Studies from Court and Cloister: being essays, historical and literary dealing mainly with subjects relating to the XVIth and XVIIth centuries

by J. M. Stone

2 A 22 is a magnificent Latin Psalter of the twelfth century, the best period of penmanship. Sir Edward Thompson draws attention to the fact that this volume originated at Westminster, as may be inferred by the prominence given in the calendars and prayers to St. Peter and St. Edward, even without its identification with an entry in the Abbey Inventory.* A further proof of this is furnished by the miniatures of the two saints, one of which begins the series; the other leads up to the beautiful Salvator Mundi. Between are St. George and St. Christopher. Instead of being dispersed throughout the book, the illustrations are all at the beginning and end, indicating by the colourless faces, and by what for want of a better word may be styled their Gothic outlines, that they are of English origin. Some of the capital letters are very interesting. One of these quaintly represents the Saviour of the world enthroned in glory, on a gold background. His hand is raised in blessing, while a Benedictine monk, floating on the wings of prayer, clasps a scroll, one end of which disappears under the rainbow-hued throne. On the scroll are the words Domine, exandi orationem mean. At the end of the Psalter are Litanies and other prayers.

* English Illuminated MSS., pp. 34, 35.

The broad manner in which these illuminations are treated, with foliage boldly designed, and animals of various kinds disporting themselves among the branches, is indicative of the period. There is a striking contrast between this large, bold treatment and the minute style of the next century, although the period of transition occupied but a few years. The change began with the development of the initial letter, which was the starting-point of the border and of the miniature.

The Royal MS. 1 D 1, a Latin Bible of the middle of the thirteenth century, forms an excellent example of this development. It is written on fine vellum, and in a perfect style of calligraphy. The paintings are few if we except those connected with the initial letter, which serves admirably to illustrate the growth of the border from its pendants, cusps, and graceful finials, showing how the initial and miniature came to be combined. Writing about this same MS. Sir Edward Thompson says: "In the large initial we see the combination of the miniature with the initial and partial border, a combination which is typical of book decoration of the thirteenth century. In MSS. of earlier periods the miniature was a painting which usually occupied a page, independently of the text . . . or if inserted in the text it was not connected with the decoration of the page. It was, in fact, an illustration and nothing more. But now, while the miniature is still employed in this manner, independently of the text, the miniature initial also comes into common use, the miniature therein., however, continuing to hold for some time a subordinate place, as a decoration rather than as an illustrative feature. In course of time, with the growth of the border, the two-fold function of the miniature, as a means of illustration and also of decoration, is satisfied by allowing it to occupy part or even the whole of a page as an independent picture, but at the same time, set in the border, which has developed from the pendent of the initial. This development of the border it is extremely interesting to follow, and so regular is its growth, and so remarkable are the national characteristics which it assumes, that the period and place of origin of an illuminated MS. may often be accurately determined from the details of its border alone." *

* English Illuminated MSS., p. 37.

The distinguished writer goes on to show that in tracing this development one sees how the initials first terminate in simple buds or cusps, and how, in the next stage, characteristic of the thirteenth century, they put out little branches, the buds growing into leaves and flowers, and how thus gradually the border comes to surround the whole page.

The Royal MS. 2 B 3, commonly known as Queen Mary's Psalter, is a good specimen of fourteenth century art. This is a large octavo volume of 320 leaves of vellum, almost everyone being magnificently illuminated on both sides, with daintily executed drawings, lightly sketched, and slightly tinted in green, brown, and violet. One richly-decorated page represents the Last Judgement. At the top, a miniature within the border shows forth the judge of all mankind. Angels with green-tipped wings hover on either side. Before the Saviour as judge kneel the Blessed Virgin and St. John, and on the other side is a group of monks. The background is of pure gold. Underneath, enclosed in a blue and white border, the dead rise to judgment. Angels blow long trumpets and the graves open. Below this again is a lovely initial, with more figures on a gold background. The letter begins the words of the Litany Kyrie eleison. A drawing at the bottom of the page represents Saul receiving the letter to Damascus for the persecution of the Christians. This page, as elaborate and glowing with colour as it is rich in design and fine in execution, is, however, not more striking than many others in the same manuscript, which may, without too much praise, be described as a gem of palaeographic art. A note on the last leaf explains that the MS. was on the point of being carried beyond seas, when a customs officer, one Baldwin Smith, in the port of London seized and presented it to the Queen, in October 1553, the first year of her reign.

The writer does not record whether the hapless owner was indemnified for his loss. It was probably Queen Mary herself who caused the book to be bound as we now see it, in the worn crimson velvet binding, with the remains of large pomegranates embroidered at each corner, pomegranates being her own badge.

The MS. 2 B 7 is an extremely beautiful piece of workmanship of the fourteenth century. Its delicate outline drawings, mostly in mauve and green, are reminiscent of the Guthlac roll. They represent mainly an illustrated Martyrology of Saints, popular in England. 1 A 18 is the copy of the Latin Gospels presented to Christ Church, Canterbury, by King Athelstan, with the name Lumley on the first page of the Eusebian canons, and Umfridus me fecit on a fly-leaf.

The beautiful French version of the Apocalypse, written in England about 1330 (19 B R5), contains drawings of great refinement, though scarcely to be compared with those which adorn Queen Mary's Psalter.