Illuminated Manuscripts | Page 2

of schools--Difficulty of assigning the provenance of MSS.--The reason for it--MS. in Fitzwilliam Museum, Cambridge--The Padua Missal--Artists' names--Whence obtained.
CHAPTER III
FRENCH ILLUMINATION FROM THE THIRTEENTH CENTURY TO THE RENAISSANCE
Ivy-leaf and chequered backgrounds--Occasional introduction of plain burnished gold--Reign of Charles VI. of France--The Dukes of Orleans, Berry, and Burgundy; their prodigality and fine taste for MSS.--Christine de Pisan and her works--Description of her "Mutation of Fortune" in the Paris Library--The "Roman de la Rose" and "Cit�� des Dames"--Details of the French style of illumination--Burgundian MSS., Harl. 4431--Roy. 15 E. 6--The Talbot Romances--Gradual approach to Flemish on the one hand and Italian on the other.
CHAPTER IV
ENGLISH ILLUMINATION FROM THE TENTH TO THE FIFTEENTH CENTURY
Organisation of the monastic scriptoria--Professional outsiders: lay artists--The whole sometimes the work of the same practitioner--The Winchester Abbeys of St. Swithun's and Hyde--Their vicissitudes--St. Alban's--Westminster--Royal MS. 2 A 22--Description of style--The Tenison Psalter--Features of this period--The Arundel Psalter--Hunting and shooting scenes, and games--Characteristic pictures, grotesques, and caricatures--Queen Mary's Psalter--Rapid changes under Richard II.--Royal MS. 2 E. 9--Their cause.
CHAPTER V
THE SOURCES OF ENGLISH FIFTEENTH-CENTURY ILLUMINATION
Attributed to the Netherlands--Not altogether French--The home of Anne of Bohemia, Richard II.'s Queen--Court of Charles IV. at Prag--Bohemian Art--John of Luxembourg, King of Bohemia--The Golden Bull of Charles IV.--Marriage of Richard II.--The transformation of English work owing to this marriage and the arrival of Bohemian artists in England--Influence of Queen Anne on English Art and Literature--Depression caused by her death--Examination of Roy. MS. 1 E. 9 and 2 A. 18--The Grandison Hours--Other MSS.--Introduction of Flemish work by Edward IV.
CHAPTER VI
ITALIAN ILLUMINATION
Barbaric character of Italian illumination in the twelfth century--Ravenna and Pavia the earliest centres of revival--The "Exultet"--La Cava and Monte Cassino--The writers of early Italian MSS. not Italians--In the early fourteenth century the art is French--Peculiarities of Italian foliages--The Law Books--Poems of Convenevole da Prato, the tutor of Petrarch--Celebrated patrons--The Laon Boethius--The Decretals, Institutes, etc.--"Decretum Gratiani," other collections and MSS.--Statuts du Saint Esprit--Method of painting--Don Silvestro--The Rationale of Durandus--Nicolas of Bologna, etc.--Triumphs of Petrarch--Books at San Marco, Florence--The Brera Graduals at Milan--Other Italian collections--Examples of different localities in the British Museum--Places where the best work was done--Fine Neapolitan MS. in the British Museum--The white-vine style superseded by the classical renaissance.
CHAPTER VII
GERMAN ILLUMINATION FROM THE THIRTEENTH TO THE SIXTEENTH CENTURY
Frederick II., Stupor Mundi, and his MS. on hunting--The Sicilian school mainly Saracenic, but a mixture of Greek, Arabic, and Latin tastes--The Franconian Emperors at Bamberg--Charles of Anjou--The House of Luxembourg at Prag--MSS. in the University Library--The Collegium Carolinum of the Emperor Charles IV.--MSS. at Vienna--The Wenzel Bible--The Weltchronik of Rudolf v. Ems at Stuttgard--Wilhelm v. Oranse at Vienna--The Golden Bull--Various schools--Hildesheimer Prayer-book at Berlin--The Nuremberg school--The Glockendons--The Brethren of the Pen.
CHAPTER VIII
NETHERLANDISH ILLUMINATION
What is meant by the Netherlands--Early realism and study of nature--Combination of symbolism with imitation--Anachronism in design--The value of the pictorial methods of the old illuminators--The oldest Netherlandish MS.--Harlinda and Renilda--The nunnery at Maas-Eyck--Description of the MS.--Thomas �� Kempis--The school of Zwolle--Character of the work--The use of green landscape backgrounds--The Dukes of Burgundy--Netherlandish artists--No miniatures of the Van Eycks or Memling known to exist--Schools of Bruges, Ghent, Li��ge, etc.--Brussels Library--Splendid Netherlandish MSS. at Vienna--Gerard David and the Grimani Breviary--British Museum--"Romance of the Rose"--"Isabella" Breviary--Grisailles.
CHAPTER IX
THE FRENCH RENAISSANCE
Communication with Italy--Renaissance not sudden--Origin of the schools of France and Burgundy--Touraine and its art--Fouquet--Brentano MSS.--"Versailles Livy"--Munich "Boccaccio," etc.--Perr��al and Bourdichon--"Hours of Anne of Brittany"--Poyet--The school of Fontainebleau--Stained glass--Jean Cousin--Gouffier "Heures"--British Museum Offices of Francis I.--Dinteville Offices--Paris "Heures de Montmorency", "Heures de Dinteville," etc.
CHAPTER X
SPANISH AND PORTUGUESE ILLUMINATION
Late period of Spanish illumination--Isidore of Seville--Archives at Madrid--Barcelona--Toledo--Madrid--Choir-books of the Escorial--Philip II.--Illuminators of the choir-books--The size and beauty of the volumes--Fray Andr��s de Leon and other artists--Italian influence--Giovanni Battista Scorza of Genoa--Antonio de Holanda, well-known Portuguese miniaturist in sixteenth century--His son Francesco--The choir-books at Belem--French invasion--Missal of Gon?alvez--Sandoval Genealogies--Portuguese Genealogies in British Museum--The Stowe Missal of John III.
CHAPTER XI
ILLUMINATION SINCE THE INVENTION OF PRINTING
The invention of printing--Its very slight affect on illuminating--Preference by rich patrons for written books--Work produced in various cities in the sixteenth century--Examples in German, Italian, and other cities, and in various public libraries up to the present time.
MANUSCRIPTS THAT MAY BE CONSULTED
BIBLIOGRAPHY

ILLUMINATED MANUSCRIPTS
BOOK I
CHAPTER I
INTRODUCTORY
What is meant by art?--The art faculty--How artists may be compared--The aim of illumination--Distinction between illumination and miniature--Definition of illumination--The first miniature painter--Origin of the term "miniature"--Ovid's allusion to his little book.
The desire for decoration is probably as old as the human race. Nature, of course, is the source of beauty, and this natural beauty affects something within us which has or is the faculty of reproducing the cause of its emotion in a material form. Whether the reproduction be such as to appeal to the eye or the ear depends on the cast of the faculty. In a mild or elementary form, probably both casts of faculty exist in every animated creature,