On [plate 19] we have a large initial (O) cut from an Italian Antiphonal or Gradual, written probably about 1540-50. It encloses a miniature representing the Adoration of the three Kings, painted with so much skill as to suggest the hand of some student of Titian's school. In design, composition, and execution, it is very good; the only drawback being the superfine air of courtly elegance which is seen in every figure beneath the thatched roof of the stable. There is a theatrical character in the whole performance, that reminds us of Federico Baroccio.
Of similar date is the picture on [plate 20]. It comes from a Gospel-lesson book, written in a mitred abbey on the German side of the Rhine, probably not far from Cologne, in the year 1548. The design of the company of monks headed by their Abbot, all in white raiment and kneeling before an unseen altar, is excellent German work. The landscape with distant towers, seen through the pillars of an arcade behind would look better than it does, if it were not for the floating cherubs who hover in the spaces, and support two armorial shields. The border is a close imitation of the late Flemish style. On a yellow ground, lighted with twining gold branchlets, cut flowers are vividly painted, along with figures of a bee, a fox, a bird, a rabbit, and a hybrid animal like an ape.
INDEX.
Aachen, metropolis of the Frankish Empire, [44]
Abyssinia, writing in, [12],[13]
Abyssinian MS. Life of the Virgin, [85]
Adoration of the Magi, a miniature, [92]
Ai-gupt, Semitic name of the Delta, [8]