A Bibliographical, Antiquarian and Picturesque Tour in France and Germany, Volume Two. Thomas Frognall Dibdin
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state of preservation. In the whole, ninety-one leaves. It is bound in red morocco.
BREVIARE DE BELLEVILLE: Octavo. 2 volumes. Rich and rare as may be the graphic gems in this marvellous collection, I do assure you, my good friend, that it would be difficult to select two octavo volumes of greater intrinsic curiosity and artist-like execution, than are those to which I am now about to introduce you:--especially the first. They were latterly the property of Louis XIV. but had been originally a present from Charles VI. to our Richard II. Thus you see a good deal of personal history is attached to them. They are written in a small, close, Gothic character, upon vellum of the most beautiful colour. Each page is surrounded by a border, (executed in the style of the age--perhaps not later than 1380) and very many pages are adorned by illuminations, especially in the first volume, which are, even now, as fresh and perfect as if just painted. The figures are small, but have more finish (to the best of my recollection) than those in our Roman d'Alexandre, at Oxford.
At the end of the first volume is the following inscription--written in a stiff, gothic, or court-hand character: the capital letters being very tall and highly ornamented. "Cest Breuiare est a l'usaige des Jacobins. Et est en deux volumes Dont cest cy Le premier, et est nomme Le Breuiaire de Belleville. Et le donna el Roy Charles le vje. Au roy Richart Dangleterre, quant il fut mort Le Roy Henry son successeur L'envoya a son oncle Le Duc de Berry, auquel il est a present." This memorandum has the signature of "Flamel," who was Secretary to Charles VI. On the opposite page, in the same ancient Gothic character, we read: "Lesquelz volumes mon dit Seigneur a donnez a ma Dame Seur Marie de France. Ma niepce." Signed by the same. The Abbé L'Epine informs me that Flamel was a very distinguished character among the French: and that the royal library contains several books which belonged to him.
BREVIARY OF JOHN DUKE OF BEDFORD. Pursuing what I imagine to be a tolerably correct chronological order, I am now about to place before you this far-famed Breviary: companion to the MISSAL which originally belonged to the same eminent Possessor, and of which our countrymen34 have had more frequent opportunities of appreciating the splendour and beauty than the Parisians; as it is not likely that the former will ever again become the property of an Englishman. Doubtless, at the sale of the Duchess of Portland's effects in 1786, some gallant French nobleman, if not Louis XVI. himself, should have given an unlimited commission to purchase it, in order that both Missal and Breviary might have resumed that close and intimate acquaintance, which no doubt originally subsisted between them, when they lay side by side upon the oaken shelves of their first illustrious Owner. Of the two performances, however, there can be no question that the superiority lies decidedly with the Missal: on the score of splendour, variety, and skilfulness of execution.
The last, and by much the most splendid illumination, is that for which the artists of the middle age, and especially the old illuminators, seem to have reserved all their powers, and upon which they lavished all their stock of gold, ultramarine, and carmine. You will readily anticipate that I am about to add--the Assumption of the Virgin. One's memory is generally fallacious in these matters; but of all the exquisite, and of all the minute, elaborate, and dazzling works of art, of the illuminatory kind, I am quite sure that I have not seen any thing which exceeds this. To equal it--there may be some few: but its superior, (of its own particular class of subject) I think it would be very difficult to discover.
HORÆ BEATÆ MARIÆ VIRGINIS. This may be called either a large thick octavo, or a very small folio. Probably it was originally more decidedly of the latter kind. It is bound in fish skin; and a ms. note prefixed thus informs us. "Manuscrit aqui du Cen Papillon au commencement du mois de Frimaire de lan XII. de la République." This is without doubt among the most superb and beautiful books, of its class, in the Royal Library. The title is ornamented in an unusual but splendid manner. Some of the larger illuminations are elaborately executed; especially the first-- representing the Annunciation. The robe of the Angel, kneeling, is studded with small pearls, finished with the minutest touches. The character of ART, generally throughout, is that of the time and manner of the volume last described: but the present is very frequently inferior in merit to what may be observed in the Bedford Breviary. In regard to the number of decorations, this volume must also be considered as less interesting: but it possesses some very striking and very brilliant performances. Thus, St. Michael and the Devil is absolutely in a blaze of splendor; while the illumination on the reverse of the same leaf is not less remarkable for a different effect. A quiet, soft tone--from a profusion of tender touches of a grey tint, in the architectural parts of the ornaments--struck me as among the most pleasing specimens of the kind I had ever seen. The latter and larger illuminations have occasionally great power of effect, from their splendid style of execution--especially that in which the central compartment is occupied by St. George and the Dragon. Some of the smaller illuminations, in which an Angel is shewing the cruelties about to be inflicted on the wicked, by demons, are terrific little bits! As for the vellum, it is "de toute beauté."
HISTORIA BEATÆ MARIÆ VIRGINIS. Folio. This is briefly described in the printed catalogue, under number 6811. It is a large and splendid folio, in a very fine state of preservation; but of which the art is, upon the whole, of the ordinary and secondary class of merit. Yet it is doubtless a volume of great interest and curiosity. Even to English feelings, it will be gratifying to observe in it the portrait of Louisa of Savoy, mother of Francis I. That illustrious lady is sitting in a chair, surrounded by her attendants; and is in all probability a copy from the life. The performance is a metrical composition, in stanzas of eleven verses. I select the opening lines, because they relate immediately to the portrait in question.
Tres excellente illustre et magnificque Fleur de noblesse exquise et redolente Dame dhonneur princesse pacifique Salut a ta maieste precellente Tes seruiteurs par voye raisonnable Tant iusticiers que le peuple amyable. De amyens cite dicte de amenite Recomandant sont par humilite Leur bien publicque en ta grace et puissance Toy confessant estre en realite Mere humble et franche au grant espoir de France.
The text is accompanied by the common-place flower Arabesques of the period.
HOURS OF ANNE OF BRITTANY. The order of this little catalogue of a few of the more splendid and curious ILLUMINATED MANUSCRIPTS, in the Royal Library of France, has at length, my worthy friend, brought me in contact with the magical and matchless volume usually designated by the foregoing title. You are to know--in the first place--that, of ALL the volumes in this most marvellous Library, the present is deemed THE MOST PRECIOUS. Not even the wishes and regulations of Royalty itself allow of its migration beyond the walls of the public library. There it is kept: there it is opened, and shewn, and extolled beyond any limits fixed to the admiration of the beholder. It is a rare and bewitching piece of art, I do assure you: and so, raising your expectations to their highest pitch, I will allow you to anticipate whatever is wonderful in FRANCESCO VERONESE and gorgeous in GIROLAMO DEI LIBRI.35 Perhaps, however, this is not the most happy illustration of the art which it displays.
The first view of this magical volume is doubtless rather disheartening: but the sight of the original silver clasps (luckily still preserved) will operate by way of a comforter. Upon them you observe this ornament:
denoting, by the letter and the ducal crown, that the book belonged to Anne, Duchess of Brittany. On the reverse of the second leaf we observe the Dead Christ and the three Maries. These figures are about six inches in height. They are executed with great delicacy, but in a style somewhat too feeble for their size. One or two of the heads, however, have rather a good expression.
Opposite to this illumination is the truly invaluable PORTRAIT OF ANNE herself: attended by two females, each crowned with a glory; one is displaying a banner, the other holding a cross in her hand. To the left of these attendants, is an old woman, hooded, with her head encircled by a glory. They are all three sweetly and delicately touched; but there are many evident marks of injury and ill usage about the surface of the colouring. Yet, as being ideal personages, my eye hastily glided off them to gaze upon the illustrious Lady, by whose orders, and at whose expense, these figures were executed. It is upon the DUCHESS that I fix my eye, and lavish my commendations.