ROMAN DE LA ROSE: No. 6983. I consider this to be the oldest MS. of its subject which I have seen. It is executed in a small Gothic character, in two columns, with ink which has become much faded: and from the character, both of the scription and the embellishments, I apprehend the date of it to be somewhere about the middle of the XIVth century. The illuminations are small, but pretty and perfect; the backgrounds are generally square, diamond-wise, without gold; but there are backgrounds of solid shining gold. The subjects are rather quaintly and whimsically, than elegantly, treated. In the whole, one hundred and sixty leaves. From Romances, of all and of every kind, let us turn our eyes towards a representation of subjects intimately connected with them: to wit,
A BOOK OF TOURNAMENTS. No. 8351. Folio. This volume is in a perfect blaze of splendour. Hither let PROSPERO and PALMERIN resort--to choose their casques, their gauntlets, their cuirasses, and lances: yea, let more than one-half of the Roxburghers make an annual pilgrimage to visit this tome!--which developes, in thirteen minutes, more chivalrous intelligence than is contained even in the mystical leaves of the Fayt of Arms and Chyvalrye of our beloved Caxton. Be my pulse calm, and my wits composed, as I essay the description of this marvellous volume. Beneath a large illumination, much injured, of Louis XI. sitting upon his throne--are the following verses:
Pour exemple aulx nobles et gens darmes
Qui appetent les faitz darmes hautes
Le Sire de gremthumsé duyt es armes
Volut au roy ce livre presenter.
Next ensue knights on horseback, heralds, &c.--with a profusion of coat-armours: each illumination occupying a full page. On the reverse of the ninth leaf, is a most interesting illumination, in which is seen the figure of John Duke of Brittany. He is delivering a sword to a king at arms, to carry to his cousin, the Duke of Bourbon; as he learns, from general report, that the Duke is among the bravest champions in Christendom, and in consequence he wishes to break a lance with him.
The illumination, where the Duke thus appears, is quite perfect, and full of interest: and I make no doubt but the countenance of the herald, who is kneeling to receive the sword, is a faithful portrait. It is full of what may be called individuality of character. The next illumination represents the Duke of Bourbon accepting the challenge, by receiving the sword. His countenance is slightly injured. The group of figures, behind him, is very clever. The ensuing illumination exhibits the herald offering the Duke de Bourbon the choice of eight coats of armour, to put on upon the occasion. A still greater injury is here observable in the countenance of the Duke. The process of conducting the tournay, up to the moment of the meeting of the combatants, is next detailed; and several illuminations of the respective armours of the knights and their attendants, next claim our attention. On the reverse of the xxxijnd, and on the recto of the xxxiijd leaf, the combat of the two Dukes is represented. The seats and benches of the spectators are then displayed: next a very large illumination of the procession of knights and their attendants to the place of contest. Then follows an interesting one of banners, coat armours, &c. suspended from buildings--and another, yet larger and equally interesting, of the entry of the judges.
I am yet in the midst of the emblazoned throng. Look at yonder herald, with four banners in his hand. It is a curious and imposing sight. Next succeeds a formal procession--preparing for the combat. It is exceedingly interesting, and many of the countenances are full of natural expression. This is followed by a still more magnificent cavalcade, with judges in the fore-ground; and the "dames et damoiselles," in fair array to the right. We have next a grand rencontre of the knights attendant--carried on beneath a balcony of ladies
whose bright eyes
Reign influence, and decide the prize.
These ladies, thus comfortably seated in the raised balcony, wear what we should now call the cauchoise cap. A group of grave judges is in another balcony, with sundry mottos spread below. In the rencontre which takes place, the mace seems to be the general instrument of attack and defence. Splendid as are these illuminations, they yield to those which follow; especially to that which immediately succeeds, and which displays the preparation for a tournament to be conducted upon a very large scale. We observe throngs of combatants, and of female spectators in boxes above. These are rather more delicately touched. Now comes ... the mixed and stubborn fight of the combatants. They are desperately engaged with each other; while their martial spirit is raised to the highest pitch by the sharp and reverberating blasts of the trumpet. The trumpeters blow their instruments with all their might. Every thing is in animation, bustle, energy, and confusion. A man's head is cut off, and extended by an arm, to which--in the position and of the size we behold--it would be difficult to attach a body. Blood flows copiously on all sides. The reward of victory is seen in the next and last illumination. The ladies bring the white mantle to throw over the shoulders of the conqueror. In the whole, there are only lxxiiij. leaves. This is unquestionably a volume of equal interest and splendor; and, when it was fresh from the pencil of the illuminator, its effect must have been exquisite.[42]
BOOK OF TOURNAMENTS: No. 8204. 8vo. We have here a sort of miniature exhibition of the chief circumstances displayed in the previous and larger MS. It is questionless a very precious book; but has been cruelly cropt. The text and ornaments are clearly of the end of the fifteenth century; perhaps about 1470. Nothing can well exceed the brilliancy and power of many of the illuminations, which are very small and very perfect. The knight, with a representation of the trefoil, (or what is called club, in card playing) upon a gold mantle, kills the other with a black star upon a white mantle. This mortal combat is the last in the book. Each of the knights, praying before going to combat, is executed with considerable power of expression. The ladies have the high (cauchoise) cap or bonnet. The borders, of flowers, are but of secondary merit.
POLYBIUS, Græcè. Folio. M. Gail placed before me, in a sly manner--as if to draw off my attention from the volumes of chivalry just described,--the present beautiful MS. of Polybius. It is comparatively recent, being of the very commencement of the sixteenth century: but the writing exhibits a perfect specimen of that style or form of character which the Stephenses and Turnebus, &c. appear to have copied in their respective founts of the Greek letter. It has also other, and perhaps stronger, claims to notice. The volume belonged to Henry II. and Diane de Poictiers, and the decorations of the pencil are worthy of the library to which it was attached. The top ornament, and the initial letter,--at the beginning of the text--are each executed upon a blue ground, shaded in brown and gold, in the most exquisitely tasteful manner. This initial letter has been copied "ad amussim" by old Robert Stephen. Upon the whole, this is really an enchanting book, whether on the score of writing or of ornament.