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 Another Random Document on
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The Project Gutenberg eBook of The Arts in the
Middle Ages and at the Period of the Renaissance
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Title: The Arts in the Middle Ages and at the Period of the
Renaissance

Author: P. L. Jacob

Translator: James Dafforne

Release date: July 15, 2019 [eBook #59924]

Most recently updated: January 24, 2021

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*** START OF THE PROJECT GUTENBERG EBOOK THE ARTS IN THE

MIDDLE AGES AND AT THE PERIOD OF THE RENAISSANCE ***
 Contents.
Table of Illustrations
(In certain versions of this etext [in
certain browsers] clicking on the
image will bring up a larger
version.)
(etext transcriber's note)

THE ARTS IN THE MIDDLE AGES,

AND AT THE PERIOD OF THE RENAISSANCE.

THE ANNUNCIATION.
Fac-simile of a Miniature from the “Hours” of Anne de Bretagne formerly belonging to Catherine de
Medicis
(Library of M. A. Firmin Didot.)

THE ARTS
IN

THE MIDDLE AGES,

AND AT THE PERIOD OF

THE RENAISSANCE.
By PAUL LACROIX
(Bibliophile Jacob),
CURATOR OF THE IMPERIAL LIBRARY OF THE ARSENAL, PARIS.

Illustrated with
NINETEEN CHROMOLITHOGRAPHIC PRINTS BY F.
KELLERHOVEN

AND UPWARDS OF

FOUR HUNDRED ENGRAVINGS ON WOOD.

FOURTH THOUSAND.

LONDON:
BICKERS AND SON, 1, LEICESTER SQUARE.
 PREFACE OF THE EDITOR.
HE aim and scope of this work are so explicitly set forth in the
appended Preface by its Author as to require for the book no
further introduction. The position held by M. Lacroix in the
Imperial Library of the Arsenal, Paris, is a sufficient guarantee
of his qualifications for undertaking a publication of this nature.
How far his labours were appreciated in France is evident from
the fact that, when the first edition made its appearance, it was exhausted
within a few days.
It may fairly be presumed that The Arts in the Middle Ages will find
equal favour in England, where so much attention has of late years been
given to the subject in all its various ramifications; and where,—in our
National Museum, Kensington, especially,—we are accumulating so
extensive and valuable a collection of objects associated with the epochs
referred to by M. Lacroix.
In preparing these sheets for the press, my task has been little more than
to put an excellent and conscientious literal translation of the French text
into language somewhat in harmony with the construction of our own. In so
doing, however, it has been my object to retain, as far as practicable, the
peculiar—sometimes the quaint—phraseology of the original writing. A few
notes are added when they appeared necessary by way of explaining terms,
&c., or to render them more intelligible to the general reader. But some
words are used by the Author for which no English equivalent can be found:
these have been allowed to stand without note or comment.
JAMES DAFFORNE.
Brixton, February, 1870.
 PREFACE TO THE SECOND FRENCH EDITION.
ORE than twenty years ago we published, with the aid of our
friend Ferdinand Séré, whose loss we regret, and with the co-
operation of other learned men and of the most eminent writers
and artists, an important work, entitled “The Middle Ages and
the Renaissance.” That work, which consists of no less than
five large quarto volumes, treated in detail the manners and
customs, the sciences, literature, and the arts of those two great
epochs, a subject as vast as it is interesting and instructive. Thanks to the
learning it displays, to its literary merit and its admirable execution, it had
the rare good fortune to attract immediately the attention of the public, and
even now it maintains the interest which marked its first appearance. It has
taken its place in the library of the amateur, not only in France but also
among foreigners; it has become celebrated.
This exceptional result, especially as regards a publication of such
extent, induces us to believe that our work, thus known and appreciated by
the learned, may and ought henceforth to have still greater success by
addressing itself to a yet larger number of readers.
With this conviction we now present to the public one of the principal
portions of that important work, and perhaps the most interesting, in a form
more simple, easier, and more pleasing; within the reach of youth who
desire to learn without weariness or irksomeness, of females interested in
grave authors, of the family that loves to assemble round a book altogether
instructive and attractive. We would speak of the “Arts in the Middle
Ages, and at the Period of the Renaissance.” After having reunited the
scattered materials on this subject, we have ranged them each in its own
rank, taking care to discard all crudity of learning and to preserve in our
work the brilliant colouring in which it was first clothed.
 All the Arts are interesting in themselves. Their productions awaken
attention and excite curiosity. But here it is not one Art only that is treated
of. We pass in review all the Arts, starting from the fourth century to the
second half of the sixteenth—Architecture raising churches and abbeys,
palaces and public memorials, strong fortresses and the ramparts of cities;
Sculpture adorning and perfecting other Arts by its works in stone, marble,
bronze, wood, and ivory; Painting, commencing with mosaic and enamels,
contributing to the decoration of buildings jointly with stained glass and
frescoes, embellishing and illuminating manuscripts before it arrived at its
highest point of perfection, with the Art of Giotto and Raphael, of Hemling
and Albert Dürer; Engraving on wood and metal, with which is associated
the work of the medallist and the goldsmith; and after attempting to touch
upon Playing-cards and Niello-work, we suddenly evoke that sublime
invention destined to change the face of the world—Printing. Such are, in
brief, some of the principal features of this splendid picture. One can
imagine what an infinity, what variety and richness, of details it should
contain.
Our subject presents, at the same time, another kind of interest more
elevated and not less alluring. Here each Art appears in its different phases
and in its diversified progress. It is a history, not alone of the Arts, but of the
epoch itself in which they were developed; for the Arts, regarded in their
generality, are the truest expression of society. They speak to us of tastes, of
ideas, of character: they exhibit us in their works. Of all an age can leave to
the future concerning itself, that which represents it most vividly is Art: the
Arts of an epoch revivify it, and bring it back before our eyes.
It is this which forms our book. Yet, we must remark, here its interest is
redoubled, for we retrace not only a single era, but two eras very distinct
from each other. In the first, that of the Middle Ages, which followed the
invasion of the Northmen, society was in a great measure formed of new
and barbarous elements, which Christianity laboured to break up and
fashion. In the second epoch, on the contrary, society was organised and
firmly established; it enjoyed peace, and reaped its fruits. The Arts followed
the same phases. At first rude and informal, they rose slowly and by
degrees, like society, out of chaos. At length they nourished in perfect
freedom, and progressed with all the energy of which the human mind is
capable. Hence the successive advances whose history presents a
marvellous interest.
 During the Middle Ages, Art generally followed the inspirations of that
Christian spirit which presided at the formation of this new world. It arose
to reproduce in an admirable manner the religious ideal. Only towards the
end of that period it searched out for beauty of form, and began to find it
when the Renaissance made its appearance: the Renaissance, that is, the
intellectual revolution, which, in the fifteenth and sixteenth centuries,
restored among modern nations the sceptre to Literature and the Arts of
antiquity. Then, with the Renaissance, the Arts changed their direction, and
especially the principal Arts, those by which the genius of man expresses
most forcibly his ideas and his feelings. Thus, in the Middle Ages, a new
style of architecture is created that rapidly attained the highest degree of
perfection, the ogival (later Gothic or flamboyant), of which we see the
chefs-d’œuvre in our cathedrals: at the Renaissance, this was replaced by
architecture derived from that of the Greeks and Romans, which also
produced admirable works, but almost always less in harmony with the
dignity and splendour of worship. In the Middle Ages, Painting chiefly
applied itself to represent the beau idéal of the religious mind reflecting
itself in the countenance; at the Renaissance, it is the beauty of the physical
form, so perfectly expressed by the ancients. Sculpture, which comes nearer
to Painting, followed at the same time all similar phases, drawing the art of
Engraving with it. Do not the diversified changes through which the Arts
passed, as retraced in this book during two epochs, present to the intelligent
reader a succession of facts of the highest interest and a history most
instructive?
Our work is the only existing one on this great and magnificent subject,
of which the materials are scattered through a multitude of volumes. Thus
for the success of this undertaking it became necessary to unite with us in
our task men most distinguished by their learning and talents: we are
permitted to cite the names of MM. Ernest Breton, Aimé Champollion,
Champollion-Figeac, Pierre Dubois, Duchesne, Ferdinand Denis,
Jacquemart, Arch. Juvinal, Jules Labarte, Lassus, Louandre, Prosper
Mérimée, Alfred Michiels, Gabriel Peignot, Riocreux, De Saulcy, Jean
Designeur, le Marquis de Varennes. After such a list we record our own
name only to acknowledge that we have gone over and recast these various
works, and presented them in a form which gives them more unity, but
owes to them all the interest and all the charm it may offer.
 The numerous illustrations that adorn the work will engage the eye,
while the text will speak to the intelligence. The designs in
chromolithography are executed by M. Kellerhoven, who for several years
has made the art one of a high order, worthy to shine among the finest
works of our greatest painters, as is proved by his “Chefs-d’œuvre of the
Great Masters,” “Lives of the Saints,” and “Legend of St. Ursula.”
No one is ignorant of the attention given in these days to archæology.
Information about objects of antiquity is necessary to every instructed
person. It ought to be studied so far as to enable us to appreciate, or at least
to recognise, the examples of olden time in Architecture, Painting, &c., that
present themselves to our notice. Thus it has become for the young of each
sex indispensable to good education. The perusal of this book will be for
such an attractive introduction to that knowledge which for too long a time
was the exclusive domain of the learned.
PAUL LACROIX
(Bibliophile Jacob).
 TABLE OF CONTENTS.

Page

FURNITURE: HOUSEHOLD AND

ECCLESIASTICAL 1
Simplicity of Furniture among the Gauls and
Franks.—Introduction of costly taste in
articles of Furniture of the Seventh
Century.—Arm-chair of Dagobert.—
Round Table of King Artus.—Influence
of the Crusades.—Regal Banquet in the
time of Charles V.—Benches.—
Sideboards.—Dinner Services.—Goblets.
—Brassware.—Casks.—Lighting.—
Beds.—Carved-wood Furniture.—
Locksmith’s Work.—Glass and Mirrors.
—Room of a Feudal Seigneur.—
Costliness of Furniture used for
Ecclesiastical Purposes.—Altars.—
Censers.—Shrines and Reliquaries.—
Gratings and Iron-mountings.

TAPESTRY 37
Scriptural Origin of Tapestry.—Needlework
Embroidery in Ancient Greek and Roman
Times.—Attalic Carpets.—Manufacture
of Carpets in Cloisters.—Manufactory at
 Poitiers in the Twelfth Century.—Bayeux
Tapestry, named “De la Reine
Mathilde.”—Arras Carpets.—Inventory
of the Tapestries of Charles V.; enormous
Value of these Embroidered Hangings.—
Manufactory at Fontainebleau, under
Francis I.—The Manufacture of the
Hôpital de la Trinité, at Paris.—The
Tapestry Workers, Dubourg and Laurent,
in the reign of Henry IV.—Factories of
Savonnerie and Gobelins.

CERAMIC ART 53
Pottery Workshops in the Gallo-Romano
Period.—Ceramic Art disappears for
several Centuries in Gaul: is again found
in the Tenth and Eleventh Centuries.—
Probable Influence of Arabian Art in
Spain.—Origin of Majolica.—Luca della
Robbia and his Successors.—Enamelled
Tiles in France, dating from the Twelfth
Century.—The Italian Manufactories of
Faenza, Rimini, Pesaro, &c.—Beauvais
Pottery.—Invention and Works of
Bernard Palissy; his History; his Chefs-
d’œuvre.—The Faïence of Thouars,
called “Henri II.”

ARMS AND ARMOUR 75

Arms of the Time of Charlemagne.—Arms of
the Normans at the Time of the Conquest
of England.—Progress of Armoury under
the Influence of the Crusades.—The Coat
of Mail.—The Crossbow.—The Hauberk
 and the Hoqueton.—The Helmet, the Hat
of Iron, the Cervelière, the Greaves, and
the Gauntlet; the Breastplate and the
Cuish.—The Casque with Vizor.—Plain
Armour and Ribbed Armour.—The
Salade Helmet.—Costliness of Armour.
—Invention of Gunpowder.—Bombards.
—Hand-Cannons.—The Culverin, the
Falconet.—The Arquebus with Metal-
holder, with Match, and with Wheel.—
The Gun and the Pistol.

CARRIAGES AND SADDLERY 107

Horsemanship among the Ancients.—The
Riding-horse and the Carriage-horse.—
Chariots armed with Scythes.—Vehicles
of the Romans, the Gauls, and the Franks:
Carruca, the Petoritum, the Cisium, the
Plastrum, the Basterna, the Carpentum.—
Different kinds of Saddle-horses in the
Days of Chivalry.—The Spur a
distinctive Sign of Nobility: its Origin.—
The Saddle, its Origin and its
Modifications.—The Tilter.—Carriages.
—The Mules of Magistrates.—
Corporations of Saddlers and Harness-
makers, Lorimers, Coachmakers,
Chapuiseurs, Blazonniers, and Saddle-
coverers.

GOLD AND SILVER WORK 123

Its Antiquity.—The Trésor de Guarrazar.—The
Merovingian and Carlovingian Periods.—
Ecclesiastical Jewellery.—Pre-eminence
 of the Byzantine Goldsmiths.—Progress
of the Art consequent on the Crusades.—
The Gold and Enamels of Limoges.—
Jewellery ceases to be restricted to
Purposes of Religion.—Transparent
Enamels.—Jean of Pisa, Agnolo of Siena,
Ghiberti.—Great Painters and Sculptors
from the Goldsmiths’ Workshops.—
Benvenuto Cellini.—The Goldsmiths of
Paris.

HOROLOGY 169
Modes of measuring Time among the
Ancients.—The Gnomon.—The Water-
Clock.—The Hour-Glass.—The Water-
Clock, improved by the Persians and by
the Italians.—Gerbert invents the
Escapement and the moving Weights.—
The Striking-bell.—Maistre Jehan des
Orloges.—Jacquemart of Dijon.—The
first Clock in Paris.—Earliest portable
Timepiece.—Invention of the spiral
Spring.—First appearance of Watches.—
The Watches, or “Eggs,” of Nuremberg.
—Invention of the Fusee.—Corporation
of Clockmakers.—Noted Clocks at Jena,
Strasburg, Lyons, &c.—Charles-Quint
and Jannellus.—The Pendulum.

MUSICAL INSTRUMENTS 187

Music in the Middle Ages.—Musical
Instruments from the Fourth to the
Thirteenth Century.—Wind Instruments:
the Single and Double Flute, the Pandean
 Pipes, the Reed-pipe.—The Hautboy, the
Flageolet, Trumpets, Horns, Olifants, the
Hydraulic Organ, the Bellows-Organ.—
Instruments of Percussion: the Bell, the
Hand-bell, Cymbals, the Timbrel, the
Triangle, the Bombulum, Drums.—
Stringed Instruments: the Lyre, the
Cithern, the Harp, the Psaltery, the Nable,
the Chorus, the Organistrum, the Lute
and the Guitar, the Crout, the Rote, the
Viola, the Gigue, the Monochord.

PLAYING-CARDS 223
Supposed Date of their Invention.—Existed in
India in the Twelfth Century.—Their
connection with the Game of Chess.—
Brought into Europe after the Crusades.
—First Mention of a Game with Cards in
1379.—Cards well known in the
Fifteenth Century in Spain, Germany, and
France, under the name of Tarots.—Cards
called Charles the Sixth’s must have been
Tarots.—Ancient Cards, French, Italian,
and German.—Cards contributing to the
Invention of Wood-Engraving and
Printing.

GLASS-PAINTING 251
Painting on Glass mentioned by Historians in
the Third Century of our Era.—Glazed
Windows at Brioude in the Sixth Century.
—Coloured Glass at St. John Lateran and
St. Peter’s in Rome.—Church-Windows
of the Twelfth and Thirteenth Centuries in
 France: Saint-Denis, Sens, Poitiers,
Chartres, Rheims, &c.—In the Fourteenth
and Fifteenth Centuries the Art was at its
Zenith.—Jean Cousin.—The Célestins of
Paris: Saint-Gervais.—Robert Pinaigrier
and his Sons.—Bernard Palissy decorates
the Chapel of the Castle of Ecouen.—
Foreign Art: Albert Dürer.

FRESCO-PAINTING 269
The Nature of Fresco.—Employed by the
Ancients.—Paintings at Pompeii.—Greek
and Roman Schools.—Mural Paintings
destroyed by the Iconoclasts and
Barbarians.—Revival of Fresco, in the
Ninth Century, in Italy.—Fresco-Painters
since Guido of Siena.—Principal Works
of these Painters.—Successors of
Raphael and Michael Angelo.—Fresco in
Sgraffito.—Mural Paintings in France
from the Twelfth Century.—Gothic
Frescoes of Spain.—Mural Paintings in
the Low Countries, Germany, and
Switzerland.

PAINTING ON WOOD, CANVAS, Etc. 283

The Rise of Christian Painting.—The
Byzantine School.—First Revival in Italy.
—Cimabue, Giotto, Fra Angelico.—
Florentine School: Leonardo da Vinci,
Michael Angelo.—Roman School:
Perugino, Raphael.—Venetian School:
Titian, Tintoretto, Veronese.—Lombard
School: Correggio, Parmigianino.—
 Spanish School.—German and Flemish
Schools: Stephen of Cologne, John of
Bruges, Lucas van Leyden, Albert Dürer,
Lucas van Cranach, Holbein.—Painting
in France during the Middle Ages.—
Italian Masters in France.—Jean Cousin.

ENGRAVING 315
Origin of Wood-Engraving.—The St.
Christopher of 1423.—“The Virgin and
Child Jesus.”—The earliest Masters of
Wood-Engraving.—Bernard Milnet.—
Engraving in Camaïeu.—Origin of
Engraving on Metal.—The “Pax” of
Maso Finiguerra.—The earliest
Engravers on Metal.—Niello Work.—Le
Maître of 1466.—Le Maître of 1486.
Martin Schöngauer, Israel van Mecken,
Wenceslaus of Olmutz, Albert Dürer,
Marc Antonio, Lucas van Leyden.—Jean
Duret and the French School.—The
Dutch School.—The Masters of
Engraving.

SCULPTURE 339
Origin of Christian Sculpture.—Statues in
Gold and Silver.—Traditions of Antique
Art.—Sculpture in Ivory.—Iconoclasts.—
Diptychs.—The highest Style of
Sculpture follows the Phases of
Architecture.—Cathedrals and
Monasteries from the year 1000.—
Schools of Burgundy, Champagne,
Normandy, Lorraine, &c.—German,
 English, Spanish, and Italian Schools.—
Nicholas of Pisa and his Successors.—
Position of French Sculpture in the
Thirteenth Century.—Florentine
Sculpture and Ghiberti.—French
Sculptors from the Fifteenth to the
Sixteenth Century.

ARCHITECTURE 373
The Basilica the first Christian Church.—
Modification of Ancient Architecture.—
Byzantine Style.—Formation of the
Norman Style.—Principal Norman
Churches.—Age of the Transition from
Norman to Gothic.—Origin and
Importance of the Ogive.—Principal
Edifices in the pure Gothic Style.—The
Gothic Church, an Emblem of the
Religious Spirit in the Middle Ages.—
Florid Gothic.—Flamboyant Gothic.—
Decadency.—Civil and Military
Architecture: Castles, Fortified
Enclosures, Private Houses, Town-Halls.
—Italian Renaissance: Pisa, Florence,
Rome.—French Renaissance: Mansions
and Palaces.

PARCHMENT AND PAPER 413

Parchment in Ancient Times.—Papyrus.—
Preparation of Parchment and Vellum in
the Middle Ages.—Sale of Parchment at
the Fair of Lendit.—Privilege of the
University of Paris on the Sale and
Purchase of Parchment.—Different
 Applications of Parchment.—Cotton
Paper imported from China.—Order of
the Emperor Frederick II. concerning
Paper.—The Employment of Linen Paper,
dating from the Twelfth Century.—
Ancient Water-Marks on Paper.—Paper
Manufactories in France and other parts
of Europe.

MANUSCRIPTS 423
Manuscripts in Olden Times.—Their Form.—
Materials of which they were composed.
—Their Destruction by the Goths.—Rare
at the Beginning of the Middle Ages.—
The Catholic Church preserved and
multiplied them.—Copyists.—
Transcription of Diplomas.—Corporation
of Scribes and Booksellers.—
Palæography.—Greek Writings.—Uncial
and Cursive Manuscripts.—Sclavonic
Writings.—Latin Writers.—Tironian
Shorthand.—Lombardic Characters.—
Diplomatic.—Capetian.—Ludovicinian.
—Gothic.—Runic.—Visigothic.—Anglo-
Saxon.—Irish.

MINIATURES IN MANUSCRIPTS 443

Miniatures at the Beginning of the Middle
Ages.—The two “Vatican” Virgils.—
Painting of Manuscripts under
Charlemagne and Louis le Débonnaire.—
Tradition of Greek Art in Europe.—
Decline of the Miniature in the Tenth
Century.—Origin of Gothic Art.—Fine
 Manuscript of the time of St. Louis.—
Clerical and Lay Miniature-Painters.—
Caricature and the Grotesque.—
Miniatures in Monochrome and in
Grisaille.—Illuminators at the Court of
France and to the Dukes of Burgundy.—
School of John Fouquet.—Italian
Miniature-Painters.—Giulio Clovio.—
French School under Louis XII.

BOOKBINDING 471
Primitive Binding of Books.—Bookbinding
among the Romans.—Bookbinding with
Goldsmith’s Work from the Fifth Century.
—Chained Books.—Corporation of
Lieurs, or Bookbinders.—Books bound in
Wood, with Metal Corners and Clasps.—
First Bindings in Leather, honeycombed
(waffled?) and gilt.—Description of some
celebrated Bindings of the Fourteenth and
Fifteenth Centuries.—Sources of Modern
Bookbinding.—John Grollier.—President
de Thou.—Kings and Queens of France
Bibliomaniacs.—Superiority of
Bookbinding in France.

PRINTING 485
Who was the Inventor of Printing?—Movable
Letters in ancient Times.—Block
Printing.—Laurent Coster.—Donati and
Specula.—Gutenberg’s Process.—
Partnership of Gutenberg and Faust.—
Schœffer.—The Mayence Bible.—The
Psalter of 1457.—The “Rationale” of
1459.—Gutenberg prints by himself.—
The “Catholicon” of 1460.—Printing at
Cologne, Strasbourg, Venice, and Paris.—
Louis XI. and Nicholas Jenson.—German
Printers at Rome.—Incunabula.—Colard
Mansion.—Caxton.—Improvement of
Typographical Processes up to the
Sixteenth Century.
 TABLE OF ILLUSTRATIONS.

I. CHROMOLITHOGRAPHS.
Plate To face page
1. The Annunciation. Fac-simile
of Miniature taken from the
“Hours” of Anne de Bretagne,
formerly belonging to
Catherine de Medicis Frontispiece
2. Distaff and Bedposts of the
Sixteenth Century 20
3. Adoration of the Magi. Bernese
Tapestry of the Fifteenth
Century 46
4. Paris in the Fifteenth Century.
Beauvais Tapestry 50
5. Encaustic Tiles 58
6. Biberon of Henri Deux Faience 64
7. Casque, Morion, and Helmets 82
8. Entrance of Queen Isabella of
Bavaria into Paris. From
Froissart’s “Chronicles” 118
9. Jewelled Crosses of the
Visigoths, found at Guarrazar.
Seventh Century 124
10. Drageoir, or Table Ornament.
German work 154
 11. Clock of Damaskeened Iron of
the Fifteenth Century; and
Watches of the Sixteenth
Century 180
12. Francis I. and Eleanor his Wife
at their Devotions. Sixteenth
Century 266
13. The Dream of Life, a Fresco by
Orcagna 276
14. St. Catherine and St. Agnes, by
Margaret van Eyck 300
15. Clovis the First and Clotilde his
Wife 352
16. Decoration of La Sainte-
Chapelle, Paris 386
17. Coronation of Charles the Fifth
of France. From Froissart’s
“Chronicles” 464
18. Panel of a Book-cover of the
Ninth Century 472
19. Diptych of Ivory 474

II. ENGRAVINGS.
Page
Abbey of St. Denis 416
Alhambra, Interior of the 405
Alphabet, Specimen of Grotesque 327
Altar-cloth of the Fifteenth Century 30
“ Cross ascribed to St. Eloi 137
“ of Gold 130
“ Tray and Chalice 31
Arch, Restoration of a Norman 343
Archer of Normandy 79
Archers of the Fifteenth Century, France 88
Arles, Sculptures on St. Trophimus 384, 385
Armour, Convex, of the Fifteenth Century 84
“ Knights in complete 89
“ Lion 90
“ of the Duc d’Alençon 92
“ Plain, of the Fifteenth Century 83
Arms of the Cardmakers of Paris 250
“ Goldsmiths of Paris 160
Arquebus with Wheel and Match 103
Arquebusier 102
Atelier of Etienne Delaulne 158
Bagpiper, Thirteenth Century 199
Banner of Paper-makers of Paris 422
“ Printers-Booksellers of Angers 479
“ Printers-Booksellers of Autun 484
“ Saddlers of Tonnerre 121
“ Sword-cutlers of Angers 105
“ Tapestry Workers of Lyons 51
Banners of Corporations 161
Banquet in the Fifteenth Century 12
Basilica of Constantine, at Trèves 374
Basilica of St. Peter’s, Rome, Interior of 407
Bas-relief in carved wood 34
Battle-axe and Pistol, Sixteenth Century 104
Bed furnished with Canopy and Curtains 19
Belfry of Brussels 404
Bell in a Tower of Siena, Twelfth Century 206
Bells of the Ninth Century, Chime of 208
Bolt of the Sixteenth Century, with Initial 23
Bombards on fixed and rolling carriages 96
Bookbinders’ Work-room 482
Bookbinding for the Gospels 474
“ in an Unknown Material 480
 “ in Gold, with precious Stones 474
Borders:—
Bible, called Clement VII.’s 463
Bible of St. Martial of Limoges 450
Book of the Gospels, Eighth Century 446
Book of the Gospels, Eleventh Century 451
Book of the Gospels in Latin 451
Employed by John of Tournes 519
Froissart’s “Chronicles” 465
Gospel in Latin 456
Lectionary in Metz Cathedral 448
“Livre d’Heures” of Anthony Vérard 516
“Livre d’Heures” of Geoffroi Tory 517
Lyons School 518
Missal of Pope Paul V. 467
“Ovid,” Fifteenth Century 465
Prayer-book of Louis of France 461
Sacramentary of St. Æthelgar 453
Bracelet, Gallic 124
Brooch, chased, enamelled, &c. 167
Cabinet in damaskeened Iron, inlaid 22
“ for Jewels 21
Cameo-setting of the time of Charles V. 140
Cannon, Earliest Models of 98
“ Hand 99
Caparison of the Horse of Isabel the Catholic 117
Capital of a Column, St. Geneviève, Paris 392
“ “ St. Julien, Paris 392
“ “ The Célestins, Paris 393
Carruca, or Pleasure-carriage 108
Cart drawn by Oxen, Fifteenth Century 109
Castle of Marcoussis, near Rambouillet 397
“ Coucy, in its ancient state 399
“ Vincennes, Seventeenth Century 399
Cathedral of Amiens, Interior of 391
“ Mayence 388
Censer of the Eleventh Century 32
Chains 165
Chair called the “Fauteuil de Dagobert” 3
“ of Christine de Pisan 9
“ of Louise de Savoie 10
“ of Louis IX. 7
“ of the Ninth or Tenth Century 4
Chalice of the Fourth or Fifth Century 31
“ said to be of St. Remy 135
Château de Chambord 409
Chess-Players 225
Chest shaped like a Bed, and Chair 20
Choron, Ninth Century 211
Chorus with Single Bell-end with Holes 199
Church of Mouen, Remains of the 378
“ St. Agnes, Rome 377
“ St. Martin, Tours 377
“ St. Paul-des-Champs, Paris 381
“ St. Trophimus, Arles, Portal 384, 385
“ St. Vital, Ravenna 376
Clock, Astronomical, of Strasburg Cathedral 184
“ of Jena, in Germany 183
“ Portable, of the time of the Valois 178
“ with Wheels and Weights 177
Clockmaker, The 170
Cloister of the Abbey of Moissac, Guyenne 386
Coffee-pot of German Ware 72
Concert; a Bas-relief (Normandy) 193
“ and Musical Instruments 194
Cooper’s Workshop, Sixteenth Century 16
Crossbow Men protected by Shield-bearers 85
Cross, Gold-chased 163
Crout, Three-stringed, Ninth Century 217
Crown of Suintila, King of the Visigoths 125
Crozier, Abbot’s, enamelled 138
“ Bishop’s 138
Cup, Italian Ware 62
“ of Lapis-lazuli, mounted in Gold 152
Diadem of Charlemagne 127
Diptych in Ivory 345
Dish, Ornament of a 74
Doorways of the Hôtel de Sens, Paris 403
Dragonneau, Double-barreled 101
Drinking-cup of Agate 134
Dwelling-room of a Seigneur of the Fourteenth Century 26
Enamelled Border of a Dish 63
“ Dish, by Bernard Palissy 71
“ Terra-cotta 57
Engine for hurling Stones 95
Engraving:—
Columbus on board his Ship 325
Ferdinand I. 335
Herodias 329
Letter N, Grotesque Alphabet 327
Lutma, of Groningen 337
Isaiah with Instrument of his Martyrdom 323
Maximilian, Coronation of 321
Phalaris, Tyrant of Agrigentum 333
Repose of the Holy Family 334
St. Catherine on her Knees 319
St. Hubert praying before the Cross borne by a Stag 331
The Holy Virgin 338
The Prophet Isaiah 323
The Virgin and Child 318
The Virgin and Infant Jesus 316
Ensign of the Collar of the Goldsmiths of Ghent 144
Escutcheon in Silver-gilt 145
Escutcheon of France, Fourteenth Century 470
Ewer in Limoges Enamel 157
Fac-simile of a Bible of 1456 503
“ “Catholicon” of 1460 506
“ Engraving on Wood 487
“ Inscription Ex libris 441
“ Miniature drawn with a pen 450
“ Miniature of a Psalter 455
“ Miniature, Thirteenth Century 457
“ Page of a “Livre d’Heures” 510
“ Page of a Psalter of 1459 505
“ Page of the “Ars Moriendi” 495
“ Page of the most ancient Xylographic “Donatus” 491
“ Xylographic Page of the “Biblia Pauperum” 493
Fiddle, Angel playing on the 220
Flute, Double 197
Fresco-Painting:—
Christ and his Mother 273
Creation, The 278
Death and the Jew 281
Disciples in Gethsemane 275
Fra Angelico, of Fiesole 282
Fraternity of Cross-bowmen 280
Group of Saints 277
Pope Sylvester I. 274
Gargoyles in the Palais de Justice, Rouen 372
Gate of Moret 401
“ St. John, Provins 402
Glass-Painting:—
Citadel of Pallas 262
Flemish Window 265
Legend of the Jew piercing the Holy Wafer 260
St. Paul, an Enamel 264
 St. Timothy the Martyr 255
Temptation of St. Mars 267
The Prodigal Son 257
Window, Evreux Cathedral 261
Goblet, by Bernard Palissy 69
Goldsmiths of Paris carrying a Shrine 162
Goldsmiths’ Stamps:—
Chartres 159
Lyons 159
Melun 159
Orleans 159
Gutenburg, Portrait of 492
Harp, Fifteen-stringed, Twelfth Century 214
“ Minstrel’s, Fifteenth Century 216
“ Triangular Saxon, Ninth Century 214
Harper of the Fifteenth Century 215
Harpers of the Twelfth Century 215
Helmet of Don Jaime el Conquistador 80
“ of Hughes, Vidame of Châlons 82
Henry VIII. in the Camp of the Field of the Cloth of Gold 119
Horn, or Olifant, Fourteenth Century 201
“ Shepherd’s, Eighth Century 201
Hour-glass of the Sixteenth Century 173
Hour-glass, Top of 186
Initial Letter, Ninth Century 476
Initial Letters from Manuscripts 445
Initial Letters extracted from the “Rouleau Mortuaire” of St. Vital 454
Jacquemart of Notre-Dame at Dijon 176
Key of the Thirteenth Century 23
King William, as represented on his Seal 77
Knight armed and mounted for War 114
“ entering the Lists 111
“ in his Hauberk 81
Knights, Combat of 89
Lament composed shortly after the Death of Charlemagne 188, 189
Lamps of the Nineteenth Century 17
Lancer of William the Conqueror’s Army 77
Library of the University of Leyden 475
Lute, Five-stringed, Thirteenth Century 216
Lyre, Ancient 209
“ of the North 209
Mangonneau of the Fifteenth Century 97
Miniatures:—
Anne de Bretagne’s Prayer-book 468
Book of the Gospels of Charlemagne 447
Consecration of a Bishop 449
Dante’s “Paradiso” 466
Evangelist, An, transcribing 415
Four Sons of Aymon 458
Les Femmes Illustres 461
Margrave of Baden’s “Livre d’Heures” 469
Miniature of the Thirteenth Century 457
Missal of the Eleventh Century 452
Order of the Holy Ghost, Instituting the 464
Psalter of John, Duke of Berry 462
Psalter of the Thirteenth Century 455
“Roman de Fauvel,” from the 459
“Virgil,” in the Vatican, Rome 444
Mirror for Hand or Pocket 25
Monochord played with a Bow 221
Musician sounding Military Trumpet 202
Musicians playing on the Flute, &c. 198
“ “ Violin 219
Nabulum, Ninth Century 211
Notre-Dame la Grande of Poitiers 383
“ Paris 390
“ Rouen 379
Organ, Great, of the Twelfth Century 204
 “ Pneumatic, of the Fourth Century 203
“ Portable, of the Fifteenth Century 205
“ with single Key-board 205
Organistrum, Ninth Century 213
Oxford, Saloon of the Schools 396
Painting on Wood, Canvas, &c.:—
Baptism of King Clovis 286
Christ crowned with Thorns 304
Portrait of Leonardo da Vinci 292
Princess Sibylla of Saxony 305
St. Ursula 302
Sketch of the Virgin of Alba 312
The Holy Family 294
The Holy Virgin, St. George, and St. Donat 300
The Last Judgment 311
The Patriarch Job 290
The Tribute Money 309
Paper-maker, The 420
Pendant, adorned with Diamonds, &c. 164
“ after a Design by Benvenuto Cellini 150
Playing-Cards:—
Ancient French 236
Buffoon, from a Pack of Tarots 230
Charles VI. on his Throne 233
Engravings, Coloured, analogous to Playing-Cards 227
From a Game of “Logic” 245
German Round-shaped 247
Italian Tarots 242
Justice 231
King of Acorns 244
Knave of Clubs 238
Knight from a Pack engraved by “The Master of 1466” 249
La Damoiselle 248
Moon, The 231
 Roxana, Queen of Hearts 242
Specimen of the Sixteenth Century 236
Three and Eight of Bells 243
Two of a Pack of German Lansquenet 245
Two of Bells 244
Porte de Hal, Brussels 410
Pottery Figures, Fragments of 68
“ Ornamentation on 67
Printers’ Marks, Arnold de Keyser, Ghent 511
“ “ Bonaventure and Elsevier, Leyden 520
“ “ Colard Mansion, Bruges 512
“ “ Eustace, W. 483
“ “ Fust and Schœffer 511
“ “ Galliot du Pré, Paris 513
“ “ Gérard Leeu, Gouwe 511
“ “ Gryphe, Lyons 515
“ “ J. Le Noble, Troyes 515
“ “ Philippe le Noir, &c., Paris 514
“ “ Plantin, Antwerp 515
“ “ Robert Estienne, Paris 515
“ “ Vostre, Simon, Paris 513
“ “ Temporal, Lyons 514
“ “ Trechsel, Lyons 512
Printing-office, Interior of a 499
Psalterion, Performer on the 212
“ Twelfth Century 211
Psaltery, Buckle-shaped 211
“ to produce a prolonged Sound 210
Reredos in Carved Bone 363
Rebec of the Sixteenth Century 221
Reading-desk of the Fifteenth Century 33
Reliquary, Byzantine 129
“ Silver-gilt 143
Rings 165
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