V The Publication Committee of the Grolier Club certify that this copy is one of an edition of three hundred and fifty copies on Holland paper, all of which were printed from type in the month of April, 1892. CATALOGUE OF AN EXHIBITION OF PAINTED MANU SCRIPTS AND BOOKS nil. hoi RS OF THE Catalogue of an ex Jl\ hibition of illu MINATED AND PAINT ED MANUSCRIPTS TO GETHER WITH A FEW EARLY PRINTED BOOKS WITH ILLU MINATIONS— ALSO SOME EXAMPLES OF PERSIAN MANUSCRIPTS— WITH PLATES IN FACSIMILE AND AN IN TRODUCTORY ESSAY THE CALLIGRAPHER AND THE PRESENTATION OF A BOOK £* MINIATURES FROM A MANU SCRIPT IN THE BIBLIOTHEQUE DE CAMBRAY NEW-YORK THE GROLIER CLUB 1892 • Copyright, 1892, by TlIK C.ROLIER CLLi INTRODUCTION HIS is the second attempt of the Grolier Club toward an exhibition of painted manuscripts. The first was made shortly after its foundation, about eight years ago, when the ma- terial available for the purpose was much less than at present. Beautiful as some of the specimens now shown may be, the collection as a whole presents no adequate ex- emplification of the art of book-making previous to the invention of printing, or to the final triumph of this art over that of the calligrapher, the illuminator, and the miniaturist. Such an exhibition would be impossible in this country. None of the examples in our catalogue date further back than the commencement of the thir- teenth century. It was, however, after this period that the most artistic and fascinating volumes, enriched with miniatures, were produced. The majority of those ante- rior to that time are more interesting from an archae- ological and literary point of view. vii M9476' ILLUMINATED AND PAINTED MANUSCRIPTS . ptiim writings upon papyrus rolls have little in i >'r:n<>;: with the modern book made of separate leaves bound logetbej Papyrus was, however, employed to [tent in volumes made in die early centuries of the Christian era; but the majority of the manuscript books of which we have positive knowledge arc written upon vellum. This proving the hast perishable and the most satisfactory, papyrus ceased to be used to any it extent in Europe after the sixth century, while examples of earlier date are excessively rare. There are preserved in some of the older libraries richly ornamented leaves and fragments of vellum bo< thought to date from the third century of the Christian and with these properly commences the history of the modern hook. i he earliest existing manuscripts of importance av<- now in the Vatican library at Rome, in the Imperial Library at Vienna, and in the National Library at Paris. The)- an of Virgil, oi Terence, and ofportioi the Bible Experts differ as to the exact time of their production: some place the execution of one of the copies of Virgil in the Vatican as early as the fourth century, others have thought it to date from the preced- ing century; but there seems little doubt that it was written in the latter part of the fourth or commencement of the fifth century. These volumes, like the part- of the Bible In the Vienna library, and the Roman Calendar viii ;r&<£*r\ I mat ^smarm onroi -3rtirhc!>«r (rtrfbl >fiuri C&utff ttvf rtjlcrfrrtimi wntcM nolnli rrknr rrmmil rultf ta(Hi»t dtO£- unidllA t>Cf=» nuiii fttd ttmd f uforwc. JrtoSmn to* q Mmc CittTfrfTCW t«ftfiMW^apttt«tfc«ttc«ftni.cufttn ^ ,1 yrtirtttcfttt:t»hn lcrtrcnn fohni pfiht* ftutfutt • crin fnafitf hbstt ritan ft* 4* > mttrnTratC in* tttwtiq' fetn^Vcttmcr u ynh^^m^^^t^^ fmtttfcfl que ftihicttrt funr ftcne rw Af© jHtoftnr a' brtnc* m mt> ^» cr («>i» m "\ob- ^' 1 tfth-crcutrutrdefha M j'lcvti lttluriU mucne I tCUUI^ItTttCfrtwrtU). >l Oitanf funrevvn-flht? i'->l nrffthc a fim n HMBi icnutta • crrna-m-ahB* Ute-qumflttrrt q»tuflrttPtitB?qt^Wit|0 n^ikfihmln\ rmtkn tmmTctaxw tortir tttty!rnviAm : iMnrmnnlicCCrtW»rfBii At fuc crrnrtnmitf tittmtttn-Ttrf Ccttncc {ir«Ji~itrtt»mt.*wmtrMltttTrrumuccir CnrnxFTO (XOrm ttacfounui trturtcitr ttnr rchtrd* c*ftW ? fttftflmr mof fcrnfinflrv q> chlntul* ( Mfat h H "hiWq fturtrt t fnipVo ^rthtr*imtrticiSw^t«rtmWiih«mf( cr WUhumu front cftuhfr'fmfrftf flhr Wn^ ttmittfatrt" • (fctinJOtn fttT to it n nr uemffcttr^ta tn m-ftfl"rtictwir aw die ■PW Of cr ■HMi cttTT«BCV* a; ticnur*** sa cgfThr ^fnttnt n*r» pihuHttltB fibB^OEQtp tWflU «• tttraf Aattranr tottftiMCpait9l , (f nfti unufti wrttbfiw fiwfitrtr«thrfr»T7»nr trum - trtttrtcurrt tn tot r&x\ tcjf rmtato- t\imqm> fnrthti um a t flP ^ rfl y t ni mMuwh nity ? ttvntiT ciitrmmifl&f Oi^ fHhntihn cj ^ ctnttnttn : t*^rt"t»ihnni »rm. ^> cwrmc |MMkM mrtwtf ^«a n«ih« CT'tihtftCttmttrt qitc ^fRiernrtfi .^urtit^til qitftycftncf met ttttttf mc tn\»nft)rcriTT}>««ra|H»i Vfopb^rsctrm funmi" A' ityn> anvf^irf •ba> cdmMKtu tih« h^MM tt>«tifcin tc • 1 utenf rtqaod • cr fifrnArtti iT ,^ rdtcflt> ODti mWuftttTrriictcnn ftntrrcftim qiu ttnxtn 1 ! mttHa fmuABwrnuwa unTnt ntatmc tdimmr: crt« tn ct^ioinrm- tfn> «rt>nrcrctfli>tjihmn-di)tflathar; Atittf. qi'rto nic\firt(* tVhmHic \\ntmrt ;< vanirniTnjfrer ucwflmn nnnrtn mcrt fti Tt pwnhtrtni ftudumiiiifr-oniifl?lrcfr tnr JtS'u.fel «t>aifl^. cr Mtnhrttri enf •pint* ct-fiwi .^ptrfcrmwic. 1'Afhihtfi Min M mill (rmriccteth' « trhec ngfTi'itnainil>' uruulfttv Aunir* lnnr<>Ti cnl t»t^rrcrrtt*ii <|§ o>>«tr Ntmtii tu tnctfq' pHnrihtr-^jm^rbfr cahU/tf- cruMi ctai ^>uld»t»f ttS^tccTq 1 ctfi iw^vnrAucdtu^ cnltrmtril (fwtfer mca tmrrt bdntoHirm Umttnmi mwm W:c TTttnQtkri tlhclijrdrmnjfqittfet ffufc inmor n ui^w CctmV tnqriihtftpftttyAtt. enr: ni grwnniTtnnii«t tnaqic Milrtrt^rhtV uMunrr«>tccfq : fiflft>ir C I BIBLE ILLUMINATED AND PAINTED MANUSCRIPTS (also in Rome), have painted miniatures, and in com- mon with many others are not only transcriptions but probably copies from still older originals. The majority of the earliest manuscripts are artistically Greek, and mostly written in the Greek and Latin lan- guages. The Byzantine Empire created a type of art of its own — a religious art, having its source in the Roman decadence, and influenced by the Greek and the semi- barbaric styles of the Orient. The earlier books, there- fore, may be generally classed artistically as either Greek, Latin, or Byzantine. It is a popular idea, owing probably to the fact that during the middle ages most of the learning was con- centrated in the monasteries and religious houses, that all the manuscripts were made by the monks. This is not true. Although no doubt many were produced by them, a large proportion was the work of professional scribes, illuminators, and miniaturists. They formed, during the centuries preceding the discovery of print- ing from movable types, and even for one hundred years after that time, a vast army of workers, under the pro- tection of kings, princes, and prelates, by whom they were encouraged, restricted, or granted special privi- leges as whim or necessity determined. To the scribe, the illuminator, the miniaturist, and their patrons we owe not only the preservation of literature, but it is they who bridged over for us the great gulf 2 ix ILLUMINATED AND PAINTED MANUSCRIPTS dividing the arts and literature of Greece and Rome from those of modern Europe, making a Renaissance pos- sible. Eventually the art of printing from movable type annihilated these laborious benefactors, who during a century after its di (about the > ear 1440) worked on in emulation of the printer, vying with him in the pro- duction of beautiful books. He in turn employed the illuminator to add additional luster to his work. The struggle was an unequal one, and the beginning of the nth century saw the complete extinction of the miniaturist and of the painter of ornaments and initial letters. The scribe perpetuated himself in a measure as engrosser of deeds, patents, wills, and the like, until at the u day he has degenerated into the "typewriter." Printing has been styled " the art preservative of all arts, - ' but as we turn from the fascinating pages of a manuscript to those of the printer, attractive as they may be, ire see that he has converted the calligrapher into a t\ pe-founder, the miniaturist into a designer for WOodcutS and copperplates, and the illuminator into an engraver. The- text cunningly written upon fine vel- lum, the delicate gilded initials, the quaint and fanciful borders to the pages, the historiated capital letters, the richly painted artistic miniatures — all these are arts <>i the past which no amount of printing can n store. Trad-- after the sixteenth century eclipsed art. so far 1 an- concerned. X ILLUMINATED AND PAINTED MANUSCRIPTS Independently therefore of the paramount value of manuscripts as preservatives of all literature previous to the invention of printing, they possess a fascinating in- terest to art students. Unfortunately the bindings of gold, silver, and ivory, inset with rare gems, of which there are strange traditions, have almost all disappeared, victims to a cupidity which has nothing in common with either literature or art. In order to obtain a clearer insight into the various departments of industry and art entering into the pro- duction of illuminated and painted manuscripts, they may be divided for consideration into four classes : First. As to the vellum or parchment. Second. The work of the calligrapher or scribe. Third. The art of the illuminator. Fourth. The miniaturist. VELLUM AND PARCHMENT JjJellum is the best of all materials used for manu- }mK scripts. Judging from examples of printing upon it in the fourteenth and fifteenth centuries, it would seem to claim superiority over paper for the modern printed book, but those employing it for this pur- pose know that it is now unattainable of a quality at all approaching in perfection that made either in the middle ages or during the Renaissance. The old vellum is smooth, xi ILLUMINATED AND PAINTED MANUSCRIPTS i. and white, and retains these qualities indefinitely. That in several of the Bibles exhibited, and made about the year 1200. is more delicate, pure, and flexible than any paper, old or new, and with any reasonable care it will probably remain the same for hundreds of years to come. Vellum was made of the skins of animals ( mostly sheep and goats), prepared with chalk to insure the removal of isy matter, and rubbed down to an uniformly smooth surface with pumice or some similar substance. Immense quantities were produced all through the middle ag although cotton paper was used in the ninth, and linen paper began t<> be made in the tenth century. The height of luxury in manuscripts was the employment of len letters upon purple-stained vellum. The cele- brated "Book of 1 lours" of the Emperor Charlemagne was of this character; although purple vellum was made previous to his day. and as early as the fourth or fifth cen- tury. Yellow or saffron-colored vellum was also used in manuscripts in the fifteenth century. A remarkable characteristic of the old vellum is the tenacity with which it retains the ink and the colors. which together seem to possess the imperishable quali- iliar to tlie vellum alone. Parchment is only a or less finished kind of vellum. The true art ol making either is lost. That now manufactured blackens on exposure to the atmosphere, developing brown spots mbling stains, so that th<- possessor of nineteenth- xii ILLUMINATED AND PAINTED MANUSCRIPTS century books printed upon vellum or parchment will transmit them to his successor with these deteriorations. Before passing to the work of the calligrapher, manu- scripts known as palimpsest should be mentioned. One great source of the destruction of the early books was the tendency to ignore or consider as worthless that which had ceased to interest, and substitute something "newer" — a custom prevailing also in our time. It was found that the writing upon vellum could be rubbed off, and other works transcribed upon the same sheets. The oblitera- tion never completely effaced the more ancient charac- ters, which in many instances have been deciphered. A work of Cicero was thus discovered beneath a religious homily. There is an instance of a lapse of nine hundred years between the first and the second writing upon the same leaves. THE WRITING AND THE MATERIALS EMPLOYED BY THE CALLIGRAPHER fJ^'g^ HE art of calligraphy forms in itself a study sus- wt/5 rSw ceptible of extensive research. Mr. Astle, who <$%§j%^j^ is quoted by Dibdin in his rather rambling dis- course upon old manuscripts, wrote an oft-quoted treatise upon it, published in a folio volume in 1803. The majority of the manuscripts extant are, as before stated, written in Greek or Latin, and largely by Greeks who migrated into Italy and adjacent countries, carrying ILLUMINATED AND PAINTED MANUSCRIPTS their arts and artistic traditions with them, and trans- mitting them to their descendants. The earliest letters employed were round, bold capitals, known as Oncial, or Uncial. This style of writing prevailed up to the ninth century, or even later, when minuscules, or small letters, were used — at first sparingly, and soon increasingly, until only the titles and headings of subdivisions v. written in capitals. Cursive writing followed, formed by the partial uniting of the letters, developing main varieties. The Italian manuscripts were written in Ro- man characters, similar in form to those now ordinarily employed in printing. The Emperor Charlemagne, in the latter part of the eighth century, undertook the reformation of the scribes, creating a more intelligent interest in books and liter- ature and regulating the copying and reproduction of manuscripts by laws. In 789 we find the monas- teries enjoined to the preservation of correct texts "in order that requests should not be made to God in bad language In the centuries immediately following, however, de- generation again set in, and it was nut until the elev- enth that what is known generally as black-letter, Or the Gothic form, w.is introduced Some of the must peri and beautiful of this species of writing may be seen in the Bibles <>f the- early part of the thirteenth century now exhibited It does not need the eye of a printer t<> dis- \iv ILLUMINATED AND PALNTED MANUSCRIPTS cern its wonderful evenness, nor the perfection of what he would call the "justification " of the pages. From an artistic point of view this writing has not been surpassed. Upon these models the early printers based the forms of their type. The older calligraphers and copyists are mostly un- known. Occasionally signatures of some of them are found in volumes, or records have preserved from entire oblivion the names of others noted in their generation. It might not now be considered in good taste to embalm the hand of a clever artist, but about 1470 this was done with that of the scribe Dom Jacopo Fiorentino ; the brethren "preserving that hand of his, which had been so excellently employed, in worthy keeping to his endless memory." Those interested in the biography of minia- turists, illuminators, and calligraphers are referred to Mr. Bradley's dictionary, in three volumes, published in Lon- don, 1887- 1889. It is the first approach to any satis- factory systematic record of these artists. Of the materials used in writing little is positively known. The instruments employed by scribes were the camel's-hair brush, or its equivalent, fine reeds or vege- table fiber, and later, especially after the twelfth century, quill pens. The absence of hair-lines in the earlier writing indicates the use of a blunter and less elastic instrument than the sharpened quill. The black ink was probably burned ivory or bone, ILLUMINA7ED AND PAINTED MANUSCRl ind with great care. The red, employed for headings of divisions and lubrication, was cinnabar (red sulphate of mercury). The secret of the durability of all pigments employed is undoubtedly in their purity, and in patient and thorough grinding by hand, as well as in the ma- terials mixed with them to insure adherence to the vellum. Further particulars of the colors used in manu- scripts will be given in connection with the subjei ' miniature painting. INITIAL I.l I I ERS AM) ORNAMEN l - Pi.ihol-gh calligraphy, illuminating, and minia- 'rf/i\*f> tare painting have been classed as separate SiggjjgJ arts, sometimes two of them, and occasionally the whole three, were practised by the same individual. This, however, appears to have been rarely the case in the more important manuscripts. In some of them t! i- evidently collaboration in the writing. The initial letters also are frequently by one hand, the borders by another, and the miniatures the work of several artists. Up to the ninth century initial letters were compar- atively Small, hilt at IK) period Were the Looks Without more or less elaborate embellishments. I illuminal designers who, though creating ornament [uisite beauty and originality, frequently allowed imagination to had them into curious conceits. xvi ntOM THE IIIJ CZ ILLUMINATED AND PAINTED MANUSCRIPTS In the tenth century they began to take strange lib- erties with the alphabet, constructing initials of ex- traordinary proportions, covering in some instances a quarter or more of the page. Around them, up and down the margins, and across above and below the text, weird ramifications of the designs were spread in fantastic variety, until imagination exhausted itself in creating and the eye in following them. They em- brace adaptations of every phase of form suggested by animate and inanimate nature ; of the natural and the unnatural. We find the letters constructed of fishes, animals, and birds, twisted into fantastic shapes, or com- bined with the human figure. Conventional styles of ornament are characteristic of the prevailing conceptions of art in the various epochs. Very beautiful letters are found in Flemish and French manuscripts of the thirteenth century, and they improved both in beauty and refinement with the progress of the Renaissance. When historiated. or containing miniatures within the designs, the effect and interest are enhanced. The borders to the pages, introduced more extensively after the thirteenth century, are often not only wonder- fully elaborate, but one hesitates which to admire most, their delicacy, or the brilliancy of the effect of the scroll- work and flowers. In exquisite taste and profusion. violets, carnations, daisies, strawberries, and green leaves, interspersed with small human figures, birds, animals, 3 xvii ILLUMINATED AND PAINTED MANUSCRIPTS and fantastic monstrosities, comically hideous, and height- I with burnished gold, are harmoniously combined. It has been suggested that these borders were intended originally as typical of the gay attractions of the outer world, and the hideous monsters rioting in them its dark or retributive side — a mystical warning to the owner of the I [orac or Miss.d. Gold was universally and very skilfully employed in • ration. In the early Byzantine hooks it formed the background for writing and illuminations; the gold i dently being applied in the leaf and then burnished. Sometimes it was upon a raised ground, giving the « of having been embossed. The art of insuring its ad- herence to the vellum, so that time and the handling of tlie- leaves fail to loosen it, is now somewhat of a myster) . I- eems to have been applied upon a preparation resem- bling chalk or white lead. The gold used in the paint- ings was ground extremely fine, and the powder mixed with white (»i eggs or some species of gum to insure its adherence to the vellum. Powdered silverwas treated in the same manner. Gold was also sometimes mingled with the colors in miniature painting. i . best blue was tiie ultramarine, so called because of the "blue stone" or lapis la/uli from beyond the It was laboriously ground, as were the other colors. i hard stone slabs. [ndigO (a vegetable production mil" in India) was also used. Cobalt was another min- xviii ILLUMINATED AND PAINTED MANUSCRIPTS eral from which blue was made, and this is the same material with which the "old blue" or nankin china was painted. The red was principally cinnabar and red lead, or a mixture of both; the yellow, the Eastern ocher; umber was employed for the browns ; the white was fine white lead, and the green verdigris and terra verde, a blue-green ocher. The beautiful gray tints used with such fine effect in draperies, and especially in the painting known as cam- aieu-gris, were made with the white lead mixed with the black, obtained, as already explained, by burning wood, ivory, or bone. The term "camaieu" is applied gener- ally to all paintings in tones or tints of one color. They were executed in blue, red, and in gold shaded with a mixture of black, as well as in gray. Volumes might be written describing the various styles of illumination prevailing in the different centuries, and their many phases, without compassing the subject. Their varieties are infinite, or, like the harmonies or discords in music, exhaustless. The Byzantine ornamentation was in its barbaric gor- geousness more pronounced in style than that of any other school, excepting the early Greek, and is easily dis- tinguished. The amateur will have little difficulty, after having studied the pictorial art of different periods and countries, in judging whether illuminations are Greek, Byzantine, Italian, Flemish, French, German, English, or xix ILLUMINATED AND PAINTED MANUSCRIPTS Spanish; or in determining to which particular school they stand related. Art: migratory in the middle ages. They carried their styles and methods into countries other than their own, and combined them with those there prevailing. This is as clearly demonstrated in miniature painting as in other arts. THE MINIATURIST __ • --in crowning charm in the old manuscripts is, hD after all, in their miniatures. They have been •' : ^> 1 1 leas 01 the means of conveying to us clearer and better the arts, habits, and customs of the middle ages up to the time of, and through the best period of the Renaissance than any other agency. The only paintings surviving from the earliest Chris- tian centuries are mosaics (if they may be so classed), mural decorations, and a comparatively lew small ex- amples, on stone or some almost equally imperishable material, found in Roman catacombs, and now mostl) gathered into the Vatican museum. After these the manuscript books are the only artistic records. In them we may see delineated the gradual supremacy ol Chris- tianity over paganism. Beginning with the Vatican Virgil (containing fifty miniatures), the Terences, and other manuscripts ahead)' mentioned, although rude in xx ILLUMINATED AND PAINTED MANUSCRIPTS execution, we find the paintings invested with a certain dignity, repose, and simplicity, the result of Greek tra- dition and inspiration. All the Italian manuscripts show this influence. In early Christian books David may be found pictured in the form of Apollo, and the represen- tations of the Deity modeled after the types of Jupiter. In Byzantine manuscripts the figures of the Evangel- ists and Saints frequently have an impressive strength little short of grandeur. It was not the custom in the earlier centuries to depict the subject of Christ's death on the cross. The Christians shrank from its ignominy. That, with the image-worship which appeared in later painting, was not introduced in manuscripts until the seventh century, and only became general later on. A partial artistic reformation began in the eleventh century, based not upon tradition, but the study of nature, aided by a return to the best Greek models. Modern realism took the place of the old symbolism, although the progress toward this emancipation, or regeneration, was slow. The real dawn of the Renaissance was not until the thirteenth century, when it appeared almost simultaneously in Flanders and Italy with the advent of the Van Eycks and Memling in the Low Countries, and of Cimabue and Giotto in Italy. The arts, however, did not make equal progress in the various countries of Europe. For a considerable period Flemish art domi- nated that of Germany and France. In the latter entire ILLUMINATED AND PAINTED MANUSCRIPTS lorn from tin- old Roman and Byzantine ideas in miniature painting was not effected until the fourteenth ui)'. The same is tr tin, while in England omparatively little practised, and in an in- ferior manner. In fact, English art in manuscripts alv. lacks -race and finish when compared with that of the Continent. of the Van Eycks, Memling, and Giotto, and of the schools they established, represented by Van W'eyde. Hans Memling, Fra Angelico, Andrea Man- . '.. Botticelli, Perugino, and others whose names are familiar to all art-lovers, extended into the sixteenth century. Many of these artists painted miniatures in hoi/ These small pictures are frequently classed as an in- ferior department of art, and held in too slight an i mation, as compared with paintings on a large scale. ring greater ana. This is a mistake; for to paint miniatures well requires a skill and talent equal to that demanded for most large pictures, Possibly their com- parative inaccessibility, in Looks, accounts for their beau- and worth being less familiar, and meeting with more tardy recognition than their importance warrants. \ complete history of pictorial art in civilized Europe must embrace that found in manuscripts. Any one de- siring proof of this, as well as .if the capabilities ol minia- ture pain tin-, i i asked to inspect the Lectionar) of Giulio xxii ILLUMINATED AND PAINTED MANUSCRIPTS Clovio in the Lenox Library. On its pages will be found a wealth of conception, coloring, and artistic treatment, recalling the age of Michelangelo, Titian, and Raphael, of which Clovio was an ornament, and whose name is worthy of mention in connection with theirs. An advantage possessed by miniatures upon vellum is their superior chance of longevity. As already shown, there exist painted vellum books about fifteen hundred years old, and unless overtaken by violent destruction the illuminations and miniatures by Clovio, and those in the present exhibition, will retain their freshness and beauty long after the pictures by Raphael and Titian have crumbled away. At the time of Louis IX. of France (in the early part of the thirteenth century) some beautiful manuscript books were made, and notably among them is the famous Psalter of St. Louis, preserved at Paris, and also the Roman de Saint-Greal, both containing miniatures re- markable for originality of treatment, brilliancy, and delicacy. At this period the decorations and paintings in the Bibles, missals, and religious books generally, are finer than those illustrating profane literature, or in the romances of chivalry, which had begun to occupy a conspicuous place among the writings of the time. In the fourteenth century not only the religious books, but the classics, such as Ovid, Horace, Virgil, and Cicero, were rewritten with increased richness and splendor of xxiii ILLUMINATED AXD PAINTED MANUSCRIPTS adornment. Words can do very little, however, toward portraying the fascinating- beauties found in the manu- scripts produced in Furope during the fifteenth and six- teenth centuries. Kings, nobles, and prelates had attached to their courts, and among their retainers, scribes and miniaturists, by whom they caused sumptuous volumes to be made. Charles Y. of France ; his father, Louis of Orleans; the Dukes of Burgundy, Philippe le Hardi, Philippe le Hon; and the Due de Herri, are anion- those whose passion for hooks led to the creation of the re- markable collections of manuscripts of chivalry, romance, chronicles, and devotion, forming- the famous Hurgundian Library, once numbering several thousand volumes, many of which are still preserved in Brussels. When notable books were completed, whether sacred or profane, their presentation was signalized by religious ceremony; mass was said in the cathedrals, and pageants attended their installation in the library. The blemish and French courts in those times moved from place to place in Flanders and France. Brussels was the center ot .t flourishing school of miniaturists, as were Bruges and others of the large blemish cities in the fifteenth century. Indeed, Paris was at this period comparatively small. It the Emperor Charles V. of Germany who once twitted the ambitious Francois I. in the Baying, repeated in ('.and (or Ghent) to this day, "Je mettrai ton Paris dans mon gant" The Emperor was an amateur of books, and in X x i v iMatjcqtmirtnramQtitrtmiQiargUtnft ""brgticnrmftr ndmtmmu gttfiftifitfpn I mor gtffumnr torn ^dicrdia ?' oflrrtmflm* mwMMP trmwrfwoi iir bmicatrtrqummoabubatnuHnKr oimm aUf tnmnOrOmflttm mtnumtt iiaxm mtrmt mi qtiawcmoa torn ttoitm Dtr tmttttr ranur trum* tiotr atttaamidikm onttokm mirotmit mmnai tntrnvtivctotttiftiiu mtif to flan/ op torn mtrrtncfictairm qwe trot tmrtmrrtftiihr fcepemrn mm timrti ^irDtiffnrou&rtfiimi^fm 4 fra mi fit otimur oir ot oimm Dtr moe mi oi gra mti paw mrnrn tuqrrrt mar FROM THE UOR/E No. 13 ILLUMINATED AND PAINTED MANUSCRIPTS one of the intervals of his warfare with Francois sent him a present of fine volumes he had caused to be elaborately bound at Venice. There is in the library of St. Mark's in that city a very fine breviary, once belonging to Cardinal Grimani, with miniatures of extraordinary beauty, many of them said to be by Hans Memling. The Cardinal purchased the manuscript of a dealer, and while the association of his name with it causes him to be remembered through cen- turies, a strange irony of fate leaves that of the maker of the book buried in the oblivion of uncertainty. Another remarkable manuscript, and perhaps the most noteworthy of the fifteenth century, is the "Book of Hours" of Anne de Bretagne, wife of Louis XII. of France, the work of Touranian artists. This city was the center of a school of art of which Jean Foucquet, living from about 141 5 to 1485, became the most brilliant figure. He went to Rome to study, returning to Tours where he practised his art. He and his followers during more than a century enriched manuscripts with ornaments and miniatures of the choicest description. Unfortunately most of them failed to sign their work, so that the author- ship even of the superb pages in the "Hours" of Anne de Bretagne is a matter of conjecture. Although Foucquet has been credited with having painted them, they are now considered to be in part the work of an artist named Bourdichon, court painter to Louis XI., Charles VIII., 4 XXV ILLUMINATED AND PAINTED MA M'SCRIPTS and Louis XII. Examining this manuscript as repro- duced through the modern process of chromolithography, although failing as it do<-s to render the vivid brilliancy <>t' the original, it would appear that the extreme limits of the art had been reached. Even Foucquet, however i in his celebrated volume of Josephus, and the Livy .it Paris, was destined to l>e excelled by Giulio Clovio, who, eclipsing all his predecessors, left no worth)- suc- >r. hie was born in 1498, and lived until 1578, work- ing in Rome and Other Italian cities. He had Giulio Romano for a friend and adviser, if not as master. Both cquet and Clovio had many scholars and assistants who perpetuated their styles of painting. The art of the miniaturist in manuscripts reached a high stage of perfection in Florence. Attavante, born there in 1455, and living until 1520, executed remarkable works. Both he and Geervaest David, record of whom is made by Vasari, and who studied at Rome, and lived at Bruges, in the latter part of the fifteenth and the begin- ning of the sixteenth century, painted hooks with orna- and miniatures of great merit. The name of another talented artist should be recorded: that of Geoffrey Tory, a Frenchman, who combined with miniature painting the occupations of designer, engraver, author, and printer. With his death, according i" Bernard in [533, may l»<- said to Virtually close the history ^( the written and painted hook. X x v i ILLUMINATED AND PAINTED MANUSCRIPTS An account of manuscript painters and writers, however brief, would probably be considered incomplete without some allusion to Nicolas Jarry, a Parisian, born early in the seventeenth century. He was a clever calligrapher, and pleasing miniatures are sometimes found in volumes done by him. His transcription of the celebrated "Guir- lande de Julie," a volume composed of verses by various admirers of the beautiful Mademoiselle de Rambouillet, and ornamented with floral ornaments by the artist Rob- ert, has principally served to bring his name and work into repute. Manuscripts, to be adequately appreciated and enjoyed, require careful and patient study. They appeal preemi- nently to the refined and cultivated taste. The choicest of them are the outcome of religious fervor, which de- manded the best that artistic inspiration could furnish. In the Breviaries, Psalters, Bibles, and above all in the Horae, or Books of Hours, are found the majority of the choicest miniatures and illuminations. The Horae usually commence with a calendar, very frequently adorned with paintings appropriate to each month of the year, and the signs of the Zodiac. The four Evangelists follow in their appointed places ; after them come events in the life of Christ, the Passion and Crucifixion; succeeded by scenes taken from the Old Testament; finally concluding with representations of the Saints and Martyrs. The pictures of the Virgin are usually executed with the ILLUMINATED AND PAINTED MANUSCRIPTS utmost skill of the artists, and kneeling before her is often placed the portrait of the person for whom the volume u as made. In a poem by Eustache Dechamps, of the tin urles V. of France, the requirements of a fine lad) as to her •• Book of Hours" arc quaintly rhymed: •• Heures me fault de Notre Dame. Si comme il appartient a fame Yenne de noble pat I Qui sorent de soutil onvnige, 1 >'or et d'azur, riches et cointe, Bien ordenneea et bien pointes, De fin drap d'or tres-bien couvertes: Et quand elles seront ouverte Deux fermaulx d'or qui fermeront." (Hours of our Lady should be mine, Fitting for a noble dame lofty lineage and name ; Wrot most cunningly and quaint In k f <.ld *nd richest azure paint; Rare covering of cloth of gold Full daintily it shall enfold ; I »r open to the view, exposed Two golden clasps to keep it closed.) The Illuminated printed books competed with and suc- led the manuscripts. Blank spaces were usuall) left in them at the commencement of chapters or divisions, which the illuminator idled with colored capitals more or xxviii ILLUMINATED AND PAINTED MANUSCRIPTS less ornamented. Borders were also added, and occasion- ally whole pages occupied by miniatures, which were also interspersed irregularly in the text. Examples of these in volumes printed by Schaeffer, Jensen, Aldus, de Spira, Hardouin, Simon Vostre, Annabat, and others are in- cluded in the present exhibition. They are upon vellum and paper. A few Persian and Arabic manuscripts are also shown. None of them date further back than the sixteenth cen- tury. They are not common, and when richly ornamented, and containing miniatures, are exceedingly rare. There are few fine examples in this country, nor are they numerous in European libraries. They are remarkable for brilliancy of coloring, neatness, elaboration of design, and treatment, and are well worthy of study, presenting much that is characteristic and attractive in Persian art. They are written upon an extremely tough and imperish- able paper, made of vegetable fiber, in characters formed with the camel's-hair pencil. THE PATRON AND COLLECTOR OF MANUSCRIPTS ^^MM FEW words as to some of the patrons of the ■T/; /Q§ artists and of noted amateurs and collectors of SSIM81 manuscript books at the time of the Renais- sance may not be out of place. The Dues de Bourgogne have been mentioned in this connection. There are xxix ILLUMINATED AND PAINTED MANUSCRIPTS others who should not be passed unnoticed, for without their enlightened encouragement the splendid books of the Renaissance could not have existed A name which has become historical, mainly owing to OCiation with art, literature, and books, is that of Cardinal d'Amboise. Horn in 1460, It- became Prime Minister to Louis XII. in 1408, and afterward received animal's hat from Julius II. A biographer calls him "the Maecenas of France." lb- aided, perhaps more than any of his contemporaries, to revive and stimulate in that country the taste for the masterpieces of calli- graphy and miniature. In the palatial Chateau -Gaillon, built for him, he assembled a superb and costly collection of manuscripts, many of which are extant and now en- rich the National Library at Paris, comprising what is known as the "Amboisian Library." |v the king's orders. |can Grolier was king's counselor, and one ot the trea- surers of France, under Francois I. In a bibliograph- ical record of 349 books now existing, which formed part of his library, we find eight manuscripts upon vellum. It is an interesting fact that these patrons and col- lectors of literary treasures lived in turbulent times, and all were active and aggressive men, engaged in public affa:: nsions and war. It will be also observed that the collection and preservation of manuscripts was the work of individuals, and not of governments, com- munities, <,r states, which, as a rule, only provided de- positories lor wdiat an enlightened taste and patronage created and gather* There are few objects more attractive, and none more satisfactory, than a beautiful book; but when to artistic beauty there is allied the flavor of antiquity, even if this be no greater than four or five hundred years, the charm is irresistible. The accounts in history of the destruction of books form the most painful pages of the records of the past We know that men must die. but we like their good works to live. In the present age when vandalism is regarded in the light of a crime, safeguards environ x x x i i -^&*w ,v - mim l.it-ia hum kZ^SJfe it v > mciun an iSSsdviiV' in UmuIi in mean FROM THE LIVRE D HEURES No. 38 ILLUMINATED AND PAINTED MANUSCRIPTS libraries and depositories of art, and the plea of military necessity is not considered an excuse for such destruc- tion as overtook the ancient library at Alexandria in the year 47 b. c, when 700,000 manuscripts are said to have been destroyed. Christians do not now, as did the Emperor Leon in the year 703, seek to destroy books in order to eradicate what they consider recorded errors. Determined to abolish the worship of images (a vexed subject in early ages), this Emperor Leon deliberately set fire to the library of Constantinople, containing 36,000 manuscripts, and the twelve custodians and professors perished with them rather than forsake their books, or yield to their mutilation. The number of fine manuscripts in existence in Europe is still large, although very small in this country. That many more will be brought here is probable, although the most noted that have survived to the present cen- tury are apparently permanently placed in the great Euro- pean libraries and museums. Keats before his death said: "I have truly loved the spirit of beauty in all things." It is this spirit leads us to value and preserve these fine old books. Art appeals to cultivated tastes in many other forms, but never with a greater charm than in these records of the past, the work of the scribe, the illuminator, and the miniaturist. CATALOGUE. EUROPEAN MANUSCRIPTS. I PSALTERIUM. Manuscript on Vellum. 4 °. XIII Century. English manuscript, containing sixteen small miniatures in medallions, and nine large historiated initial letters with raised backgrounds of burnished gold. Bound by Riviere, in red morocco gilt, and inlaid with black morocco. Size, 5f x 8 inches. 2 BIBLIA SACRA. Manuscript on Vellum. Small Folio. XIII Century. This volume is very beautifully written (two columns to each page) on the purest and finest of vellum, and probably shortly after the year 1200. It contains the whole of the Old and New Testaments in Latin, after the text of Saint Jerome. There are seventy-six small miniatures in the initial letters, with figures in French costumes of the time painted in gold and colors. I XLOGUE At the end is a dictionary of Hebrew nam This Bible is stated to have been in th ion of Saint . King of France. uld be difficult to fmd a more perfect example «f a book of its kind. B >und in old French red morocco, :^ilt edg . 7 x 10} inches. 3 BIBLIA SACRA LATINA CUM PROLOGIS SANCT1 HIERONYMI. Manuscript on Vellum. 4 . XI 11 Century. An Italian manuscript on extremely fine vellum. Written at Cremona, about I -75. by Viviani Sani. A beautiful and re- markable volume, both as to execution and condition. There are fifty historiated initials and fifty-three other capitals, all illuminated in gold and colors. Bound in flexible rough calfskin, edges gilt and gauffered, i nches. \ LORRIS (C.)KT JKHAX I)K MEUNG. Li Roman de la Rose. French Manuscript on Vellum. Small Folio. XIV Cen i uky. Upon one hundred and eighty leaves, in two columns, with two large and thirty-One small miniature-. Written and illu- minated for King Charl< 2 W^W>. Ol CH kSCOl T\I I IN R IMF STARSF II ON DIG N VTRJ VA J I COR I ITS S PR] M 3 GiOVF NIL FUROR I QVATSTDFR-A ,1 [RHVOM D A Q\ ■ E L C H I S PFLVARIO 5TI1 N G O I R A G ! \ F R*A L E Y\NE .ST I II VATS DOl OR E OVI S LA CHI PEH PRO INTENPA AMORF STFRO TROVAR P1ETA > CHI PFRDONO \[\ BFN VIGGIO HOKLSI CO VtF Ai FAVOIA FVI GRATSJ I ONDE 50VENIF DIUIMFDESMO MFCOlvi; VFRGOGNO F DEI MIO VAN"GGIAR- VFRGOGMA Fl FRVCIO F 1 P FNT 1 RS MI C ONO SC c HI VR VM1 N : h f- qyA & MONDO I P M \ L SOGN< FROM THE HORATII CARMINA No. 37 CATALOGUE Binding orange morocco inlaid with red, green and black morocco, doubled with red morocco, decorated with fleurs-de- lis, by Lortic. Size, 8 x 1 1 j inches. 5 PSEAUTIER GOTHIQUE. Manuscript on Vellum. Large 4 . XV Century. French manuscript, with borders composed of scroll-work and flowers to each page, and thirty-one miniatures — thirteen large and eighteen small. Bound in red velvet with silver clasps, edges painted and gilded. Size, 7 x 9f inches. 6 GRINGORE. Les Abus du Monde. Manuscript on Vellum. 8°. XV Century. French, written upon sixty-eight leaves of vellum, with four- teen full-page miniatures. The first printed edition of " Les Abus du Monde " is by Pierre le Dru, 1509, and contains all the miniatures reproduced in woodcuts. Presented by the author to the Due d'Estourteville. This MS. passed to Marie de Lorraine, wife of James V, King of Scotland, and afterward to his daughter Mary Stuart. It subsequently formed part of the libraries of Chas. Nodier, Yemeniz, and Bancel, and the latter had it rebound. 3 Binding blue morocco, Janseniste, double with white vellum utmenta of alternate thistles and marguerfr Trautz-Bauzonnet LIVRE D'HEURES. Mam - rifi on Vellum. 4 . Written in the Italian Style, with six pages of miniatures and number of tine initial letters painted upon bur- nished gold background. old French red morocco, gilt edges, by Derome. ; J inches. L RL ZENO. "IN LIBROS Mil- MORUM RERUM GESTARUM CAROL1 ZENI." Manu- l Kil'i <>\ VeLH M. FO] I". XV ( ENTl RY. Latin; three hundred and eighty- 1 WO pages, in Roman script. An illuminated and historiated border ami capital on the first tnd nine other illuminated capitals. Tope PhlS N. tO whom this volume was presented, was born in 1405 and died in ! in old red m Id tooling. xii im / CATALOGUE 9 LIVII HISTORIARUM DECAS PRIMA. Manu- script on Vellum, in Roman Script. Folio. XV Century. Illuminated border to first page, in which are introduced the Caraccioli arms, and an initial F historiated with a view of Rome. Seven initial letters illuminated in gold and colors. This manuscript was brought from Palermo by Dr. Askew, at whose sale it was purchased by Sir W. Burrell. Purchased by Mr. Wodhull in 1798. Bound in old russia, borders of gold. Size, 1 On 10 HOR^ (AVEC CHANT NOTE). Manuscript on Vellum. Small 4 . XV Century. Written on three hundred and sixty leaves of fine vellum, and ornamented with a large number of illuminated initial let- ters, fifteen of which contain miniatures, the most of them upon a checkered or fleur-de-lis background in gold and colors. Bound in red morocco, silver clasps. Size, 5 x 6f itiches. I I HORy^E. Manuscript on Vellum. 4 . XV Century. Flemish ; containing thirteen miniatures. In the original stamped morocco binding. Size, 5f x 8 inches. 5 12 PSALTERIUM, CANTICA, IIVMM. SYMBOLA \ III. WASH ET Al'< )S1 « \L( »k( M. ETC, Man- Vellum. Lai i i . XV Ci anish manuscript of tine proportions and execution. It contains twelve miniatures with elaborate borders, and a number of large initial letti md in old ci imson velvet : JliS. II< >k.K BEA T.K MAkl.K VIRGINIS. M \m - km i VBI ! IM. .} . XV Ci \ I'lTV. This manuscript, which i tional beauty and richness, • :d, about 14S5, for Corneille Crosinck, Lieutenant Holland, and his second wife, Hildegarde Van Alke- made. Their arm- are found emblazoned twice on one of the borders, and their initials are painted on others. Thcbord- litial htters, which are very numerous, are of great variety and elaboration. There are fourteen large miniatures, measuring 3^ x 5 inches exclusive of their borders ; also many smaller ones. l paintings, evidently by several different Flemish artists, are of the school of the Van I'.ycks. Bound in crimson velvet, gilt edges; with silver clasps bearing the initials (". 1 1, in relief. .vl inches. *;. £»&£■• »£ :•• t (l CATALOGUE 14 PRECES PI^:. Manuscript on Vellum. 8°. XV Century. The text written in Roman letters. A French manuscript, with sixteen large miniatures and forty- four small. The calendar is of unusual richness, and the borders of flowers, birds and insects are very delicately painted upon gold ground. Bound in red morocco, doubled with green, tooled with gold, gilt edges. Size, 4-g x i\ inches. I 5 HOR^E. Manuscript on Vellum. 4 . XV Century. Flemish ; with borders to each page, and sixty-four minia- tures, interesting for their rude quaintness of expression and execution. Bound in brown morocco, gilt edges, by F. Bedford. Size, 5x7^ inches. 16 OFFICES OF THE VIRGIN. Manuscript on Vellum. 4 . XV Century. By a French scribe; with four miniatures, and burnished gold borders to each page. Bound in old red morocco, tooled sides, gilt edges, by Du Seuil. Size, Ss x 72 inches. 6 7 ALOGUE 17 OFFICIUM BEATiE MARI.1-: V1RGINIS SECUN- DUM a WSUETUDINEM A\< .1.1.1:. M Vl I 1.1M. 4 . XV ( . From the prayers in this book being addressed to English Sail I as from the costumes of many of the figures, and tile general character of the art in the miniatures, it would appear • lish. Sir Francis Paigrave, however, judged it to be French, ami Sir F. Madden and Mr. Shaw oms I it Flemish. It was possibly executed by foreign artists in England. The ornamentation throughout is extremely rich. There are twenty-three large miniatures and twenty smaller. Bound in brown morocco, doubled with red morocco, mosaics in colors on the sides, gilt edges, by Lortic. nckis. l8 lloK.H UEATM VIRGINIS. French :\L\m script i m. 4 . XV Century. Borders, heightened with gold, to each page, and fourteen large miniatures. < )n the blank leaves at beginning ami end have been painted coats of arms within green and blur borders. 1 in old French red morocco, paneled sides, gilt l Size, 6\ 84 inches. CATALOGUE 19 FLEMISH BOOK OF HOURS. Manuscript on the Finest Abortive Vellum. 4 . XV Century. The borders of each page are of very delicate scroll-work, interspersed with flowers and small fruits. The large miniatures (twenty-nine in all) are examples of Flemish art at its best period. There are several hundred initial letters, illuminated and height- ened with gold. Bound in brown morocco, tooled sides and gilt edges, by F. Bedford. Size, 5f x 7j inches. 20 HOR/E BEAT^ MARINE VIRGINIS CUM ALIUS OFFICIIS. Manuscript on Vellum. 8°. XV Cen- tury. A Flemish manuscript, with borders to each page; thirteen large and forty-six small miniatures. In the old calf binding, with sides stamped and tooled in gold, gilt edges. Size, 5-g- x j\ inches. 21 HOR.#; BEAT^E MARI^ VIRGINIS. Manuscript on Vellum. Small 4 . XV Century. By a French scribe. Ornamented with five large miniatures, and borders of flowers, fruits and insects, in gold and colors. Bound in old French red morocco, with silver-gilt clasp. Size, 5 X 6| inches. 9 CATALOGUE 22 B< >OK < >!• HOURS. M • Vl i.i I'M. 8 . XV v. Flemish. It has twelve large, delicately executed miniatures, with richly illuminated borders. ad in brown morocco, panels in <^>M on the sides, gilt edg Bedford. < /its. llok.l-: BEATiB VIRGINIS MAkLK IX USUM ROMAN UM. Manuscript on Vellum. Small 4 . XV Cl N II RY. Probably Flemish work. The borders, composed of scroll- work, flowers, fruits, birds ami insects, upon yellow -round, are of unusual brilliancy. It contains twelve large and eleven -mall miniatures of the school of Mending. ml by 1'". Bedford, in brown morocco, gilt edges. ■St inches. 2\ HORjE. Manuscript om Vellum. Smali 4 . I ■■:■ ; RY. A French manuscript, written upon one hundred and twenty- : very fine vellum, with delicate borders to each .11 and twelve large well-painted minia- tures, remarkable for breadth and boldness of treatment 10 FROM THE BOOK OF HOURS No. 41 CATALOGUE Binding of old green Renaissance velvet, upon oak boards, gilt edges. Size, 4f x 5f inches. 25 HOR.E BEATy£ MARINE VIRGINIS. Manuscript on Vellum. 4 . XV Century. French. Written on one hundred and sixty seven leaves, with delicate borders; twelve large finely painted miniatures, and many beautiful initial letters, some historiated. According to an inscription at bottom of the first page, following the cal- endar, it belonged to the " Monastery Celle Abbatis Sept r ." Bound in old French red morocco, sides in gold panels, gilt gauffered edges. Size, 6 x 8f inches. 26 BOOK OF HOURS. Manuscript on Vellum. Large 8°. XV Century. Written upon one hundred and forty-five leaves; each page surrounded with brilliant and elaborate borders; also fifty-nine miniatures (twenty-three large and thirty-six small), all most carefully executed. The larger measure 3x5! inches. Although the work in this manuscript is evidently French, it combines a mixture of Flemish, French and Italian styles of treatment, especially in the borders, some being pure arabesque, others composed of fruits and flowers, in the manner of the Touranian II CATALOG School, and all in gorgeous coloring. The arms of the person fur whom the book was executed are painted in several p] rders. Bound in old crimson velvet, gilt i : . ■ ' ■ 8f inches. 27 HEURES. Manuscrifi om Vellum. 8°. X\ T Cen- I IKY. 1 >: French execution. The borders are ornamented in the Italian arabesque style, upon grounds of various colors. The book has eleven full-page miniatures. Hound in Lavalliere morocco, inlaid with red morocco, gilt edges. The last mosaic binding done by Joly. " x G\ inches. 2N BOOK OF HOURS. Manuscrifi m Vellum. 8°. XV Cl Ml KV. Flemish ; with delicate borders of flowers, fruits and scroll-work upon gold ground. It has fourteen full-page miniatures of Scriptural scenes, and twelve small miniatures in the calendar. I he arms of the former owner are repeated several times iii va- rious parts of the book. Hound by Joly, in brown morocco, with an original pattern in mosaic on the sides, and doubled with reil morocco tooled in gold. The original gilt and painted edges preserved. inches* 1 2 CATALOGUE 29 PRECES PI^. Manuscript on Vellum. Small 4 . XV Century. Flemish. With eleven full-page miniatures, and borders in gold and colors. Bound by Cape in green morocco doubled with red morocco, with dentelle borders, gilt edges. Size, 4f x 6f inches. 30 PSALMONIUM. Manuscript on Vellum. 4 . XV Century. Probably French. With twenty miniatures and a number of delicate borders, some upon gold ground. Bound in brown morocco with mosaic medallions on sides, gilt edges, by Cape. Size, 7 j x 5 \ inches. 3 I HOR^E. Manuscript on Vellum. 4 . XV Century. Of French execution, and containing eleven large miniatures of unusual delicacy and beauty. They are divided into upper and lower sections, picturing the various phases of the subjects treated. Some of the borders are composed of small figures. Bound by Le Gascon in red morocco, inlaid with colored mo- roccos, and covered with fine gold tooling in points and dotted lines, gilt edges. Size, 4j x 6§ inches. 13 J3 H« >RATIUS CARMINA. M- . Vellum. In Foua Eari v XV Ci m An Italian manuscript, written on one hundred ami forty-one leaves. It contains by way of frontispiece a painting upon yellow vellum in camaieu heightened with gold. The title "Q. Oratii Flacci Venusini Carminum liber primus incipit M. Antoninus MauFocenus Patricius Venet Sibi et Suis. V. F." i- upon an entablature, with a Faun ami a Satyr on either side playing upon flutes. The original owner of the book, Marc Antonio Morosine, whose arms are emblazoned in an elaborate b i was a Venetian and a patron of Aldus, who dedicated to him his edition of Lucan, published in 1502. The manuscript is in roman Utters, with notes in italic writing. There are beautiful initial letters and borders to each division of the text. The last leaf contains a life of Horace in Latin. I!< >und in old vellum. i lies. 33 FRENCH .WD LATIN HOURS OF HUBERT I>r BERRY D'ARTOIS. Mam - ripi ok Velli m. 1 F< 'i [o. XV Century. A magnificent French manuscript, written upon two hundred and thirty-seven leaves of vellum. Each of the four hundred -\\\^\ seventy-thrc lelicate and elaborate border com- . fruits, bin! beasts, among which are centaurs, and nondescripts. There are also bun- ) atxtmnn ctfacf ar j nuOtm tt p(it)aCHntt{\uvi8i\(H an jvuHUMMcatiu fiirt.o:ano ^jj^miftvue Scan r FROM THE HOR/E No. 49 CATALOGUE dreds of fine capital letters, thirty-two large miniatures and twenty-four smaller in the calendar; all painted with great skill and brilliancy. The arms of Hubert du Berry, impaled with those of Pericard, are emblazoned in various parts of the volume. Bound in red velvet, the edges painted upon the gilt. Size, 7f x \o>\ inches. 34 BOOK OF CALLIGRAPHY. In Folio. XV Cen- tury. A series of elegant designs executed upon vellum with great skill and accuracy. They comprise samples of ornamental al- phabets, borders, etc., in colors and gold. A unique and valu- able volume, as illustrative of the history of illumination. The designer is Guinifortus de Vicomerchato, and the work was done about 1450. The binding is cotemporary vellum. Size, g\ x 1 3^- inches. 35 HOURS OF THE VIRGIN. Manuscript on Fine Vellum. 4 . XV Century. A Flemish manuscript with rich borders of flowers, birds and insects upon a gold ground. It also has thirteen large and small miniatures, exquisitely painted in the best style of Flemish art of the period. The draperies in some of the sub- jects treated are possibly by a different hand from that which 7 15 CATALOG Ul •.ted the heads, which are remarkable tor fineness and beauty. The miniature of the Virgin and Child is consid by the most competent expert the work of Hans Mem- Bound in old red morocco, covered with fine the mannei won, but probably executed in Holland, i \es. j6 SUETONI1 TRANQUILLE DE DUODECIM CM- SARIBUS; OPUS ELEGANTISSIMUM FELICI- 1 ER E I PRINK > 1 >K JULU I CjESARE. Manu- :.n t upon Paper. F< h v >. X\ I ry. is surrounded by an elaborate border, with subjects painted in medallions. The book was evidently the property of a bishop, as indicated by the miter over the coat ol arms. Bound in brown morocco, gilt ed. t,%\ x I I i i tic Ins. HORATU CARMINA. Manuscripi oh Vellum. FOI I". XV Cl NTURY. An Italian manuscript, with five beautiful borders, hea.: ..Id and colors, and historiated initial letters, painted imaieu, heightened with gold This manuscript is in very t'me and perfect condition, ami exemplifies one of the I 10 CATALOGUE of Italian art. The arms of the original owner are at the bottom of the first page. Bound by Charles Lewis, in purple morocco, gilt gaufre edges. Size, i\ x i \\ inches. 38 LIVRE D'HEURES. Manuscript on Vellum. 4 . XV Century. A French manuscript written upon one hundred and twenty- seven leaves. The calendar is in French, each page containing two miniatures, making twenty-four for this portion of the book. There are two hundred and fifty-four borders to the pages, and in all sixty-five miniatures, of which thirteen are page size. The work is possibly French, but there are indications of Flemish influence. Bound in Lavalliere morocco, doubled with green ; the sides and back ornamented with a rich mosaic of colored moroccos, arid the inside of the covers covered with gold tooling "a la fanfare" ; the work of David and Marius Michel. Size, 5 x 6f inches. 39 HOR^E. Manuscript on Vellum. 4 . XV Century. Flemish ; with borders to each page, and thirty-four minia- tures — eight large and twenty-six small. Bound by Thouvenin, in red morocco, richly tooled and doubled with green morocco, also tooled in gold, gilt edges. Size, 6\ x 8^ inches. CATALOGUE 40 HORifL M\Ni v ript on Vellum. 4 . XV Century. I »I French execution, and written upon one hundred and hty-seven leaves. It contains twenty-six full-page miniatures, surrounded by rich borders of scroll- work with birds, flower-, fru:- rsonages dressed in various contempo- rary costumes. The miniatures, with background of landscapes and architecture, are beautifully painted. D the inside of the cover is the indorsement, in Spanish, dated 1575, of the commission of the Lords of the Inquisition, to the effect that the manuscript had been examined by them. The\- have made one or two erasures in the text. Bound in crimson velvet, red edges, with silver clasps. .dies. 41 BOOK OF HOURS. Manuscript on Vellum. 4 . XV Century. Written in France, about 1435, -ind upon one hundred ami itv-ninc leaves. It has elegant borders of burnished gold surrounding each page. There are sixteen large miniatures, of unusual richness and careful execution. The borders to these, which are remarkably brilliant, are Supposed to be by the same artist who dec-rated the Bedford Missal At the bottom of of the miniatures is the coat of arms <.A the Levis family : tin as sable on a gold field Bound in crimson n. --■■ plaque in silver on the side, and silver cla |] 6 X &\ inches. 18 PROM rill : CATALOGUE 42 HOR^E BEAT^ VIRGINIS. Manuscript on Vel- lum. 4 . XV Century. Contains' twelve large miniatures within full borders ; also a large number of initial letters of burnished gold. Bound in brown morocco, tooled sides and back to a Grolier pattern, gilt edges. Size, 5f x 8f inches. 43 LIVRE D'HEURES. Manuscript on Vellum. Small 4 . XV Century. A French manuscript, with colored borders to each page, and nine miniatures. Bound by Cape, in red morocco, with mosaics, covered with fine tooling in gold, and doubled with brown morocco, with dentelle borders, gilt edges. Size, 4j x 6f inches. 44 HOR^E. Manuscript on Vellum. 8°. XV Century. Flemish manuscript, with borders to each page, and eleven large and forty-six small miniatures. Lyonese stamped and tooled binding of calfskin upon oak boards, gilt edges ; with the name Marie Chariot in gold on either side. Size, 4% x 7-g inches. 19 45 HORM i i i : \ i i : m arm-; virginis. M v. 4 . XV I ■ h mantu cuted ft >r s.>inc ooble lady, whose [trail is found kneeling before the standing figure of the Yir- and Child, and is su] retol Anjou, wife of nry VI The \\<>rk of two artists is distinguishable in the paintiii which there is an unusual number: fifty-one of . and tlty-four small. These miniatures, as well as the bordi the me delicacy and beauty. Some of the .ire in the French languag ■ 1 by Riviere, in red morocco, doubled with green, richly • 7 inches. 4(1 Ih'k.K KKAT.K MAKLK VIRGINIS. Manus \'i 1 1 i\i. Small 4 . X\ 1 \.\. A Flemish manuscript, containing ten full-page miniatures with bo: including smaller miniatures or historiations. ind in the original brown -tamped m . S x 7 inches. 47 HORjE. M • w Vellum. 8°. XV Century. iteen miniatures, somewhat rude in execution, and without bor<: CATALOGUE It has been placed in an English chased-silver binding, with silver clasps and chain, probably made in the seventeenth century. Size, 4 j x 6 1 inches. A$ HORyfL. Manuscript on Vellum. Small 4 . XV Century. Written upon the thinnest of fine Italian vellum, and probably in Italy. It contains twelve small and extremely delicate minia- tures in grisaille (red, blue and brown), heightened with gold. Bound in old brown morocco, tooled sides, by one of the Eves. Size, 4 x 5f inches. 49 HORyE. Manuscript on Vellum. Small 4 . XV Century. Beautifully written French manuscript, enriched with twenty- six small miniatures of great delicacy of execution ; thirty-nine borders upon gold or colored ground, upon which are painted seven hundred and forty-six flowers, representing a large portion of the French flora of the epoch ; also seventy butterflies, eight birds, eighty-six branches of foliage and twelve hundred and forty-five illuminated letters. This enumeration gives some idea of the amount of work upon even the less elaborate manuscripts, of which this is an example. In the original vellum covers. Size, 4f x 6§ inches. 21 CATALOGUE 50 PRECES 1'I.K. Mani on Vellum. 8°. XV i.Y. • m Fren< b execution, with five fall-page miniatures, and bor- ders of burnished gold and colors. The text embraces the mu- sical annotation written upon red lines. Bound by Chambolle-Duru, in brown morocco, blind-tooled, gilt edges. nckts. 51 link/K PEMBROCHIANiE. English Manuscript, 1 > 1: Hundred and Ninety-five Leaves of Vi i lum. In Folio. About 1440. A remarkable and sumptuous volume of unusual historic and artistic interest. It was written for William Herbert, first Earl of Pembroke, and according to the most competent living author- ities upon such subjects, is entirely of English execution. In tin- middle of the sixteenth century it was still in the Pembroke family and in the hands of the grandson of the first Earl, who caused additional pages to be written with illuminations, including the Pembroke arms, and his portrait in a kneeling posture. The sup- plemental painting and writing, consisting of the Te Deum and prayers in English, is greatly inferior to that in the original rk, which contains two hundred and sixty-eight miniatures, many richly illuminated borders, and a vast number of decorated initial Lett :: to have found its way into Italy, \\ hence it was obtained about 1880 by Mr. F. S. Ellis, of London, who 23 PROM THE HoR I PI M CATALOGUE published in that year an account of the book, with detailed de- scriptions of each miniature, accompanied by facsimiles of several. The binding is in old crimson Renaissance velvet, upon wooden boards, having clasps and corner-pieces of silver engraved in the manner of Nielli, and probably dates from the latter part of the sixteenth or the early part of the seventeenth century. Size, 8 j x u-^ inches. 52 MINIATURE. On Vellum. By Giulio Clovio. XVI Century. The subject is the Crucifixion. St. John and soldier stand on the right, St. Mary Magdalen is at the foot of the cross, while on the left the Virgin has fallen fainting in the arms of the holy women. The whole is beautifully drawn, and the ex- pression of the faces admirable. Mr. Bradley, in his life of Clovio, states that the artist in his early days studied especially Diirer and Michelangelo. Later he was taken up with the work of Raffaelle, and still later with the Netherlandish painters, and "worked with a vast amount of patient stippling." This miniature formerly belonged to the Celloti collection, sold at Christie's in London in 1825. Later (1856) it was in the Wilson collection. It is engraved by Shaw in his " Decora- tive Arts of the Middle Ages," and considered by him to have belonged to the volume executed for Gregory XIII, mentioned by Baglione in his work published in 1642. Framed. Size, 5f x o>\ inches. 8 23 53 HORiE, Manuscrifi on Vellum. Small 4 . X\'I .111 exquisite example of Italian v. the school of Giulio Clovio. An inscription at the end in French • 9 that it was written in the Noble House and Ah': at Atnand, in the Year of Grace 1537, at the 1 in (inelin. Tile miniatures, <>f which there eleven, page size, are extremely hue and brilliant, and the drawing of these and the d( re in the best Italian taste of the time. The initial letters, of which there are many, are also very beautiful. The vlume is in the fin ndition throughout Bound by Joly, in red morocco, doubled with the same, and ornamented with tooling and mosaic of different colors, the .;fre. 1 nctus. S4 PRECES I'M-:. Manuscript on Vellum. Large 4 . . w XVI Centi ry. A French manuscript written in bold Gothic letters, with some ..f the inscriptions and prayers in the French language. It has hundred and eighty-three miniatures, of which thirty- bt are full-page, and ^nv hundred and forty-five smaller, varying in siz< of the paintings extend across two p >ut thirteen inches in length. Hound in red morocco, tooled sides, gilt edg< . by l • Pui inches. -M ' THE HOR 1 PI MBRO MAN 1 5 1 CATALOGUE 55 PASSIO DOMINI. i6°. XVI Century. Seventeen Italian miniatures upon vellum, depicting the Miracles of Christ, with descriptive text to each painting. Bound by C. Lewis, in olive morocco, doubled with morocco of the same color, tooled in gold, gilt edges. Size, 3 \ x 4f inches. 56 HOR^: BEAT^ MARINE VIRGINIS. Manuscript on Vellum. i6°. XVI Century. A French manuscript, with eleven full-page miniatures and many smaller; twelve historiated borders to the calendars, all finely executed and of extreme delicacy. Bound in old French olive morocco, gilt edges. Size, 2\ x 3f inches. 57 HEURES. GOTHIC. Manuscript on Vellum. i6°. Early XVI Century. Contains twelve large and twenty-one small miniatures, also forty-six borders of flowers and fruits, in colors and gold. Writing in the book states that it was, on the 20th of Decem- ber, 1552, bequeathed to the Reverend Father in God M. Nico- las, Abbe of St. Jay, by the Demoiselle Margharite Orohin. Newly bound in brown calf, blind-tooled, with the original clasp containing a miniature head of Christ. Size, 3 1 x 6\ inches. 25 CATALOGUE n Vellum. 8°. XV] !.Y. Flemish. Containing eleven large and seventy-two miniatures, the latter introduced in broad ornamented borders. .ire not in the best style of the art, hut ex- tremely interesting, owing to their vigorous execution and the somber. I ne pervading them all. This book an additional interest from havin ription of Jeanne de Malberbe, dated I bably the of the family of Malherbe. the French md in black morocco, by Kochler. | inches. »] i [< II M BEATiE MAR1.1-: VIRGIN1S. M an. - . Vl I I.l If. S\I \I.I. .\ . XVI Cl M "I KV. An Italian manuscript, with three rate minia- tures and borders combined. Hound by (iruel in brown morocco, blind-tooled, silver da >:< /tcS. lONAVENTURiE SAN< I I PS VLTERIUM \ I .V. MAkl.K VIRGINIS. M\m s< km i ow Vi i- LUM. I -' . XVI ( I - I i RY. Written in Roman letters within gold line I '■■' COD hi fine miniatures, beautifully painted by the Italian 26 CATALOGUE artist Frederico Baroccio of Urbino. The book was presented to Queen Christina of Sweden by Pope Alexander VII. She, before her death, gave it to her chaplain. Bound in black morocco, with silver clasps. Size, 3f x 7f inches. 6 I LA GUIRLANDE DE JULIE. Manuscript on Vel- lum. XIX Century. Facsimile of the second and smaller of N. Jary's celebrated manuscripts containing the poems addressed to Mile, de Ram- bouillet. This copy was made by V. Bouton. Bound in blue morocco, with garlands of foliage on the sides, gilt edges. Size, 5 x y\ inches. 62 LATIN MISSAL. Manuscript on Vellum. Folio. XV Century. A German manuscript written in bold Gothic letters, two columns to the page, with six very large and sixteen smaller miniatures. Rich borders of flowers, insects, birds and scroll- work. The first two leaves have the arms of the original owner emblazoned in rich colors, full size of the page. Bound in old black morocco, gilt edges. Size, gf x 13-^ inches. 27 CATALOG 63 rOURANIAN MISSAL. Manuscrifi on Vellum. 1"' -1 1 >. XVI Cen 1 ikv. Beautifully written upon very tine vellum, in < i« >t Hie characters, Columns t>> the page. As a work of art, this volume ranks with tlu • ■ land The miniatures, of which there are five • them measuring 7 < IO inches) ami seventeen smaller (2 >. all surrounded by elegant borders, are the work of Touranian artists of the school of Jean Foucquet Their execution is admirable, ami, although French, they sh«>\\ the influence of the Italian art of the period. Bound in old crimson velvet, ^ilt edges. OX 13 \ inches. n.j Oil ICIl'M BKA'IVE VIRCINIS MARIA Mam - '. \ I! LUM. I') . XV Cem I IKY. A most delicate and beautiful example of Italian work of the latter part of the fifteenth century. It was executed in by Sigismundus de Sigismundis for Francesco Sfondrato, who ame Bishop of Cremona .mA. in 1534. Cardinal. The following IS the inscription by the artist, written in red ink, n • CATALOGUE The borders to the miniatures, which are arabesque in style, contain numerous small medallions with heads. Bound in blue velvet, gilt edges. Size, 3-g- x 4^ inches. 63 HOR^E. Manuscript on Vellum. 8°. XV Century. A French manuscript, with nine full-page miniatures care- fully painted. Bound by Duru, in brown morocco gilt, with the sides and back enameled in green and red to a Grolier design, gilt edges. Size, 4^ x 6| inches. 66 ANTIPHONALE. Manuscript on Vellum. XV Century. A Flemish manuscript adapted for church service, but exe- cuted with more than usual care; the text and music orna- mented with a vast number of small drawings of heads and masques cleverly done with the pen. There are eighteen minia- tures varying in size, some of them joined to borders consisting of flowers, birds, etc., painted upon yellow ground. In one of the borders is the date of its execution (1541). Bound in the original oak boards covered with stamped leather, with brass bosses, corners, clasps and feet. Size, 1 2 x 1 6f inches. 29 CATALOGUE 67 HORiB m:\T.K VIRGINIS MARINE. Mam - \ S LL 4 . XV ( ! \ I URY. A French manuscript written upon one hundred and fifteen leaves of vellum, with fourteen full-page miniatures, and many illuminated borders and initial let! B tund in purple velvet, gilt edges, and silver-gilt clasps. lies. 68 HORiE BEATjE VIRGINIS. Manuscript on Vbi 1 r\i. 1 2 . XV Century. A Fl misfa manuscript finely written, with thirteen larj a number of small miniatures. There are also man>- borders composed of flowers, insects, figures and animals. .1 in dark-blue velvet, gilt edges, with engraved silver- gilt corner-pieces and clasps. ukes. 69 II ( >k.K. Mam -1 hi on Vellum. Smali 4 . XV I 1 An admirable manuscript upon three hundred and thirty-four for th R ;ente Anne dc Beaujeu, daughl It is remarkable f«>r the beauty and ■ nality of its miniatures, of which there are twenty-four in the ndar and one hundred and Beven full size <>t th< p in the life of Christ, subjects taken from the old 30 CA7AL0GUE Testament, and others, secular in character, picturing fetes, pro- cessions, banquets, etc. These miniatures, of a high order of merit, are of the school of Jean Foucquet, if not in part by this master, who at the time of their painting (1477) was still living and about 60 years old. The book was probably ordered by Louis XI for his daughter, as he had caused one of a similar char- acter to be executed for Marie de Cleves, Duchesse d'Orleans, mother of Louis XII. Bound in red morocco, by Le Gascon, gilt edges, with clasps. Size, 4t x 5t inches. 70 MISSAL. Manuscript on Vellum. 8°. XV Century. A manuscript of the Flemish School, containing thirteen full- page and twenty-one small miniatures ; richly colored scroll bor- ders with varied designs on almost every page. Bound in old black leather, with gilt coat of arms of the period, silver clasps. Size, 4 x 6-§- inches. 71 MISSAL. Manuscript on Vellum. i6°. XV Cen- tury. A manuscript of the Venetian School, containing six full-page miniatures and nineteen small ones, on rich arabesque ground of pique gold, after the manner of the enameled frescos of San Marco. Bound in crimson morocco, eighteenth century. Size, 3 x Af\ inches. 9 31 CATALOGUE 72 MISSAL. M 1 I'm. Small .; . XV A French manuscript of the Lyons School, containing fourteen fall-page miniatures. Bound by Lortic Freres, 1889. \ x $i inches. 73 MISSAL. Manuscript. Small 4 . XVI Century. Chiefly interesting on account of rich silver repousse Louis XV binding, with repousse silver l'. 6 inches. 74 MISSALE ROMANORUM. Manuscript on Vi 8°. XV Century. Sixteen fall-page miniatures and - mall ones. ■(! by Matthews, in dark-blue crushed levant. Size, 4^ x G'l inches. 7^» PRECES. M ; OH Thin VELLUM. Smaii 4 . XVI Century. ript <>n twenty- two leaves of vellum. One full- with rich: All 32 FROM THE TOURANIAN MISSAL No. 63 CATALOGUE the other pages with exquisite insects and flowers in their natu- ral colors on the margins. The book was praised by the former owner, T. F. Dibdin, in 1828, as of unsurpassed delicacy and beauty. Bound by Lewis, in smooth morocco, with a side of the origi- nal old stamped leather binding inserted on the inner side of the back cover. Size, 3 j x 47? inches. 76 OFFICIUM PURISSIMAE ET IMMACULATAE CONAPTIONES DEIPARI VIRGINIAE MARIAE, AD MATUTINEM. Manuscript on Vellum. Small 4 . XVII Century. French manuscript on fine vellum. Full of the most perfect pen-and-ink minute interfacings and initials in black and gray. Bound in crimson morocco with gilt border, probably eigh- teenth century. Size, 3-4 x 4-| inches. 77 MISSAL. Manuscript on Vellum. Small 4 . XV or XVI Century. Six full-page miniatures surrounded by rich floriated borders, the six opposite pages having borders to match. Numerous gilt and illuminated initials throughout the text. Bound in green morocco, with gilt metal framework cover- ing the outside of the front cover, an ivory carving of the Cru- 33 MOGUL i in the center, and four color on the corners; :i ill gilt clasps. Between the stones are metal seals em- blematic of Luke. John, Matthew, and Mark. Red edges, with gilt design running through the red Inches. 78 SPANISH PATENT OF NOBILITY. Manuscriw Vi 1 : 1 if. Foi I". Will Cl-.N I IKY. i in 1 7 10 by Philip V, King of Spain, to Don Francisco r. Four large, rich, and fine pain- Hound in Spain, eighteenth century, in brown leather with gill • 11, 1 inches. 7^> PRAYER BOOK. Manuscript on Vellum. Smali 4 . XV Cl N I URY. Flemish. Calendar, twelve leave-. Text, one hundred ami twenty 1< Five miniatures in capita] letters; thirty-eight small ; subject in margin; done with pen in filigree- red and blue. In the original binding in oak boards and brown calf, with b and fleurs-de-lis on covers. Silver-gilt clasps, one repre- senting St Catherine, the other St. Anne, Virgin and Child. Purchased in i860 at the sale of the late lean de Meyer at Ghent * kts. 34 CATALOGUE 80 SPANISH PATENT OF NOBILITY. Manuscript on Vellum. Folio. XVIII Century. Issued by Philip V, King of Spain, in 1721 to De La Barra. Six full-page miniatures, thirty-six richly illuminated lines, with miniatures for initials. Bound in old maroon silk velvet, with brocade ribbons instead of clasps. Size, 7| x 1 if- inches. I SPANISH PATENT OF NOBILITY. Manuscript on Vellum. Folio. XVIII Century. Issued by Charles III, King of Spain, in 1775 to Don Ramon Zazo y Ortega. Four full-page and twenty smaller miniatures. Bound in Spain, eighteenth century, in crimson leather with gilt border. Size, 7| x 1 if inches. 82 ITALIAN DIPLOMA. Manuscript on Vellum. In Folio. XVII Century. Issued by the University of Padua in 1680 to a Doctor of Medicine. Two full-page miniatures, and twenty- four pages with broad illuminated borders. Blue cardboard cover. Size, 6f x 9^ inches. 35 CATAI.C s " MINIATURE, on Vellum. XV Century. ■ initial letter O inclosing a miniature of the Holy Trinity and six Apostles. hes. 84 BOOK OF HOURS. Manuscript oh Vellum. a°. XV Cen i 1 kv. Written in the German language, in Gothic letters, and con- taining five miniatures painted upon gold backgrounds. In a silver-gilt repousse and engraved binding, gilt edges. Size, 4] x 6 inches. 85 SIX LEAVES Cut prom an Illuminated Manu Vl I.I IM. XV Cl-.M IKY. Flemish. The large initial letters historiated as follows: Fust. Tin: Nativity. Size, d\ x 61 indies . Second. Adoration 01 the Magi. 6J x 6| inches. Third. God Speaking to David. ' j inches. rth, 1 in. RESURRE4 nOH. i hes. Fifth and Sixth, HOLY FAMILIES. Fifth — size, 4x4! inches Sixth — size, .; 36 ■ CATALOGUE 86 HORy^E. Manuscript on Vellum. Small 4 . XV Century. A French manuscript, containing eleven miniatures with bor- ders. The first one represents the owner of the book kneeling at an altar, with two Saints standing behind him, and on the reverse of the leaf his coat of arms and initials. Bound in old French red morocco (with the arms of Jean du Bouchet, Conseiller du Roi, who died in 1685), edges gilt. Size 3f x 5f inches. 87 VOLUME Containing Twenty Miniatures on Vel- lum. Small 4 . XV Century. A series of small Italian miniatures, inlaid in vellum leaves, within gold borders. They represent the Passion of Christ and pictures of Saints. Bound in crimson velvet, gilt edges. Size, 3§ x 5 -j inches. 88 HOR^: BEAT^ MARINE VIRGINIS. Manuscript on Vellum. Small 4 . XV Century. A French manuscript, written upon two hundred and twenty- three leaves, with twenty miniatures in grisaille, mostly repre- senting the Passion. Bound by Lortic, in red morocco, inlaid with green morocco, delicately tooled, gilt edges. Size, 3f x 4f inches. 37 CATALOG IE MINIATURE, Ow Vellum. XV Century. initial letter N with a miniature of the Morning after the Resurrection. >'>\ inches. 90 OFFICES OF THE VIRGIN. Manuscript on Vbi ii m. io . XV Century. French manuscript, containing three miniatures with borders, and various large initial letters in gold and colors. ind in old blue morocco, gilt edges. Sise, nckes. Ql OFFICES OF THE VIRGIN. Man i Vei I I If. S.MAI. I 4 . XV Cl M Flemish ; with a number of delicately painted borders of flow- ers, insects, etc. Bound in russia leather, gilt ed i nckes. 92 PETRARCA (F.) RIME Manuscripi on Vellum. s . XV Cl mi i;v. An Italian manuscript, written in italics, with the capital let- in ^old on blue ground. Ornamented with five mil-] designs with miniatures (on< n and one 00 purpl< 3S CATALOGUE lum), in the style of Mantegna. The upper part of the fron- tispiece consists of an elaborate entablature in which are the portraitures of Petrarca and Laura. The miniature, upon purple vellum, painted in gold and silver, represents the Triumphi. Rabbits and birds are introduced in the border to the title. The arms of the owner, at the bottom of the page, surmounted by a cardinal's hat, have been erased. In old Medicean stamped binding, with medallions on the sides ; gilt gaufre edges. Size, 6x9 inches. 93 HOR^ BEAT^ MARINE VIRGINIS. Manu- script on Vellum. 4 . XV Century. Flemish ; with eleven miniatures within borders. Bound in green morocco, doubled with red morocco, and cov- ered with minute gold tooling in the style of Le Gascon. Size, 6f x 9 inches. 94 A VOLUME Containing a Series of Thirty-two Early Miniatures, upon Vellum, of Initial Letters, hlstoriated with flgures. 4°. xv century. These paintings, cut from various manuscripts, are mounted, and bound in brown morocco, silver corners and clasp, with carved medallions in ivory inserted in the covers. io 39 CATALOGUE 95 CLOVIO (GIULIO), SCHOOL OF. ATTRIB- UTED BY MR. BRADLEY TO G* a BOCCAR- DINO. Miniature on Vellum, representing thi Martyrdom op St. Luke and the Fall op the I XV] Century. Miniature on Vellum, representing the Crucifixion of St. Francis. XVI Century. On back of each of above is an intercessory prayer to the saint represented. v of each miniature, including border, ~\ x 5 J inches. 96 LIBER PRECUM. Manuscript on Vellum. 4 c . XV Century. Calendar in French ; prayers in Latin ; three hundred and •nty-four pages; fifteen large miniatures. An illuminated border to each page and a large number of initial letters in gold and colors. Bound in old red morocco, gold tooling, with arms of Villeroy, Archbishop of Lyons, on side. Edges painted with flowers over the gilding. Sice, 6] X9 inches. 117 OFFICIUM B.V.M. Italian Manuscript on Vellum. 1 6 . XV Cek 1 1 RY. Latin, three hundred and twenty-nine pages; fifteen illumi- nated and historiated capita] letters. Hound in silver-gilt repousse*, ornamental designs with arms in outer. Sice, 2\ :< 3J. inches. 40 O On li x CATALOGUE 98 HOR^ B. MARINE VIRGINIS SECUNDUM USUM ROMANUM CUM CALENDARIO. Manuscript on Vellum. 8°. XV Century. Latin, three hundred and six pages within illuminated borders composed of flowers, fruit, birds, etc., ornamented with eleven full-page miniatures and twenty-four small subjects in calendar. Bound in old red morocco inlaid with varicolored leathers, and elaborately tooled. Arms of a former owner in center. This book subsequently belonged to the Marquis de Menars, and has his arms illuminated on fly-leaf before the calendar. Size, 4f x 7 inches. 99 HOR^ INTEMERAT^ VIRGINIS MARINE SE- CUNDUM USUM ROMANUM. Manuscript on Vellum. Small 4 . XV Century. A French manuscript by a first-rate artist, with eighty-two superb miniatures, some of them in camaieu gris heightened with gold. The borders surrounding each page are extremely rich and varied, with flowers, fruits, insects, vases, columns, dragons, shells, etc. The initials F. M. are introduced in several places, and at the end is the coat of arms of the owner, and the inscrip- tion " Horas presentes facit facere Franciscus de Mello pro So- rore sua Domina Maria Manuel." Bound in old Italian red morocco covered with gold tooling, gilt edges. Size, 5j x 7f inches. 4i CATALOGUE loo IIOK.K B. MARIiE VIRGIN IS. Manuscrifi o» Vellum. i6°. XV Ceni ury, Latin, four hundred and twenty n vtn pages. The calendar is curious and unusual, containing a number of zodiacal signs and drawings. Large number of illuminated borders with figures of insects, birds, and nondescripts. Bound in modern vellum. . 3 x 4 1 inches. ■\; PERSIAN AND INDIAN MANUSCRIPTS. 10 1 HADJA HAFIZ. Persian Manuscript. Large 8°. (s. D.) Manuscript on a bluish paper, powdered with gold, written within gold lines. The complete works of the poet Hafiz. Illu- minated preface and title-page. Folding leather binding, stamped and painted with gold. 102 RISSALIHI — NOURICH. TREATISE UPON MYSTICISM AND POETRY. Persian Manu- script. 8°. I234 OF THE HEJIRA. A beautiful manuscript written on an ornamental gold ground within lines of gold and colors, with thirteen miniatures and four elaborately decorated pages. Persian enameled binding, painted inside and outside the cov- ers with flowers and birds. Size, S x 7i inches. 43 CAT ■ 103 TASHRIHOOL AKWAM. Indian Manuscript. . i". 1825. This manuscript contains one hundred and twenty-two minia- tures illustrative of the different castes <>f Hindustan, with an his- torical account of them, commencing with Vishnu, who had his origin in the Divine Essence. The pages of the text and the miniatures are within gold borders. Hound in blue morocco, gilt edges, by Chas. Lewifl Size, 8 1 x \i\ inches. 104 BOSTAN UL MOHADDITHIN, BY CM AH ALI SAHIB OF DELHI. Persian MANUSCRIPT WRITTEN in Fine Characters. 8°. About 1771. The first two and the last two pages are richly ornamented in gold and colors. Bound in red morocco. 6 x 8 J inches. IO5 HIE BOOK OF THE KINGS OF PERSIA. An Old Persian Manuscript. Folio, (s. d.) Sixty-four paintings, portraits of kings, holy men, women, etc . : with perfection and elaboration. Each miniature irrounded with decorated border. In Persian enameled binding, with conventional flowers and foliage in bright colors. ,QX 12 inches. f ■ fi*« OUjJ %-»:■&*■ ! I I i I »V; FROM THE BOOK OF THE KINGS OF PERSIA No. 10^ CATALOGUE 1 06 ARABIC PRAYER BOOK. Manuscript with ixterlineal persian translation. 8°. xviii Century. Beautifully written within gold lines on a delicate green ground, and decorated with several brilliantly illuminated pages in gold and colors, in which are represented the Kaaba at Mecca and the Mosque at Medina. Persian folding binding, painted with flowers, etc. Size, 6\ x 9f inches. 107 THE KORAN. Persian Manuscript. Large 8°. An old manuscript written upon thin paper between ornamen- tal gold lines and within gold borders. It has six illuminated pages. Persian binding, painted with flowers. Size, 5f x 9f inches. 108 KORAN. Persian Manuscript. 8°. XVIII Century. An exquisite piece of work, written upon gold ground, with the translation in Arabic interlined in red. There are delicate illuminations and borders accompanying the text, and elaborate introductory pages. Persian binding, brilliantly enameled outside and inside the covers. Size, 5 x 8} inches. 45 CATALOGUl 109 AKBUR NAMMEH. Persia* Manuscript. Folic XVII Century. Written in Arabic, and containing a large number of brilliant and delicately executed minatures. In Persian binding, with paintings on the sides of ^irls dan- cing before the court. ■ 14.4 inches 110 I'KRSIW MANUSCRIPT. 12 . XVIII Century, Finely written and illuminated with miniatures and ornaments of flowers in gold and colors. In Persian painted binding. Si:,-, $\ x 5.I inches. ill Persian Manuscript on Vellum. Folio. XVII ok XVIII Cl mi RY. A poem by Sadi in tin- middle of the' pages, surrounded by a mi by ELoustan, the latter serving as a margin. Six minia- tures 12x8 centimeters, three full-juge illuminated illustr. and three small illumination^. Ornamented binding, supposed to be of eighteenth century, in brown in ith gold arabesque designs in relief; double' in blue and maroon morocco, with designs in relief. hcs. 46 FROM THE BOOK OF THE KINGS OF PERSIA No. IO5 CATALOGUE I 12 VOLUME OF PERSIAN MINIATURES. In Folio. Twenty-eight old Persian paintings, embracing a variety of subjects finely executed. Bound in old English red morocco, gilt edges. Size, 12 x 15 inches. 113 KORAN. Arabic Manuscript. Folio. XVIII Cen- tury. Beautifully written between ornamental gold lines, and with borders in gold to each page, composed of flowers and foliage. The illuminated pages are of extremely fine execution. In an elaborate Persian binding, painted inside and out with flowers in gold and colors. Size, 7\ x 1 2 inches. 114 "TAHFETUL EBRAD." A Collection of Admo- nitions in Verse, by Sheikh Abdul Rahman. Per- sian Manuscript of the year 992 of the Hejira, or about A. D. 1600. The text is written within broad decorated borders. There are two miniatures, and several elaborately decorated pages. Old Persian folding binding, gilt and painted. Size, 7j x \\\ inches. 11 47 \LOGUl 115 KORAN (The 30th Pai : jian Manuscript. IX i in I i XV Ci n ruRV A. I).). Written in large gold letters, with ornaments of blue and -i.m cloth bindii Size, Sj x IlJ /;/, I m PERSIAN MANUSCRIPT. In Folio. XVII] I i . RY. A Romance, written in double columns within gold lines. me elaborately decorated preliminary pages, and a large num- : of brilliantly colored miniature-. Persian binding in red morocco stamped and painl Sise, 5-J x ioJ, inches. 48 7~~TT FROM THE PERSIAN MANUSCRIPT AKBUR NAMMEH No. IO9 PRINTED BOOKS WITH ILLUMINATIONS. 117 HEURES A L'USAGE DE ROUAN. Large 8°. Imprime pour Simon Vostre, Paris, 1508. The large Hours of Simon Vostre, printed upon vellum, with engraved borders to each page ; twenty-four fine paintings upon the large plates, and many illuminated initial letters. Bound by Cape, in brown morocco, gilt and blind-tooled, gilt edges. Il8 PONTANI OPERA OMNIA. Three Volumes. 8°. Venice: Aldus, 15 18. The title-page surrounded by a brilliant border designed in gold upon a red ground, and initial letters throughout painted in gold and colors. Special copies of books from the Aldine press were some- times illuminated in this manner. Bound by Cape, in crimson morocco, with panels of olive morocco on the sides; tooled in gold, in the style of the Re- naissance, gilt edges. 49 \LOGUE i lu LIVRE D'HEURES. I . Paws: Antoinb Y: \KI'. I.lSS. . upon paper, with the whole of the borders ami en plates c«>! Bound by Lortic, in brown morocco, blind-tooled, and doubled with red morocco, ^ilt ed 120 HEURES A L'USAGE DE ROME. 8°. Pari- : Kardouyn, 1505. Printed upon vellum, with eighteen engravings richly and carefully painted. Hound in green morocco, with gold borders on the gid< s, by Derome. 121 LE PREMIER SECOND ET TIERS VOLUME DEEUGUERRAN DE MONSTRELLET ENSUY UANT FROISSART Nagubres Impkimi \ Paris. I >i < France, 1 >angi 1 1 krri . Des Despaigni I'l Bretaigne db Gascogni di Flandres ET L11 >nvoisins. Imprimez i Paris four Anth Verard (aboui 1500). Threi Volumes in rwo. Fouo. C< 'l>>' on vellum, printed in gOthic t>'p<-. with six miniatures full • • md on<- hundred and fifty-nine small, r. The binding is a chef-d'oeuvre of Lortic, in dark morocco inlaid with variegated colors, and elaborately tooled with .1 combination 50 CATALOGUE of ornaments taken from sixteenth-century motives. It is the only one of the pattern executed by this binder, and was ex- hibited by him at the French Exposition in Paris in 1878. Size, 9^- x \2\ inches. 122 HORE DIVINE MARIE SECUNDUM USUM ROMANUM. 8°. Hardouyn, 1518. Printed upon vellum, with engraved borders, and having the large plates painted in gold and colors in imitation of miniatures. Bound in black morocco, blind-tooled, gilt edges, by F. Bedford. 123 ARETINUS (BRUNUS), DE BELLO ITALICO ADVERSUS GOTTHOS. Folio. Venetiis : N. Jensen, 147 1. With painted initial letters and fine border in colors on the first page. Bound in red morocco, borders of gold, gilt edges, by Bozerian Jeune. 124AURELII AUGUSTINI. DE CIVITATE DEI. Folio. Venice, 1470. Printed upon vellum, with the first page of the text and the initial letters illuminated in gold and colors. Bound in brown morocco, by Marius Michel. 51 CATALOGUE 125 CICERO. rUSCULANiB QUiESTIONES. Foua Vbnetiis, per Nicolaum Jensen, 1472. . printed upon eighty-four leaves of vellum, with the initials painted with great care in gold and colors. Four copies only of this book are known upon vellum. Bound in old blue morocco, gilt ed 126 HORE BEATE MARIE VIRGINIS AD USUM PARISl£SEM. Smm i. 4 . Paris, [498. Printed upon vellum in gothic type, with the view of imitating .0 nearly as possible the manuscript books of Hours. The capi- tal letters and the borders are all executed in free-hand in colors, while the subjects of the large illustrations are engraved in out- line only, to facilitate the work of the miniaturist, who has painted them in a conventional, mechanical manner. The result is deceptive to a casual observer. Bound in old brown morocco inlaid with colored leathers, and tooled to a Grolier pattern. Size, A,\ x Oh inches. 127 HEURES A L'USAGE DE ROME roirr mj 1 Imprimees a Paris par Guillaume Anabat, 150;. Lai GE 8°. With very richly engraved bonier-; the large plate- as well a- the small ones in the text And all the capital letters painted in colon, and heightened with gold. Hound in old Renaissance red velvet, gilt ed| 52 CATALOGUE 128 HOR^ DIVINE VIRGINIS MARIE. Printed on Vellum in Roman type, by Germain Hardouyn, Paris ; no date, but with almanac for i52o to 1532; ninety- six leaves; twenty-nine lines to page. Twenty-one full-page and twelve quarter-page illuminated miniatures. Bound by Matthews, in crimson crushed levant morocco extra, gilt back and gilt edges. Size, 4x6 inches. 129 JUSTINIANI IMPERATORIS AUTHENTIC^ SIVE NOVELLA CONSTITUTIONES, ETC. Codicis cum Glossis. Folio. Moguntle : P. Schiaf- FER, 1477. Initial letters and borders illuminated in gold and colors. Bound in old russia. Size, 11 x i5j inches. 130 iEMILII PROBI (i. e., CORNELII NEPOTIS). Folio. Venetiis : N.Jensen, 1470. The first edition, ornamented with initial letters in colors, and a beautiful and elaborate Italian miniature border surrounding the first page. Bound in green morocco with tooled sides and back, gilt edges, by Roger Payne. 53 i~i HEURES Imprimeis par Jean db la Roche; Paris. 1514; POUB ("'in MRK DO I Printed on vellum in gothic type, nineteen illuminated full- e miniatures, fourteen illuminated smaller miniatures, nine illuminated full -page ben. . '. • mp of the " Abbaye de Tard." Binding full red morocco, with fine gold tooling; probably done in France during the eighteenth century. . 5 x S inches. 132 VALLENSIS (LAURENTII) COMMENTARI1 GRAMMATICE SE< UNDUM ELEGANTIAM LIXGIAE LATLVH. Fm.io. Vknetiis: N. Jra 1471. Illuminated border to first page (in which are the Wodhull arms), and seven initial letters illuminated in gold and colors. Bound in old citron morocco, borders of gold; probably by 1 1 n >me. ■ I x 13^ inches. 133 HEURES A L/USAGE DE ROME 8°. Paris: Vnabat, Imprimeur, 1500. Printed upon vellum, and with all the engraved plal : i< lily painted in gold and o ' ind in dark brown morocco, blind-tooled, gill Th 54 n -\u« • nomine b-'n Tift tin lmii «•- ■'un Rift t.iiid.tbito erf** tribute ur a .ir C-n at p f n ■l-m nomic en ft; qfto. MJMJiiBMilrfr'i — — - •.vpnbilm ; iir.iquoo-c m pn 1?6 rr.ro t Jiiif' pc ft r ancy tru (l face vibi- utrFcc a< quvpof-qo* mco-ct no tuaviec ft b.lorJtifl IbriFiintrir" ut-ff-broff ciuaruiman dciu I iinh'tt-ltcftl .ej.jscrffompiv ."J" b«'u bcbta; • icc-tannf faluatot urptmp.i(Tionct C t (tr pc6«fjc»j m cruet- eCC nfh-ffTTc* U nncvn-H »|tAn fur et reperr riigrtib? cvg-. t ire q trims arcbioonnif- pmofiicrut bromjno hupio-lrd pf^AntiqiiaOKq^ po(>fjctif««rutfuir»ftiiii«P« affric-tii-C.tr off p.p aff qe hurra ^cl me gulov Siquop # .otcDniinAmpifif ^afcaiiW. o^dmr* artbW ^ ££0 pdTuX '.i redtto a f.ilruHu ?lro "" t» nn aur armqu.'i rcdpic ' J^Trh-tv utre.p.Spnr CB6bab?.ulibtatr.quamJf^/ Rtn amittut-IRex. finucprm-ujffiromano^ gxfr^pr. rufartircpu-mn'rlbiecj Vs^ m.ilibtafci.quJci COftbatcat-Cfnoduj batf mrnaturjlibnr tit cHnuftmfifubnfonup:; ••, ^'^.^ .. ••» mob aowAf ant* ttobcdittxueromame. •• opBU;r atf. incurrutcflj^ricfoUieu ^^ qajhuanur-mcV .dmce a nfift fbVcr.6 ft> X A«*" s '••»"• * *"* niaattqua^fmfful.flqf^- ir tn b amue coprtrtr? fos* ma. ([Duccucp wo fre* quctiqde rontitur p par; tea auiciUqjJoflibilia raj' prmianixrcslccr.iM M crc nolucr.t"]nnptrcD- }inJno~|mpjrcvi>. lulri mam a |obam (pc (ecu to mpr; Ccupanf obiear PMM mpubli ecru rae ...itUf I " «mcbapjrucfigcab>co Fiatmuaanunon r^; girarefiqernusprcqw© •lia..€tb€cpe« * qwcWwandaltxvroai p«dimr.i-»..". »C A ^-i 'grofi tv Ccup.v BB-pt'c gn oaeuf oi tUovcrbo mcumtf^irJ cf> i Idi *|>tnlla wcttonceltffinte^rein potrll m vi abTTBui ab Tolurc pom ftc mfti te aire na-m pn-ct c u» ni-otiaf-^btiBijirurubiOictouna potsftpom nonn naauectablinut ■•<'i.a>fiin.a gC(?o5no.fi!'utrocaipac6titsap.; n t»inr;bf -ff-m pn- ct no bCRfipii t-tonuB im.-Cq-rrttemodis rcfpur5;.r5< noi-ut Blw.p auitatr rona mi ct roc .-u mcbil-i-paruvd mcbU boe tpc po)Tiimu9 cogtfa rccefmjtulcvurilit-antK" ^eltm parumcbil I tilqrifit paru-naoitam-'alra "vTiatpclfo adcu Hpnciptnovc ■ Ul i li fit ca -ye -hbianj auri ut C riap l.toffrrj.itr, S>c< bicparudigimUB-bocf mcbil cufptirc-fifp voiumus coyrire 'vti oif p.initno fie t (Kriarae-l-fiatrcs. If . St qatnus-rcpttB digrobj nobis Ct Ic^e ouob? mc bis ve utrcfpiaatcjmptBntavd piirej fief -eatmua eojtia nun adbiic cafi". qtsnuB-t-^fptrr qua cogttaco) Ut pon itur.p qtS.et tic cam m ptcntu vcl piiB norC non fiiRirj fm ji 'vd melius ^capncpomutfuiudcit no OB-a-.iqc'cutpomitr.p^qricat r g-«tesut ffCMarur iillftvjrii iii-hofWsru«iiit fpneomani-ut.C.SoF.p.p- affti-qiiljutesmpft uc'.efraf.ut ff trmli-.ticr.l.mf nCrvcr»vci(uipl«i: amle-iTbif .yrur^cllcfraBad «a^aniK-q.t>.alicyrarenfiBeogitacnib7p(c9q3| fyT antiqua apiictir (mt^ru'i quodnon «(tv«nini1oimaliaBbi^tqualt ime ptrmu- ctbec planaa pone qfi^> licit q.bitar«cu pcrat Itbrari ficut noiurrr nobis adbcrctsB ho (>«« Ipo to rennet qua bnt- Ire alia tftqua mfi nuc t bae tgo ba beoctcftbona bocmoaD-quj.riibtatcbabc.u t p 01a Ktltbcnmfinucic^ti mliml? o? crutfnterlBtcc*08. «6m bitcrcrait mcdlectu mfericcavba.q'noduTcl'e pon«q3'-f* JBuiarartturetntbrcpuro-poncrcrurttn nobis *c»Titwu9. no rolunfc&ctja.jpritrrinffulot rCnncumitq-o- rumfpcaalcsut-l c Tuas ^priaa amellctpu atow roUtcirudmcB. utCcceadutol.l una if- Ft- BClCopetrtcJfi^pctjrcrpt tarur-qD'Dicuti-trman.pri.5.qb vt'efrigulil bamiis ^pctrm foima ft nc mnnu jrauemu' hoc opot ■. tcrcputainur, ctlesetn JanartetttadcrclUicats p le u»= uactmorpTC qcuqj. _ rflTrcquen fie ft trlcff-ct Ic -» l.naadea jt'potiiitur-i-mdiffCtvelFruuntr. abi4tia ct crctJcf. clbicquecuef ▼ero Ftequen qiudc pouutur p pt«s aunlto rplcnimca mm r-.- frcquctii nnf. mdipt fcpbo ta tn fepta le« poffibitiaiiit-fef fiSaudi ut (luejprtrtrtilitatrobcir.ca fib? m qb:- btit opnB « optti c ^d Die trrao^prc po. mus lefrc fanctrei c- (BitrttS 1 c-f fcpta oia ci p0« riurm oitevnlttare lege ipalicf^tuwl qqntojfitt ut-ff-De leffctre.col IcfriG virtue repcteet bet opccttrtqeuqi ,, rtaquenrtqtticcmpotnitur^crelFrequcnu bee opot ••, " queeuq)Freqfitii.ptE8 poountr au?ui»< FROM THE JUSTINIAN1 CATALOGUE 134 PLYNII NATURALIS HISTORIA. Large Folio. Venetiis: N. Jensen, 1472. The initial letter contains the Bagneri arms, illuminated in gold and colors ; opposite a curious flourish in colors of the word Jesus, with sporting subjects and the Bagneri arms re- peated. From the Wodhull sale. This book has been designated "The Glory of Jensen's Press." Bound in gilt russia leather, by Roger Payne, with Wodhull arms in gold on sides. Size, 1 of x 1 5^- inches. 135 HEURES A L'USAGE DE ROME. 8°. Imprime PAR GUILLAUME ANABAT, PARIS, LE I er OCTOBRE, I505, pour Germain Hardouyn. Printed upon vellum, with engraved borders to each page, and having the full-page plates painted as miniatures. Bound in old brown morocco, gilt edges. 136 BOUCHET (JEHAN). LAMOUREUX TRANSY SANS ESPOIR. 4 . Paris: A. Verard. Without date, but about 1500. Printed upon vellum in gothic type, and containing twenty miniatures, illuminated in gold and colors. A very rare book, not quoted by Brunet. Bound in old red morocco, gold borders, edges gilt. 12 55 CATALOGUE LIVRE D'HEURES. Large 8°. [mprimei PAR GUILLAUME ANABAT POUE GlLLEI M GERMAIN I I A! IX 'I V\, I 50;. Printed upon vellum, with the border of every page richly and elaborately painted in gold and colors. ad in old red morocco, by 1 ><.• 50 A LIST OF SOME OF THE MOST IMPORTANT BOOKS UPON OLD MANUSCRIPTS. LES ARTS SOMPTUAIRES HISTOIRE DU COS- TUME ET DE LAMEUBLEMENT AVEC TEXTE EXPLICATIF PAR CH. LOUANDRE. Four Vol- umes. 4°. Paris, 1857. This work contains a large number of chromo-lithographic fac- similes of miniatures and ornaments from old manuscripts. LE MOYEN AGE ET LA RENAISSANCE. Histoire et Description des Mozurs et Usages, du Commerce et de l'lndustrie, des science, des arts, des lltte- ratures et des beaux-arts en europe. direction LlTTERAIRE DE M. PAUL LaCROIX. DIRECTION ArTIS- tique M. Ferdinande Sere. Dessins fac-simile par M. Rivaud. Five Volumes. 4 . Paris, 1 848-1 851. Contains articles upon calligraphy, illumination, and miniature painting, with chromo-lithographic reproductions. 57 BIBLIOGRAPHY DRESSES AND DECORATIONS OF THE MID DLE AGES, i'. Henry Shaw, !•'. S. A. Two \ i dues Largs 8°. London. 1843. Contains a large number of colored illustrations from old manuscripts, with descriptive text. LABARTK (Jl'LKS). HISTolRl. DES ARTS IX- DUSTRIELS AD MOYEN AGE ET A L'fePOQUE DE LA RENAISSANCE. Six Volumes. 4° Paris: LlBRAIRIE DE A. MOREL & ClE., [864- 1 866. The worl. flour volumes of text and two of illustra- tions in gold and colors. Reproductions of miniatures from manuscripts are in Vol. II of the illustrations. One hundred copies were printed on large paper. I ES MANUSCRITS A MINIATURES DE LA BIBLIOTHfeQUE DE LAON I. HI Mis AU COIN I DE VUE DE LEUR ILLUS1 RA HON, par Edouard Fleurv. Two Volumes. \ . Paris, This i a most interesting work, presenting an analysts of the various itykfl of ornamentation found in the manu-cri; I illustrated by 1 .m fully executed plal 58 BIBLIOGRAPHY A DICTIONARY OF MINIATURISTS, ILLUMI- NATORS, CALLIGRAPHERS, AND COPYISTS, From the Establishment of Christianity to the Eighteenth Century, by John W. Bradley, B. A. Three Volumes. 8°. London, 1887- 1889. THE ILLUMINATED BOOKS OF THE MIDDLE AGES: An Account of the Development and Pro- gress of the Art of Illumination, as a Distinct Branch of Pictorial Ornamentation, from the IV to the XVII Century. By Henry Noel Humphreys. Illus- trated by a Series of Examples, of the size of the Originals, selected from the most beautiful Manu- scripts OF THE VARIOUS PERIODS, EXECUTED ON StONE and printed in colors by owen jones. folio and 4 . London, 1844- 1849. Although this splendid volume cannot be regarded as equal in magnificence to the work of the Comte De Bastard, it is a most meritorious and successful effort to produce a similar pub- lication in England executed by the same process and at a mod- erate expense. It contains thirty-nine very fine examples of illuminated manuscripts of various ages and countries, excellently drawn, colored, and gilded, derived from both British and foreign libraries, arranged in a systematic order, with copious de- scriptions, and an introductory sketch of the rise and progress of the art of illumination. The work was originally published in thirteen parts, in quarto at 12s. each, and in folio at £1 is. 59 BIBLIOGRAPHY AS! LE 1 HOS. . I ORIGIN AND PR< >GRESS I )] WRITING. Second Edition. 4 . London, 1S03. The first edition, published in 17S4, in 4 , i^ of little value ired with that of 1803. THI-; ART OF ILLUMINATING AND MISSAL PAINTING: A Guide ro Modern Illuminators. Il- r a Series of S m richly illu- minai ed Manuscripts <>i various peri* >ds, a< i • impanh d btoi ( Outlines, ro be coi ored by the Student DWG I" THE THEORIES DEVELOPED IX Till work. By Henry Noel Humphreys. Square 8 . London, [849. UNIVERSAL PALEOGRAPHY; or, Fa< -simi Writings of all Nations and Pei imthe bbratbd and authentk Manuscripts in ihk Libraries and Archives 01 France, Italy, Germany, and England, by M. J. B. Silvestri : accompanied by an historicai ind descriptive Texi uro Introduction iampoluon-Figeai \m» Aimi Champollion, Fils. I LATED FROM THE FRENCH, iND EDITED, win I COR- re< 1 ions and Notes, bi Slr Frederk Madden, K II.. F. R. S., Keeper 01 1 m Di pari mini 01 Manus< rifts w • : iiisn Museum. Two Volumes. 8 . London, 185a So BIBLIOGRAPHY THE LIFE AND WORKS OF GIORGIO GIULIO CLOVIO, Miniaturist, with Notices of his Con- temporaries and the Art of Book Decoration in the Sixteenth Century, by John W. Bradley, B. A. 8°. London, i8qi. PALAEOGRAPHIA SACRA PICTORIA : Being a Series of Illustrations of the Ancient Versions of the Bible, copied from Illuminated Manuscripts executed between the iv and the xvi centuries. By J. O. Westwood, F. L. S. 4 . London, 1 843-1 845. PEINTURES ET ORNEMENTS DES MANU- SCRITS, CLASSES dans un Ordre Chronologique, pour SERVIR A L'HlSTOIRE DES ARTS DU DeSSIN, DEPUIS LE yiEME s IECLE de l'Ere Chretienne jusqu'a la fin DU XVI i£me p AR LE Comte A. De Bastard. Folio. Livraisons I-X. Paris, 1835 -1843. It is stated by M. Aime Champollion Figeac that each livraison of this splendid production is charged 1,800 francs, and that the whole expense of every copy will exceed 100,000 francs. If the design should ever be completed, the work is intended to consist of a series of geographical sections, exhibiting the character- istics of the illuminations of various countries ; but only that relating to France is now in the course of publication. 61 BIBLIOGRAPHY ILLUMINATED ILLUSTRATIONS OF THE BI- BL1 . COPIED I HI Mil'l-I E r.v J. ( ). Westwood. Small 4 . London, iS 45- Though the principal object of the first of these works was to tit the writing of the manu ferred to, yet the num- ber of illuminated ornaments and paintings connected with those fac-similes is very considerable, and comprises many very inter- esting examples. The descriptive text alto Is COpioUS, and full of valuable information. LIBRAIRIK DKJKAN DK KRAXCK, Dw Di B I 1 du I\«»i Charles V, publh b i n sow bnto b poub i a pr] i i'i 1 i'i 1 \ Vie db ci Prince : [LLUSl 1-1 1 M i'i 1 S BEL] BS Mima HIRES Dl , ICCOMFAGNEE DE NOTES BlBLIOGRAPHIQUES, 11 de Recherches pour servib \ l'Histoirb DBS I >i ssro \; M01 1 n Ace. Pab i 1 Com i 1 Au 1 I >i B \ rABD. Foi i". Paris, 1834. Only thirty-two plates of this very fine publication were issued, with the memoir of the Hue De Berry, when the design iven up and the ensuing splendid collection commenced, in which wen- reproduced some of the illustrations intended for this interesting < in both of these works the illustra- tions are printed in colors and gold by the process ol chromo- lithography. BIBLIOGRAPHY A TREATISE ON PAINTING. Written by Cennino Cennini in the Year 1437, and First Published in Italian in 1821; Translated by Mrs. Merrifield. 8°. London, 1844- ILLUMINATED ORNAMENTS SELECTED FROM MANUSCRIPTS AND EARLY PRINTED BOOKS, FROM THE SIXTH TO THE SEVEN- TEENTH CENTURY. Drawn and Engraved by Henry Shaw, F. S. A., with Descriptions by Sir Fred- eric Madden, K. H., F. R. S., Assistant Keeper of the Manuscripts in the British Museum. 4 . London, 1833- This work was originally published in twelve parts, some copies of which were printed on imperial quarto paper and heightened with gold. It contains forty plates. PALEOGRAPHIE UNIVERSELLE. Collection de Fac-similes d'Ecritures de tous les peuples et de tous les temps ; tires des plus authentiques documents de l'Art Graphique, Chartes, et Manuscrits, existant dans les Archives et les Bibliotheques de France, d'Italie, d'Allemagne, et d'Angleterre, publies d'apres des modeles £crits, dessines, et peints sur les 13 63 BIBLIOGRAPHY I.1EUX, PAR M. J. B. Sll 'iTOMi'ACMS d'ExPLI- cat; H D MM. Cb ■ i Aimi Champoi lion, Fua I I Paris, [839-1842. ! this extremely beautiful publication iraS to il- lustrate the history and practice of the art of writing in all 08, the introduction of illuminations and miniatures is only incidental, as such decorations might occur in the specimens selected ; but in the who!, -, ries those examples are both numer- ous and interesting, as well as faithfully and beautifully executed. OEUVRE DE JEHAN FOUCQUET. TwoVolumes. 8 . Pari L. C rmi r, 1866. The first volume contains fac-simil.- copies in chromo-lithog- raphy of miniatures and borders executed by Foucquet The second volume contains an account of the art: I tries. I \l\ l km n <>i (MM ORN1 v I EBB \R\ Bl KK I I I \ Return (o desk horn uhidi honour. 1. I his hook is ni i on the Ian date s tamped bdoir. m 3 J948 RECCIR JUN 1 5 '8: iii in nun ii i M9476' NDa THE UNIVERSITY OF CALIFORNIA LIBRARY