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tuiy. It contains first more than two hundred scenes from the Old Testament bordered with a smpla framework of foliage. The figures are graceful uid elegant. Then come scenes from the life of Christ exe-

'd tiackgrounds with much greaterrichneBs

in the miHRt of innumerable

-^■fiies of tl]p chase, tourney,

's, grotesque Hubjeota, The

Anglian iibbeys (Norfolk,

SiitTiilk) produced niagnificent

p.-v:illprs during the lame period

'■^Iter of I'eterboroughatBnw-

■ ; PsaH

MAKUSORmv

«. In this respect the )uke of Berry (Cbantilly, «n attributed to Pol d

"Trt« ij^Husfe

months are represented all the chAteaux of the prinoe in the midst of surprisinriy true landscapes. Loog before the Van Eycks, Pol de limbourg r

p, Robert of Ormes-

^«^«rQ^ by at Oxford) tlic same echoed. lu (lermany the mini.ituriats had lone been imitat- ig Bysantine art; beginning with the fourteenth century they also ' I i t a t e
 * ''*'*""^** which belong to

the mon-

asteiy of St. Florian is found the moat ancient exam- ple of the Biblia Pauperum, executed about lUOO ac- cording to the same method as theScrmon Bibles. The taste for miniaturea was so keen at this period that they even went so far as to illuminate some important char- ters. A copy of the house rulea of the kings of Majorca showB each of the ofEciala in the exerciae of his funo- tiona (reproduced in "Acta SS. BoUand.", June, I; cf. list given by Dclaborde ia " Centenaire de la Soci- ^t^ dcs Antiquairea de France ", 93).

I^e Fourteenth, and Fifteenth Century.— It was in the second half of the fifteenth century that the art of miniature painting n-aa most profoundly changed. It m.iy even be said that the illuminators of this period were to a certain extent the precursors of modern painting. This new transformation seems to have . been largely the work ot the power- ful" Ghildes" of the Flemish mas- ters, versatile art- ists, many of them skilled like Andr^

obUged b;^ stress of competition to leave their own country in order to offer their ser- vices to the lovera of beautiful MSS. They are found scattered through- out Europe, and

Italy. Andr^

artists in Ihe em-

Sloy of Jean Duke of Berry. He made a Psalier {Bib. at.. Paris) in which figures of propheta. and Apostles iilti'mated in quiet tones. It was at this lime that miiiiuscripts bejian to he painted in grisaille. The goliJ baekgroundg WCTC np\&vni by designs in coloure,

quainted with aerial perspective. In his works an found the effects t^ snow, of starry nights, of daiiUng muniner li^ta, the grey tones of autumn, all of which mre new m art. Persons were treated with the same love of truth. Physiognomies copied from nature without disguise of any defect, intensity of look (never was religious sentiment expressed with such power), minute truthfulness as to costumes and details of fur- nishing, such were the characteristics of this art. Having arrived at this perfection miniature painting eeued to be a merely decorative art and was confounded with painting on a large scale. The anachronism of costumes belonging to the fifteenth century, wbetber they have to do with characters from Terence or soenes from the Goepels, is not one of the least charms of these beautiful works. Simitar are the other MSS. of Jean de Beny, the "Grandes Heures", ascribed to Jacquemart de Hesdin, the "Trfe Belles Heurea" (Brussels) by the same artist, the "Dukes' Terence" ^aris), which first belonged to the Duke of Ouyenne. The "Heures de Turin" (destroyed by the fire of 1901), made for William IV, Count irf Holland, belcaw to the same school. About 1450 we can distingui^ the Flemish- Burgundian school (works executed for the Dukes of Burgundy) from the French schod, whose chief representative is Jean Fouquet of Tours (1415-80). Flemish and Italian influence are con- fused in his works: "Jewish Antiquities" (Paris); "Book of Hours" of Etienne Chevaher (Chantilly); " Grandea Chronioues de France " (Paris), et«. After him Jean Bourdichon, who about 1508 decorated the "Hours" of Anne of Brittany (Paris), may be consid- ered the lost representative of the great scnool of min- iature painting. The progress of wood-engraving was as fatal to it, as was that of printing to calligraphy. Until modern times Books of Hours, works of nep- atdiy, etc. have continued to be illuminated, but these miniatures do not possess a single personal quality.

Sl..vl,iTHt. Faltoa^^iihie unir^MfHo {Taiii, ISSB-tl). 400; Mli>nr,i:TON» lllvminited Munvfiriplt in Clatncat and Mrdim^ pal Tima (Cunbrldse, IS92]; Rtpmductiom /mm iUuminaltd man^urriplsefthsantuh Mu-tam (Iadcjod, ISM-lMS); Bau- LET, A Dictionary o] ilinvOmiti. fUuminnliiHi, CtalKrrapAin and Capf/uli «n6cMer >n d reMwoi. 1: Uionst, ifaaul d'a'rlMiattlman,U(PMit.lW7),K-60: Blocret, Lea faota ^ printurt m Prrte in Ret: AirliMoo. (Ju[y. 1005); Kohdako**. Ili-'.-ir/ d, r.„! '.ii:.,„t:,i ,C,ii-r,s I,-.- .;, i -,-)!„-,■. I F> Ir, FatM. ISSS-Sn^ Ouatn. Mi^ia!tIral^rtmanltlC^il^BTladI^aB^Ui^■ !. HiOBXTC dii fart I, II!

'saky

ISSG); I

rr.Coda

'^eZ^

r. Die Wia

I. Uathi

litu&t

_ AfonunwnnPirf, VII (1901);

btaantina dt Berlin in Revut Anhlolog. (July, 1901): CcxfuM a Va^ni Select*. . . VIII. II Mmoloay, di BaMie, II (ToiId, 1907); OcspBNKT. Le manoKrit de rOdalntue du SJnQ ia Bnlltiin de flmlUul AnAA)l. rutte de ComUntinopU, XII. (1007)1 anuTOOWBEi. Dm miniaiuren dee eerbitch^n Fnltdri tVi»DnkISOe>: GiLBcnr. Fac-timileeofnatiimalmiaitucrirllof Ireland (London. 1H74-18S4): Wmtwood, Fa^^imUm of Ike rtinialurei and omameiUt of Anglo-Saam and /rtrt mamaP i p J l (London, 18631: rNCER, La miniatwe iriandaiie in An. Cd- (iqu«(lSTO); The Lindiifame and RutkwrVt (htpiit tSu^fM* SoclETT. 4S. ISaS): ns Butaxd. Pcinlum et oriMiMK* dtt manuKrite (Pfttii, 1888. intomplttol ; LiiTSCaraH, 0mA. drr Karolineinchen Malerei (Berlin, 1804); tlEKUU Di* Tritrtr Ada-Bandtckrifl (Ldpiii, 1889) ; db Babtabd, FfkUum di Is