Saxon schools—Bernward of Hildesheim—Tuotilo and Hartmut of St. Gallen—Portrait of Henry II. in MS. 40 at Munich—Netherlandish and other work compared—Alleged deterioration of work under the Franconian Emperors not true—Bad character of the eleventh century as to art—Example to the contrary

CHAPTER XVI

ARTISTIC EDUCATION IN THE CLOISTER

The “Manual”—Its discovery—Its origin and contents—Didron's translation—The “Compendium” of Theophilus—Its contents—English version by Hendrie—Benedictine and Cistercian illumination—How they differ—Character of monastic architects and artists

CHAPTER XVII

THE RISE OF GOTHIC ILLUMINATION

Germany the chief power in Europe in the twelfth century—Rise of Italian influence—The Emmeram MSS.—Coronation of Henry II.—The Apocalypse—The “Hortus Deliciarum”—Romanesque—MS. of Henry the Lion—The Niedermünster Gospels—Description of the MS.—Rise of Gothic—Uncertainty of its origin—The spirit of the age

Book II

CHAPTER I

THE GOLDEN AGE OF ILLUMINATION

The Gothic spirit—A “zeitgeist” not the invention of a single artist nor of a single country—The thirteenth century the beginning of the new style—Contrast between North and South, between East and West, marked in the character of artistic leaf-work—Gradual development of Gothic foliage—The bud of the thirteenth century, the leaf of the fourteenth, and the flower of the fifteenth—The Freemasons—Illumination transferred from the monastery to the lay workshop—The Psalter of St. Louis—Characteristics of French Gothic illumination—Rise of the miniature as a distinct feature—Guilds—Lay artists

CHAPTER II

RISE OF NATIONAL STYLES

The fourteenth century the true Golden Age of Gothic illumination—France the cradle of other national styles—Netherlandish, Italian, German, etc.—Distinction of schools—Difficulty of assigning the provenance of MSS.—The reason for it—MS. in Fitzwilliam Museum, Cambridge—The Padua Missal—Artists' names—Whence obtained

CHAPTER III

FRENCH ILLUMINATION FROM THE THIRTEENTH CENTURY TO THE RENAISSANCE

Ivy-leaf and chequered backgrounds—Occasional introduction of plain burnished gold—Reign of Charles VI. of France—The Dukes of Orleans, Berry, and Burgundy; their prodigality and fine taste for MSS.—Christine de Pisan and her works—Description of her “Mutation of Fortune” in the Paris Library—The “Roman de la Rose” and “Cité des Dames”—Details of the French style of illumination—Burgundian MSS., Harl. 4431—Roy. 15 E. 6—The Talbot Romances—Gradual approach to Flemish on the one hand and Italian on the other

CHAPTER IV

ENGLISH ILLUMINATION FROM THE TENTH TO THE FIFTEENTH CENTURY

Organisation of the monastic scriptoria—Professional outsiders: lay artists—The whole sometimes the work of the same practitioner—The Winchester Abbeys of St. Swithun's and Hyde—Their vicissitudes—St. Alban's—Westminster—Royal MS. 2 A 22—Description of style—The Tenison Psalter—Features of this period—The Arundel Psalter—Hunting and shooting scenes, and games—Characteristic pictures, grotesques, and caricatures—Queen Mary's Psalter—Rapid changes under Richard II.—Royal MS. 2 E. 9—Their cause

CHAPTER V

THE SOURCES OF ENGLISH FIFTEENTH-CENTURY ILLUMINATION

Attributed to the Netherlands—Not altogether French—The home of Anne of Bohemia, Richard II.'s Queen—Court of Charles IV. at Prag—Bohemian Art—John of Luxembourg, King of Bohemia—The Golden Bull of Charles IV.—Marriage of Richard II.—The transformation of English work owing to this marriage and the arrival of Bohemian artists in England—Influence of Queen Anne on English Art and Literature—Depression caused by her death—Examination of Roy. MS. 1 E. 9 and 2 A. 18—The Grandison Hours—Other MSS.—Introduction of Flemish work by Edward IV.

CHAPTER VI

ITALIAN ILLUMINATION

Barbaric character of Italian illumination in the twelfth century—Ravenna and Pavia the earliest centres of revival—The “Exultet”—La Cava and Monte Cassino—The writers of early Italian MSS. not Italians—In the early fourteenth century the art is French—Peculiarities of Italian foliages—The Law Books—Poems of Convenevole da Prato, the tutor of Petrarch—Celebrated patrons—The Laon Boethius—The Decretals, Institutes, etc.—“Decretum Gratiani,” other collections and MSS.—Statuts du Saint Esprit—Method of painting—Don Silvestro—The Rationale of Durandus—Nicolas of Bologna, etc.—Triumphs of Petrarch—Books at San Marco, Florence—The Brera Graduals at Milan—Other Italian collections—Examples of different localities in the British Museum—Places where the best work was done—Fine Neapolitan MS. in the British Museum—The white-vine style superseded by the classical renaissance

CHAPTER VII

GERMAN ILLUMINATION FROM THE THIRTEENTH TO THE SIXTEENTH CENTURY

Frederick II., Stupor Mundi, and his MS. on hunting—The Sicilian school mainly Saracenic, but a mixture of Greek, Arabic, and Latin tastes—The Franconian Emperors at Bamberg—Charles of Anjou—The House of Luxembourg at Prag—MSS. in the University Library—The Collegium Carolinum of the Emperor Charles IV.—MSS. at Vienna—The Wenzel Bible—The Weltchronik of Rudolf v. Ems at Stuttgard—Wilhelm v. Oranse at Vienna—The Golden Bull—Various schools—Hildesheimer Prayer-book at Berlin—The Nuremberg school—The Glockendons—The Brethren of the Pen

CHAPTER VIII

NETHERLANDISH ILLUMINATION

What is meant by the Netherlands—Early realism and study of nature—Combination of symbolism with imitation—Anachronism in design—The value of the pictorial methods of the old illuminators—The oldest Netherlandish MS.—Harlinda and Renilda—The nunnery at Maas-Eyck—Description of the MS.—Thomas à Kempis—The school of Zwolle—Character of the