MISSALE (SARUM USE)
14TH CENT. (LATE)
Brit. Mus. Harl. MS. 2785, fol. 194 v.
HORÆ E. MAR. VIESIS.
15TH CENT. (EARLY)
Brit. Mus. Roy. Ms. 2, A. xviii, fol. 55
Backgrounds of miniature histories are treated as in the Bohemian MSS.—Wilhelm v. Oransse, for example—that is, with fine golden tracery-patterns on deep, rich colours. The figure-painting is vastly improved—the features now being actually painted and modelled as in modern portrait painting, not merely indicated by pen strokes. The flesh-tints as previously noticed are bright and ruddy. The principal colours used on the foliages are blue, crimson, of various depths, and bright vermilion, with occasional admission of bright green and paled red ochre. Very similar to 1 E. 9 is Harl. 1892, and among other MSS. that may be studied with this one is 2 A. 18—a book of Offices, very sweetly illuminated, and full of typical examples of treatment both of architectural design and treillages of foliage.
The Gothic pilasters are filled with the same kind of coiling and spiral leaves and ribbons that are used in 1 E. 9 and Harl. 1892, the backgrounds of the miniatures enriched with fine gold patterns. The furniture and costumes indicate the later years of the reign of Richard II., being similar to those shown in the miniatures of Harl. 1319, which relates the story of Richard's misfortunes. A few miniatures of saints accompany the prayers to them. One of the saints is peculiar, being the Prior of Bridlington, perhaps the “Robertus scriba” who copied certain theological treatises for the library, and who lived in the time of Stephen or Henry II.
In the beautiful initial D is the figure of a lady praying, the first few words of the prayer being written on a floating ribbon above her head. A fine panelling of black and gold forms the background. The lady's costume is that of the end of the fourteenth century, her head-dress being somewhat lower than that worn in the time of Isabella of Bavaria; in other respects she recalls the figure of Christine de Pisan in Harl. 4431—one of the fine MSS. of the French school. As the psalter or offices was once the property of the Grandison family, as is shown by the numerous entries respecting them in the calendar, no doubt this lady was the first owner of the MS., and probably the same as shown in the beautiful miniature of the Annunciation previously given. Many charming initials follow this one, and brightly coloured bracket treillages and borders are given in profusion, introducing every variety of coloured ideal leaf-form known to the art of the time. It seems probable from its style and the costumes that the MS. was executed for the Lady Margaret, widow of Thomas, the last Lord Grandison, who died in 1376, and given to her by Sir John Tuddenham, her second husband. A better model for the modern illuminator could not easily be found. Other examples may be briefly enumerated, in 2 B. 8, 2 B. 10, 2 B. 1, 2 B. 12 and 13, 18 A. 12, 18 C. 26, Harl. 1719, 1892, etc. The Psalter 2 B. 8 has the good fortune to be dated, and its purpose and other particulars clearly set forth in a statement at the beginning of the volume. The gist of this is that it was composed at the instance of the Lady Joan Princess of Wales, mother of Richard II., and that it was executed by Brother John Somour (Seymour), a Franciscan, in 1380. Thus the illumination of it would probably be done about the time, of the young Queen's arrival in England. The Princess Joan died July 8th, 1385. The work corresponds with this date. The Grandison Psalter is perhaps somewhat later than Roy. 2 B. 1, and the rest are later still.
VEGETIUS FOUR BOOKS OF KNIGHTHOOD
(DE RE MILITARI)
15TH CENT.
Brit. Mus. Roy. MS. 18 A. xii, f. 1
