File:History of mediæval art (1893) (14800501793).jpg

Identifier: historyofmedival00rebe (find matches)
Title: History of mediæval art
Year: 1893 (1890s)
Authors: Reber, Franz von, 1834-1919 Clarke, Joseph Thacher, d. 1920
Subjects: Art, Medieval
Publisher: New York : Harper & Bros.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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own as drolleries.The intertwined dragon-like forms, of no signifi-cance in the representa-tion, were replaced by al-lusions to fables of ani-mals, with correspondinggenre scenes. The orna-mentation became moredelicate, brier-vines beingchiefly chosen; it wasgracefully executed ingold and colors, and farsurpassed in taste and el-egance all previous worksof the kind. This com-bination of pictures, ini-tials, and borders was ofa decorative and harmo-nious effect, and fully jus-tifies the assertion that miniature painting attained its greatest emi-nence at this time, rather than in the age succeeding Van Eyck. The library of King Charles V., A. D. 1364 to 1380, containedno less than nine hundred volumes of illuminations. His brothers,Jean, Due de Berri (d. 1416), and Philip the Bold, Duke of Bur-gundy (d. 1404), were also amateur collectors of illustrated manu-scripts. The demand thus created gave occupation to many artists,and these naturally could not always be found in France. It even
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Fig. 400.—Scenes from the Story of Joseph. Minia-ture from the Psalter of St. Louis. 654 PAINTING OF THE GOTHIC EPOCH. seems that the best illuminators were foreigners. A Flemish paint-er, John of Bruges, was employed by Charles V., and in the serviceof the Due de Berri were several artists from the Netherlands,among them Paul of Limburg, Jacquemart Hedin, and the cele-brated Andrien Beauneveu from Hainault. This shows that evenbefore the time of Van Eyck the painting of the Netherlands hadexercised an influence upon the art of France similar to that ob-served in the province of sculpture at the court of Philip the Bold at Dijon, — not to speakof the Romanic bronze-work of the Dinandiers.As was the case also insculpture, French illumina-tors,—such as Raoul dOr-leans, who was employedby Charles V., and JeanNichasius, who worked forthe last Duchess of Bra-bant,—appear side by sidewith Flemish artists; theinfluence of the latter,however, was undeniablypredominant. The PetitesHenr

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