Fig. 368.—Miniature of the Psalter of John, Duke of Berry, representing the Man of Sorrow, or Christ, showing the Sign of the Cross. (Imperial Library, Paris.)
Fig. 369.—Border taken from the Bible called Clement VII.’s. (Fourteenth Century.)
At that time two new styles appeared in the painting of manuscripts: miniatures en camaïeu (in one colour only), and miniatures en grisaille (in two colours, viz., a light colour shaded, generally with brown). Of the first kind, we may instance “Les Petites Heures” of John, Duke de Berry ([Fig. 368]), and “Les Miracles de Notre-Dame.”
Germany did not in this respect rise to the height of France; but miniature-painting in Italy progressed more and more towards perfection. A remarkable specimen of Italian art of this period is the Bible called Clement VII.’s ([Fig. 369]), which is preserved in the Imperial Library, Paris. But there exists one more admirable still in the same establishment, so rich in curiosities, of the manuscript of “The Institution of the Order of the Holy Ghost,” an order of chivalry founded at Naples in 1352, by Louis de Tarento, King of Naples, during a feast on the day of Pentecost; it is in this superb manuscript, executed by Italian or French artists, may, perhaps, be found the most exquisite miniatures of that day ([Fig. 370]); especially remarkable are the beautiful portraits in camaïeu of King Louis and his wife, Jane I., Queen of Naples. A valuable copy of the romance of “Lancelot du Lac,” of the same date, recommends itself to the attention of connoisseurs by a rare peculiarity: one can follow in it the successive operations of the painter in miniature; thus are presented to us consecutively the outline-drawing, then the first tints, generally uniform, executed by the illuminator; next the surface on which the gold is to be applied; then the real work of the miniature-painter in the heads, costumes, &c.
Fig. 370.—Miniature from a Manuscript of the Fourteenth Century, representing Louis de Tarento, second Husband of Queen Jane of Naples, instituting the Order of the Holy Ghost.
(Imperial Library, Paris.)
France, in spite of the great troubles which agitated her, and the wars she had to maintain with foreign powers during the fifteenth century, saw, nevertheless, the art of the painter improve very considerably. The fine copy of Froissart in the Imperial Library, Paris ([Fig. 371]), might alone suffice to prove the truth of this assertion. The name of John Foucquet, painter to King Louis XI., deserves to be mentioned with eulogy, as that of one of the artists who contributed most to the progress of painting on manuscripts. Everything thenceforward announced the Renaissance which was to take place in the sixteenth century; and if we wish to follow the onward progress of art from the beginning of the fifteenth century till the time