Chapter III: Petrarch and Laura are seated in the shade of tall trees, on

the bank of a pond in which two swans are floating. The same two persons are seen farther back, twice repeated, and diminishing in size according to the distance. An architectural structure, decidedly Italian in type, closes the view at the back. The G is painted on a stone at the feet of Petrarch and Laura. Evidently Godefroy had studied several portraits of the two, and he copies them with some success in their various attitudes. The trees are done so skilfully that one might well believe that he could recognize the touch of a landscape artist, and a generally happy effect gives to this miniature all the value of a painting.

'Here followeth the fifth triumph of Messire Francisque Petrarque, the which is the triumph of Time.'

The miniature occupies two pages and includes two subjects. In one, Time, represented by the signs of the zodiac, and by the allegorical figures of antiquity, marks his progress in the sky; mortals undergo his influence on the earth. The artist has signed his work at the right, at the foot of the picture, this time with his full name: 'Godefroy.' In the other miniature the triumph of Time is represented. He is passing in his chariot, drawn by four horses at a gallop, between the four Seasons. On the left, at the foot, we see a G and two lizards.

'Here followeth the sixth and last triumph of Messire Francisque Petrarque, the which is the triumph of the Deity.'

This title is followed by a double miniature. In one, we see God the Father and Jesus Christ, with the Holy Spirit soaring above their heads, seated on the globe and presiding at the last day. Flames fall from the skies upon mankind, who are divided into the good and the bad; angels tranquilly lead the former, while devils brutally pursue the others. At the foot, on the right, is the G. On the other page, God the Father and God the Son (the Holy Spirit hovering over them as before) are seated in a triumphal chariot drawn by the ox, the lion, the eagle, and the angel, which are the symbols of the evangelists. They come forward, surrounded by all the dignitaries of the Church. Pagan Love, with bandaged eyes, lies dead on the ground near the chariot wheels; a long procession of saints, male and female, concealed below the waist by an elevation, are following the course of the chariot in the foreground. This arrangement made it possible for the artist to make his figures larger and to delineate their features with care. The G is at the foot of the miniature, on the ground.

All these miniatures, painted in grisaille, with blue skies and water, and with some few details in colour, are 86 millimetres high and 68 wide.

Comte Léon de Laborde.

3

In the catalogue of the library of M. Firmin Didot père, sold in 1811, is the following description of a magnificent manuscript:[311]--

'The first three books of Diodorus Siculus, translated from Latin into French by Antoine Macault. Small folio, in blue morocco, with dentelles, _lavé_, _réglé_, bound with the arms of François I, whose cipher it bears on the back and on the cover.

'A superb manuscript on vellum, presented to François I, containing 173 leaves, 30 lines to the page. It is illustrated with miniatures and with a large number of initial letters painted with the utmost care. The first miniature represents François I surrounded by the nobles and scholars of his court; it is 10 inches high and 6½ wide. This painting, of the most finished workmanship, has the additional merit of presenting the features of several great men of that time. All the pages on which chapters begin are set in fillets of gold and ultramarine. The initials are 19 lines high and 12 wide. More than fifty of these initials represent the principal subjects of their respective chapters. The third book is especially noteworthy, for, beginning with page 130, there is a series of small miniatures, admirable in execution and of the greatest exactness in respect of forms.

'This manuscript has the advantage of being in a most excellent state of preservation.'

It was sold to M. Brunet, author of the 'Manuel du Libraire,' for 1476 francs (not including the usual expenses); he bought for William Beckford, Esq., of Fonthill Abbey in the County of Wilts, of which Salisbury is the shire town. The author of the 'Repertorium Bibliographicum,' printed at London in 1819, informs us that Macault's manuscript was at that time in the library of that distinguished collector, which is described on pages 203 to 230 of the 'Repertorium.'[312]

The description of the manuscript is as follows:--

DIODORE.--LES TROIS PREMIERS LIVRES DE DIODORE SICILIEN,
HISTORIOGRAPHE GREC DES ANTIQUITEZ DEGIPTE, ETHIOPIE ET AUTRES PAYS
DASIE ET DAFFRIQUE. TRANSLATEZ DE LATIN EN FRANCOYS PAR MAISTRE
ANTHOINE MACAULT, NOTAIRE, SECRETAIRE ET VALET DE CHAMBRE ORDINAIRE
DU ROY.

'Folio, ms. on vellum, in the original binding; the sides strewn with fleurs-de-lis and the initial letter F. On one side, in a square compartment, in gold letters: DIODORE SICILIEN. On the opposite side: AV ROY FRANCOYS PREMIER.

'This fine manuscript, formerly in the possession of Francis the First, appears to have been executed by his express command. Prefixed to the history is a painting of the King seated under a canopy powdered with fleurs-de-lis, surrounded by his courtiers: his three sons, the Dauphin Francis, Henry, afterwards Henry II, and Charles, Duke of Orleans, dressed in rich habits, appear in the foreground. The King seems to direct his attention to a person reading, dressed as an ecclesiastic, probably the translator of the History. A beautiful greyhound on the floor, and a marmoset, sitting on the table, near the King's left hand, are prominent figures in the groupe [_sic_]. In addition to this exquisite illumination, the volume is enriched with numerous large initial letters, painted with peculiar delicacy, representing occurrences described in the book, manners of various nations, and portraits of their early emperors and kings.'[313]

This description is accompanied by an engraving on copper of the figure of François I, after the Macault MS. The King is depicted full face, seated before a table on which, near his left hand, is a monkey. The background is a tapestry covered with fleurs-de-lis. This engraving is dated July 1, 1817, and is the work of M. Behnes. It differs from the engraving on wood found in Macault's printed volume, not only in that it does not include the various persons of the original drawing, but also in the details of the King's costume. I have every reason to believe that the wood engraving is a faithful reproduction of the original, just as the book itself is a reproduction of the manuscript, except for the other drawings, which were omitted, from economical motives, no doubt.

Macault's volume is a quarto, consisting of 8 leaves of preface, 154 of text (signatures A to Q), and 8 of index. The author's preface begins with an S from which depends a shield (probably Macault's), bearing two fasces accompanied by nine bezants arranged in threes, and having for a motto the Greek word ΜΗΚΕΤΙ (not at all). The letter is repeated on folio 148. The first page has a border in the shape of a portico, like those in the opuscula published by Tory in 1531 and described on pp. 202-203. At the foot is the date 1535. On the verso we find the final border of 'Champ fleury,' within which are drawn, in the vellum copy preserved at the Bibliothèque Nationale, the royal arms of England, with the motto DIEV EST [_sic_] MON DROICT, below.[314]

4

PAULI JOVII NOVOCOMENSIS VITÆ DUODECIM VICECOMITUM MEDIOLANI
PRINCIPUM.

Folio manuscript of 137 leaves. Bibliothèque Nationale.

This manuscript is enriched with ten portraits of dukes of Milan, painted from originals, of each of which Paulus Jovius gives the abiding-place.

1. Otho archiepiscopus.
2. Matthæus magnus.
3. Galeacius [Galeazzo] primus.
4. Actius.
5. Luchinus.
6. Joannes archiepiscopus.
7. Galeacius secundus.
8. Barnabas.
9. Jo. Galeacius [Gian Galeazzo] primus.
10. Philippus.

The dedicatory epistle of this book, which was at first intended to be addressed to François's third son, Charles de Valois, as the author informs us, was addressed to the Dauphin, Henri, afterwards Henri II, who succeeded to the rights of his elder brother, deceased in 1536, and of his younger brother, who died in 1545. It is dated at Rome, the 4th of the Kalends of April (March 29), 1547.

It is not certain that Tory did any work on this manuscript, but I mention it because of the engravings of the portraits, which appeared in the edition published in 1549.[315]

5

RECUEIL DES ROIS DE FRANCE, LEURS COURONNE ET MAISON, etc.,
by Jean du Tillet, register in chief of the Parliament of Paris.

Large folio manuscript on vellum; Bibliothèque Nationale. It is the original manuscript given to Charles IX, to whom it is dedicated. It is bound in red morocco, with that prince's arms.[316]

This manuscript is embellished with a large number of miniatures and with thirty full-length portraits of kings of France, very carefully executed, which remind one of the portraits accompanying the manuscript of the 'Commentaires de César.' We also find there the escutcheons of the principal officers of the crown.

Here is the list of the kings represented: each portrait occupies a full page.

1. Clovis.
2. Clotaire I.
3. Sigebert.
4. Chilpéric and Frédégonde.
5. Clotaire III.
6. Charlemagne.
7. Louis le Débonnaire.
8. Charles le Chauve.
9. Charles le Simple.
10. Raoul.
11. Louis d'Outre Mer.
12. Lothaire.
13. Philippe I.
14. Louis le Gros.
15. Louis le Jeune.
16. Philippe-Auguste.
17. Louis, père de Saint-Louis.
18. Saint-Louis.
19. Philippe le Bel.
20. Louis le Hutin.
21. Philippe le Long.
22. Charles le Bel.
23. Philippe de Valois.
24. Jean.
25. Charles V.
26. Charles VI.
27. Louis XI.
28. Charles VIII.
29. Louis XII.
30. François I.

As we see, the book was originally intended to stop with François I; but as circumstances prevented the author from printing it thus, du Tillet included the reigns of Henri II, François II, and Charles IX, who succeeded one another at brief intervals. The work was still unpublished when the author died, in 1570; it would seem, however, that he had long been preparing to print, since we find in the edition of 1580 engravings signed with the Lorraine cross.[317]

6

In 'Les Récréations historiques,' by Dreux Duradier, on page 102 of volume one, we read:

'In the manuscript of the late M. Lancelot, written, it is said, by the hand of G. Tory, with the date of 1546, is found this ballad in honour of the Virgin:--

'"Balade de Lyon Jamet sur la Vierge:
Qui me crea je l'ai conçu," etc.'

I have vainly sought this manuscript among all those of Lancelot owned by the Bibliothèque, of which there is a special catalogue; but I have been unable to find it.

7

In order to omit nothing, I will also mention here another valuable manuscript of the Bibliothèque Nationale, on one of the miniatures of which is a G, followed by a small T or F, which may fairly be attributed to Geofroy Tory. It is a translation of Livy, in two large folio volumes, on vellum, acquired from the Bibliothèque de la Sorbonne, and enriched with magnificent engravings, attributed to Jean Fouquet, which, however, cannot be his, for the book has, on the first page, the arms of François de Rochechouart and Blanche d'Aumont, who were married about 1480 and died, both, in 1530. Evidently it was not in the early years of their marriage that the book was written; and, as it must have occupied several years, and, in fact, was never finished, there is nothing extraordinary in the idea that Tory may have executed some of the miniatures about 1520. Furthermore, in order to place the reader in a position to judge for himself, I will add that the cipher mentioned above is painted on the leg of the figures in the miniature on page 123 of volume one.[318]

FOOTNOTES:

[Footnote 299: According to M. Dussieux, _Les Artistes français à l'étranger_, p. 67, the first is unquestionably the chef-d'œuvre of miniature-painting in the Italian style.]

[Footnote 300: See folio 86 of the second volume: 'The Aduatuci, that is to say those of Bois le Duc, are in Brabant, within xii leagues of Envers, neighbours of Monsieur de Gueldres.']

[Footnote 301: Folios 59, 64, 69, 72, and 77 of the second volume.]

[Footnote 302: Folios 30 recto and 31 verso of the second volume.]

[Footnote 303: Vol. ii, folio 93.]

[Footnote 304: I hesitated a long time before adhering definitely to this opinion; at the outset I thought that I detected two painters, one for the portraits, one for the decorations; but soon, after studying more closely, after comparing the miniatures, the small figures in the columns, the amazing imitations of ancient medallions, and lastly the portraits, I became absolutely certain that a single hand, guided by a flexible and varied talent, combined these different types and produced the whole.]

[Footnote 305: Their dimensions vary from 90 to 100 millimeters in height, and from 60 to 70 in width.]

[Footnote 306: British Museum (Harleian), no. 6205.]

[Footnote 307: _Bibliothèque Nationale._]

[Footnote 308: This Perot was a favourite huntsman of whom François I speaks in one of his letters to the Connétable de Montmorency: 'I am obliged to confess that we lost the stag, and Perot has buried himself; he dares not show himself in my presence.' M. Génin, who published this letter among the _pièces justificatives_ of his edition of the _Lettres de la Reine de Navarre_ (8vo, Paris, 1841; p. 468), says in a note to the name Perot that he was a dog. I should probably have made the same mistake, had I not, even before I saw this miniature, made the acquaintance of the huntsman in question upon reading the accounts of the expenditure of François I, the lists of his household, and the rolls of receipts given to his treasurer. I find, for example, under date of July 12, 1531: 'Due to Perot de Ruthie, in payment of such emoluments and privileges as he has by virtue of his office of keeper of the park and castle of Saincte Jame, and of the forests and four ponds of Raiz.' Five years later, I find this entry: 'To Perot de Ruthie, to be used for the necessary expenses of sending for and causing to be brought to him a part of the dogs, with their whippers-in, from his kennels in the forest of Chenonces.' (Roll of Receipts for 1536). Still later, he became lieutenant of venery and gentleman of the chamber. He was one of those favoured retainers who know how to make their way.]

[Footnote 309: Library of S. A. R. le Duc d'Aumale, at Twickenham, near London.]

[Footnote 310: [The Duc d'Aumale (fourth son of Louis Philippe), who lived in exile in England during the Second Empire, returned to France soon after the fall of Louis Napoleon, and held a notable position in society, politics, and literature, until his death in 1897. By his will he left his Château of Chantilly, with his very valuable collections, to the Institut de France, in trust for the French nation. The translator regrets his inability to state definitely the present whereabouts of volume 1.]]

[Footnote 311: Octavo, 1810; p. 124, no. 880.]

[Footnote 312: According to information supplied to me from England, it would seem that this fine manuscript is to-day [1865] in the library of the Duke of Hamilton (Hamilton House, 22 Arlington St., Piccadilly, London).]

[Footnote 313: [This description is copied verbatim from the _Repertorium_, by M. Bernard; the English is evidently a translation of some French original.]]

[Footnote 314: See the following section, under the date of 1535 (infra, p. 205).]

[Footnote 315: See the following section, under the date of 1549 (infra, p. 234).]

[Footnote 316: See what is said of this MS. in Le Prince's _Essai historique sur la Bibliothèque du Roi_, edit. 1856, pp. 28 and 47.]

[Footnote 317: See what I have to say later on this subject under the heading 'Engravings of Uncertain Date' (infra, p. 255).--According to M. Brunet (_Manuel de Libraire_, 5th edit., vol. ii, col. 929), the first edition of this book was published at Rouen in 1577, under this title: _Mémoires et recherches touchant plusieurs choses mémorables pour l'intelligence de l'estat et des affaires de France_. But I find it difficult to credit the accuracy of this statement, as the edition of 1580 prints a license dated no earlier than August 10, 1578.]

[Footnote 318: I am indebted for this information to M. Vallet de Viriville, who is devoting himself to looking up the works of Jean Fouquet, as I myself am looking up Tory's.]