Livre d

’Heures,” or prayer-book, of the Duke d’Anjou, uncle of the king (Fig. 366), is an example of this. We might mention, as specimens of illustrated works of this period, the book of the “Demandes et Réponses,” by Peter Salmon, a manuscript executed for the king, and ornamented with exquisite miniatures, in which all the characters are true historical portraits, beautifully finished. Nevertheless, the masterpieces of the French school at this period show themselves in the miniatures of two translations of Boccacio’s “De Claris Mulieribus” (“Beautiful Women”) (Fig. 367).

[Illustration: 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.)]

[Illustration: 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.

[Illustration: 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

[Illustration: CORONATION OF CHARLES V., KING OF FRANCE.

Miniature from Froissart’s Chronicles in the National Library, Paris.]

[Illustration: Fig. 371.--Border taken from “Froissart’s Chronicles,” a French Manuscript of the Fifteenth Century. (Imperial Library, Paris.)]

[Illustration: Fig. 372.--Border taken from an “Ovid.” An Italian Manuscript of the Fifteenth Century. (Imperial Library, Paris.)]

of Raphael, it is in the miniatures of manuscripts we shall find the best evidences of it. Let us observe, by the way, that the Flemish school of the Dukes of Burgundy exercised great influence over this marvellous art for a period of more than a century. Spain was also progressing; but it is to the Italian artists we must, from that time forward, look for the most remarkable works. The Imperial Library of Paris possesses many manuscripts which bear witness to the marked improvement in miniature-painting at this period; among others an “Ovid” of the fifteenth century (Fig. 372); but in order to see the highest expression of the art, we must examine an incomparable copy of Dante’s works, preserved in the Vatican, a manuscript proceeding from the hands of Giulio Clovio (Fig. 373), an illustrious painter, pupil and imitator of Raphael: his miniatures are remarkable for beauty.

[Illustration: Fig. 373.--Miniature, painted by Giulio Clovio, of the Sixteenth Century, taken from Dante’s “Paradise,” representing the Poet and Beatrice transported to the Moon, the abode of Women devoted to Chastity. (Manuscript in the Vatican Library, Rome.)]

Lastly, in the reign of Louis XII., the complete regeneration of the Arts was effected. We should, however, mention that at this period there were two very distinct schools: one whose style still showed the influence of ancient Gothic traditions, the other entirely dependent on Italian taste. The Missal of Pope Paul V. emanated from this last school (Fig. 374).

[Illustration: Fig. 374.--Border taken from the Missal of Pope Paul V. (An Italian Manuscript of the Sixteenth Century.)]

This immense progress, which showed itself simultaneously in France and in Italy by the production of many original works, seems to have attained its climax in the execution of a justly celebrated manuscript, known by the name of “Heures d’Anne de Bretagne” (Fig. 375). Among the numerous pictures which decorate this book of prayers, many would not be unworthy of Raphael’s pencil: the expression in the face of the Virgin Mary is, with many others, remarkable for its sweetness; the heads of the angels have something divine in them; and the ornaments which occupy the margin of each page are composed of flowers, fruits, and insects, represented with all the freshness and brilliancy of nature. This inimitable masterpiece was, like a sort of sublime testament, to mark the glorious boundary-line of an art which must necessarily degenerate now that the printing-press was causing the numerous class of scribes and illuminators of the Middle Ages to disappear. It has never revived since, but at intervals; and then more to meet the requirements of fancy than to be of any real use.

A few manuscripts adorned with miniatures of the end of the sixteenth century may still be mentioned, especially two “Livres d’Heures” (prayer-books) painted in _grisaille_, which

[Illustration: Fig. 375.--Miniature from the Prayer-book of Anne de Bretagne, representing the Archangel St. Michael.

(Musée des Souverains.)]

belonged to Henry II., King of France (now in the Musée des Souverains), and the “ Livre d ’Heures,” executed for the Margrave of Baden by a painter of Lorraine or of Metz named Brentel (Fig. 376), who, however, did nothing

[Illustration: Fig. 376.--Miniature in the “