Chapter III: Letter XIV (3)

LIBER PRECUM: CUM NOTIS, CANTICIS ET FIGURIS. I shall begin my account of PRAYER BOOKS, BREVIARIES, &C. with the present: in all probability the most ancient within these walls. The volume before me is an oblong folio, not much unlike a tradesman's day-book. A ms. note by Maugerard, correcting a previous one, assigns the composition of this book to a certain Monk, of the name of _Wickingus_, of the abbey of Prum, of the Benedictin order. It was executed, as appears on the reverse of the forty-eighth leaf, "_under the abbotships of Gilderius and Stephanus_." It is full of illuminations, heavily and clumsily done, in colours, which are now become very dull. I do not consider it as older than the twelfth century, from the shield with a boss, and the depressed helmet. There are interlineary annotations in a fine state of preservation. In the whole, ninety-one leaves. It is bound in red morocco.

BREVIARE DE BELLEVILLE: Octavo. 2 volumes. Rich and rare as may be the graphic gems in this marvellous collection, I do assure you, my good friend, that it would be difficult to select two octavo volumes of greater intrinsic curiosity and artist-like execution, than are those to which I am now about to introduce you:--especially the first. They were latterly the property of Louis XIV. but had been originally a present from Charles VI. to our Richard II. Thus you see a good deal of personal history is attached to them. They are written in a small, close, Gothic character, upon vellum of the most beautiful colour. Each page is surrounded by a border, (executed in the style of the age--perhaps not later than 1380) and very many pages are adorned by illuminations, especially in the first volume, which are, even now, as fresh and perfect as if just painted. The figures are small, but have more finish (to the best of my recollection) than those in our Roman d'Alexandre, at Oxford.

At the end of the first volume is the following inscription--written in a stiff, gothic, or court-hand character: the capital letters being very tall and highly ornamented. "_Cest Breuiare est a l'usaige des Jacobins. Et est en deux volumes Dont cest cy Le premier, et est nomme Le Breuiaire de Belleville. Et le donna el Roy Charles le vj^e. Au roy Richart Dangleterre, quant il fut mort Le Roy Henry son successeur L'envoya a son oncle Le Duc de Berry, auquel il est a present."_ This memorandum has the signature of "Flamel," who was Secretary to Charles VI. On the opposite page, in the same ancient Gothic character, we read: "_Lesquelz volumes mon dit Seigneur a donnez a ma Dame Seur Marie de France. Ma niepce."_ Signed by the same. The Abbé L'Epine informs me that Flamel was a very distinguished character among the French: and that the royal library contains several books which belonged to him.

BREVIARY OF JOHN DUKE OF BEDFORD. Pursuing what I imagine to be a tolerably correct chronological order, I am now about to place before you this far-famed _Breviary_: companion to the MISSAL which originally belonged to the same eminent Possessor, and of which our countrymen[34] have had more frequent opportunities of appreciating the splendour and beauty than the Parisians; as it is not likely that the former will ever again become the property of an Englishman. Doubtless, at the sale of the Duchess of Portland's effects in 1786, some gallant French nobleman, if not Louis XVI. himself, should have given an unlimited commission to purchase it, in order that both _Missal_ and _Breviary_ might have resumed that close and intimate acquaintance, which no doubt originally subsisted between them, when they lay side by side upon the oaken shelves of their first illustrious Owner. Of the _two_ performances, however, there can be no question that the superiority lies decidedly with the _Missal_: on the score of splendour, variety, and skilfulness of execution.

The last, and by much the most splendid illumination, is _that_ for which the artists of the middle age, and especially the old illuminators, seem to have reserved all their powers, and upon which they lavished all their stock of gold, ultramarine, and carmine. You will readily anticipate that I am about to add--the _Assumption of the Virgin_. One's memory is generally fallacious in these matters; but of all the exquisite, and of all the minute, elaborate, and dazzling works of art, of the illuminatory kind, I am quite sure that I have not seen any thing which _exceeds_ this. To _equal_ it--there may be some few: but its superior, (of its own particular class of subject) I think it would be very difficult to discover.

HORÆ BEATÆ MARIÆ VIRGINIS. This may be called either a large thick octavo, or a very small folio. Probably it was originally more decidedly of the latter kind. It is bound in fish skin; and a ms. note prefixed thus informs us. "_Manuscrit aqui du C^{en} Papillon au commencement du mois de Frimaire de lan XII. de la République."_ This is without doubt among the most superb and beautiful books, of its class, in the Royal Library. The title is ornamented in an unusual but splendid manner. Some of the larger illuminations are elaborately executed; especially the first--representing the _Annunciation_. The robe of the Angel, kneeling, is studded with small pearls, finished with the minutest touches. The character of ART, generally throughout, is that of the time and manner of the volume last described: but the present is very frequently inferior in merit to what may be observed in the Bedford Breviary. In regard to the number of decorations, this volume must also be considered as less interesting: but it possesses some very striking and very brilliant performances. Thus, _St. Michael and the Devil_ is absolutely in a blaze of splendor; while the illumination on the reverse of the same leaf is not less remarkable for a different effect. A quiet, soft tone--from a profusion of tender touches of a grey tint, in the architectural parts of the ornaments--struck me as among the most pleasing specimens of the kind I had ever seen. The latter and larger illuminations have occasionally great power of effect, from their splendid style of execution--especially that in which the central compartment is occupied by _St. George and the Dragon_. Some of the smaller illuminations, in which an Angel is shewing the cruelties about to be inflicted on the wicked, by demons, are terrific little bits! As for the vellum, it is "de toute beauté."

HISTORIA BEATÆ MARIÆ VIRGINIS. Folio. This is briefly described in the printed catalogue, under number 6811. It is a large and splendid folio, in a very fine state of preservation; but of which the art is, upon the whole, of the ordinary and secondary class of merit. Yet it is doubtless a volume of great interest and curiosity. Even to English feelings, it will be gratifying to observe in it the portrait of _Louisa of Savoy_, mother of Francis I. That illustrious lady is sitting in a chair, surrounded by her attendants; and is in all probability a copy from the life. The performance is a metrical composition, in stanzas of eleven verses. I select the opening lines, because they relate immediately to the portrait in question.

_Tres excellente illustre et magnificque
Fleur de noblesse exquise et redolente
Dame dhonneur princesse pacifique
Salut a ta maieste precellente
Tes seruiteurs par voye raisonnable
Tant iusticiers que le peuple amyable.
De amyens cite dicte de amenite
Recomandant sont par humilite
Leur bien publicque en ta grace et puissance
Toy confessant estre en realite
Mere humble et franche au grant espoir de France_.

The text is accompanied by the common-place flower Arabesques of the period.

HOURS OF ANNE OF BRITTANY. The order of this little catalogue of a few of the more splendid and curious ILLUMINATED MANUSCRIPTS, in the Royal Library of France, has at length, my worthy friend, brought me in contact with the magical and matchless volume usually designated by the foregoing title. You are to know--in the first place--that, of ALL the volumes in this most marvellous Library, the present is deemed THE MOST PRECIOUS. Not even the wishes and regulations of Royalty itself allow of its migration beyond the walls of the public library. There it is kept: there it is opened, and shewn, and extolled beyond any limits fixed to the admiration of the beholder. It is a rare and bewitching piece of art, I do assure you: and so, raising your expectations to their highest pitch, I will allow you to anticipate whatever is wonderful in FRANCESCO VERONESE and gorgeous in GIROLAMO DEI LIBRI.[35] Perhaps, however, this is not the most happy illustration of the art which it displays.

The first view of this magical volume is doubtless rather disheartening: but the sight of the original silver clasps (luckily still preserved) will operate by way of a comforter. Upon them you observe this ornament:

denoting, by the letter and the ducal crown, that the book belonged to Anne, Duchess of Brittany. On the reverse of the second leaf we observe the _Dead Christ_ and the _three Maries_. These figures are about six inches in height. They are executed with great delicacy, but in a style somewhat too feeble for their size. One or two of the heads, however, have rather a good expression.

Opposite to this illumination is the _truly invaluable_ PORTRAIT OF ANNE herself: attended by two females, each crowned with a glory; one is displaying a banner, the other holding a cross in her hand. To the left of these attendants, is an old woman, hooded, with her head encircled by a glory. They are all three sweetly and delicately touched; but there are many evident marks of injury and ill usage about the surface of the colouring. Yet, as being _ideal_ personages, my eye hastily glided off them to gaze upon the illustrious Lady, by whose orders, and at whose expense, these figures were executed. It is upon the DUCHESS that I fix my eye, and lavish my commendations. Look at her[36] as you here behold her. Her gown is brown and gold, trimmed with dark brown fur. Her hair is brown. Her necklace is composed of coloured jewels. Her cheek has a fresh tint; and the missal, upon which her eyes are bent, displays highly ornamented art. The cloth upon the table is dark crimson.

The _Calendar_ follows; in which, in one of the winter months, we observe a very puerile imitation of flakes of snow falling over the figures and the landscape below. The calendar occupies a space of about six inches by four, completely enclosed by a coloured margin. Then begins a series of the most beautiful ornaments of FLOWERS, FRUITS, INSECTS, &C. for which the illuminators of this period were often eminently distinguished. These ornaments are almost uniformly introduced in the fore-edges, or right-side margins, of the leaves; although occasionally, but rarely, they encircle the text. They are from five to six inches in length, or height; having the Latin name of the plant at top, and the French name at the bottom. Probably these titles were introduced by a later hand. It is really impossible to describe many of them in terms of adequate praise. The downy plum is almost bursting with ripeness: the butterfly's wings seem to be in tremulous motion, while they dazzle you by their varied lustre: the hairy insect puts every muscle and fibre into action, as he insinuates himself within the curling of the crisped leaves; while these leaves are sometimes glittering with dew, or coated with the finest down. The flowers and the vegetables are equally admirable, and equally true to nature. To particularise would be endless. Assuredly these efforts of art have no rival--of their kind. _Scripture Subjects. Saints, Confessors, &c._ succeed in regular order, with accompaniments of fruits and flowers, more or less exquisitely executed:--the whole, a collection of peculiar, and, of its kind, UNRIVALLED ART. This extraordinary volume measures twelve inches by seven and a half.

HOURS BELONGING TO POPE PAUL III. 8vo. The portrait of the Pope is at the bottom of the first ornament, which fixes the period of its execution to about the middle of the sixteenth century. Towards the end the pages are elaborately ornamented in the arabesque manner. There are some pleasing children: of that style of art which is seen in the Missal belonging to Sir M.M. Sykes, of the time of Francis I.[37] The scription is very beautiful. The volume afterwards belonged to Pius VI., whose arms are worked in tambour on the outside. It is kept in a case, and is doubtless a fine book.

MISSALS: numbers 19-4650. Under this head I shall notice two pretty volumes of the devotional kind; of which the subjects are executed in red, blue, &c.--and of which the one seems to be a copy of the other. The borders exhibit a style of art somewhat between that of Julio Clovio and what is seen in the famous Missal just mentioned.

MISSAL OF HENRY IV. No. 1171. This book is of the end of the XVIth century. The ground is gold, with a small brilliant, roman letter for text. The subjects are executed in a pale chocolate tint, rather capricious than tasteful. It has been cropt in the binding. The name and arms of Henry are on the exterior.

Thus much, my dear friend, for the SACRED TEXT--either in its original, uninterrupted state--or as partially embodied in _Missals_, _Hours_, or _Rituals_. I think it will now be but reasonable to give you some little respite from the toil of further perusal; especially as the next class of MSS. is so essentially different. In the mean while, I leave you to carry the image of ANNE OF BRITTANY to your pillow, to beguile the hours of languor or of restlessness. A hearty adieu.

[30] _Bibliographical Decameron_, vol. i. p. xxxi.

[31] Earl Vivian, and eleven monks, in the act of presenting the volume to
Charles.

[32] Vol. i. p. lvi.-vii.

[33] The present Emperor of Russia.

[34] A very minute and particular description of this Missal, together with
a fac-simile of the DUKE OF BEDFORD kneeling before his tutelary SAINT
GEORGE, will be found in the _Bibliographical Decameron_, vol. i.
p. cxxxvi-cxxxix.

[35] For an account of these ancient worthies in the art of illumination,
consult the _Bibliographical Decameron_, vol. i. p. cxlii.-clxiv.

[36] See the OPPOSITE PLATE. [The beautiful copy of the Original, by Mr. G.
Lewis, from which the Plates in this work were taken, is now in the
possession of Thomas Ponton, Esq.]

[37] [It was bought at Sir Mark's sale, by Messrs. Rivington and Cochrane.
See a fac-simile of one of the illuminations in the _Bibliographical
Decameron_, vol. i. p. clxxix.]

_LETTER IV._

THE SAME SUBJECT CONTINUED.

Are you thoroughly awake, and disenchanted from the magic which the contents of the preceding letter may have probably thrown around you? Arouse--to scenes of a different aspect, but of a not less splendid and spirit-stirring character. Buckle on your helmet, ... for the trumpet sounds to arms. The _Knights of the Round Table_ call upon you, from their rock-hewn, or wood-embowered, recesses, to be vigilant, faithful, enterprising, and undaunted. In language less elevated, and somewhat more intelligible, I am about to place before you a few illuminated MSS. relating to HISTORY and ROMANCE; not without, in the first place, making a digression into one or two volumes of MORALITIES, if they may be so called. Prepare therefore, in the first place, for the inspection of a couple of volumes--which, for size, splendor, and general state of preservation, have no superior in the Royal Library of France.

CITÉ DE DIEU: No. 6712: folio. 2 vols. These are doubtless among the most magnificent _shew-books_ in this collection; somewhat similar, in size and style of art, to the MS. of _Valerius Maximus_, in our British Museum--of which, should you not have forgotten it, some account may be read in the _Bibliographical Decameron_.[38] At the very first page we observe an assemblage of Popes, Cardinals, and Bishops, with a King seated on his throne in the midst of them. The figures in the fore-ground are from four to five inches high; and so in gradation upwards. The colouring of some of the draperies is in a most delightful tone. The countenances have also a soft and quiet expression. The arms of _Graville_ (Grauille?) are in the circular border. Three leaves beyond, a still larger and more crowded illumination appears--in a surprising state of freshness and beauty; measuring nearly a foot and a half in height. It is prefixed to the _First Book_, and is divided into a group in the clouds, and various groups upon the earth below. These latter are representations of human beings in all situations and occupations of life--exhibiting the prevalence both of virtues and vices. They are encircled at bottom by a group of Demons. The figures do not exceed two inches in height. Nothing can exceed the delicacy and brilliancy of this specimen of art about the middle of the fifteenth century:---a ms. date of 1469 shewing the precise period of its execution. This latter is at the end of the first volume. Each book, into which the work is divided, has a large illumination prefixed, of nearly equal beauty and splendor.

LES ECHECS AMOUREUX. Folio. No. 6808. The title does not savour of any moral application to be derived from the perusal of the work. Nevertheless, there are portions of it which were evidently written with that view. It is so lovely, and I had almost said so matchless, a volume, that you ought to rejoice to have an account of it in any shape. On the score of delicate, fresh, carefully-executed art, this folio may challenge comparison with any similar treasure in the Bibliothèque du Roi. The subjects are not crowded, nor minute; nor of a very wonderful and intricate nature; but they are quietly composed, softly executed, and are, at this present moment, in a state of preservation perfectly beautiful and entire.

BOCCACE; DES CAS DES NOBLES HOMMES ET FEMMES: No. 6878. The present seems to be the fit place to notice this very beautiful folio volume of one of the most popular works of Boccaccio. Copies of it, both in ms. and early print--are indeed common in foreign libraries. There is a date of 1409 at the very commencement of the volume: but I take the liberty to question whether that be the date of its actual execution. The illuminations in this manuscript exhibit a fine specimen of the commencement of that soft, and as some may think woolly, style of art, which appears to so much advantage in the _Bedford Missal and Bedford Breviary_; and of which, indeed, a choice specimen of circular ornaments is seen round the first large illumination of the creation and expulsion of Adam and Eve. These illuminations are not of first rate merit, nor are they all by the same hand.

THE SAME WORK: with the same date--but the hand-writing is evidently more modern. Of the illuminations, it will be only necessary to mention the large one at fol. iij.c. (ccc.) in which the gray tints and the gold are very cleverly managed. At the end is seen, in a large sprawling character, the following inscription: "_Ce Livre est A Le Harne. Fille Et Seur de Roys de France, Duchesse de Bourbonnois et dauuergne. Contesse de Clermont et de Tourez. Dame de Beaujeu."_ This inscription bears the date of 1468; not very long before which I suspect the MS. to have been executed.

THE SAME: of the same date--which date I am persuaded was copied by each succeeding scribe. The illuminations are here generally of a very inferior character: but the first has much merit, and is by a superior hand. The text is executed in a running secretary Gothic. There are two other MSS. of the same work which I examined; and in one of which the well known subject of the _wheel of fortune_ is perhaps represented for the first time. It usually accompanied the printed editions, and may be seen in that of our Pynson, in 1494,[39] folio. I suspect, from one of the introductory prefaces, that the celebrated _Laurent le Premier Fait_ was the principal scribe who gave a sort of fashion to this MS. in France.

PTOLEMÆUS, _Latinè_. A magnificent MS.--if size and condition be alone considered. It is however precious in the estimation of Collectors of portraits, as it contains one of Louis XII;[40]--This portrait is nearly in the centre of the frontispiece to the book. Behind the monarch stand two men; one leaning upon his staff. A large gothic window is above. A crucifix and altar are beneath it. There is but one other similar illumination in the volume; and each nearly occupies the whole of the page--which is almost twenty-three inches long by fourteen wide. The other illumination is hardly worth describing. This noble volume, which almost made the bearer stoop beneath its weight, is bound in wood:--covered with blue velvet, with a running yellow pattern, of the time of Louis--but now almost worn away.

TITE-LIVE. Fol. A noble and magnificent MS. apparently of the beginning of the XVth. century. It seems to point out the precise period when the artists introduced those soft, full-coloured, circular borders--just after the abandonment of the sharp outline, and thin coat of colour--discoverable in the illuminations of the XIIIth and XIVth centuries. The first grand illumination, with a circular border, is an interesting illustration of this remark. The backgrounds to the pictures are the well-known small bright squares of blue and gold. The text is in a firm square and short gothic character.

L'HISTOIRE ROMAINE: No. 6984: Folio, 3 vols. written in the French language. These are among the _shew books_ of the library. The exterior pattern of the binding is beautiful in the extreme. Such a play of lines, in all directions, but chiefly circular, I never before saw. The date, on the outside, is 1556. The writing and the illuminations are of the latter part of the XVth century; and although they are gorgeous, and in a fine state of preservation, yet is the character of the art but secondary, and rather common.

ROYAL BIOGRAPHY OF FRANCE. Fol. This exquisite volume may be justly designated as the _nonpareil_ of its kind. It is rather a book of PORTRAITS, than a MS. with intermixed illuminations. The scription, in a sort of cursive, secretary gothic character, merits not a moment's attention: the pencil of the artist having wholly eclipsed the efforts of the scribe. Such a series of exquisitely finished portraits, of all the Kings of France (with the unaccountable omission, unless it has been taken out, of that of Louis XII.) is perhaps no where else to be seen. M. Coeuré, the French artist employed by me, stood in ecstasies before it! These portraits are taken from old monuments, missals, and other ancient and supposed authentic documents. They are here touched and finished in a manner the most surprisingly perfect. The book appears to have been executed expressly for CHARLES IX.--to whom it was in fact presented by _Dutilliet_, (the artist or the superintendant of the volume) in his proper person. The gilt stamp of the two reversed C's are on the sides of the binding. I should add, that the portraits are surrounded by borders of gold, shaded in brown, in the arabesque manner. All the portraits are whole lengths; and if my time and pursuits had permitted it, I should, ere this, have caused M. Coeuré to have transfused a little of his enthusiasm into faithful facsimiles of those of Francis I.--my avowed favourite--of which one represents him in youth, and the other in old age. Why do not the Noblesse of France devote some portion of that wealth, which may be applied to worse purposes, in obtaining a series of engravings executed from this matchless volume?!

ROMANCES, BOOKS OF TOURNAMENT, &c.

LANCELOT DU LAC shall lead the way. He was always considered among the finest fellows who ever encircled the _Table Ronde_--and _such_ a copy of his exploits, as is at this moment before me, it is probably not very easy for even Yourself to conceive. If the height and bulk of the knight were in proportion to this written record of achievements, the plume of his helmet must have brushed the clouds. This enormous volume (No. 6783) is divided into three books or parts: of which the first part is illuminated in the usual coarse style of the latter end of the XIVth century. The title to this first part, in red ink, is the most perfect resemblance of the earliest type used by Caxton, which I remember to have seen in an ancient manuscript. The other titles do not exhibit that similarity. The first part has ccxlviij. leaves. The second part has no illuminations: if we except a tenderly touched outline, in a brownish black, upon the third leaf--which is much superior to any specimen of art in the volume. This second part has cccj. leaves. At the end:--

_Sensuit le liure du saint graal_.

The spaces for illuminations are regularly preserved, but by what accident or design they were not filled up remains to be conjectured. The third part, or book, is fully illuminated like the first. There is a very droll illumination on folio vij.^{xx}. xij. At the end of the volume, on folio ccxxxiij., recto, is the following date: "_Aujourduy iiij. Jour du Jullet lan mil ccc. soixante dix a este escript ce livre darmes par Micheaugatelet prestre demeurant en la ville de Tournay_." Just before the colophon, on the reverse of the preceding leaf, is a common-place illumination of the interment of a figure in a white sheet--with this incription:

ICI: GIST. LECORS: GALAHAVT: SEIGNEVR
DES. LOINTENES. ILES. ET. AVECQVES. LVI. REPOVSE: MESIRE
LANCELOT. DVLAC. MELLIEVR. CHRL. DV. MVDE. APRES. GVALEAT.

There are two or three more illuminated MSS. of our well-beloved Lancelot. One, in six volumes, has illuminations, but they are of the usual character of those of the fifteenth century.

LANCELOT DU LAC, &C. This MS. is in three volumes. The first contains only, as it were, an incipient illumination: but there is preserved, on the reverse of the binding, and written in the same character with the text, three lines--of which the private history, or particular application, is now forgotten--although we learn, from the word _bloys_ being written at top, that this MS. came from the library of Catherine de Medici--when she resided at Blois.

The second volume of this copy is in quite a different character, and much older than the first. The colophon assigns to it the date of 1344. The volume is full of illuminations, and the first leaf exhibits a fair good specimen of those drolleries which are so frequently seen in illuminated MSS. of that period. The third volume is in a still different hand-writing: perhaps a little more ancient. It has a few slight illuminations, only as capital initials.

LANCELOT DU LAC: No. 6782. This MS. is executed in a small gothic character, in ink which has now become much faded. From the character of the illuminations, I should consider it to be much more ancient than either of the preceding--even at the commencement of the thirteenth century. Among the illuminations there is a very curious one, with this prefix;

_Vne dame venant a.c. chr. q dort en son
lit & ele le volt baisier. mais vne
damoiselle li deffendi_

You will not fail to bear in mind that the history of Lancelot du Lac will be also found in those of Tristan and Arthur. I shall now therefore introduce you to a MS. or two relating to the former.

TRISTAN. No. 6957, 2 vols. _folio_. This is a very fine old MS. apparently of the middle of the XIVth century. The writing and the embellishments fairly justify this inference. The first volume contains three hundred and fifty-one leaves. On the reverse of the last leaf but one, is the word "_anne_" in large lower-case letters; but a ms. memorandum, in a later hand, at the end, tells us that this copy was once the property of "_the late Dame Agnes" &c_. The second volume is written in more of the secretary gothic character--and is probably somewhat later than the first. It is executed in double columns. The illuminations are little more than outlines, prettily executed upon a white ground--or rather the vellum is uncoloured. This volume seems to want a leaf at the commencement, and yet it has a title at top, as if the text actually began there. The colophon is thus:

_Explicit le Romat de. T. et de yseut
qui fut fait lan mille. iijc. iiijxx. et xix.
la veille de pasques grans._

TRISTAN, FILS DE MELIADUS. No. 6773. A folio of almost unparalleled breadth of back;--measuring more than six inches and a quarter, without the binding. A beautiful illumination once graced the first leaf, divided into four compartments, which is now almost effaced. In the third compartment, there are two men and two women playing at chess, in a vessel. What remains, only conveys an imperfect idea of its original beauty. The lady seems to have received check-mate, from the melancholy cast of her countenance, and her paralised attitude. The man is lifting up both hands, as if in the act of exultation upon his victory. The two other figures are attendants, who throw the dice. Upon the whole, this is among the prettiest bits I have yet seen. It is worth noticing that the yellow paint, like our Indian yellow, is here very much used; shaded with red. The generality of the illuminations are fresh; but there is none of equal beauty with that just described. From the scription, and the style of art, I should judge this MS. to have been executed about the year 1400 or 1420; but a memorandum, apparently in a somewhat later hand, says it was finished in 1485:--_Par Michean gonnot de la brouce pstre demeurant a croysant._ Some lines below have been scratched out. The colophon, just before, is on the recto of the last leaf:

_Explicit le romans de tristan et de la Royne
Yseult la blonde Royne de cornoalle._

TRISTAN: No. 6774. _Folio._ 2 vols. The illuminations are magnificent, but lightly coloured and shaded. The draperies are in good taste. The border to the first large illumination, in four parts, is equally elegant in composition and colouring, and a portion of it might be worth copying. There is a pretty illumination of two women sitting down. A table cloth, with dinner upon it, is spread upon the grass between them:--a bottle is plunged into a running stream from a fountain, with an ewer on one side in the fore-ground. One woman plays upon the guitar while the other eats her dinner. The second volume has a fine illumination divided into four parts, with a handsome border--not quite perhaps so rich as the preceding. Among the subjects, there is a singular one of Lancelot du Lac helping a lady out of a cauldron in a state of nudity: two gentlemen and a lady are quietly looking on. The text appertaining to this subject runs thus: "_Et quant elle voit lancelot si lui dist hoa sire cheualiers pour dieu ostes moy de ceste aure ou il a eaue qui toute mait Et lancelot vint a la aure et prent la damoiselle par la main et lentrait hors. Et quant elle se voit deliure elle luy chiet aux pies et lui baise la iambe et lui dist sire benoite soit leure que vous feustes oncques nes, &c_." The top of the last leaf is cut off: and the date has been probably destroyed. The colophon runs thus:

_Cy fenist le livre de tristan et de la
royne yseult de cornouaille et
le graal que plus nen va_.

The present is a fine genuine old copy: in faded yellow morocco binding-- apparently not having been subjected to the torturing instruments of De Rome.

LE ROY ARTUS. No. 6963. Folio. I consider this to be the oldest illuminated MS. of the present Romance which I have yet seen. It is of the date of 1274, as its colophon imports. It is written in double columns, but the illuminations are heavy and sombre;--about two inches in height, generally oblong. There are grotesques, attached to letters, in the margin. The backgrounds are thick, shining gold. At the end:

_Explicit de lanselot. del lac[41]
Ces Roumans fu par escris. En lan
del Incarnation nostre Segnor. mil
deus cens et sixante et quatorse le
semedi apres pour ce li ki lescrist_.

It is in a fine state of preservation. Mons. Méon shewed me a manuscript of the ST. GRAAL, executed in a similar style, and written in treble columns.

LE MEME. This is a metrical MS of the XIIIth century: executed in double columns. The illuminations are small but rather coarse. It is in fine preservation. Bound in green velvet. Formerly the outsides of this binding had silver gilt medallions; five on each side. These have been latterly stolen. I also saw a fine PERCEFOREST, in four large folio volumes upon vellum, written in a comparatively modern Gothic hand. The illuminations were to be _supplied_--as spaces are left for them. There is also a paper MS. of the same Romance, not illuminated.

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.

Farewell, now, therefore--to the Collection of MSS. in the _Bibliothèque du Roi_ at Paris. Months and years may be spent among them, and the vicissitudes of seasons (provided fires were occasionally introduced) hardly felt. I seem, for the last fortnight, to have lived entirely in the "olden time;" in a succession of ages from that of Charles the Bald to that of Henri Quatre: and my eyes have scarcely yet recovered from the dazzling effects of the illuminator's pencil. "II faut se reposer un peu."

[38] Vol. i. p. ccxx-i.

[39] See _Bibl. Spenceriana_, vol. iv p. 421.

[40] The fac-simile drawing of this portrait, by M. Coeuré--from which the
print was taken, in the previous edition of this work--is also in the
possession of my friend Mr. Ponton. See note, page 79 ante.

[41] The words "del lac" are in a later hand.

[42] What is rather singular, there is a duplicate of this book: a copy of
every illumination, done towards the beginning of the sixteenth
century; but the text is copied in a smaller hand, so as to compress
the volume into lxviij. leaves. Unluckily, the copies of the
illuminations are not only comparatively coarse, but are absolutely
faithless as to resemblances. There is a letter prefixed, from a
person named _Le Hay_, of the date of 1707, in which the author
tells some gentleman that he was in hopes to procure the volume for
100 crowns; but afterwards, the owner obstinately asking 200, _Le
Hay_ tells his friend to split the difference, and offer 150. This
book once belonged to one "_Hector Le Breton Sievr de la
Doynetrie_"--as the lettering upon the exterior of the binding
implies--and as a letter to his son, of the date of 1660, within the
volume, also shows. This letter is signed by Le Breton.

_LETTER V._

SOME ACCOUNT OF EARLY PRINTED AND RARE BOOKS IN THE ROYAL LIBRARY.

As the ART of PRINTING rather suddenly, than gradually, checked the progress of that of writing and illuminating--and as the pressman in consequence pretty speedily tripped up the heels of the scribe--it will be a natural and necessary result...that I take you with me to the collection of PRINTED BOOKS. Accordingly, let us ascend the forementioned lofty flight of stone steps, and paying attention to the affiche of "wiping our shoes," let us enter: go straight forward: make our obeisance to Monsieur Van Praet, and sit down doggedly but joyfully to the glorious volumes...many of them

Rough with barbaric gold,

which, through his polite directions, are placed before us. To come to plain matter of fact. Receive, my good friend, in right earnest and with the strictest adherence to truth, a list of some of those rarer and more magnificent productions of the ancient art of printing, which I have been so many years desirous of inspecting, and which now, for the first time, present themselves to my notice and admiration. After the respectable example of M. Van Praet,[43] I shall generally, add the sizes, or measurement[44] of the respective books examined--not so much for the sake of making those unhappy whose copies are of less capacious dimensions, as for the consolation of those whose copies may lift up their heads in a yet more aspiring attitude. One further preliminary remark. I send you this list precisely in the order in which chance, rather than a preconcerted plan, happened to present the books to me.

RECUEIL DES HISTOIRES DE TROYE. _Printed by Caxton_. Folio. The late M. De La Serna Santander, who was Head Librarian of the public Library at Brussels, purchased this book for the Royal Library for 150 francs.[45] It is in the finest possible state of preservation; and is bound in red morocco, with rather a tawdry lining of light blue water-tabby silk.

THE SAME WORK. _Printed by Verard, without date_. Folio. This copy is UPON VELLUM; in the finest possible condition both for size and colour. It is printed in Verard's small gothic type, in long lines, with a very broad margin. The wood-cuts are coloured. The last leaf of the first book is MS.: containing only sixteen lines upon the recto of the leaf. This fine copy is bound in red morocco.

HORÆ BEATÆ VIRGINIS, Gr. _Printed by Aldus_. 1497. 12mo. Perhaps the rarest Aldine volume in the world:--when found in a perfect state. M. Renouard had not been able to discover a copy to enrich his instructive annals of the Aldine typography.[46] The present copy is four inches and five eighths, by three inches and a half. It is in its original clasp binding, with stamped leather-outsides.[47]

THE SHYPPE OF FOOLES. _Printed by Wynkyn de Worde_. 1509. 8vo. At length this far-famed and long talked of volume has been examined. It is doubtless a prodigious curiosity, and unique--inasmuch as this copy is UPON VELLUM. The vellum is stout but soft. I suspect this copy to be rather cropt. It is bound in red morocco, and is perfectly clean and sound throughout.

ROMAN DE JASON. In French. _Printed by Caxton_. Folio. A little history is attached to the acquisition of this book, which may be worth recital. An unknown, and I may add an unknowing, person, bought this most exceedingly rare volume, with the _Qudriloge of Alain Chartier_, 1477, Folio, in one and the same ancient wooden binding, for the marvellously moderate sum of-- _one louis_! The purchaser brought the volume to M. de La Serna Santander, and asked him if he thought _two_ louis too much for their value. That wary Bibliographer only replied, "I do not think it is." He became the purchaser; and instantly and generously consigned the volumes to their present place of destination.[48] You may remember that the collection of Anthony Storer, in the library of Eton College, also possesses this book-- at present wanting in Lord Spencer's library. The present copy contains one hundred and thirty-two leaves, including a blank leaf; and is in a perfect state of preservation.

PSALTERIUM, Latinè. _Printed by Fust and Schoiffher_. 1457. Folio. EDITIO PRINCEPS. This celebrated volume is a recent acquisition. It was formerly the copy of Girardot de Préfond, and latterly that of Count M'Carthy; at whose sale it was bought for 12,000 francs. It is cruelly cropt, especially at the side margins; and is of too sombre and sallow a tint. Measurement-- fourteen inches, by nine and a half. It is doubtless an absolutely necessary volume in a collection like the present. Only SEVEN known copies in the world.

PSALTERIUM, Latinè. _Printed by the same_. 1459: Folio. _Editio Secunda_. The first six leaves have been evidently much thumbed; and the copy, from the appearance of the first leaf alone, is as evidently cropt. For the colophon, both of this and of the preceding edition, examine the catalogue of Lord Spencer's library.[49] Upon the whole, it strikes me, as far as recollection may serve, that his Lordship's copy of each edition is preferable to those under consideration.[50] This copy measures sixteen inches and a quarter, by twelve and one-eighth.

PSALTERIUM, Latinè. _Printed by Schoiffher_. 1490. Folio. A magnificent volume: and what renders it still more desirable, it is printed UPON VELLUM. Lord Spencer's copy is upon paper. The _previous_ editions are _always_ found upon vellum. Fine and imposing as is the copy before me, it is nevertheless evident--from the mutilated ancient numerals at top--that it has been somewhat cropt. This fine book measures sixteen inches and five eighths, by eleven inches and seven eighths.

PSALTERIUM, Latinè. _Printed by Schoiffher_. 1502. Folio. This book (wanting in the cabinet at St. James's Place) is upon paper. As far as folio Cxxxvij. the leaves are numbered: afterwards, the printed numerals cease. A ms. note, in the first leaf, says, that the text of the first sixteen leaves precisely follows that of the first edition of 1457. The present volume will be always held dear in the estimation of the typographical antiquary. It is THE LAST in which the name of _Peter Schoiffher_, the son-in-law of Fust, appears to have been introduced. That printer died probably a short time afterwards. It measures fifteen inches and one eighth in height, by ten inches and seven eighths in width.

PSALTERIUM, Latinè. _Printed by Schoiffher's Son_. 1516. Folio. A fine and desirable copy, printed UPON VELLUM. It is tolerably fair: measuring fifteen inches, by ten inches and three quarters.

I have little hesitation in estimating _these five copies_ of the earlier editions of the Psalter, to be worth, at least, one thousand pounds.

BIBLIA LATINA. (_Supposed to have been printed in 1455.)_ Folio. This is the famous edition called the MAZARINE BIBLE, from the first known copy of it having been discovered in the library of that Cardinal, in the college founded by himself. Bibliography has nearly exhausted itself in disquisitions upon it. But this copy--which is upon paper--is THE COPY _of all copies_; inasmuch as it contains the memorable inscription, or coeval ms. memorandum, of its having been illuminated in 1456.[51] In the first volume, this inscription occurs at the end of the printed text, in three short lines, but to the best of my recollection, the memorandum resembles the printed text rather more than the fac-simile of it formerly published by me. In the second volume, this inscription is in three long lines and is well enough copied in the M'Carthy catalogue. It may be as well to give you a transcript of this celebrated memorandum, as it proves unquestionably the impression to have been executed before any known volume with a printed date. It is taken from the end of the second volume.[52]

THE SAME EDITION.--This is a sound and desirable copy, printed UPON VELLUM; but much inferior in every respect, to another similar copy in the possession of Messrs. G. and W. Nicol, booksellers to his Majesty.[53] It measures fifteen inches and three-fourths, by nearly eleven and six eighths.

BIBLIA LATINA. _Printed by Pfister, at Bamberg_. Folio. Three volumes. The rarest of all Latin Bibles, when found in a perfect state. This was Lord Oxford's copy, and is not to be equalled for its beauty and soundness of condition. What renders it precious and unique, is an undoubted coeval ms. date, in red ink, of 1461. Some of the leaves in the first volume are wholly uncut. It is in handsome, substantial russia binding.

DURANDI RATIONALE DIV. OFF. _Printed by Fust and Schoiffher_. 1459. Folio. Here are not fewer than _three_ copies of this early, and much coveted volume: all of course UPON VELLUM. The tallest of them measures sixteen inches and a half, by twelve and one eighth; and is in red morocco binding.

BIBLIA GERMANICA. _Supposed to be printed by Mentelin_. _Without date_. Folio. If we except the earlier leaves--of which the first is in ms., upon vellum, and the three succeeding, which are a little tender and soiled-- this is a very fine copy; so large, as to have many bottom rough margins. At the end of the second volume an ancient ms. memorandum absurdly assigns the printing of this edition to Fust, and its date to 1472. The paper of this impression is certainly not very unlike that of the _Catholicon_ of 1460.

BIBLIA PAUPERUM. A block-book. This is a cropt, but clean and uncoloured copy. I suspect, however, that it has been washed in some parts. It is in red morocco binding.

BIBLIA POLONICA. 1563. Folio. This is the famous Protestant Polish Bible, put forth under the patronage of Prince Radziwill; and concerning which a good deal has been already submitted to the public attention.[54] But the copy under consideration was a _presentation_ copy from a descendant of Prince Radziwill--to the public Library of Sedan, to be there deposited through the intervention of Lord James Russell; as the following memorandum, in the Prince's own hand writing, attests: "_Hoc sacrarum Literarum Veteris Nouique Testamenti opus, fidelissima Cura Maiorum meorum vetustis Typis Polonicis excusum, In Bibliothecam Sedanensem per Nobilem Virum Dominum Jacobum Russelium, Ill^{mi} Principis Friderici Mauritii Bullionei ad me exlegatum inferendum committo_.

_H. Radziwill_."

It is nevertheless an imperfect copy, as it wants the title-page. M. Van Praet thinks it otherwise complete, but I suspect that it is not so.

BIBLIA SCLAVONICA; 1587. Folio. Of this exceedingly scarce volume--which M. Van Praet placed before me as almost unique--the present is a fine and desirable copy: in its original binding--with a stamped ornament of the Crucifixion on each side. One of these ornaments is quite perfect: the other is somewhat injured.