In the Netherlands, which mostly at this time lay within the boundary of Lotharingia or Lorraine, the style of illumination was much the same as in other German districts. Gospel-books and Psalters, however, exhibit features somewhat akin to English work.
In the eleventh and twelfth centuries the continental methods prevail in more solid painting and less penwork.
Of the twelfth-century work of Germany examples are exceedingly numerous, stretching over every province from West to East, as Westphalia, the Palatinate, Burgundy, Switzerland and Bavaria, extending even into Bohemia. An Evangeliary in the University Library at Prag agrees altogether with those of Germany.
Towards the middle of the twelfth century, with the accession of the House of Hohenstaufen (1138, etc.), arose a new style, since called Romanesque, of which many examples are to be found in various libraries. It is not very easy to select the most typical examples, but one good and typical MS. is found in a Gospel-book at Carlsruhe, which contains some capital miniatures of this most thoroughly German style.
Under Frederick Barbarossa, as under the Caroling Emperors and the Othos, we may note a wave of new life, especially in Saxony. A contrast as regards artistic ability to the “Hortus Deliciarum” is the Gospel-book executed for Henry the Lion at the convent of Helmershausen, once in the Cathedral Library at Prag, and bought by King George of Hanover.[29] In the page of the Eusebian Canons we see features which take us across the plains of Lombardy to the doors of S. Michele of Pavia, and to the churches of Venice. The columns rest on crouching animals. Allegorical figures are introduced striving with each other as in the later Gothic illuminations. A half-nude figure of Faith vanquishes the champion of Paganism. On the dedication page sits the Madonna with SS. John Baptist and Bartholomew, and below them the patron saints of Brunswick, Blaize, and Egidius leading forth the Duke and his wife, Mathilda. It may indeed be called a splendid book. Among the rest of the pictures, some of them within richly decorated borders, occurs the usual representation of the Duke and his Duchess receiving crowns. The figures are well drawn, even elegant, the draperies good, and the colouring skilful.
[29] See F. Culemann in Neue hannov. Zeitung, 1861, Nos. 22-4.
One of the many characteristic MSS. of this period to be seen in continental libraries is the “Mater Verborum” of the monk Conrad, of Scheyern in Bavaria, a noted scribe, illuminator, goldsmith, and grammarian. The subject is one that scarcely gives promise of lending itself to pictorial illustration, but after the successful attempts of Theodulf we may be prepared for anything in the way of diagram and symbol. Imagine a dictionary in which not only actual objects are pictorially represented, but also abstract terms. Music, philosophy, virtues and vices illustrated by historical instances—sacred subjects treated in the manner of the glass painters which is so commonly found in German and French work of this period.
Of twelfth-century illumination in general it may be said that it shows a marked effort towards true artistic design and subtle beauty of linear outline. Some of the noblest curve-drawing, with rich and massive grouping of foliages, is to be found in the ornamental initials and dignified border designs presented on the later examples of the century, and it is very interesting to observe the rapid pace at which the climax is reached in mere calligraphic ornament after the opening of the Gothic period. Initials become smaller but exquisitely drawn, and reasonable expression takes the place of the senseless stare or grotesque exaggeration of attitude and feature which detract from the artistic value of all preceding efforts. To conclude our list of German illuminations of purely monastic production, we will bring forward one more example of women's work, which whether as regards its curious illustrations of symbolism, or its richly foliaged geometrical backgrounds and borders, is one of the most interesting MSS. in any collection. It is the Evangeliary of the Abbess Uota, or perhaps, rather, Tuota of Niedermünster, a lady of the House of the Counts of Falckenstein (1177-80); or of Utta, abbess from 1009 to 1012, but more probably the former. Another, Tutta, ruled the abbey from 920 to 934, and still another 1239-42. This precious MS., which Cahier has very fully described as the “Manuscrit du Niedermuenster de Ratisbonne,” is now in the Royal Library at Munich (Cimel. 35). Some writers, in speaking of it, have classed it among the MSS. of the eleventh century, but it is too refined and too well done for that period, and, indeed, that it belongs to the latter part of the twelfth is almost proved from the work itself. Perhaps it was the profusion of inscriptions or legends placed all over the miniatures that gave the idea of its belonging to the eleventh century. In this respect the MS. certainly resembles the Evangeliary of Luxeuil already described. The miniature of the Crucifixion is very remarkable. Besides the figure of Christ showing a return to the primitive Syriac idea,[30] instead of the figures as usual of Mary and John, here are given allegorical figures of Life and Death. (Cf. Fest. in exaltatione sce crucis. Ad Laudes, 14th Sept.). Perhaps the best commentary on these old figures is the “Biblia Pauperum,” as it is commonly called, or as it should be called, the Bible of the poor preachers. It also has the old allegories and inscriptions rendered into later forms.
[30] Cf. the Rabula MS. at Vienna.
As for the texts or inscriptions, they would require a commentary to themselves—not to speak of translations and remarks upon the calligraphy. One of these remarkable miniatures may be described, as it depicts the presentation of the volume to the Madonna. Our Lady in the centre of the design is seated on a Byzantine sedile with the infant Jesus on her knees. She is crowned, and has the nimbus, and appears as if intended to represent the glory of the Church. Her hand is raised as in the act of teaching. Christ, also, has the nimbus, but with the cross upon it, and raises his hand in the attitude of benediction. In the tympanum of the semicircle over the Madonna, written in letters of gold on purple, surrounded by the word “Sancta” in ordinary ink, is the monogram of Maria, having a small sun and moon above it, and other inscriptions, partly Latin, partly Greek. Below the Madonna, on the left, stands the abbess, her knees slightly bent, holding up her book, and clothed in the costume of her Order, but coloured, no doubt, simply for artistic reasons. Thus she wears a blue veil and a claret-coloured robe. In the reversed semicircle before her is another monogram, Uota or Tuota, a name which perhaps may be translated Uta, Utta, Ida, etc. It has been said already who she is likely to have been. It does not follow, of course, that she herself wrote or illuminated the book she is presenting, but judging from similar instances, as e.g. Herrade of Landsberg and Hrosvita of Gandersheim, she may have done so.