Illuminated Manuscripts Part 12

[50] Or Relinda.

[51] Bradley, _Dict. of Miniaturists_, ii. 87.

The evangelist portraits are dignified and saintly, recalling the earliest work of the Byzantine school and that of the catacombs.

Draperies and other details are heavy, dull, and ill drawn. In short, the work is of the same cla.s.s as the early Carolingian. The blue, red, green, and gold of the borders, etc., have all kept their brilliancy.[52]

It is somewhat curious that the Van Eycks, the founders of Flemish painting, were natives of this little town--then, doubtless, pretty and rural, now a busy place of breweries, oil-factories, tanneries, and other fragrant nuisances. Some miles further northward lie Deventer and Zwolle and Kempen, the land of the Brothers of the Pen, and of the immortal Thomas a Kempis. There is a style of calligraphic ornament deriving its origin from these Northern Hollandish foundations such as Zwolle, which is confined almost entirely to the painting of the initial letters and the decorating of the borders with flourished scrolls of penwork very neatly drawn and terminating in equally neat but extremely fanciful flowers finely painted. It seems to have been brought at some time from the neighbourhood of Milan, where a similar kind of initial and exceedingly neat penmans.h.i.+p also is found in the choir books. Many South German choir books are similarly ornamented, so that it is not easy to say at once where the work was done. The Dutch illuminators, however, may usually be recognised by the Netherlandish character of the miniatures combined with neat and sometimes rigidly careful penmans.h.i.+p in the scrolls and tendrils and a hardness in the outline of the flowers. Sometimes the large initials are entirely produced by the pen, the labyrinthine patterns in blue or vermilion being filled in with circlets, loops, and other designs with infinite patience and excellent effect. Some of the border scrolls are exceedingly pretty, and the borders differ from Flemish in mixing natural flowers painted in thin water-colours with the more conventional flowers painted with a different medium, not in the later Flemish manner where the flowers are frankly direct imitations of nature, and painted in the same medium as the rest of the illumination.

[52] See _Messager des Sciences_, etc., 110, 1858, and Deshaines, _L'Art Chretien en Flandre_, 34 (Douai, 1860, 8).

After the Maas-Eyck Evangeliary the work of these northern foundations may well reckon either with the French or German schools until the fifteenth century. Where otherwise they are not distinguishable, the Netherlandish miniatures are usually such as prefer plain burnished gold backgrounds to diapered ones, or have a plain deep blue paled towards the horizon, and lastly replace the background by a natural, or what was intended to be a natural, landscape. As a test between French or German influence generally, the use of green shows the latter, that of blue the former. Not that this was any aesthetic point of difference in taste, but somehow the Germans had the green paint when the French had not, and so they used it. It is an open question whether Flanders or Italy first introduced the landscape background, but Flemish artists were so numerous, so ubiquitous, that we can hardly say where they were not at work--in France, Italy, or Spain. Plenty of so-called Spanish illumination is really the work of Flemish craftsmen. This was largely owing to the political conditions of the times. The Dukes of Burgundy and the Austrian Archdukes both ruled over Flemish munic.i.p.alities, and employed the gildmen as their household "enlumineurs." And, of course, the success of the Van Eycks, Rogier van der Weide (de la Pasture), Derrick Bonts, and Hans Memling, stirred up the spirit of rivalry among the illuminators. They all worked in the same minutely, careful manner, and one could almost take a corporal oath on the ident.i.ty of illuminations and panels which are really the work of different artists.

Even yet the illuminations of the Grimani Breviary are attributed in part to Hans Memling--and no wonder! Only the best qualified judges can distinguish them. It is known that Gerard David of Oudewater, in Holland, a master painter, belonged also to the gild of miniaturists.

But no miniatures are known to be from the hands of either Ian, or Hubert, or Marguerite van Eyck, or Hans Memling. The supposed identifications are merely guesses. But while this is so there is still no lack of illuminators, not to mention the ill.u.s.trious few who were employed by the brothers of Charles V., King of France; and when we come to the days of his grandson, Philip of Burgundy (1419-67), we might name quite a crowd of distinguished illuminators. From 1422 to 1425 Ian van Eyck was "varlet de chamber" to Duke John of Bavaria, first bishop of Liege, and Regent of Luxembourg, Holland, and Brabant. In 1425 he pa.s.sed into the service of Philip. He died in 1440. In court service there were besides, Jean de Bruges, David Aubert, Jean Mielot, Jean w.a.n.guelin, Loyset Lyeder, and others connected more or less closely with the Maas valley and the province of Limburg. This valley seems to have been the cradle of Netherlandish miniature art. It is from this neighbourhood that Paris was supplied with craftsmen in the days of the brilliant if reckless administration of the uncles of Philip the Good. There were schools of illuminating artists in Maestricht and Liege, and within a very brief period the style of the Netherlander surpa.s.sed that of all compet.i.tors for facility, clearness, and realism. A marked feature in this mastery is the free use of architectural and sculptural design. All Gothic draperies are in some degree sculpturesque, and in miniatures we find sculpture to be the ruling principle. Perhaps it was the practice of uniting the crafts of painter and "imagier" in one person that fostered this peculiarity. But certain it is that Netherlandish illumination, in its border foliages, after the taste for the larger vine and acanthus leaf had superseded the ivy, the drawing is studiously sculpturesque. Many of the Gantois borders are like undercut wood carvings. Even as to colour we find either the gilded wood brown or the stone grey, quite as frequently as gayer colours, and much more so than any natural green. The after-fas.h.i.+on for grisailles or _camaieu gris_ has reference probably rather to stained gla.s.s than to carving. Before the fifteenth century we do not often meet with individual illuminators by name, but in the Limburg Chronicle under 1380 is this entry: "There was at this time in Cologne a celebrated painter (he was probably a native of Herle in Limburg), the like of whom was not in the whole of Christendom," and more to his praise. His name was Wilhelm. In the munic.i.p.al expense book, under 1370-90, page 12, is written, "To Master Wilhelm for painting the Oath Book, 9 marks." The Oath Book still exists, but unfortunately the miniature has been cut out.[53]

[53] Woltmann, _Hist. of Painting_, Eng. transl., i. p. 412.

Of course, it may be expected that some of the best examples of Netherlandish illumination are to be found in the Royal Library at Brussels. The _Bibliotheque de Bourgogne_, as it is called, contains, indeed, a great number of them. Some, of course, may be cla.s.sed as Burgundian. There are, for instance, the grand "Chroniques de Hainaut"

in three immense folio volumes, written from 1446 to 1449 (Nos. 9242-4).

Also Jean Mansel's "Fleur des Histoires" in three grand folios (Nos.

9231-3), written about 1475. The frontispiece to the "Chroniques" shows the Duke Philip with his son the Count of Charolais receiving the work from the author, perhaps the best illumination in all three volumes.

Another (9245), the Book of the Seven Sages of Rome, is an example of the last quarter of the fourteenth century. Still another (9246), the History of St. Graal, or of the Round Table, is dated 1480. A Missal and Pontifical (9216, 9217) shows miniatures dating about 1475.

But other public libraries also possess admirable examples. The Imperial Library at Vienna possesses a most masterly production in the fragments of a folio Chronicle of Jerusalem (No. 2533), in which both figures and architectural details are most delicately and minutely finished, so that the miniatures form a most valuable treasury of costumes, armour, and architecture, correctly drawn and exquisitely painted. The figure of Baldwin, King of Jerusalem, shows the pointed toes which Anne of Bohemia is said to have introduced into England. At Vienna, also, is the richly illuminated History of Gerard de Roussillon in French (No. 2549). At Paris we find the "Champion des Dames" (No. 12476). Round the first miniature in this MS. are splendidly emblazoned the armorials of the various countries and cities of his dominions--Burgundy, Brabant, Flanders, Franche-Comte, Holland, Namur, Lower Lorraine, Luxembourg, Artois, Hainaut, Zealand, Friesland, Malines, and Salins. On either side are scenes from the story, and beneath a symbolical crown is the motto of Philip's grandfather, Philip le Hardi, _aultre n'aray_. The same motto appears in the Chronicle of Jerusalem at Vienna, and on the velvet of the das of Isabella of Portugal, Philip's third consort.

It may be interesting to note, as a means of distinguis.h.i.+ng these Burgundian princes or their MSS., that the arms of Philip II. the Good differ from those of his father, during the latter's lifetime, by having in chief a label of three points, and from those of his grandfather, Philip the Bold, by having an inescutcheon of pretence on the centre of the arms of Margaret de Maele, first a.s.sumed by his father, John the Fearless, that is, "or, a lion rpt. sa; for Flanders." As we have just said, many of the MSS. claimed as Netherlandish may be cla.s.sed as Burgundian. The difference lies mainly in the miniatures. Where the latter are manifestly French with the mixed Brugeois borders, they may pa.s.s as Burgundian; but with similar borders yet distinguishably Netherlandish, that is, broad-nosed, square-jawed, and excited faces as compared with the finer features and placid expression of the French artists, the work may still be Burgundian, but it will be also Netherlandish. The individuality of Netherlandish illumination above every other quality establishes its ident.i.ty. Look at the expression of the onlookers in a Crucifixion, or a Christ before Pilate, or a Stoning of St. Stephen--the diabolical ferocity, the fiendish earnestness, the downright intentional ugliness put on some of the characters are in direct contrast to the sweet indifference, the calm complaisance, and blank unconcern of a crowd as shown in similar scenes by French illuminators.

[Ill.u.s.tration: HORae 15TH CENT. (LATE) _Brit. Mus. Add. MS. 17280. fol. 21_]

[Ill.u.s.tration: VALERE MAXIME, TRAD. PAR SIMON DE HESDIN 15TH CENT. (LATE) _Brit. Mus. Harl. MS. 4375, fol. 68_]

We have seen something of the earlier kind of Netherlandish MSS. in those already referred to. It now remains to take a rapid glance at a few of the later ones, and here the difficulty is that of selection.

In 1484 Gerard David appears on the list of illuminators of Bruges,[54]

and it appears that he, and not Hans Memling, was the painter of those marvellous miniatures in the Grimani Breviary at Venice usually attributed to the latter, and therefore may be considered as one of the founders of the school of Bruges, or at least of the later style that may be referred to the Grimani Breviary as its most perfect example.

Executed in much the same manner is a Book of Offices in the British Museum, containing portraits of Philip the Fair and his wife, the unhappy Juana _la Loca_, son and daughter-in-law of the Emperor Maximilian. Similar, again, are the "Offices of the Elector, Albert of Brandenburg," possibly the work of the same artists who produced the Grimani Breviary. There are also some fragments in a guard-book in the British Museum (Add. 24098), which may compare with any of the preceding examples. But perhaps to many book-lovers no better specimen of the highest cla.s.s of Netherlandish art could be more welcome or more interesting than the celebrated copy of the "Roman de la Rose," also in our great national collection (Harl. 4425). This justly famous MS. is a real masterpiece in every department, whether we consider the expression in its miniatures or the consummate technical skill displayed in the drawing and colour of the borders. These secondary embellishments consist of fruit, flowers, birds, beetles, and b.u.t.terflies. But, of course, the great interest of this book lies in its miniatures, scenes from the poet's allegory, and in the little statuesque figures of the various characters in the poem.

[54] Cf. his "Judgement of Cambyses" in the museum at Bruges.

Two marvellous little volumes there are in the National Museum at Munich (861-2) which are surely unapproachable. One of the borders in 861 consists of the eyes of peac.o.c.k feathers so absolutely perfect that we can only wonder at its rainbow hues and pearly sheen of colour.

Something similar to it exists in a fragment (No. 4461) in the Victoria and Albert Museum at South Kensington. The "Isabella Breviary" of the British Museum (Add. 18851) ought not to pa.s.s unmentioned, but s.p.a.ce forbids us to add more on this inexhaustible topic. There is, however, the cla.s.s of work alluded to early in the chapter, and in that on French work, which must be at least mentioned. We refer to what the Italians call _chiaroscuro_ and the French _grisaille_; _i.e._ painting executed in tones of grey, in which the lights are given in white or gold and the backgrounds in rich blue. Occasionally the draperies and ornaments also are touched with gold, and the flesh tints as in life. Grisaille is not limited to Netherlandish illuminations. We find it both in French and Italian, but perhaps it is among the Netherlandish books we meet with it most frequently. Several examples are to be seen in the Royal Library at Brussels, and there is at least one in the British Museum (Add. 24189).

CHAPTER IX

THE FRENCH RENAISSANCE

Communication with Italy--Renaissance not sudden--Origin of the schools of France and Burgundy--Touraine and its art--Fouquet--Brentano MSS.--"Versailles" Livy--Munich "Boccaccio," etc.--Perreal and Bourdichon--"Hours of Anne of Brittany"--Poyet--The school of Fontainebleau--Stained gla.s.s--Jean Cousin--Gouffier "Heures"--British Museum Offices of Francis I.--Dinteville Offices--Paris "Heures de Montmorency", "Heures de Dinteville," etc.

When the new ideas derived from the Italian revival first reached France, it would be difficult to say. There must have been communication with Italy going on the whole time that Cimabue and Giotto, Memmi and the rest were astonis.h.i.+ng their fellow-citizens with their divine performances. The roads from Lyons, Poictiers, Dijon, and Paris were well known, and frequently trodden by both artists and merchants as well as by soldiers. The Renaissance, therefore, was no sudden convulsion.

Perhaps a very careful examination of some of our Burgundian MSS. might reveal the presence of notions derived from Italian travel, for it is in the details of ornament that we find the traces of a new movement, and when the great change of style is clearly noticeable it is when the habits of society themselves have been remodelled, and when the once strange and foreign element has become a familiar guest.

In the fixing of schools and centres much is owing, of course, to the residential choice of princes, on whose patronage depends the very existence of art. This explains the schools of Bruges and Dijon, of Paris and Tours, for while the earlier dukes of Burgundy and the earlier kings of France had lived at Bruges and Paris, the later dukes had preferred Dijon, and Louis XI., Charles VIII., and Louis XII. lived mostly at Tours. So that while Dijon became the new centre of Burgundian illumination, Tours became to the new movement from Italy what Paris had been at the commencement of the Gothic period. Tours, in fact, became the centre of the Renaissance. The influence of Dijon was on the wane, Burgundy itself was going down. Michel Coulombe, the great Breton sculptor, who had been trained at Dijon, left it for Tours, and probably illuminators and other artists followed his example. As we know from examples, the Burgundian art of Dijon had the Flemish stamp strongly marked--the Flemish artists had a way of making strong impressions.

Tours, on the other hand, had had an entirely different training. The artists of Touraine had no shadow of Flemish influence in their practice. Their sculptures, enamels, colour-scheme were of another bias.

Their stamp came from Italy, and if not so deep as that of Flanders or Dijon, it was equally inevitable and more permanent.

The first name that we meet with among the illuminators of Touraine who are expressly connected with the Renaissance is that of Jean Fouquet. Of his origin or training nothing seems to be known, but he was born probably about 1415. He must have acquired distinction even as a youth, for some twenty-five years afterwards (1440-3) he was invited to Rome to paint the portrait of Pope Eugenius IV., and he stayed in Italy until 1447. On his return to France he was made _valet de chambre_ and painter to Charles VII. at Tours, and continued in the same office under Louis XI. It was part of the business of the _paintre du roy_ to design and provide decorations and costumes, banners and devices for all state ceremonies, and this became Fouquet's duty at the funeral of Charles VII., and when Louis inst.i.tuted the Order of St. Michel in 1470, and the last trace of him as an artist occurs about 1477. His sons, Louis and Francis, were both painters, and, like himself, worked much at the illumination of books. It is curious that this great master--one of the greatest miniaturists of any school, and one of the founders of the French school of painting--became entirely forgotten until the discovery of some fragments of a Book of Hours painted for Estienne Chevalier, the King's treasurer.

Forty miniatures of the most masterly description came into the hands of M. Louis Brentano-Laroche, of Frankfort-on-the-Maine. Their uncommon excellence led to a most diligent search for information respecting the artist, which resulted in the unearthing of many other examples of his unequalled pencil. We now know of a dozen most precious examples.

Besides the Brentano miniatures, two other fragments of the same Book of Hours have been found, and several large and important MSS. Among these we may name the "Antiquities of the Jews," by Josephus, in the National Library at Paris (MSS. Des. 6891), and a Book of Hours, executed for Marie de Cleve, widow of Charles Duke of Orleans, in 1472. Attributed to him are the "Versailles" Livy (Nat. Lib., Paris, 6907); the "Sorbonne"

Livy (fds. de Sorb. 297). A Livy in the public library at Tours also pa.s.ses under his name, and the famous "Boccaccio" of Estienne Chevalier at Munich, containing ninety miniatures, is also confidently a.s.signed to him. Other MSS. that are imputed to him are probably the work of his sons or scholars.

The Paris Josephus is generally considered his masterpiece. The volume (which contains only the first fourteen books) is in folio, written most beautifully in two columns, and is adorned with miniatures, vignettes, and initials, but much of its interest lies in the note at the end, placed there by Robortet, secretary to the Due de Bourbon: "En ce livre a douze ystoires les troys premieres de l'enlumineur du duc Jehan de Berry, et les neuf de la main du bon paintre et enlumineur du roy Loys XIe Jehan Foucquet, natif de Tours." And we gather from another note that the book had been entrusted to Fouquet for completion by Jacques d'Armagnac duc de Nemours. A further note informs us that the book belonged to the Duc de Bourbon. It seems to have been one of the rich presents made by the Due de Berry to Jacques de Nemours. The first three miniatures are by the illuminator of the Duc de Berry, and this artist was probably Andrieu Beauneveu, though other illuminators did work for him, as Jacques de Hesdin and Pol de Limbourg. The fourth miniature is by Fouquet, and represents a battle; the rest to the seventh are either not his best work or else the work of his pupils, but the seventh on folio 135 gives us a good idea of Fouquet at his best. It represents David receiving with his crown the news of the death of Saul. The eighth, ninth, and tenth are very fine, but the eleventh M. Paulin Paris (MSS. du Roy) thinks the most beautiful of all. Its subject is the clemency of Cyrus towards the captive Jews in Babylon.[55] Of the other MSS. s.p.a.ce forbids us reluctantly to forego description.

[55] See Mrs. Mark Pattison's (Lady Dilke) _The Renaissance in France_, i. 273, etc.; Bradley, _Dict. of Miniaturists_ art. "Fouquet," i. 346.

The characteristics of the school of Tours as seen in the work of the greatest of its expositors is (1) The clearly marked influence of Italy and the antique. (2) A masterly understanding of French landscape (see fine instances of this understanding also in "Tresor des Histoires," now in the British Museum, Cott., Aug. 5). (3) A complete freedom from Gothic influence and from the domination of the school of Bruges. The colours for which Fouquet seems to have a preference are, first, a clear orange-vermilion, supported by golden brown and gold, clear blue and green, lemon-yellow; and then, as a contrast, grey of various tones in walls and buildings, soft landscape greens, and aerial tints of distance and sky. Perhaps the technical skill of Fouquet has never been surpa.s.sed. It is so perfect that some have tried to explain it by supposing that he was trained in a Flemish studio. His sons and pupils continued his methods, and thus while Paris remains under the influence of Flemish masters, Tours was carrying forward a quite different type of traditions.

The Valerius Maximus (Harl. 4374) of the British Museum will give an idea of the later Paris school. Its date is about the end of the fifteenth century.

We ought not in this place to forget the influence brought into French art through the marriage of the murdered Duke of Orleans with Valentina of Milan, not only directly through books and artists, but by the hereditary transmission of that love of art and beautiful things for which Valentina and her family were well known. It was in art, letters, and books that the widowed princess sought such consolation as was possible.[56] In her best days she had united in herself a seductive grace of carriage, beauty of person, and dignity of rank, which made her the ornament of the French Court. She was almost the only one about the unfortunate Charles VI. who could influence him in his moments of mental aberration. Coming from the luxury of the most splendid court in Italy, she brought into France the most refined taste in matters connected with the arts. The inventory of her jewels at the time of her marriage includes three Books of Hours, three German MSS., and a volume called _Mandavilla_. Like her husband she was an employer both of copyists and illuminators, and before her death had collected at her Castle of Blois a very fine collection of beautiful books.

[56] She a.s.sumed as her impresa the _chantepleure_, with the sorrowful motto: "Plus ne m'est rien: rien ne m'est plus."

Her son Charles, the poet, inherited her tastes, and added to her collections. We are not surprised, therefore, to find her grandson Louis, afterwards Louis XII., supporting the great artistic movement which he and his Queen Anne of Brittany helped so effectually to identify with the Court of France.

About the time that we hear the last of Fouquet we have the earliest notices of another illuminator who plays an important part in the illuminations executed for Anne of Brittany, the n.o.ble and gifted Queen of France, and wife, first of Charles VIII. and then of his successor, Louis XII.

In 1472 Jean Perreal is entrusted with the gla.s.s paintings of the Carmelite church at Tours. Lemaire, in his _Legende des Venitiens_, calls him a second Zeuxis or Apelles. During the reigns of Charles VIII.

and Louis XII. he is the chief artist of the time: In 1491, and perhaps earlier, he is engaged in the usual duties of a _valet de chambre_, _i.e._ designing and preparing the requisite devises, arms, and banners for public functions. In 1502 he went to Italy. In 1509 his name occurs in connection with that of Jean Bourdichon, of whom we shall hear more when we come to the work done for the Queen. In 1523 in the household of Francis I. he is still _valet de chambre_. Twenty-four years previously it was as _valet de chambre_ that he prepared the decorations for Louis XII.'s entry into Lyons. On the death of Anne of Brittany also he performed similar duties, and again on that of Louis XII. He even came to England in 1514, sent by Louis XII., to superintend the trousseau of Mary Tudor, "pour aider a dresser le dict appareil a la mode de France,"

previous to her wedding journey to Paris.[57] Four months afterwards he was summoned to direct the funeral obsequies of Louis himself. No illuminated work can be really identified as the work of Perreal, but Mrs. Patteson (Lady Dilke) strongly urges the probability that he painted the _Bible Historiee_ of Corpus Christi College, Cambridge, bequeathed by General Oglethorpe.[58] She considers it quite the sort of work that would grow out of that of Fouquet, and dwells upon the fact of his official duties as _valet de chambre_ giving him just that minute facility in the decoration of armour and furniture in the miniatures which the MS. displays. Whether this be so or not, it is certain that the _Bible Historiee_ is a fine example of the school of Tours.

[57] See Vespas, b. 2 (Brit. Mus.).

[58] See her _Renaissance of Art in France_, i. 303.

Another court painter and _valet de chambre_ to Louis XI. and his successors was Jean Bourdichon, an artist born at Tours in 1457, and therefore as a youth probably one of the scholars in the atelier of Jean Fouquet. He is first noticed in the accounts in or about 1478: "A Jehan Bourdichon, paintre, la somme de vingt livres dix sept solz ung denier tournois pour avoir paint le tabernacle fait pour la chapelle du Plessis du Pare, de fin or et d'azur."[59] Later on, after naming the painting of a statute of St. Martin, for which he received twenty golden crowns, is a note of his painting a MS., which we translate: "To the said Bourdichon for having had written a book in parchment named the Papalist--the same illuminated in gold and azure and made in the same 19 rich histories (miniatures) and for getting it bound and covered, thirty crowns of gold. For this by virtue of the said order of the King and by quittance of the abovenamed written the 5th April One thousand four hundred and eighty (milcccciiiixx) after Easter, here rendered the sum of 19 1. 8."

[59] Comptes de l'Hotel de Louis XI., 1478-81.

Another quittance shows him to have been employed on the decorations of the chateau of Plessis les Tours. We may easily see how it is that these artists, when they came to illuminate the books entrusted to them, had such special knowledge of embroideries and decoration of armour when we read in the accounts how they were constantly employed in designing dresses for weddings, tournaments, and funeral obsequies, and making "patterns for the dress and equipment of war."

A notice in 1508 tells us that Anne of Brittany made an order of payment to Bourdichon of 1,050 _livres tournois_ for having "richly and sumptuously historiated and illuminated a great Book of Hours for our use and service to which he has given and employed much time, and also on behalf of other services which he has rendered hitherto." This refers to the celebrated "Hours of Anne of Brittany," now in the National Library at Paris.

This volume, peerless of its kind, has been reproduced in colour lithography by Curmer of Paris--the result, however, is disappointing from the flat and faded look of the prints as compared with the brilliancy of the original pages. The MS. is an invaluable monument of French Renaissance illumination. It is French of Touraine rather than of Paris, yet bearing traces in its flowers and fruit borders of Flemish modes of ornament. It has also reminiscences of Italian painting. But the French neatness and restraint from over-decoration have kept it in a manner unique. It has not quite the softness of Italian, and is far from the intensity of Flemish. Indeed, its fault, if it be faulty, is in its want of force. With the exception of Anne's own portrait given with her patrons, St. Anne, St. Helena, and St. Ursula. The Queen's gown is of brown gold brocade trimmed with dark brown fur. Her hair is brown, like the fur. She wears a necklace of gems set in gold. On her head is a black hood edged with gold and jewels, beneath which and next her face is a border of crimped white muslin, She has brown eyes and finely pencilled eyebrows. As to nose and mouth, she and the two younger saints are pretty much alike. With the allowance of blue for black, St. Anne wears the dress of a Benedictine abbess. A dark crimson cloth covers a table before which the Queen is kneeling, and on which lies open a finely illuminated Service-book. The Calendar which follows this portrait is for each month enclosed in a margin of ornament. To the outer margin of every other page of the book is placed a broad tablet or pilaster containing flowers, fruits, insects, etc., from five to six inches high, each having the Latin name of the plant, etc., at top in red, and the French one in red or blue at the bottom. These names may have been put in later. It must be admitted that the fruits, flowers, and insects are painted with the greatest care and neatness, though sometimes a little a.s.sisted by the imagination of the painter. The text and initials are rather heavy and commonplace. Now and then a border surrounds the text completely, where flowers or fruits are scattered--somewhat recklessly at times, but usually with good design--over a ground of plain gold, on which the branches, etc., cast heavy shadows. This part of the design is certainly Flemish. Where "histories" occur the border is a plain brown gilt frame within a black border. Undoubtedly the "Hours of Anne of Brittany" is a very precious volume. The figure subjects are of various degrees of excellence. The four evangelists are vivid, and recall the portraits of Ghirlandaio, and it is to Italy also that the illuminator is indebted for his architectural and sculptural details. Yet Bourdichon is inferior to Fouquet in colouring, as the latter is to the Italians in design and composition. Perhaps he is most successful in his flowers and insects.