72 PROCEEDINGS OF THE SOCIETY, JANUARY 9,

IV. THE MONYPENNY BREVIARY. BY ALBERT VAN DE PUT, VICTORI ALBERD AAN T MUSEUM. The perennial attractiveness of the theme of Scotland's foreign relation e lateth rn i sMiddl e Age s recentlha s y been exemplifie ay db French provincial publication, according to which eleven Scots families had houses at Bourges between 1436 and 1500.1 The statement fits admirably inte accepteoth d pictur f contemporaro e y Franco-Scottish intercourse, e.g. as conveyed by Francisque Michel's Les Ecossais en* France—les Frangais en Ecosse (1862), or by William Forbes-Leith's Scots Men-at-Arms and Life-Guards in France (1882); but it likewise suggests the existence of much unworked material for a revision of the subject.2 To the extensiveness of the field for research—and it is recalled that som f theseo e families established themselvee s th als n oi Champagne—is no doubt due the existence of a point at which even famila f baroniayo l rank cease o exercist s e inquire sideon , n eryo e awakening curiosit e otherth n y.o Some such considerations have suggested themselves to the -writer in connection wit s discoveryhhi a manuscrip n i , t lately brought to England from a convent at Los Arcos, near Jerez de la Fronterar n south-wesi t Spain f portraito , e Monypennyth d arm an f so s s of Ardwenny, a family which held lands in the duchy of Berry in France from the mid-fifteenth to the mid-sixteenth century. The MS. in question—a thick tome with numerous illuminations—is one of which it is difficult to write exhaustively without the leisure essential to finality from the historical, artistic, iconographical, and heraldic standpoints. The aim of- these remarks is rather to bring so interesting a volume to the notice of Scottish antiquaries, and in some measure to sub- 1 Rene Gordon Ecossaiss Le , Berry:n e Paroisse Saint-Outrillet'de Bourges, Nevers (Impr. de la Nievre), 1919. letters-pateny B 2 10te th hf o Novembet r 1428 , s giveJame wa option na . I s eitheo t n r the duch Berre f countyo th r yf o Evreux yo exchangn i , e countth r f Saintongeefo yo , which, with chatellane th Rochefort-sur-Charentef yo beed ha ,n conferred upo alsm nohi under letters-patent issue Charley db s VII. earliee month o maturt optioe th s n Th i r wa n.e upon Charles VII. recovering witScote hele th parte h th f psth o f Franceso , especiall e duchyth Normandyf yo , then held by Henry VI. An immediate grant of Saintonge had been specially stipulated for e Scotbyth s monarc e returmarriagn hi th e r militarPrincesd th nfo an f eo d yai s Margaret with the Dauphin Louis (under the treaties of Perth and Chinon, July to October 1428). The lapsing of these treaties prevented James from obtaining any of the fiefs in question, but there is evidence that the French anticipated the possibility of a claim to Saintonge as late as 1436; more th e recentlse y publishe . BarbeA d . worL , y Margaretkb f ScotlandDauphine o th d an Louis: an historical study based mainly upon documents in the Sibliotheque Nationals, 1917, pp. 27-28, 107. THE MONYPENNY BREVIARY. 73 stantiate its claim for their consideration as a work of art and a monument to an old, well-nigh forgotten, Scottish worthy and his house. Tha Monypenne th t y Breviary cannot claiScottise b mo t perhaps hi s unfortunate t altogetheno f i , r unusua n suci l e boohcasea a Th s i k. productio e schooth f f Bourgeno o l e earlth f yo s sixteenth centurys it , best miniatures the work of artists who may be counted among the last notable French illuminators a period f o d - whean , n miniature compositions have the pictorial breadth characteristic of works upon a much larger scale than mere book-illumination demands. Both Jehan de Molisson and Jacquelin de Molissoii—the latter of whom was e principath certainl f o e l yon illuminator e Breviary—wereth f o s s a , documentary records testify, decorative painters. Hers hardli t i e y necessar recalo yt l that, sinc exhibitione eth so-callee th f so d primitives of Flemish and French art, at Bruges (1902) and at Paris (1904) re- spectively, gave a fresh impetus to the study of the Northern schools of mediaeval pictorial arte stylistith , c interdependenc f panelo e d an - miniature-painting in those regions has been amply demonstrated; also, and as one of the contributory causes of this, the identity of the practitioner, in some of the principal pictures and manuscripts alike. I. Of Koman usel— Ordo breviarii incipit secund(um) ritu(m) sacro- sancti romane ecclesie,—the Breviary is written in double column (28 lines to a column) of lettre-batarde; its 822 vellum leaves include 49 pages decorated with one large and one small miniature, connected by an architectural framework, upon margin n i colours 1 page1 ; s with smaller miniatures and with broad borders of arabesque or floreated ornament upon diagonally striped fields a 12-pag; e calendar, each page having an architectural framework enclosing as many as five separate miniature designs; and a frontispiece to the text of the Breviary, consistin full-paga f go e compositio e Crucifixionth f no . Shield f armso s , etc., occu s follows:a r — (a) it. 'itec^o. Quarterly:dolphina r o , 4 , 1 haurient embmved azure; . r,a ' > S, 3, gules three crescents, each surmounted by a crosslet 530 r' I fitchy, or; MONYPENNY. '. Per fesse (a) or a dolphin haurient embowed azure, (b) gules three crescents, each surmounted a crosslet by fltchy, or; "MONYPENNY (dimidiated): impaling Or a ! fesse cheeky azure and argent; STEWART (fig. 1). discusses i . revises MS AppendiEelesn r e ha dliturgicai e e o th M d1th f y Th wh ,o b e . xII us l descriptions of liturgical details in the miniatures. 74 PROCEEDING E SOCIETYTH F O S , JANUAR , 1922Y9 .

. v 6 31 (c. f ) e quarterlTh / y coa f MONYPEWYo t a crosie d an , r \ depicted elsewhere in the border. . r 0 ff47 . 647 v. e quarterlTh y coa f MONYPENNYo t , charged upona 713 r. crosier or. 745 v. . v 6 31 . (d)ff womed an Wil n n dme suppor e coath t t (a),upons a e th 324 r. sea f Williao l m Monypenn e introducear r yo , (fig.2) d 647 v. withou armse th t .

'.'f*

Fig . Monypenn1 . y Arms dimidiated Fig. 2. Wild Men supporting Monypenny with Steward. Arms (with crosiers).

r WilliaSi m Monypenn f Ardwennyyo e ambassadorth , , summones da a peer about 1460, quartered the crescents and crosslets fitchy with a dolphin azure upo. or n y ma o s houss o firste hi d amon s th f o e t Thao t , wa first e no e g th th f i , safel surmised,e yb nature quarterine th th t f eo 1bu g doe t appeasno o rt have been determined figure s Breviarye A th . n di arme ,th s suggest that Monypenn received yha augmentation da insignie Dauphith e f th no f ao n

1 Important French, if not the earliest, evidence for the quartered coat, in all likelihood apply- r WilliamSi o t g affordes i ,in e armoriath y db f Gilleo l Bouviere sl , Berry herald, A.D. 1450-55. ed , Stodart, Scottish Arms,r des e Menipenny), (l pi. i 9 .whic, 60 . hp . showii e dolphisth n haurient to the sinister. The seal of "Willelmus Monepeni," of that Ilk, also with the coat quarterly (crest: a peacock in his pride ppr.; supporters: 2 wild men), is attached to Panmure charter of 1468: Laing, 1850, No. 589; Macdonald, Scottish Armorial Seals, No. 2014, gives the dolphin upon it as haurient embowed. It follows that the pose of the dolphin as described in this seal, Berre Breviare th e arm th in yth n i n i armorialsd yan s beinit , agrepaleo n gt i s ea haurient t naiant.no • E MONYPENNTH 5 7 Y BREVIARY.

of France. paralleA 1 concessiona s la quarteo t t arme ,bu rth France f so , is found in the grant of 1427-28 to Sir John Stuart of Darnley, who had receive e lordshipth d f Concressaulo s t subsequentl e battlth f o o et y Bauge Aubignf , o 1421 d ,an 1423—botyn i h situate Berrydn i . Monypenny's style—natif d'Escoce escuier descuieres to the King of France, in the safe- conduct issued to him upon the occasion .of his mission in 1447, to conclude an alliance between Eleanor, fourth of James I.'s daughters, and the Dauphin Louis—indicate thed s ha than e alreadh t y received distinction

fro e housmth f Franceeo . 2 By April 145 r Willia0Si m Monypenn himseld yha f obtaine lande dth s of Concressault (fig. 3), a possessio3 n which helpe shapo dt e historeth y of his family, as also to connect it with the manuscript in question. The evidences for the acquisition of Concressault may be described as hardly less obscure4 tha e circumstanceth n e dolphith f o sn quartering. Con- cressault, on the left bank of the Grande-Sauldre, a tributary of the Cher, is to-day a modest chef-lieu de commune in the department of that name. But its situation, at least from the time of Philip Augustus, was held to be of military importance. The remnant of its castle, rebuilt by John,

Considerable researc expendes hwa d upon this poin happenine er t g upo statemente nth n si Nisbet1 , System of Heraldry, new ed., 1816, p. 357, supporting the theory, but alleging the use of the dolphin nainnt by Monypenny of Pitmilly, haurient embowed, by the Lords Monypenny. This distinction lacks corroboration from the Monypenny seals catalogued by W. R. Macdonald, Carrick(op. cit., Nos. 2009-20), which includ Pitmillyf o o etw : John (1417 David )an d (1546-47), both without the dolphin. Yet the Lords Monypermy were cadets of Pitmilly. The unquartered coat occur se Berr alsth n oyi armorial, wher s probablit e e identity with Pitmilly naturally suggested itself pi(Stodartd . an 10) t , remainI . cit.,. 61 sai e . op ,b p do t stha f Monypenni t y received such an augmentation from Louis [XL], Dauphin of France (i.e. of Viennois), 1423-61, the grant is untraceabl printen ei d sources; Ducange cites none sucht statement authentie Bu .th o t s a sc grant e royath f lso lilie e themselvear s s difficul discoveo t t r although, accordin Barthelemo gt y Chasseneux, Louis XI. conceded these to many persons (Catalogus gloria-- mundi, 1569 ed., 17 t>., wher e questioth e n whethe s successorhi r s might revoke such concession s discussed)i s u D . Bouchet's silencs histor e poinCourtenayse hi th th n n i f teo yo , 1661, referre latero dt strangs i , e if the augmentation be a fact; his engraving of the arms, taken from a tomb, reverses the order quarteringse oth f theore Th . y which suggests itself tha e dolphith t s adoptenwa cantinn di g allusion to the family name and with reference to the finding of the tribute money (denarius) in the mouth of a fish (Matthew xxii. 19, Luke xx. 24) has a parallel in the open chest of coin, figured in a smaller miniature of the Breviary depicting an oratory with, presumably, the family of the second Lord Monypenny at their devotions. 1 The Scots Peerage, vi. 276. The projected match came to nothing, Eleanor married Sigismund of Tyrol in 1449. Eleanor's eldest sister, Margaret (d. 1444) was Dauphiness at the time of Mony- penny's previous embassy e marriag th n 1442 i r , fo ,f theio e r sister Isabell o Francit a f o . I s Brittany. 3 A letter of James II. to Charles VII. of France, of .the 23rd April 1450, mentions ".Willelmum Monypenn Conquhirsault,e yd e latter'"th s ambassador, councillor chamberlaid an , n (Lettersd an Papers illustrative Warse oth f English e oth f Francen i (Rolls series), 1861 . 299)i , . 'Accordin a ThaumassiereL o gt , Histoire Berrye d (1600) ed.d 2n ,, Bourges, 1865, liv. v., cap. Ixxix. pp. 210-11, Beraud [Bernard] Stuart sold Concressault to Alexander Monypenny, and this saie b represeno dt y ma t French traditio mattere th n ni . Francisque Michel mention grane sth t of the terre of Vila (senecliausse of Agen) to Guillaume de Menypenny, sr. de Concressault, his chamberlain, by Louis XI. in 1474 (op. cit., pp. 203-204). 76 PROCEEDINGS OF THE SOCIETY, JANUARY 9, 1922. Duk f Berryeo , consists mainl shelvase a th f to lf yhexagonao l tower ro donjon, the upper works of which may have been added by the Mony- permys littlA . e roofless seigneurial chapel soute th n hchoie ,o sidth f reo churche oth f alss i , o attributabl family.e th o et 1 grantes Untiwa t li o dt

Fig. 3. Map of part of Berry and of Bourbonnais. (From Memoires de la Societe des Antiquaires du Centre, vol. xxix.) r JohSi n Stuart, Concressault formed wit hcentresx si Aubign f o -e yon of homage (ressorts) for the immediate fiefs of the duchy of Berry. Homag thesr renderes efo ewa ddonjone alsth t oa Bourges f so , Issoudun, Dun-le-Roi, Mehun-sur-Yevre, and Vierzon; but, from the period of the 1 Buho Kerserse d t , Histoire t statistiquee monumentale departementu d Cfier,u d 1895, vii. pp. 246-56 populae th ; r pronunciatio name th f stils ei no l Conquersaut. Accordin Expillo gt y (Diet, geogr. France,a l s Gaules e de d t e 1764, it. 439) t liei , squartea nin d ean r leagues from Bourges; the church is dedicated to St Peter: the arms of John, Duke of Berry, with a bear and a swan (supporters), are visible in many places ; Charles VII. gave it to Beraud Stuart; the surrounding countr fertils yi agreeabled an e , ric cattln hi horses d ean e volaill"l : e etlegibiery sont abondans." The last statement finds illustration in the different breeds of dogs, etc., of the chase depicte Breviare th n di , v.,1654 2 37 y ,, (ff47918 . , v.).4864 65 , E MONYPENNTH 7 7 Y BREVIARY. Stuart tenure of Aubigny, the latter, together with Concressault and their subordinate fiefs, wer eGrosse helth f do e Tou Bourges.e rd 1 Sir William Monypenny married a lady whose name was Katherine Stewart, and whose grandmother was Marjory Stewart, but her parentage t beeno ns ascertained.ha e impaleth n I d2 shield f (foMonypenno ) y dimidiated wit plaie hth n Stewar havy t fesse ma enegativ a e w , e cluo et brance th f thaho t hous whico et belongede hsh . Katherine Stewars twa not, apparently, of the line of Sir John Stuart of Darnley and Aubigny, whose augmentation, from 1427-28, of the arms of France (quarters 1, 4) would hardly have been omitted here. The marriage had apparently taken place ere October 1458—a matter of thirty years before the last mention of Sir William, and about a year or two before his summons as a pee f Scotlando r , between 145 d 1464r William'9an Si . d s an elde n so r heir, Alexander Monypenny, married Marguerite, daughter of Patrice Flockhart, Lord of Saint Jean " d'Angers," Badefol, and Mirados, senechal of Saintonge.3 Alexander Monypenny figure chartern i s s between 1483 148d an 8 (when styles i e h d Lord Monypenny) sues 1508wa n d i e A h . d ,an French genealogist describes him as councillor and chamberlain to Louis XII. (1498-1515) and chevalier d'honneur to that monarch's second wife (1514), Mar f England.yo s daughterHi 4 , Anne, married successively John Stewar f Henriestouno t , Lor f Oizondo Jea) (2 Montferrand,e , nd Lor Antoin) f Bourgdo (3 Rochechandry.a l d e an ,ed 6 That Anne wasy ,b 1528 e inferree heiresb th ,y ma ds fro e sear seconmth he l d husband attache documena o dt f thao t t year, which bear r armhe s s impaley db those of Montferrand.6 1 Raynal, Histoire de Berry, 1844, i. Ivi-lviii. For Aubigny, upon the Nere, in the neighbouring canto thaf no t name Buhoe se , Kerserse (cf.d t5 16 map . . cit.,p op ,. i , fig. 3) . Scots Peerage, vi. 277-8. 13 Francisque Michel, op. cit., p. 204; cf. Stodart, op. cit., pi. 5 (from Workman's MS.), ii. p. 156. Saint-Jean " d'Angers " suggests Saint-Jean d'Angles furthes i e h ; r describe councillos da r and chamberlain to Charles VII., captain of his Scottish bodyguard and governor of the person of Charles, Duk Guiennseneschaf s eo wa e h e ; Saintongef lo , unde r1472 n Louii , . sXL Du Bouchet, Histoire genealogigue de la inaison de Courtenay, 1661, p. 328; Alexander Monypenny'4 s family appear havo st e consiste :f —do Charles, slain at the battle of Terranova, 1495 ; Louis, Lor Varennef do Berryn i , , captai Scot0 10 sf n o men-at-arms ; Anne, heiress to Concressault; and Francoise, wif f Francoio e e Courtenay,d s ' Lor f Arrablayo d ; their daughter Gilberte d e Courtenay, living 1590, m. Franfois de Chamigny. Du Bouchet mentions Francoise first, as the wife of the Seigneur d'Arrablay. But other Monypennys are cited by La Thaumassiere and Francisque familMichele th recognises d ywa an , s noblda 1585n ei Thaumassierea L : ed.d ,2n , Hv. xii., cap. xvii. Alias Rocheandry. Buho Kersere d t s (op. cit., vii. 248) states tha Rochechandra L t y held

Concressault5 , 1541-46 ;Boucarde the d Lallemante . 154th n solM i o o t 8t di wh , Allamandr o , f o , Bourges. La Thaumassiere dates the sale, by Anne Monypenny to Boucard, as having taken plac 1548n ei . * J. Roman, Invent/lire des sceaux de la collection des pieces originates du cabinet des titres dBibliothequea el Nationale, 1909 7741. , i.No , : Four pales within bordurea bezanty, impaling 78 PROCEEDING E SOCIETYTH F O S , JANUAR , 1922Y9 .

The person to whom the third armorial (c) applies can but be a _son namesakd an Williamr Si youngea f eo d ,an r brothe f Alexandero r e th , second peer, identifiabl s "Guillelmusa e " Monypenny, commendatory abbo f Saint-Satuo t Berryn i rpersoa d ,f an sufficien no t prominenco et have been nominated to the see of Bourges upon the death of the Arch- bishop Miche e Bucd l y (1505-10) o whot , m Andrew Forman, Bishof po Moray, succeeded, after a prolonged election in 1512. It is of a piece with rese th t tha exact-datee tth f Monypenny'o s s rul t Saint-Saturea hous,a e of Canons Regular of St Augustine, near Sancerre, have still to be dis- covered e editore GalliaTh th .f o s Christiana were incline confuso dt e him with a thirteenth-century Guillelmus1; otherwise their list of the abbot f Saint-Satuso r fail mentioo t s n Monypenny, whose existenca s ea rule f thao r t house was, however Thaumassiere,a voucheL y b r dfo s A . o thit s some researches most obligingly undertake e Archiveth n ni f o s the Cher by Monsieur Turpin, of Bourges (a past-President of the Societe historique, litterair t scientifique Cher)u d e , have elicite e perioth d d 1489-152 s approximatel0a y tha f Guillaumo t e Monypenny's abbacy.2 Lastly panele framewore th ,th n si miniatureo t k s upo pages,oo ntw f booe th k contain, several times repeated t anotheye , r indeheraldin a f xo c nature:— (e) \ ffAzxire. 47 . 0r semy of fleurs bordurea lysr e o d engrailed gides; 636 r. ) the arms of the duchy of Berry (fig. 4). A -Roman breviary written and illuminated for individuals of the statuMonypennye th f so f Concressaulso t might well have been executed elsewhere tha Berryn ni t Paria , s more especially t happensi s A . , how- ever, this representatio Berre th f yno insignia,3 without doub allusion a t n Quarterly, 1-4, dolphin;a 2-3, " trois croix posees sur un croissant" legend no receipa • To . t to the comptable of Bordeaux—"Jean de Montferrand, chevalier, seigneur de Bourg." La Thaumassiere fails to mention this one of Anne Monypenny's three marriages. 1 Gallia Christiana, ed. altera, ii. 188. Between the eighth abbot, Odo II., 1264, and Johannes II., 1287, comes Guillelmus—"Forte vero hie est Guillelmus de Menipeny frater Alexandri domini de Concressant quern inter abates S. Satyri Sammarthani recensent absque nota temporis." 2 Monsieur Turpin draws attention to the fact that the gap from 1485 to 1530 in the list of .abbots of Saint-Satur (Gall. Christ.) had been filled neither by M. Gemahling, " Monographic de 1'abbay t SatuS e ed r " (Compte rendu travauxs de Soc. a l Berryu e d d Paris,a annee° 13 , 1866), nor by Dorn Demaisons, "Histoire de 1'abbaye de St Satur" (Revue du Berry et du Centre., 1911-12) turninn I . g ove voluminoue rth s inventor e abbeth f yyo Archives e deedth n i s Cher,u d Monsieur Turpin found a certain number of leases granted in the name of Guillaume de Meny- penny, commendatory abbot, dating from 1489 to 1520. Demaisons giving the nomination of the abbot Pierre-Antoine 1523n i ,Franci y b , . undesI e Concordatth r , Monypenn therefory yma e have hel abbace dth y until then. With Bourgesf regar candidatur s o realls hi e wa o dse t y e e h , th o et capitulaa t bu r nominee completA . e accoun f Forman'o t s election, fro e documentmth e th f so cathedral chapter of St Stephen of Bourges, is given by Raynal, op. cit., ii. 187-89. 3- Fro e reigmth f Louino (1461-83L sX ) Berr s hel yappanagwa n di e by—his brother Charles, afterwards Duk f Guyenneo . 1472)e(d ; Francis . 1473) f LouiJeann(d d o . an ,n XI sso f ,Valoi eo s (1498-1504), the repudiated first wife of Louis XII., and foundress (1501), during her retirement at Bourges e Ordeth f f Annonciades.o o r, e BreviarTh ' s alse armyha th o f Franco s e Ancient illuminated in panels on f. 525 v. THE MONYPENNY BREVIARY. to the mouvance of their seigniory of Concressault, is further eloquent e artistioth f c origie bookth f no . Portraits.— While throughout the volume the Monypenny arms are almost as often accompanied by the abbatial crozier as not, it is to be observed that the striking picture upon f. 24 v. depicts a layman, and that scene th en i below famila f fouye representeo ar r perioe d Th (tig d. .5) of Guillaume Motiypenny's abbac . Saint-Satuyat r being circa 1489-1520, which dates include e boothosth kf eo itself questioe th , n arises whether elderle th y personage kneelin f Sorrowo e n b devotion n gi Ma sca e th o nt accepte a representatio s a d f Williamo n , Lord Monypenny, :j-j-- th e Alexanderof abbo fathethe and of t r , second lord. " A William is stated to have died between 1485 (October) and 1488 (July); his eldest son and successor, Alexander, is men- tioned between 1483 and 1515. It may also be recalled that e earliesth t occurrence famile th f o sy Breviare armth n si y e calendath , (i.e.4 . r Julf d Augustfo r yan ) show them with- e crozierth t d thae nexou an ,th t t allusio a persona f o n l character encountere n turnini d g ovee pageth r s thii s s portrait (f. 24 «.). In the miniature at the.foot of the same page, of a man, woman, and two children, at prayer in a private chapel, it would seem tha have tw e represented Alexander, second Lord Monypenny f theio o r childrentw wifes d hi , an , . If, however, the principal portrait be that of Alexander Monypenny, then

it is not easy to identify the group below with either of his£- *•

s Arm

sons: Charles eldere th , , slai n 1495 ni marriage th ;e th f o eerry ' Fi younger, Louis, Lor f Varenedo t s sairecordedi o havno t de h s i , ed an , left no issue. Nor would the lower miniature appear to depict Alex- ander's daughte heiressd an r , Anne Monypenny, Dam f Concressaulteo , r threhe f e o husbandswite on h : Stewart d'Oizon, Montferranda L r o , Rochechandry; because in any case no posterity is attributed to her by any of these alliances. On the other hand, the representation of the Monypenny arms dimidiated with thos f Stewarto e , well towarde th s end of the volume (f. 736 v.), seems to refer these pictorial allusions e eldebacth ro kt William Monypenny s linhi e f firso , t baro Lord nan d of Concressault heirs hi ,o t respectively d an , .

II. It may at once be said that the impression of surpassing richness,, which the Monypenny Breviary yields at a first glance, is more than sustained under closer examination e idea f Th book-ornamentatioo .l n which concentrated upon occasional page a wealts f pictoriao h d an l

E MONYPENNTH Y BREVIARY. 81

decorative design whico t , intervenine hth g text actfoila hers s si ,a e seen fully developed texe Th t .upo n these illuminated page confines si somo dt e si eighr xo t line doubln si e column written upo e onlnth y portioe th f no vellum left blank, which hangs lik echartea r fro partitioe mth n between uppee loweth d ran r miniatures ofted ,an n impinges upo backgroune nth d of the latter. This arrangement, which might otherwise incur the criticism of artificiality, ensures a due major proportion to the upper composition in relation to the one beneath. The top miniature is in fact twice or thric effective eth e heighbottoe lowee th freth e f f eo mron o te linth f eo text, which is shifted, with great artistry, slightly to one side so as to disclos e uppe a th elittl f ro e backgroun e smalleth d lowef o dan r r composition. Book-decorators were amon e mosth g t conservativ f artistso e d an , here the convention described was so strongly rooted as to have governed e planninth e illuminate f mosth go f o t d e Breviarypageth f o e s Th . actual frame of the miniatures is a pair of columns with roll bases, or, of canopy pilasters standing upo nflaa t floor which also projects before eth lower picture. The capitals of the columns are surmounted by figurines of Roman soldiers, as then imagined, in canopied and gabled niches supportin e morgth r leseo s elaborately moulded cornic bear eo m which enclose compositioe sth tope th .t na Eve n this framewor contrives ki n di reversed miniatureso proportiotw e th e respectivf no th , e e scaleth f o s column and canopied figure above being those of the larger and smaller miniatures. Frames with columns of the type so affected in the Mony- penny Breviary are met with in other MSS. of the period which can be referred to Bourges, but they exhibit greater variety here, especially in the ornamentation of. the columns themselves. By far the greater number of the illuminated pages have margins staine coloure on n di , against which angel f variouo s s type depictee sar d supporting the framework to the miniature composition. The motive, which is derived from Fouquet, is not of course free from banality when

repeated again and again, as here1 ; yet a certain suggestion of infinity in the serried forms is appropriate to many of the paintings. An observa- tion of more importance is that margins of this type appear to characterise e groupe compositionth th f o s e inton of o swhic wils e seenh(a b le th ) miniatures class themselves accordin margin e style.o g t othee Th th f rso

and smaller series of miniatured pages hav2 e a totally different ornamen- tation formed of combinations of festoons with escallops; wings laced 1 The paintings of the Hours Fouquet executed by 1461 for Etienne Chevalier present a similar treatmen forme th f angelf o so t s withi e compositionnth s themselves; Gruyer, Les quarante Fouquet, pis. xxii., xxiv., xxv. 2 Group B; yet not exclusively: the miniatures of the Death-bed scene (f. 18), and the Mony- penny portraitwit) v. h4 2 angel. s(f thein si r margins, appea belono rt grouo gt . pA VOL. LVI. 6 82 PROCEEDINGS OF THE SOCIETY, JANUARY 9, 1922. together (hawks' jesses?), arabesques r chapletso , , upon monochrome grounds. miniaturee th r three—a Ao o st o tw s: t least two—different hande sar reveale physicae th y db l type accessoried san s portraye thein di r respective compositions, as by their planning and arrangement. For convenience of reference proposes i t i , designato dt C.d 1an , eB , theA ms a Group A.—This artist executed most of the Old Testament subjects— the figures drawn on a rather large scale; among the male heads a strongly marked type, with broad brow, thick lower lip, heavy chind an , forked beard cheee th ; k bones prominent, with patc f shadinho g below. Gestures somewhat exaggerated, hands poorly rendered. The scene mostle sar y interiors whicn ,i crowde hth able sar y massed, the features of heads in the background distinct, as in the Fouquet manner; the lighting effects skilful, whether overhead or from windows behind. In the small miniatures are landscapes of much beauty, but artist'e th s habitual scalevidentls ewa y crampe lowee th n rdi spaced an , his figures, occasionally dwarfed or disproportionately large, are some- times represented three-quarter length margine Th . s have generalln ya ornament of festoons, arabesques, wings, or chaplets. If somewhat heavy in style, this miniaturist's work is of a high order, breadthn i , richnes technicae th colourf so n i d l,an renderin accessoriesf go , costume, and material. To these qualities, variety of type in the face- drawing and. trut architecturahn i l delineation hardly correspond. A representative page by this artist is that (XVIII., f. 316 v,) having for s largeit r miniatur a esomewha t uncertain subjece th te b whic y hma Slaying of Adoniah by Benaiah, the son of Jehoiada (1 Kings ii. 19-25) (%. 6):- • . Solomon and a queen [Bathsheba ?] are seated upon a throne covered with a light green cloth, set in an apse inlaid with blue and red marble panels; he wears a gold mantle patterned with rosettes outlined in red,, with an ermine edging and tippet. The queen—her fairness in marked contrast to the ruddy faces of the men—has a red mantle over an ermine cote-hardie. grouA f courtierpo paln i s e purple, blue d greean , n robes king e righstane th th f .o o tdt In the left foreground a man in green with sword brandished aloft, d anothean f drawino n pali r t e ac r sheathin o gpurplee th n i s , ghi weapon, advance upon a third person who is bleeding from a wound on the temple. This man is clad in red and gazes up inquiringly at the wild man supporting the Monypenny arms, at the same time resting his left hand agains niche base th tth f eeo behin figuree dth . A person in blue garments is seated upon a stool at the foot of the

For a list of the miniatures, see infra. 1

84 PROCEEDINGS OF THE SOCIETY, JANUARY 9, 1922. the throne, his back to the encounter, whilst a man on the right, seen in profile eyes ,hi alsss fixeoha d upo Monypenne nth y armorials. This composition, with the smaller miniature of the Judgment of Solomon, below, is enclosed within the Usual gold framework, out- lined in brown ink. The chocolate-tinted margins have an ornament of widely spread wings goldn i , . Group B.—The scale of figure-drawing employed by this artist is. more reduced tha ns collaborators hi tha f o t ; witexceptionw hfe e faciasth l types are undistinguished, and those on a small scale are summarily, even roughly, indicated. A large part of the scenes he depicts are outdoor, the street views and architecture being minutely and faithfully delineated; half-timber houses especiall excellentle yar y rendered. This illuminator's style is altogether different in its delicacy from that of the preceding colourins grouphi d an , less gi refinee s th rich t d,bu paintin bess hi tf go miniatures—which, in the originals, serves to disguise some weakness in draughtmanship—is, unfortunately, lost in reproduction. Masterly effects- are obtained in some of his smaller compositions by accomplished grouping and the realistic action of the principal figures. The miniatures upon the page commencing the common of martyrs (XLIX. . f 766, ) illustrate sufficiently e welsecone th styl th f l o ed illuminator, and may at any rate, from the circumstance that it bears his signature, be considered a representative work of his (fig. 7). The cohor f martyr-sainto t s headei s groua y db f three po theo t : - left St George, in plate armour of silver, and hawberk edged with gold, holding a tournament shield and a lance, both emblazoned: argent a cross gigantie gules.Th ce right stature th sain th n ,o f twito e h his tree-trunk staff, might at first seem to mark him for an unconventional representation of St Christopher if he 'were not quite certainly James- the centre th warrioa Lqss n s I ei . r saint with banne d surcoaan r t emblazoned: azure a cross argent cantonned by four fleurs de lys or ; correspondin t TheodorS o t g f Heracleao e , whose statu s founi e d at Chartre similan i s t George.rS proximit f sainte o e Th 1 ,on liko yt e St Georg anothed ean r behinterminates hi hatd t re d , bu a hima s n si ha , high crown with a gold fringe. The trio, if peculiar in itself, is not less so as occurring in a book produced at Bourges and illuminated, wholly or in part, for a family of Scottish origin. It comprises neither a name patron

In the left bay or door of the south porch of the cathedral. The saint's head—he was a legio1 n commander under the Emperor Licinius—was brought from Rome to Chartres in 1120. The statue t a knighe LouisportraytimS s th f a f o eo tm ; hi sonl e dexteyth e r th hal f o f crosa f shielo fleuro s tw lyse s visiblem flordi d sd ar .an y e th Cf.: Bulteau, Monographic dCathedralea l e Chartres,e d 1888 . 323ii , ; Marriage e Sculptures.Th , of Chartres Cathedral, 1909 . 217 p . ,Houvet B , ;pi 98 . , Cathedrale e Chartres,d portail sud, 1920 , pii. 5 and, . : . (fo7 e hea1 th r pis, d16 . wit s lonhit g hair).

6 8 PROCEEDING E SOCIETYTH F SO , JANUAR , 19229 Y . of the Monypennys, nor has reference to the patrons or titulars of Con- cressault Bourgesf ,o Saint-Saturf o r ,o . That these t exhausheadno o sd t the possible clues to the further determination of persons connected with wore th evidens ki t fro face mth t tha inscription a t n upo garmene nth t mose oth f t prominen sainte th f so t here depicted — to t Jame S wit e ,th s Lese th s — contain name Bourgesa th f eo s e periodartisth glancf A o t . e at the appended catalogue of the book's illuminations shows that they meano n y b s e wantinar clasa f n gdetaili o s e generath , l significance of whic insistehe b nee t dno d upon since Monsieu Mele rd discusses yha d claime th f sucso h inscription acceptanco st artistss ea ' signatiires.e Th 1 deliberately haphazard assemblage of letters, whether upon the edges of garments or friezes of buildings, as mere decoration — at the time prob- ably accounte a mysteriou f o d s kind — certainly explain e smajorit th . y of these inscriptions. Among the remainder the plain signatures of artists are of great rarity, and this even at a period when the role of lettering in decoration was constantly maintained. The Monypenny Breviary offers, as may be seen, not only repre- sentative series of inscriptions, legible and illegible, but some also in which actual words are set in a mass of meaningless letters. Belonging to this latter class are two important examples : — The miniature of the Changing of Aaron's Rod into a Serpent before Pharaoh (XIIL . 174f , ) presents, belo e columne basewth th e f th so n i s background, a band of lettering containing the monarch's designation somewhat thus : —

BONDEIVDEENIMSS 2 The second instance of this type is the inscription already alluded to in connection with the figure of St James the Less in the miniature

Fig . Enlarge8 . d detail showing Inscriptio miniaturr.n 6 ni 76 . f n eo e martyr-saintoth f e bans f Th lettering(figo d . .7) , upo e edgnth f eo the toga hanging from the right shoulder of this saint, is of minute execution; as, moreover, it comprises several letters reversed or other- wise difficul o exprest t s typographically readee th , s referrei r e th o t d enlarged facsimile of it'(ng- 8). 1 MelyFe d . , Les primitifs leurst e signatures: Les miniaturistes, Paris, 1913. lettere her1Th e sitalicar n ei s which appea subjece refeo th rt o rt t depicted. THE MONYPENNY BREVIAKY. 87 A scrutin s entirit f yo e length shows tha e onlth t y portion offering characters in legible combination occurs not far below the kind of

Fig . Miniatur9 . e signed IOHANNE MONTELVCIE SD PINXITE OM . 438MS ,, Arsenal Library, Paris. (From Bulletin du Bibliophile, J.U04-) lefe loo th te tog n edgpth i af eo whic s broughhi t over partialld an , y interrupts letterine th e opposit, th n go e edge. Her s clearli e y discernibl e worth e d DEMOLISON—th witeL s hit 88 PROCEEDINGS OF THE SOCIETY, JANUARY 9, horizonta reversedlN e stroktope th th ;r t havina eo , s diagonait g l n opposita n i e direction e characterTh . s immediately preceding this combination of letters appear to be illegible, so that a distinctive first name doe t hersno e accompan yfacn appellative i wha th s t wa t a f eo leas paintermentioneare two t town-accountthe swho din Bourgesof s between 147 d 15047an . Jehan de Molisson or Molusson, painter, received payment for various artistic commissions for the town in 1477, 1485-87; 1489, and 1492, which included more especially paintingf o e a ystoiresson d an Our Lad Pityf yo . This artis s beeha t n identified wit e illuminatohth r whose signature, JOHANNE MONTELYC1E SD PINXITE OM , occurs miniatura n i a Boo n ef i Hourk o s (MS e Arsena. 438th n i ) l Library, Paris (fig. 9). His relationship has not transpired to Jacquelin de Molisson, Molusson, or Monlusson, the payments to whom for art-work for the town of Bourges between 1487 and 1504 are chronologically precede y oneb d f 1483,o s livin, whewa t Toursa ge h n r paintinfo , g e Duk a shielth f Orleans.r o e dfo Several design r stainesfo d glass

were rendere1 d by Jacquelin de Molisson, "whose activity in the service of Bourges was applied to nmch the same types of work, especially to the adjuncts of fete-decoration.2 Group C.—The equestriaa differen y b s i tn 9 hancomba33 . f d t a t from paintere thos th e large f th eo f so r precedminiatureo tw e -th n si ing groups. This miniaturist's style, while freer and less finished than tha lesf d Grouo t an s , massivpB e tha e stronglth n y individual style of the A Group, may be described as falling in some respects between s colourin hi e two t th s realistiBu .s hotter i ghi d an c, compositions have little of the dignity of his collaborators' designs. While it is not easy to discern to which group (B or C?) certain miniatures should be assigned, there are probably not more than half a dozen by this painter. ,yff%$* III. The attribution of the Monypenny Breviary to the school of Bourges, e pointh te considered b nexo assigt o t t nno s it—whatevei , s it e b r individual merit—t a oschoo f illuminatioo l e universath f o n l repute which Paris or Tours in France, Bruges in FlaiideSf Winchester, Canterbury, or East Anglia in England, have severally acquired. Be- tween 1400 and the end of the Middle Ages the city stands credited with no such efflorescence of miniature-painting as results from a tradition t maintainear e oth f d locally through generation f mastero s s formen di

1 Nouvelles Archives de VArt franfais, 1880-81, 2e se'rie, ii. p. 304. 2 Transcript f entrieo s s in^the civic accounts relatin o Jeagt d Jacqueli an n e Molissond n , printe Archivese th n di I'Arte d franfais, etc. givee ,ar Appendin i . xI THE MONYPENNY BREVIARY. 89 the same ideals and differing chiefly in talent or individual idiosyn- crasy. Bourges was, nevertheless, the scene of great activity in the arts throughout the fifteenth century. ° The court of John (1340-1416), third son of John II. of Prance, brother of Louis, Duke of Anjou, of Philip II., Duk f Burgundyeo d unclan , f Louiseo , Duk f Orleanseo e lode th s - ,wa stone which attracte e capitath f o Berrdt o l a yhos f artisto t d an s craftsmen, native and foreign; in fact, the history of contemporary French illuminatio e mosth r t fo part , nis e ,Duk thath f f Berry'eo o t s relations with Andre Beauneveu of Valenciennes, Jacquemart de Limboure d s brothers l hi Hesdin Po d d , converselygan as an , bese th , t extant memorial s patronaghi f t so remai ar f o e grou nth f MSS.po — especiall e Psalter,yth e Grandese Tresth 1 th d bellesan 2 Heures?d an e Tresth riches Heures,* whic e commissioneh f thosdo e artists. Jacques Coeur e otheth , r great Maecenas, whose nam s connectei e d more exclusively with Bourges, during the twelve years that preceded his fall from power in 1451-53 carried the tradition of artistic magnifi- cence, inaugurated by the Duke of Berry, to a degree hardly precedented t thaa t time, eithe subjeca n ministea i r r crowne o tth f o r. Butt i s ,a happens e argentierth , f Charleo s VII s bequeathe.ha posterito dt o yn very clear evidence of his patronage of the art of the book; the only illuminated manuscript that has been connected with him is undoubtedly of later date. If, in the present state of knowledge concerning provincial French illuminatio e fifteentth f o n h century s possibli t i , vera citt o t ey ebu few manuscripts that were illuminated at Bourges, these at least show their authors to have had an homogeneous conception in decoration, and in the selection of their designs. The oneness of style and treat- ment would alone indicat t werar e ecentra th ther t r otheefo no e r indices, both documentar n interioa f o d r naturean y , pointine th o t g same. Tha illuminatore th t r miniaturisto s workeo wh s t Bourgea d s in the last quarter of the fifteenth century may be regarded as belong- ing to a wider school which embraced also those of Touraine, of Poitou, e Bourbonnaisth f o d facte an viea th s si f ,w o which , though enunciated 1 Bibliotheque Nationale, Paris . 13091,Fr . With twenty-four miniature Andry sb e Beauneveu, b. 1360, dwelt at Bourges from 1386, was dead in 1403. * Bib. Nat. Paris, Latin 919Jacquemary B . Hesdine td , livin t Bourgega 1400n si , mentioned c. others141d an 3; . . HerbertA Cf . J . , Illuminated Manuscripts, . 250-51pp . 3 The Tres belles Heures tres richement enluminees of the ducal inventory, Bib. Roy., Brussels, 11060-61. Begun, in or after 1404, by Jacquemart de Hesdin. 4 Musee Conde, Chantilly, 1284. Some fifty-five miniature beed sha n execute Poly db , Hermand, and Jehannequi Limbourge nd , when Joh f Berrno y die duk1416e n di Th e . housa gav l t ePo ea Bourges after ino r 1409 143y b artis;e 4 lonth d tha g been (his brothers probably were) dead. Jean Colombe added over a dozen large miniatures to the original series in 1485 ; Count Durrieii's" Les Tres riches Heures e Jean,d duo Berry,e d 1904, reproducef o e Limbourgs th w l fe al sa d an ' •Colombe's miniatures rese whicf th o tr photographe fo ,h th Giraudoy sb n (Paris consultede b n )ca . 90 PROCEEDING E SOCIETYTH F O S , JANUAR , 1922Y9 . by recognised authorities, does not prevent the differentiation" of local centres, especiall f thosyo e where painter f individualito s y flourished. That at this period, on the other hand, any such centre carried on its development—much less had originated—quite independently of others, is not the case. Even the art of the great Fouquet had its roots (as Count Durrieu points out) probabl s mucya n PariTouraine,n i hi s a s

of whic hrepresentativee th schoo s i e h l whencd ,an styls ehi e influenced 1 the better French illumination of the day. Jean Colombo, the foremost of the as yet identified illuminators of Bourges, was, supposedly, a near relative—a nephew or a brother—of the famous Tours sculptor, Michel Colombe s activithi f o t ;Bourgeya e havw s e examples dating from 1482 till 1486, or from about twenty to twenty-five years later than Fouquet's last notable work. setTho illuminationf estw o attributioe sth whicf no Jean.Colombo ht e rests upon documentary evidence additionath e ar e l miniature o at sn Apocalypse in the library of the Escurial and to the Tres riches Heures of John, Duk f Berrye Museo e th t a ,e Conde, Chantilly e originaTh . l portions of either manuscript — of the Apocalypse, with miniatures executed (1428-35) by Jean Bapteur of Fribourg, and by Peronnet Lamy of Saint-Claude, for Amadeus VIII., Duke of Savoy2; and of the Tres riches Heures, by Pol de Limbourg and his brothers for the Duke of Berry—were eventually inherite Charley db f Savoyo . sI whor ,fo m Jean Colombs ewa workin t Bourgega s from 1482 till I486.evidence Th 3 f styleo e afforded by these works has enabled Count Durrieu to attribute other manuscripts to Colombe, whose talent as an illuminator can be safely assessed, how- ever, from his contribution to the Tres riches Heures. Colombe's style is based upon tha f Fouquet o tminiatures hi d an , s exhibit technical devices, a shading system, etc., similar to Fouquet's; his .designs are occasionally characterise certaia y db n 'grandeu f conceptiono r s renderinghi d ,an f so landscap d architecturan e e especiallear y tese ablef proximito Th t . y betwee e Limbourgswors nthath d hi f kan o t e Tresth n ,i riches Heures, is a severe one, as comprehending in the first place a difference of style ;

Les Antiquites Judaiques et le peintre Fouquet, 1908, pp. 115-16. 1- Dufour and Kabut, "Les peintres et les peintures en Savoie du xiii au xix" siecles," in Memoires publies par la Societe Savoisienne, 1870, xii. 60-61, 64, 66. eThe entries from the Treasury rolls of Savoy, in the Turin Archives, are quoted more fully by A. Baud! di Vesme and . CartaF L'Arte,n i , . 190138 . ,iv 3 Colombe' se Apocalyps worth n ko e (ft'. 30-49 s atteste)wa documena y db lostw ,no t recorded by Cibrario, Economia politica del media evo, 1889, p. 332; and forgotten, till cited by A. de Champeaux Chroniquen i , des Arts, 1895 . 154,p , though erroneousl relation yi manuscripe th o nt t as a whole. For an examination of the evidence confirming Count Durrieu's identification of recordee on e th d documents e a i nth . thi sMS s (Durrieu, " Manuscrits d'Espagne remarquables," BMiothequen i I'Scolee d Chartes,s de 1893, liv.separateld generae an , th r . 22-26)fo l ypp d an , bibliography of the question, see Baudi di Vesme and Carta, op. cit. (with illustrations). Count Durrieu' Tress sLe riches Heures, 1904, cap. vii., resumes Colombe's shar botn ei h MSS. E MONYPENNTH Y BREVIARY. 91 but if the comparison be instituted with Fouquet's miniatures, the exemplar of his own art, and due allowance be made for Fouquet's originality and serene sublimity of conception, it is clear that the illuminator identifie y Counb d t Durrie s Jeaa u n Colomb s relawa e - tivel artisn ya f secondaro t y rank. Though Colombe faile emulato t d e Fouque reay an l extento t t s i e h , nevertheles importann sa t personalit histore th n yf illuminatioi yo n ni Central France, if only by reason of the length of his career (1467-1529) at Bourges, which covere e appearancth d master- f booko of e d san s that reflect his influence in greater or lesser degree. At this period miniature becomins wa t ar g ever recorde whobroaden th e hand s me th a , sf t a o sr show, were by turn fete-painters, gilders, and polychromers of statuary, designers of stained glass, as well as panel-painters and book-illumiriators. Fouquet' t unsuites no styl s esucwa o d t h developments perfectioe th t ,bu n of refinement he attained at his best was beside their aim; and the effect of muc f theiho r work f generalli , f rico he displayon elaboratione th n yi of architectural and other ornamental accessories, is equally one of rusticity and provincialism in detail. Figure compositions are frequently crowded, and are not more successful, as drawings of the face and form, tha compositione nth somn si Fouquet'f eo MSS.n sow , which suggest that they were entruste pupilso dt e figure th ; scened muce an s ow spero h t - spective and lighting effects. Colour, which is strong and contrasted, is tone shadiny db g profusel goldn yi , which als employes oi decorativa s da e tinr architecturafo t l framework, statuary, s i armourlikee t th I . d an , sufficien o compart t e frameworketh othed an s r decorative adjunctf o s the series of miniatures representing Jean= Colombo's contribution to the Tres riches Heures e Monypenn witth e lik th n hi e y Breviarye b o t , convinced of the near artistic relationship of their author to Colombe. In either artist's wor f thiko s nature architectural forms reign supreme. Colombe's are more elaborate, but the settings of his miniatures are built up of several storeys, pillar rising from pillar and statued niche supporting niche. There is more sobriety in the general design of the Monypenny frames; the niche with its figurine is carried upon a single thick column, but there are the same dark shafts, their gold diapered surfaces reflecting the light; there are lions masking in the same way the bases of columns; and strange birds fill the medallions in the bases of columns or in the framework.1 Extendin e comparisoth g e miniaturesth o t n a simila, r affiliation must be admitted of at least two compositions in either manuscript:

Monypenne th n I 1 y Breviary figure larga n do e Joachie e framscalth th f n o Anned i man e miniatur 479). e(f , these monster depictee sar e Purgatorythosn di th f eo , Inventio Crosse th f no , Assumption and Martyrdom of St Andrew, in the Tres riches Heures. 92 PROCEEDINGS OF THE SOCIETY, JANUARY 9, 1922.

those of Christ hanging upon the Cross, arid of the Assumption. As to'the first: the general grouping—the Holy Women to the left; the centurion's horse looking back, away fro e righte Crossth mth n o ;, e foresth f lanceo t s interruptin e cithilld th e vieyan sg th f w o behin d —have a common inspiration. As to the Assumption picture, the identit e conceptioth f s o ymaiit n ni n lines comprise e desigth s f no the heavenly throne, and the facing towards the spectator of the lateral groups of ,the Blessed. But, whereas Colombo's larger page allowed of a greater precision in the painting of the faces, his design seems to lack the atmosphere which the Monypenny miniaturist

(B group1 ) impart e cloud-drifth y b s t befor circulae thronee th eth d ran , d radiatinan g formatio e angelith f o nc choirs aroun t d(figi . e 10)Th . point f contaco s t with Colombe's heavier styl e bette b coul t rno d typified; and, to resume, Colombe in depth, in freedom, in sentiment, in the actuality of his conceptions, must here be considered inferior artisn challengea o o t definitelwh o t s m hi sground n y ow upo s .nhi The group of manuscripts to which the Monypenny Breviary belongs includes, beside e differenth s t MSS. attribute o Jeat d n Colombe,a 2 Franciscan Missal (No e .Municipa 514th n i ) l Librar t Lyons,a y e th 3 Coeur Hours at the State Libra.ry, Munich, and the later (1537-47)

Bourges Hours (No. 666) of Jean Lallemant, 4 the younger, in the Royal Librar e Hague.th t ya 5 The Cceur book of Hours (Codex lat. monac. 10103) was written for a membe f thao r t family—most probabl r Jacqueyfo s Cceur, grandson of the minister—and is a production of the reign of Charles VIII. (1483-98)voluma s i t I e . of °197 leaves (16' 10'y 2b 5 cm.) calendare th ; , which is that of the Dominican order, is written in red and blue, with principathe l feast goldin s . Herecertaion as , n textpagethe a , of s framework of knotted or ragged staves (batons noueux), sprouting, or entwined \vith branche f floweo s d foliagean r , runs roun e textth d ,

1 Of which the prototype may be indicated in Fouquet's Hours of ^tienne Chevalier, completed 1461y b , Musee Conde, Chantilly; Gruyer guarantes Le , Fouquet, pi. xxvi. 2 Cf. Count Durrieu, Les Trcs riches Heures, 1904, pp. 111-12; his fuller list of attributions is

given by Thieme, Allgemeines Lexikon der bildenden Kunstler, vii. 245. 3 Abbe V. Leroquais, Bibliotheque de la ville de Lyon: exposition de manuscrits a peintiires. Catalogue descriptif, 1920, No. 45, pis. xlvii.-xlviii. The designs of the Crucifixion miniature in Monypenne th thinoticee d ar san . dyMS furthe. on r 4 Published with reproductions s "Jacquea , s Coeurs Gebetbuch, Fy ."b Boll Zeitschriftn i , r fu Bucherfreunde, attributioe th 1902-03 ; 9 4 . p ,Charle o nt s VII.'s ministe revises wa notra n o di et . Delisle'L s "Les Heure Jacquee sd s Cceur, Bibliotheguen "i VEcolee d s Chartes,de 1904, Ixv. 126, embodying criticism . GaucheryP . M y sb . 5 P. Gauchery, "Le livre d'Heures de Jehan Lallemant le jeune, seigneur de Marmagne," in Memoires de la Soc. des Antiquaires du Centre, 1911, xxxiii. 313. This MS. (No. 132 in the Portrait Exhibitio Bibliotheque th t na e Nationale, Paris, 1907 thirtees )ha n full-page miniatures; in each the penitential figure of Lallemant is introduced as a spectator of the subject depicted.

94 PROCEEDINGS OF THE SOCIETY, JANUARY 9, 1922.

forming also a lower rectangular compartment within which is the usual serie f compositiono s s depictin e occupationth g e monthsth f o s . Other pages hav e raggeth e a dflora d staflan fbordee outeth o rt r margi large textf no Th e. miniature e characterisear s backgroundy db s of florid architecture in gold, or landscapes, and .include a picture (double-page e Annunciatioth f o ) n withi ngola d framework e sideth , s of whic e formehar stouy db t columns upon bases with winged lions' jambs at the angles, and an elaborately accurate view (ff. 148 u-149) of the famous house of Jacques Coaur at Bourges, its pinnacles flying s portrayei banner . e v Cceu th 5 1 f . o ra sdyounf armsn O g . man, probably Jacques Cceur the younger, kneeling at a prie-dieu. From e shoulderth angen a f o sl below hang a scrols l wit famile hth y motto: AVAILANS [COEURS] EIENS INPOSSIBLE; this angel supports a shield upon which a strange coat has been painted over that of Coaur. Other mottoes, and the escallop shell, in allusion to Jacques Cceur's name-patron e bordere founth ar , n i d s throughout. Approximately the pages of the last third of the book have borders extending to the outer margins only of the text, and small miniatures showing three-quarter-length figures. It is important to the question of the inclusion or otherwise in this grou f Bourgepo s M8S f anotheo . r manuscript tha bees tha n mentioned, e Arsenath l Hours with miniature y Jea b se Montlucjo d n n —s alsa o in connection with the signature it bears—that it was written for a member of the Chappes family of the neighbouring duchy of Bour- bonnais, bearin e armsgth : azurebenda n o argent three crescents sable. The villag f Chappeeo s being situated nea o Montlucont r , whics wa h no doubt the native place of Jean de Montlucon or Molisson (otherwise IOHANNES DE MONTELVCIO), is a circumstance that, it is alleged, remove manuscripe th s t fro Bourgee mth s sphere l evental t a ,s during e periodth s 1477, 1485-87, 1489d 1492an , , s beewhenha ns a said, s hi , presence at that town is documentarily attested. It has accordingly been advanced thae Chappeth t r Arsenao s l Hours were completed •" shortly after the middle of the fifteenth century, and some years

before the artist's departure for Bourges." As to this, some seven 1 papeOfe th . Monsieuy rb r Fournier-Sarloveze, " Quelques primitif Centru d sFrance,a l e ed " in Revile1 de I'Art ancien et moderne, xxv., 1909, 113, 180, identifying the Chappes ownership of Houre th Jeay sb Montlucon e nd groupind an , t witgi altar-piecn ha e Churcth n ei f Mont ho - Iu9on (donor, a certain Michel de Lage), 1485-1500; with the Comeau Hours (Count Durrieu coll.), ane famouth d a TouL s r d'Auvergne triptych (1494-98), engrave histore th n di f thay o t family by Paria Baluz n i s w ecollection (1708)no d papere an , Th ., being well illustrated cone b -n ca , sulted with advantage for some idea of the air de famille pervading these works. Count Durrieu allude e likenes th Comeae o th t s f so u illumination o thost s Montlufony bettee eb th o t r d an , •execution of the former. The Montlucon altar-piece may possibly, in the writer's opinion, be by the painter of the Monypenny miniatures B group. THE MONYPENNY BREVIARY. 95 years elapse between 1471485d firse dateo 7an th ,tw t s recordee th f do artist's sojour t Bourgesa n , during which interva r knowledgou l f o e s movementhi blanka e writer' s th i s n i ; s opinio e Arsenas th ni . MS l undoubtedl s lat a ys thi a e s unknown stag f Jeao e e Month-icon'd n s career. detaile a manuscriptTh f 1 o s signatur it e fac f th o t n i o , es important to the Monypenny Breviary, are briefly as follows:— leaveArsenae Th2 th e 15 f o s l Hours (16' 10'y 3b 8 cm.) contain twenty- nine large miniatures within architectural frameworks in gold upon dark purple margins dotted ovelightea n i r r e samshadth f eeo colour d an ; forty-three smalle e Coauth r onesn ri pagee MSs a Th , .s containine gth smaller compositions exhibit the convention, noted also in the Cosur Hours, of a border extending along the outer lateral. margin of the text, compose arabesquof d naturaand e l flower sprays upo a ngol d ground. Bach calendar page (there are two pages to each month) has, below its text, a miniature of an occupation of the month, the one anothee dth r separately enclose runnina y db g knotted branc goldn hi , formin s entiretit n gi irregulan ya r figur. 8 f o e At least two artists appear to have collaborated in the book as it stands e seconth inferio d o t ;dan f theo re duemar , more especiallya , volumee th principae f o Th .d en serieSibylse l e th miniature th f s o t ,a s are the series of very vigorous and original calendar designs, one of the Espousals of the Blessed Virgin and one of the Affliction of Job; etc. The accompanying illustration renders superfluou detailesa d description of the Espousals miniature, the more so as the fact of its signature by illuminatoe th renderes certaira ha o t t di n degree famous. bordee Th 2 r higofthe h priest's tunic bears in Eoman capital inscriptionthe s : JOHANNES DE MONTELVCIO ME PINXIT (fig. 9). Ther markee ear d affinitie compositionf o s f for o ,featurd me an th n ei types portrayed, between these miniatures and the corresponding details Monypenne th n i y Breviary accessoriewels n i ,a s la s — e.g.gile th t columns with their bases masked with small figures. In the Arsenal Hours e typicath s i ) l b (fmal39 .Jo e fac f th eo e physiognomy affectee th y b d illuminator of the A group in the Monypenny Breviary. But the miniature lese formee ar sth . accomplishef so MS r d generally theid ,an r colouring warmer; yet the Espousals miniature reveals correcter

PierrA Chappee ed recordes si havo dt e mad e Bourgetoken0 th e 30 r sfo s Cathedral Chapter in 14951 ; D. Mater, Etudes sur lajiumismatigue du Berry, 1906, p. 9. 1 Described in detail by M. Henry Martin in his Catalogue des manuscrits de I'Arsenal, i. 298-97, this miniatur bees eha n reproduce dsame alsth en oi author' tniniaturistess sLe francais, fig, (als19061 94 .1 Bulletin. n oi p , Bibliophile,u d 1904 . 615,p , pi. 11) t figurei ;e Expositio th n i d n des Primitifs Fran9ais, Paris, 1904, No. 183, and is discussed by P. de Mely, Les signatures des primitifs, 1913, pp. 247-50, under the date 1477, when Jean de Montlucon is first mentioned in the accounts of Bourges (Appendix I.). 96 PROCEEDINGS OF THE SOCIETY, JANUARY 9, 1922. architectural draughtsmanship tha frameworkne thath f o t s that enclose e Monypennth y composition. The localit e f Arsenaorigiyo th f o n l Hours—i s relationit e th o nt Monypenny Breviary—is a problem which, having been formulated, need not be pursued here beyond the statement that Jean de Mont-, lucon's (IOHANNE E MONTELVCIO'SD S ) miniatures approximate rather to the A group illuminator than to those of groups B or C, in the latter work. The possible determination of the DEMOLISON of group B of the Monypenny illuminations is seen to depend primarily upon his work itself. If so, what evidence of their author's nearer identity, it may be asked, does this series of miniatures offer, the exclusion of IOHANNES DE MONTELVCIO as their illuminator being implied upon grounds of style ? e answeTh e miniaturs founi rth e martyr-saintsn i dth f o e , which bear e signaturth s e DEMOLISON e occurrencTh .e nam th f eo e upon the robe of St James the Less, whom as his patron the artist endowed- with heroic statur n comparisoi e n wits fellowhi h . Georg SS sd an e Theodore, reveals convincingly e writer'th n i , s opinion, Jacqueline d Molisson (or Montluc,on) as the illuminator of this group of the Breviary's miniatures.1 Oe 12tnth h June 150 e Mayo5th d echevinsan r f Bourgeo s directed the municipal treasurer to pay to Ursine, wife of the late Jacquelin de Molisson, vivan"en nso t paintre demouran dicta l n ee m t ville,su e "th livres4 o1 f tournois whic e deceaseth ho t r -thwer e dfo e du epaintin g of various decorative accessories to the recent Corpus Christi procession. have W e therefor terminaa e e miniaturel groupth datB r e efo th , f o s d thaan t withi e abbacth n f Williao y m Monypenn . 1485-1520)(c y . Assumin e executiogth e Calendath f o n o havt r e been allottee th o dt same hand, there seem o reason s o doubt n e completioth t e th f o n Breviary approximatel y thaf primarb yo tt e poindateno yTh s i t. importance, because of the lesser artistic value of the miniatures of the third or C group; they may well have been painted contemporarily to thos Groueof amonpB, g whic mosh the the t yfor par t occur. In his study of the Tres riches Heures, completed by Jean Colom.be at Bourges in 1485 for Charles I. of Savoy, Count Durrieu remarks of another manuscript e miniatureth , f whicso assigne h o Colombt s e —the Romuleon f Sebastieo n Mamerot,—that' this attribution alone suppose e throug e on worth f so ke h b the whoso mt e hande th s Tr&s riches Heures had passed: certain details being merely copies from perhaps i t 1I . befor s. possibl N e U DEMOLISO . reao et . d. enlargemene th n Ni t (fig, .8) witL s horizontae hit th tope l th als .t oa THE MONYPENNY BREVIARY. 97 the miniatures in the original series painted by the Limbourgs for the Duke of Berry.1 To turn the leaves of the Monypenny Breviary is to perceive in more

Fig. 11. Monypenny Breviary (f. 136 v., larger miniature): Christ Healing a Man. (The fortres f Mehun-sur-Yevro s e background.th n i e ) tha place nelemenon n ea motivr o t s designit n ei s derive t onldno y from Colombe's art but, through Fouquet, even from the manuscripts of John, Duk f Berry eo resemblancee Th . s betwee e Breviary'nth s Calvard yan cit.,. . 112p Op 1 . 7 VOL. LVI. 8 9 PROCEEDING SE SOCIETYOTH F , JANUAR, Y9 Assumption picture thosd an s e Colombo contribtite e Tresth o dt riches Heures have already been noticed.1 Here Jacquelin de Montlucon's design variante sar compositionf so s affecte othee th y rb dBourge s artist. Less obtrusiv e inspiratioth s i e n derived fro e Dukmth f Berry'o e s miniaturists e backgroundTh . f severao s l miniature Montlucoy b s - nre produc huge eth e fortification Mehun-sur-Yevrf o s othersd ean (fig) s a ,11 . though their author had in mind the famous calendar series of the Duke of Berry's castlee Tresth n i sriches Heures. e hea f Th Heracliuo d s in the miniature of the Exaltation of the Cross (fig. 12) is strangely reminiscen Fouquet'f o t s Shalmanese Josephuse th Bibliothequ e n ri th f o e Nationale; and, consequently a lesse o t rt degreebu e Heracliu, th f o , s in the Duke of Berry's Belles Heures-, and of the sun god in the calendar lunette s Treshi f o sriches Heures.l thes al e protagonis n eth I t bears aloft the. Cross—in the type of the medieval medal of Heraclius which John, Duke of Berry, is known to have possessed—seated in a triumphal car. That Jacquelin de Molison presents Heraclius nevertheless as an

equestria2 n figure, like the Constantine of the companion medal, accords \vell wit s eclectichhi t originaye , l talent.3 The Breviary, to judge from the cleanness of its pages, mostly of very fine vellum, has had an uneventful history. It contains not the least not r inscriptioo e n relatin s subsequenit o t g t o ownershipt s a r no , hofroy t wi founmwa s Berr it da remot o yt e corne f Andalusiao r . possibls ThaPeninsule wa th t verti o n ys i yt alonno g afte s compleit r - tion would appear from the binding, which is of dark red leather with arabesques and cartouche work inlaid in purple and dark green, and is sixteenth-century Spanis rics it hn h i elaboration f Frenc,i types n hi Lo . Arcos and its religious houses, including the Franciscan convent of La Encarnacion, whence the book passed int Lioner hande oM th f o sl Harris (of the Spanish Gallery, London), at Seville, are not even cited in Beer's Handschriftenschatze Spaniens, the best guide to Spain's collections of MSS., private and public. Calvare 1Th y Breviarscene th closerr f eo fa s yi , however Franciscae thath o t ,f o t n Missat a l Lyons, of which unfortunately two miniatures only have been published, by Leroquais, op. cit. secone style th f Th eo d miniatur f thieo s book calendaa , r painting vers i , y similae thath o rt f o t calendar paintings of Jean de Montlucon's Hours (Arsenal Lib.). firse Th t three miniature e Josephuth f o s s date—the secon third dan thein i d r present condition—fro1 m befor e attributee ar 1416 d an , Couny db Limbourg'e t d Durrie l Po o ut s school; Fouquet's eleven miniatures were complete 1477y db . Count Durrieu s AntiquitesLe , Juda:igues et le peintre Jean Fouquet, 1908, pi. xxxiii., reproduces the Shalmaneser, the Heraclius of the Belle Tress Le Heures,s medale richeshi th n d i .n an Heures. su Cfcharioe e th . th f o t 3 In the result also, except that, like Fouquet's Shalmaneser, Jacquelin de Molison's Heraclius is hatted, his version of the head itself approximates rather to that of the Constantine medal, but carryine inth g upwar e processioth f do n alon righe gth tminiature edgth f eo compositioe eth n agrees with Fouquet's Shalmaneser. For these medals, see G. F. Hill, " Notes on the Mediaeval Medals of Constantine and Heraclius," in Numismatic Chronicle, 4th series, x., 1910; and Pisanello, 1905, pi. 26.

100 PROCEEDING E SOCIETYTH F O S , JANUAR , 1922Y9 .

E MINIATURES.TH LIS P O T 1 f. 1 recto [Calendar]: Januarius. (a) A man at table to whom a servitor . brings in a dish ; a nude figure pouring water from a gold vase [Aquarius]. (6) The sun upheld by a female figure (pink) in a chariot drawn e blac on e whit k d on n fallinhorse an ey ma b ga , through space below FETOL SO : : nude women e bathing a blindfoldedon , d an , , nude man with a bow. (c) The Almighty on a throne surrounded by red seraphim, white angels outside with bltie wings. verso:f1 . Februarius. seaten Ma d) (a warmin g himselfiso fira htw t e; a f swimming [Pisces]. (6) MERCVRIVS (purple) with caduceus, pipe, cock, and mask; LUNA (red), a woman in chariot drawn by a black and a white horse, upholding moon. (c) Michael drivin ga devi l into Hell, f. 2 r.: Marcius. (a) Man cutting wood ; ram [Aries]. (b) SASTVRNVS (sic) (blue, with red mantle) grasping winged dragon and babe, children below; IVPITER (blue, lilac mantle) within a vesica, crowned, holding arrow ; eagle above, child beneath. (c) God creating the earth. v.:f2 . holdin n Aprilis,Ma ) g(a flowere d spra eacn yi h han dbul; l [Taurus]. (6) MAROIV n i blacS k armour, enthroned, ; TEMwitg do h- PRENTIA (blue, with pink mantle), holdin d dis o jugan h gtw g s pi : below. (c) The Almighty creating animals. f. 3 r.: Mayus. (a) Man and woman on a horse ; man and woman embracing inthickea t [Gemini]. (6) PRVDENTIA (red, with green mantle) r hea e bache th df , o k a man's mask, holding statue with blue inirror, dragon on floor ; FORTITA blacn S(i k breastplate skirt,d greed re , an n mantle), with lion's head-hood, snappin gcoluma halfn ni lioa , n below. (c) God, with arm outstretched towards three angels supporting man' se ground bodth n yo . f. 3 v.: Junius. (a) Two men with scythes ; crayfish [Cancer]. (6) IVSTICIA (red, with blue mantle) with sword and balance, d cranan t foota e ; CARITAS (pink, with blue mantle), uncovering flam breastn o e , scattering blossoms from vas e; pelica n s pietiuit y below. (c) The Trinity (three Persons enthroned, issuing at the waist from one garment), Adam kneeling, angels behind, reapinn me f. . :o 4r g Jullius.; lion Tw ) , (a sejan t [Leo]. (b) SPES (green, with pink mantle) with phoeni x; FIDE S (blue,

1 The List designates the calendar miniatures according to their position in the framework: (a)=at top; (6)=at side; (c)=below. The miniatures in the body of the Breviary: (a)=large miniature; (6)=smaller miniature ; the remainde designatee ar r s "Texda t miniatures." The authorshi e miniatureth f po s indicatei s s follows:da — the first miniaturist (Jean de Montlu9on?)=(A) , , second „ (Jacqueli Montlucon)=(Be nd ) „ third •„ (unknown)=(C) The subjects of many of the smaller and some of the larger miniatures of the fully illuminated pages in the body of the Breviary- have been identified from the Golden Legend. THE MONYPENNY BREVIARY, 101

wit mantled hre ) holding chalic Eucharisd ean n righi t t hang do d; below. crownd (cGo )e kneelinth s g Adam. At the top outer angle of the border are the Moiiypenny arms (quarterly) supported by a cupid. f. 4 v.: Augustus. _(a) Man and woman threshing; woman with palm [Virgo]. (b) GRAMATICA (pink, with purple mantle) holding two-handled vase in left hand, short baton in right; LOGICA (green, with red mantle), a dragon covered with a white veil with red spots perched r lefonhe t wrist. (c) The creation of Eve. At top outer angle the Monypemiy arms. f. 5 r.: September, (a) Man and woman at wine press ; nude figure holding balance [Libra]. (b) RETORlCA (black helme breastplated an t , blud e re skirt d an , mantle) wit ho angel tw swor d s an dwit h trumpet s; GEOMETRIC A (red, with blue mantle), a woman standing to the knees in cloud, rectanglea trianglea , diamona skyd e th an , .n di (c) God, Adam and Eve, and the tree, f. 5 v.: October, (a) The acorn harvest; scorpion [Scorpius]. (b) ARESMETICHA (sic) (red, white veil), her head irradiated, counting coin s; MVSIC A (blue) seate swann do , playing pipe, instru- ment foregroundn si . (c) Satan in hell, f. 6 r.: November, (a) Man killing pig: centaur [Sagittarius]. (b) POETICA (blue, red mantle), seated at foimtairi, playing pipe and pouring water from a jug ; PHILOSOPHIA (pale blue, black breastplate) holding dark blue chamfron shield. (c) Adam and Eve, and the serpent (human-headed) in the tree. f. 6 v.: December, (a) A baker putting loaf into oven; goat issuing from shell [Capricornus]. (b) ASTROLOGIA (lilac, red mantle), with blue wings (?), book, and staff; THEOLOGIA (red, blue mantle) with male mask at back of head, rising from starry sphere. (c) The expulsion from Eden. [End of Calendar.]

I. f. 7. The Crucifixion. PASSIO DOMINI NOSTRI IHESV XPIRSTI (sic). (B) II. f. 8. (a) St Paul calling on the Romans to awaken from sleep (Romans xiii. 11). ) (b(A ) Moses , e elderAaronth f d Israelo s an , . III. f. 18. (a) Death-bed scene, the soul borne up by angels; Christ (as the Man of Sorrows) and Satan in the foreground. (b) Aged king in bed (David), visited by a \voman (Rathsheba) and a priest (Nathan) (1 Kings i. 15 et seq.). A cheetah r o huntin g leopard t a bas 'f o eithee r column, ) (A below.

1 The contemporary French monarch, Louis XII. of France (1498-1515), to whom the second Lord Monypenn a councillo s wa yd chamberlaian r n had, liks great-grandfatherhi e , Gian Galeazzo, Duk f Milaeo n (fathe f Valentino r a Visconti, Duches f Orleans)o s e leopars th , hi n i d " equipag chasse ed e hunte"e neighbourhooe h ; th n di Bloisf do , le Plessis-les-Tours Pontd an , - le-Eoi a CurnL ; e Sainte-Palayed e , Memoires sur I'ancienne chevalerie, . NodierC . ed , 1826, ii. p. 323. 2 10 PROCEEDING E SOCIETYTH F O S , JANUAR , 1922Y9 . IV. f. 24 v. (a) In a chapel a man, to half length, in greyish doublet, clean shaven, short grey hair, kneelin n altara t a ,g above whic e e PassioChristh th h f o tn appears, sur- rounded by seraphim in a blue cloud. The altar has a frontal linea d nan , cloth embroidered with blue crosses ende th .t a Upo t nstani goldeo dtw n candlesticks with lighted candles. witn (bhMa ) long fai t rhangin ha hair s hi , g upo s backnhi , kneeling, with a woman clad in a long-sleeved corset, childrenano dtw chapela e backgrounn th i , n i ; o dtw altars, and in left foreground an open chest of gold coin. Outside, 011 right, sheep, an ox, and a herdsman rappin doon go r wit hstick.a - Sleeping spaniels below (fig. 5). (A) V. f. 37. (a) The Tiburtine Sibyl and Augustus. Sibye (bTh ) l Persica wit o grouphtw f disputantso s . ) (A White deerhoundsJ below. VI. f. 56 v. (a) St John the Evangelist raising Drusiana to life, in a town square. (6t JohS ) n prayin open a nn gi grave crowa , d behind. ) (B Eagles below. e MarriagTh ) (a VIICanan ei .. f.97 . (6sainA ) t (Pau hand) l? epistln a s threo et e followers. ) (A Porcupines below. VIII. f. 130 v. (a) Noah driving animals up a gangway into the ark. (b) Christ preaching from masted boat, to a crowd on the ) (B shore. IX. f. 136 v. (a) Christ, attended by the Apostles, blessing a man seated e groundoth n a crow, f observero d a distance t a s . In the background the gate, walls, and towers of the castl f Mehun-sur-Yevre.eo 2 (b) The sacrifice of Abraham. ) (B Porcupines below (fig. 11). X. f. 145. («) Christ tempted by Satan. e confusio(bTh ) f tongueso n . Lions sejant below. (B) Jaco) (a . bv 6 obtain15 . f e blessin. th s XI f Isaac o go stand a wh ,n i s vaulted hall with jewelled column bas-reliefsd an s . (b) Esau on horseback pursuing a stag. (A) XII. f. 165. (a) Joseph sold by his brethren to the Ishmaelites. (b) Reuben gazing dow nwella . Collared civets .below. (A) XIII. f. 174. (a) Aaron's rod changed into a serpent before Pharaoh. (For inscription abovee se , . 86.p , ) (b) Pharaoh and his- host drowned in the Red Sea. (A) XIV. f. 183. (a) Christ in the temple; a crowd, some with stones in their hands.

1 Levriers d'j&cosse. Monsieur Camille Enlart, the .distinguished mediaeval archaeologist and Director of the Muse2 Sculpture ed e Compared, Paris t onca , e identifie dgreae th thi s tsa fortres Mehun-surf o s - Yevre, completed about 1390 by John, Duke of Berry. The statue over the gate, one of three which actually existed, is shown also in the view in the Tres riches Heures, ed. Durrieu, pi. Iviii. Charles VII. died at Mehun in 1461. E MONYPENNTH 3 10 Y BREVIARY.

(6) A bearded man in a landscape; issuing from his mouth, . DOMIN A a scroll. A n o . A :E• DB(US • NESCI) O• r holdLOQVIai e scrola sn ange th A n .l i l inscribed: PRIN(stc)SQV A• PORMAR • VTER N I B• O• NOV • I (JeremiaE T . 5) . hi Cupids seated below. (A) XV. f. 193. (a) Christ, riding an ass, approaches Jerusalem. discipleo s col(ftit Tw ) td frosan leadinmcitys a as .n ga A blank shield in the framewoi'k between the miniatures. Two cupids below playin) (B g wit hballa . XVI. f. 267 v. (a) A Corpus Christi procession, the monstrance borne by a bishop betwee o assistantstw n , holdin a ggremia f o l e arm th f Franco s e ancient belo e glovewth d hands e celebrantoth f ; abov canopa s ei y with fringe alter- nately white, blue, redd green bishoe an , Th . p Avears a green dalmatic, gold cope, white mitre and white gloves assistante th , s gold copes over full surplicese Th . torch-bearer clae sbluear n d i , those holdin canope gth y in red. They and the two assistant priests have round their heads a kind of padded red wreath; in the back- ground a crowd, and the gables and walls of a city.1 (6) A procession consisting of a boy with holy water, two servers with folded arms, o carryintw g lights, cross- bearer with cross, all in unapparelled albes and amices, followe sevey b dbluecopesn d i nre o ,clergyn i tw , o tw , thre goln ei d copesdarn i capsd l grekre A al , .y curtain behind has the initials I and B, joined by a lover's knot, powdered over it in gold. The framework above is inscribed: DE NOVO TBSTA- MENTO ET DE NATIVITATE CHRISTI (fig. 13). (B) XVII . 278) Elcanaf . (a . h offering sacrifice i enthroneEl ; e backth n -i d ground ; his sons, the priests Ophiii and Phineas, lean upon the altar at each end. The altars are represented as Christian e timealtarth f ,o swit h cloth-of-gold frontals and dorsals. (6) Anna hands the child Samuel to Eli; the two priests and an altar behind. (A)

This miniature must be taken as a record, if not within its limits an exceptionally accurate Fete-Dieu,e th onef o ,1 Churche feasa th f o t , than which non annualls ewa y celebrated with more pomp at Bourges. The customary procession included the cathedral-chapter, the municipality, echevinse mayore th th d an , (who bor canopy)e eth s passagit ; s kepewa t clea chainy rb s hely db sergeants; others drove back the crowd with "bouloises," or large stuffed balls, painted azure semy offleurs t figure miniaturee . lyse Theno th or d e n i dyar , here attribute Jacquelio dt e nd Montlufon, althoug recordes i e hh havo dt e made thes othed ean r appliance processioe th r sfo f no 1505 (Appendix I.). The number of torches seen in the miniature is nineteen (of the twenty-four known to have been used round the canopy); among other details of the procession, brought out by Baro Girardote nd , " Histoir chapitru ed t EtiennS e ed Bourges,e ed Memoiresn "i Societea l e d archMogique de I'Orleanais, ii., 1853, it is stated that the assistants wore wreaths of violets and carnations, which may account for the wreaths given to the assistant-priests and the canopy- bearere miniatureth n i se celebran Th . s usuallwa t a ycano f Bourgeso n , exceptionalle yth Archbishop, as here depicted. Baron de Girardot states that the Bourges enfants de chceur wore violetchapter'e th t a , s expense (op. cit., . 53)e lowep th ; r miniature depict choie th s r boys in white.

E MONYPENNTH 5 10 Y BREVIARY.-

e slayinTh f ) XVIIIo Adoiiia(a gf . o v 6 .y n Benaialib f31 h.so e th , Jehoiada. A king and a queen (Solomon and Bathsheba) enthroned, a combat between three n observermena e d th ,an n i , foreground (see above . 82)p , . e judgmen(bTh ) f Solomono t . Within niches on either side are a wild man and a wild woman supportin e Monypenugth y arms. Below are wild men and women holding croziers (fig. 6). (A) XIX. f. 324. (a) Job, his wife, sons, and daughters, seated in a vaulted hall, a herd of animals seen through a loggia at backe th . (b) Job, on a heap of straw, beaten by two demons with , knotted sticks. Wild men and women, seated, sounding curved trumpets, below. (A) cita n yXXI ) stree330. f .(a e age. th t d e foregroundTobith n i t , lifting one of four shrouded corpses; a banqiiet in progress ihousna e behin crowdistancee a d; th n di . (b) Tobias carrying a fish, an angel following. Dragons below. . Juditv 3 f 33 . he hea th cut f Holofernesf do of s . (Text miniature.) . Ahasueruv 6 f33 . s crowning Esthe feasta t a r greea ; n curtain behind is powdere d, joine a E wit e initialy d b th hdan A s lover's knot. (Text miniattwe.) XXI. f. 339. (a) Alexander overthrowing Darius and the kings of the battleA eart . Mace1 h( 1) , wit. e i kingo . th htw n i s foreground, one transfixing the other with a lance ; behind, two other kings. (b) An aged king (Alexander ?) in bed, bestowing crowns oil four young men. Lions sejant below. (C) unicorn XXIIA ) . 352(a f .n . standing upo a castle roo f nth o fe whics hi tied round with a chain; a bearded man on left point- ing up to the animal. (Daniel's vision of the he-goat (?), ) 5. , viii2 , 1 . ) (A e visio(bTh ) f Ezechielno . XXIII Davi) . 368f .(a . d playing upo a harpn , which Saul strikes with a rod. ) (A (b) David slays Goliath. f. 394:1?. David standing in prayer. (Text miniature.) 404. f . . David an n angelda . (Text miniature.) f. 411. David kneeling in prayer. (Text miniature.) f. 419. David has a vision of the instruments of the Passion. (Text miniature.) f. 430. David praying in ail orchard. (Text miniature.) f. 438 v. David has a vision of the Annunciation. (Text miniature.) f. 450. Davivisioe Trinitya th s f dha no . (Text miniature.) e martyrdoXXIVTh ) . 470(a t f .Andrew S . f mo . t (bAndreS ) w knockin e a doorooe legen th f th o m t r; ga d of the bishop and the devil disguised as a woman. The bishop wear hooa s rochetsa d ha ove d heads an ,rhi , with its cape on his shoulders. On the side pilasters are the arms of the duchy of Berry, and below, thos f Mouypeuneo y charged upon croziers. (C) 106 PROCEEDINGS OF THE SOCIETY, JANUARY 9, 1922.

XXV. f. 479 . e meetin . Joachi(aTh )SS f go m and e GoldeAnnth t ea n Gate of the temple. For a second miniature there is substituted a golden framework with roundels of fabulous birds, monsters, etc. initiae th n I lMonypenne Bth y arms. A greyhound running ; and three cupids on each side, ) (B below. XXVI . 486f . . (a) Martyrdo t ThomasS f mo , Apostle. t e (bnewlThomaS )th d y an smarrie dn couplema e th ; holdin gfruitea d branch.1 Four white greyhounds wit d collarre h eithen o s r side, below. (C) XXVII. f. 513 v. (a) St Matthias led to execution. ) (C (b) Decollatio t MatthiasS f no . XXVIII. f. 517. e Annunciation(aTh ) e BlesseTh . d Virgin's hals i o inscribed: MffiA ESTO NE TEMEAS MARIA SEPIRITVS SANCTV backgroune Sth (sic).n I e dth interio a Gothi f o r c church, wit n altaha r having frontal and dorsal enclose curtainy db s hung from rods between four massive pillars: the dorsal is in addition to the curtain behind.' (b) A white unicorn touching a stream with his horn ; animal e oppositth n so e bank drinking dragond an , s issuing fro e watermth . Three kneeling angels, playing instruments, on each side, below. (A) XXIXv 0 . f52 . (at MarS ) k dragge cora y ddb rovin s nechi d k 'dowe nth temple steps. t (bMar S )Aniand kan e shoemakerth , . Two griffins on each side, below. (B) XXX. f. 523. (a) St Philip, apostle, led by two men to crucifixion. (b) St Philip and the dragon slaying unbelievers. (C) XXXI. f. 525 v. (a) Inventio e Cross th t Helena S f no . , empress, wearsa cote-hardie ermined, like Bathsheba (XVIII.)-2 (6) Constantine's visio ne Crossoth f . The side pilasters have central panels emblazoned : azure semy of fleur de lys or. (B) XXXII . 530f . . (a) Martyrdom of St John the Evangelist. carryinn ma (bA )g faggot fira eo t supo na whict se s hi large cauldron. The Monypenny arms supported by angels, at either side ) (B of upper miniature. f. 544. St Barnabas dropping coins at the Apostles' feet. (Text miniature.)

The Indian legend of St -Thomas is the subject of a thirteenth-century window in the nave (nort1 h side Bourgef )o s cathedral; Cahie Martind ran , Monographic cathedralea l e d Bourges,e d • . 146i , 148, pi . ii . But the dame in the Monypenny family group (miniature IV6) wears a corset; the decline of

cote-hardiee th z befor corsete eth durin fifteente gth h centur notes yi Monsieuy db r Bnlar "Ln i t e Costume" (Manuel d'Archeologie francaise, 1916, iii.,p. 108), though, as Bourdichon's miniature of Ann Brittanf r epatroo he d ny an saints testifies t continuei , favourn di picturer fo , femalf so e saints and scriptural personages, until the sixteenth century. E MONYPENNTH Y BREVIARY. 107

XXXIII. f. 555. (a) Nativity of St John the Baptist. (b) SS. John the Baptist and Evangelist, each accom- panie doctoa y db r wearin ga gow n with fur-lined ) (A hood. XXXIV. f. 565 v .. Pete (aJohd SS ) an r n workin gmiraclea ; Simon Magus r surroundeai e flyinth n i gdevilsy db . (b) Simon Magus 011 the ground attacked by a dog. ) (C Lions sejant below. XXXV. v 0 . f59 . (a) St. James the Greater baptizes Josias upon the scaffold ; the scene is a town square. (6) Three devils bring Hermogenes bount JamesS o dt . Four swans on either side below. (B) XXXVI. v 1 . f60 . (a) The Transfiguration; Moses and Elias (in Carmelite habit s half-lengta ) h figuree skyth .n i s (6) Apostles aslee rock) a (B n pi y landscape. XXXVII. f. 608 v. (a) Martyrdo t LawrenceS f mo . t (bLawrenceS ) unapparellen i , d d albamicd re ean d ean and gold dalmatic, shows a lame man to Decius. (C) XXXVIII. v 8 . f61 . (a) The Blessed Virgin confers the girdle on St Thomas, Apostle e latter'Th . s neckband inscribed. . . : VSTHOMAS. ) (B . VirginB e deate (6th Th .) f ho XXXIX . 636f . . (a) Martyrdom of St Bartholomew. (b) St Bartholomew, the angel, the king, and the Ethiopian. On the side pilasters the arms of the duchy of Berry. Dragons below. (B) . v 7 64 . f . XL Presentatione (aTh ) . (6) Birth of Blessed Virgin. Group f fouo s eithen ro wiln r dme sid e below, each pair supporting a shield of Monypenny charged upon a crozier (fig. 2). (B) XLI. f. 654 v .Exaltatioe (aTh ) e Crossth f no . Heraclius horsebackn o , , bearing the Cross upright, with his army, approach- ing Constantinople.1 (6) Heraclius, barefoot, carrie e Crossth s into Jerusalem. houndo Tw eithen o s r side belo) (B w (fig. 12). XLII. v 4 . f66 . (a) St Matthew, Zaroes and Arphaxas (the magicians), and the two dragons. St Matthew's robe has the letters : EMONASTRAGOVRRIERES .... (b) St Matthew about to raise the king's son to life. (B) XLIII. f. 700. (a) SS. Simon and Jude emptying their mantles of serpents upo magicianse nth . (b) SS. Simon and Jude meet two tigers. (B) XLIV. f. 702. (a) Assumptio e Blesseth f no d Virgin (fig. 10). (6) [Unidentified; perhaps taken fro e Boomth f Tobit.ko ] XLV. f. 713. (a) St Martin divides his cloak with a beggar. (6) St Martin singing Mass: the miracle of the sleeves. The altar has a red frontal and dorsal, both powdered with gold stars. St Martin wears a gold chasuble ove blua r e dalmatic. e deacoBehinth d m nan d hi subdeacon wear gold dalmati d tuniclee an c Th .

lone gTh roof betweepostero tw e nnth towers suggests Saumu originae towe th th s a nrf o l backgrounde th n i 1 . Durrieucf ; , Tres riches Heures, . piix . 108 PROCEEDINGS OF THE SOCIETY, JANUARY 9, 1922.

albes and amices are unapparelled. Behind again is a large desk with four cantors in golden copes. On the bases of the pillars below are the Monypenny arms upon a crozier. (B) t BarbarS ) (a . av XLVI 6 take73 . executiono f n.t . (b) A female saint in a cave to which soldiers are march- ing ; elsewhere two men and a woman, and locusts on the ground. e framth n eI betwee e miniaturenth e armth sf Mony o s - penny dimidiated with Stewart (fig. 1). Two demy lions on each side below. (B) XLVII. f. 745 v. (a) Martyrs being beaten with rods in a vaulted hall, an emperor presiding. (b) Martyrs bein f lionso d toward gle w ' ro cage a sn i s; distance th execution ea beheadingy nb . Four cupids astrid f logse o eacn o , h side, below. dalmaticd Aan n b angeal ,n i lsupportin Moiiypenne gth y arms charged upon a crozier, on each side of the ) (B larger miniature. XLVIII ) Chris (a . 750f . . t standing betwee . Peted JameSS n an e r th s Greater, behind them a company of male saints ; a castle in the background. (b) A landscape with apostles scattered singly about; SS. Peter and John in the foreground. (B) XLIX e companTh . ) f. (a 766f malyo . e martyrs . GeorgeSS : , Theodore of Heraclea, and James the Less, in front. (b) The martyrdom of five saints. Four lions sejant on either side below (fig. 7). (B) L. f. 801. (a) Death, with a javelin, meets a pope, an emperor, and kinga , walkin singln gi e file wallea ; d city, moun- gallowa tains, e distanced th an n i s . Above th s ei inscription: TOVS CHIEVS QVI SO* ET SEROt S MORTEPA T LSE PASSERONTR PA . (6) The day of Judgment. ) (B Skulls below. seaten lectera ma t da A n. v reading5 f80 . . (Small miniature.) f. 821. "Et sic est finis." [End of Breviary.] f. 822. "Sequens yninus dicitur." [Addition.]

APPENDIX I. JEAJACQUELID NAN -MoNTLugoE ND BOUBGEST NA . (Documents.) JEAN DE MONTLU^ON. " Aa datl e octobr2 d1 u e 1477, le lieutenan gardu a prevotl d t e ed e ed Bourges mande au receveur de Berry de payer a Jehan de Molisson, peintre demeurant Bourges,a sola sommX l sX tournoie d e . pou peines . . sse r t e s sallaires d'avoir faic t peintfeuillese 4 t n e papier,e d granta l n e forme,a l figure messirede Jehan Chalon,de chevalier, prince d'Orange, comme pendxi par les piedz a ung gibet et ses armes renversees, ainsy que img traistre et E MONYPENNTH 9 10 Y BREVIARY. desloyal au roy . . . pour chacune d'icelles feuilles de papier et figure estre attache carrefour4 z e a villl e Bourgese d ed s ensuivann e , t le bon plaisir et vouloir du roy nostre seigneur. . . . La quittance de- Jean de Montlucon est du 18 octobre suivant (t. VI., f. 160 r° et v°)." (Bibliotheque de Rouen, MS. 5870 (Recueil Menant), vi. f. 160. B. Prost, "Quelques documents sur 1'histoir arts Prance,n ede se " in Gazette des Beaux-Arts, 1887, 2e serie, xxxv. 329.)

1485-86 JehaA . Molissone nd , paintre . pout . 1 tournelle4 r6 , escusson4 t se s qii'il a peincts aux armes du roy et de la ville, qui out este mises aux quatre grans tourches, appelees estaiidarts, qui ont este portees a 1'entour du corps N.S., en faisant la procession de la Peste-Dieu, ainsy qu'il a este par cy devaiit faict, et pour la painture de douze bouloyses a fleurs de lys, qui ont este baillee a douzs e sergens, pour faire mectr ordrn e e peuplel e en faisant lad. procession de la Peste-Dieu. 1487. A Jehan de Molusson, pour des peintures a ystoires et aux armes villea l e d . y duro 1489 PierrA . e Lemesle, ymaigier escu4 , s d'or pour ung grant ymage de N.-D. et ung angelot, mis au portal Saint-Prive. A Jehan de Molisson, peiiitre, 6 1. pour avoir peint cette statue. 1492 JehaA . Molussone nd . t pour . s 0 avoi6 , r faic toimielle4 t s garnies des armea roynel e monseigneu d e royu d t d se ,, dauphie l r n avec 4 ecussons faiz aux armes de ladite ville, pour les torches de la procession qui fut fete pour les bonnes nouvelles de la nativit monseigneue ed dauphine l r . 1492. A Jehan de Molusson, 60 s. pour avoir painct ung image de N.-D. de pitie avec les deux anges, estans a 1'entour dudit image, tant d'or que d'azur, qui a este mis sur le portal du pont d'Auron. (Baron de Girardot, "Les artistes de Bourges depuis le moyeii age

jusqu'a la Revolution," Archives de I'Art franqais, 1861, 2 serie, i. 238, 240, 243, 244.) e

JACQUELIN DE 1487. A Jacquelin de Molusson, 4 1. pour avoir fait ung panneau de verre auque a deul y ilx ange i tieiinentqu s s armele t u roye d s , seme e feuillaged e s bien richemen a maisotl ; a icelu e s d n mi i ville. 1497. A Jacquelin de Molisson, 21 1., pour avoir painct les armes du roy en ung penonceau de fer, enchasse de fer, qui est sur le puits de la Croix-de-Pierre. . pous Id. 0 escussons4 2 r , gran4 a s torchesmi , a processiol a , n dPaixa el . Id., pour avoir faict le patron des gee tons a compter, qui ont este faicts pou a chambrl r ladite ed e ville. s 5 , 1499-1500. A Jacquelyn de Molusson, pour ung patron de voyrieres et pour 1'escripture de ladite voyriere, 20 s. A Jacquely e Monlussonnd , paintres.0 ,1 . pou1 4 ,r avoir faice d t son mestier 4 douzaines de petits moiitons, faicts de batture d'ot d'argene r r toillsu t e. piece d perse0 1 . a , 110 PROCEEDING E SOCIETYTH F O S , JANUAR, Y9

Item, pour avoir faict ung patron de. voiriere, ou est uue nativite Notre Seigneur, que M° J. Pradet a faict mectre en la maison . villee s d 0 2 , • , 1500-01. A Jacquelin de Monlusson pour 5 chappiteaulx garnis d'ystoires d'armoysie t neurone s s pou processioa l r n du corp Dieue d s . C s., pour cinq patrons de voirines, aux armes et devises de MM. les maire et eschevins, pour maisoa a salll sl villea e l ed e nd . 1503JacqueliiA . Monlussone d i s.0 ,4 , pour deux patron pourtraictu o s s de deux verrieres pour ladite salle de la maison de ville. 1504 JacqueliA . Monlussone nd 1.4 ,, pou patron4 r verriere sd armex eau s et devises de honorables homines Jehaii Lalement, Me Gilles Pain, naguieres maire, Mes Hemery, Gentilz et Et. de Cambray, echevins d'icelle ville, pour asseoir en la salle de 1'Ostel de la ville. (Baron de Girardot, op. tit., 1861, 2e serie, i. 242, 246, 248.)

Les Mair t Eschevinse e , commi t esleue s x gouvernemenau z t affairee t s conimuns 'da villel Bourgese ed a Claud, e Pichonnet, recepveu deniers de r s communs de la dicte ville, salut. Nous vous mandons que desdicts deniers commun vostre d s e recepte vous payez, baille t delivreze Ursineza , vefve d e feu Jacqueli e Molissond n n soue , t vivant paintre, demouran a dictl n e t ville, taut en son iiom que comme ayant le gouveriiement et administracion des enffans dudict deffunc t d'ellee t a somnil , e quatorzd e e livres tournois, qui devie estoit audict deffunct pour avoir fait la besoigne qu'il s'ensuit, c'est assavoir. Pour cinq grans chappiteaulx garniz d'istoires, d'armoirie t fleurouse s , lesquels out este mis et assis en cinq grans torches qui ont este portees a 1'entour du corps de Dieu a la procession de la Feste-Dieu derrierement passee, ainsi que Ton a acoustume de faire. Item, pou x escussonssi r , faie bateurd z e sur papier renfforce s cinle ,q armex a dictl au e ed s vill t 1'autre e atix arme Monsieue d s Mairee l r i qu , t eston e actachez ausdictes torches au dessoubz desdicts chappiteaulx. Item, pour cinq petiz chappiteaulx, armoiez aux armes de nous, Maire et Eschevins, qui ont este mis aux torches de nous, Maire et Eschevins. Item, plus pour avoir garny de paincture d'asur et seme de fleurs de liz trent bouloisex esi s [c/ . 103p . , lesquelle n1] . t estson e distribute r noupa s s aux Officiers du Boy de ladicte ville et a autres, ainsi que Ton a acoustume de fair r cydevautepa . Laquelle besoigne dessusdicte ledic u Jacquelinfe t e Molissond a faict e r nostrpa e commandemen t ordonnancee t t icelle , e baille t delivree a l n e Chambre de ladicte ville, comme nous a certiffie de bouche Denis Hyon, Cler s ceuvrede c t affairee s s commun e ladictd s r erapportan pa ville , et , t ces presentes et quictance de ladicte vefve audit iiom, ladicte somme de XIII . tournoiI1 s sera allouecomptez vo n e s partou iu l o tappartieridr a sans difficiilte. Donne a Chambrl n e e e ladictd e e ville, soubz noz manuelze l , XIIe jou juinge rd , l I'acinnmi q ceii t cinqe s . J. SALAT. — P. PBBBEAU. — E. HOUBT. — TALLIBR.

(Bibliotheque nationale, Cabine titress de t , pieces originales.) (Ulysse Robert, "Jacqueli e Molissond n , peintre (1483-1515)," Nouvelles

archives de I'Art franqais, 1800-81, 2 serie, ii. 304.) e