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      Organisation

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