The Arts in the Middle Ages and at the Period of the Renaissance

by P. L. Jacob

(From a Miniature of the Fifteenth Century.)

However, manuscripts of the thirteenth century abound, and the history of the writing of the period of St. Louis and of the three centuries succeeding it, may be summed up in these words:—“The Capetian writing called Ludovician, when it had come to differ still more from the beautiful forms of the writings of Charlemagne’s time or the renovated Roman, was more and more deformed, and these successive degradations became so complicated that the writing, in the seventeenth century, resulted in being perfectly illegible. Thus can be generalised all the precepts relative to the state of writing, in the manuscripts and the charters in France, for this period of three hundred years” ([Fig. 343]).

It was, however, the era of the richest manuscripts, that in which was brought to perfection the art of ornamenting them, when the pencil of the miniature-painter and the pen of the caligrapher, conjointly, produced some masterpieces ([Fig. 344]). This was also the time when the corporation of writers became numerous and powerful ([Fig. 335]). One of the most distinguished members of this society was that Nicholas Flamel, about whom so many fabulous legends have been invented. We give, as a specimen of his magnificent cursive writing ([Fig. 345]), the fac-simile of one of the ex libris inscriptions he placed at the beginning of all the books belonging to Duke Jean de Berry, whose secretary and bookseller he was.[56]

In other countries than France, in Germany especially, Gothic writing was easily diffused. German manuscripts differ little from those of France. We observe only that German writing continued to be very fine till the middle of the thirteenth century, at which period it became irregular, angular, and bristling with sharp points.

That which has just been said of Germany in particular is naturally applicable to East and West Flanders, and to the Low Countries. During the fifteenth century, under the impulse given by the Dukes of Burgundy, whose influence we have already mentioned, the most important chronicles, the best histories then extant, were magnificently transcribed in that beautiful Gothic minuscule, thick, massive and angular, which was called lettre de forme; and we find it again in some ancient editions of the end of the fifteenth century ([Fig. 346]), and of the beginning of the sixteenth.

In more northern countries the Runic alphabet was made use of, to which for a long while a marvellous origin was attributed, but which the Benedictines justly regarded as an imitation, or rather as a corruption, of the Latin alphabet. There exist in the Runic language inscriptions on stone and on wood, some manuscripts on vellum, and Irish books on parchment and on paper.

In the south, the writing seems constantly to have reflected the lively and frank spirit of its inhabitants, among whom was perpetuated the profound impress of the old Roman civilisation. The minuscule continued as high as it was long, thin, and distinct; even when it was altered by the influence of the Gothic, it was still beautiful, and, above all, legible, as we may be convinced of by examining a fine manuscript entitled “Specchio della Croce” (“Mirror of the Cross”), of the thirteenth century; and a precious manuscript of Dante, of the fourteenth century, both belonging to the Imperial Library, Paris.

We may adopt for Spain the same opinions as for Italy. There was in that country also writing of great merit, handed down from the Romans, which received, as we have already said, the name of Visigothic. The Visigothic writing of the eleventh and twelfth centuries, of the eleventh especially, is a minuscule of the most graceful kind. But Gothicism, by the Capetian and the Ludovician coming in as intermediate agents, at last corrupted this elegant and delicate writing, as we see in the collection of Spanish troubadours, formed by order of John II., King of Castile and Leon, about 1440; a celebrated manuscript in the Imperial Library, Paris.

Into England, where the Anglo-Saxon type reigned supreme, the Norman conquest introduced the French writing in charters and manuscripts. And lastly, among the writings called national, we must again mention that of Ireland, of which there are fine examples remaining; but upon examination they prove to be nothing but a variety of the Anglo-Saxon. It is said to have been in use since the sixth century; and we find that in spite of divers conquests it continued to be employed till the fifteenth century. It was even known and employed in France, although it by no means recommends itself by its elegance, as is attested, among other manuscripts, by that of the “Homilies of St. Augustine,” in the Imperial Library, Paris, which is supposed to belong to the eighth century.