Arts and Crafts in the Middle Ages

J >> Julia De Wolf Addison >> Arts and Crafts in the Middle Ages

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It is related that, in the Monastery of Maes Eyck, while the
illuminators were at work in the evening, copying Holy Writ, the
devil, in a fit of rage, extinguished their candles; they, however,
were promptly lighted again by a Breath of the Holy Spirit, and
the good work went on! Salvation was supposed to be gained through
conscientious writing. A story is told of a worldly and frivolous
brother, who was guilty of many sins and follies, but who, nevertheless,
was an industrious scribe. When he came to die, the devil claimed
his soul. The angels, however, brought before the Throne a great
book of religious Instructions which he had illuminated, and for
every letter therein, he received pardon for one sin. Behold! When
the account was completed, there proved to be one letter over!
the narrator adds naively, "And it was a very big book."

[Illustration: ILLUMINATION BY GHERART DAVID OF BRUGES, 1498; ST.
BARBARA]

Perhaps more than any books executed in the better period, after
the decline had begun, were the Books of Hours, containing the
numerous daily devotions which form part of the ritual of the Roman
Church. Every well appointed lady was supposed to own a copy, and
there is a little verse by Eustache Deschamps, a poet of the time
of Charles V., in which a woman is supposed to be romancing about
the various treasures she would like to possess. She says:

"Hours of Our Lady should be mine,
Fitting for a noble dame,
Of lofty lineage and name;
Wrought most cunningly and quaint,
In gold and richest azure paint.
Rare covering of cloth of gold
Full daintily it shall enfold,
Or, open to the view exposed,
Two golden clasps to keep it closed."

John Skelton the poet did honour to the illuminated tomes of his
day, in spite of the fact that the aeesthetic deterioration had
begun.

"With that of the boke lozende were the clasps
The margin was illumined all with golden railes,
And bice empictured, with grasshoppers and waspes
With butterflies and fresh peacock's tailes:
Englosed with... pictures well touched and quickly,
It wold have made a man hole that had be right sickly!"

But here we have an indication of that realism which rung the death
knell of the art. The grasshoppers on a golden ground, and the
introduction of carefully painted insect and floral life, led to
all sorts of extravagances of taste.

But before this decadence, there was a very interesting period of
transition, which may be studied to special advantage in Italy,
and is seen chiefly in the illuminations of the great choral books
which were used in the choirs of churches. One book served for
all the singers in those days, and it was placed upon an open
lectern in the middle of the choir, so that all the singers could
see it: it will be readily understood that the lettering had to
be generous, and the page very large for this purpose. The
decoration of these books took on the characteristics of breadth
in keeping with their dimensions, and of large masses of ornament
rather than delicate meander. The style of the Italian choral books
is an art in itself.

The Books of Hours and Missals developed during the fifteenth and
sixteenth centuries into positive art galleries, whole pages being
occupied by paintings, the vellum being entirely hidden by the
decoration. The art of illumination declined as the art of miniature
painting progressed. The fact that the artist was decorating a page
in a book was lost sight of in his ambition to paint a series of
small pictures. The glint of burnished gold on the soft surface
of the vellum was no longer considered elegant, and these more
elaborate pictures often left not even a margin, so that the pictures
might as well have been executed on paper and canvas and framed
separately, for they do not suggest ornaments in a book after this
change had taken place. Lettering is hardly introduced at all on
the same page with the illustration, or, when it is, is placed
in a little tablet which is simply part of the general scheme.

[Illustration: CHORAL BOOK, SIENA]

Among the books in this later period I will refer specifically to
two only, the Hours of Ann of Brittany, and the Grimani Breviary.
The Hours of Ann of Brittany, illuminated by a famous French artist
of the time of Louis XII., is reproduced in facsimile by Curmer, and
is therefore available for consultation in most large libraries.
It will repay any one who is interested in miniature art to examine
this book, for the work is so excellent that it is almost like
turning the leaves of the original. The Grimani Breviary, which
was illuminated by Flemish artists of renown, was the property of
Cardinal Grimani, and is now one of the treasures of the Library
of St. Marc in Venice. It is impossible in a short space to comment
to any adequate extent upon the work of such eminent artists as
Jean Foucquet, Don Giulio Clovio, Sano di Pietro, and Liberale da
Verona; they were technically at the head of their art, and yet,
so far as taste in book decoration is to be considered, their work
would be more satisfactory as framed miniatures than as marginal
or paginal ornament.

Stippling was brought to its ultimate perfection by Don Giulio
Clovio, but it is supposed to have been first practised by Antonio
de Holanda.

One of Jehan Foucquet's assistants was Jehan Bourdichon. There is
an interesting memorandum extant, relating to a piece of illumination
which Bourdichon had accomplished. "To the said B. for having had
written a book in parchment named the Papalist, the same illuminated
in gold and azure and made in the same nine rich Histories, and for
getting it bound and covered, thirty crowns in gold."

At the time of the Renaissance there was a rage for "tiny books,"
miniature copies of famous works. M. Wuertz possessed a copy of the
Sonnets of Petrarch, written in italics, in brown ink, of which
the length was one inch, and the breadth five-eighths of an inch,
showing fifty lines on a page. The text is only visible through
a glass. It is in Italian taste, with several miniatures, and is
bound in gold filigree.

The value of illuminated books is enormous. An Elector of Bavaria
once offered a town for a single book; but the monks had sufficient
worldly wisdom to know that he could easily take the town again,
and so declined the exchange!

With the introduction of printing, the art of illumination was
doomed. The personal message from the scribe to the reader was
merged in the more comprehensive message of the press to the public.
It was no longer necessary to spend a year on a work that could be
accomplished in a day; so the artists found themselves reduced to
painting initial letters in printed books, sometimes on vellum, but
more often on paper. This art still flourishes in many localities;
but it is no more illumination, though it is often so designated,
than photography is portrait painting. Both are useful in their
departments and for their several purposes, but it is incorrect
to confound them.

[Illustration: DETAIL FROM AN ITALIAN CHORAL BOOK]

Once, while examining an old choral book, I was particularly
struck with the matchless personal element which exists in a book
which is made, as this was, by the hand, from the first stroke to
the last. The first page showed a bold lettering, the sweep of the
pen being firm and free. Animal vigour was demonstrated in the steady
hand and the clear eye. The illuminations were daintily painted,
and the sure touch of the little white line used to accentuate the
colours, was noticeable. After several pages, the letters became
less true and firm. The lines had a tendency to slant to the right;
a weakness could be detected in the formerly strong man. Finally
the writing grew positively shaky. The skill was lost.

Suddenly, on another page, came a change. A new hand had taken up
the work--that of a novice. He had not the skill of the previous
worker in his best days, but the indecision of his lines was that
of inexperience, not of failing ability. Gradually he improved.
His colours were clearer and ground more smoothly; his gold showed
a more glassy surface. The book ended as it had begun, a virile
work of art; but in the course of its making, one man had grown
old, lost his skill, and died, and another had started in his
immaturity, gained his education, and devoted his best years to
this book.

The printing press stands for all that is progressive and desirable;
modern life and thought hang upon this discovery. But in this glorious
new birth there was sacrificed a certain indescribable charm which
can never be felt now except by a book lover as he turns the leaves
of an ancient illuminated book. To him it is given to understand that
pathetic appeal across the centuries.

THE END.

BIBLIOGRAPHY

Arts and Crafts Movement. O. L. Triggs.
Two Lectures. William Morris.
Decorative Arts. William Morris.
Treatises of Benvenuto Cellini.
Library of British Manufactories.
Gold and Silver. Wheatley.
Ye Olden Time. E. S. Holt.
Arts and Crafts Essays. Ed. by Morris.
Industrial Arts. Maskell.
Old English Silver. Cripps.
Spanish Arts. J. E. Rianio.
History of the Fine Arts. W. B. Scott.
Art Work in Gold and Silver. P. H. Delamotte.
Gold and Silver. J. H. Pollen.
Une Ville du Temps Jadis. M. E. Del Monte.
Industrial Arts. P. Burty.
Arts of the Middle Ages. Labarte.
Miscellanea Graphica. Fairholt.
Artist's Way of Working. R. Sturgis.
Jewellery. Cyril Davenport.
Enamels. Mrs. Nelson Dawson.
Precious Stones. Jones.
Ghiberti and Donatello. Leader Scott.
Iron Work. J. S. Gardner.
Guilds of Florence. E. Staley.
Armour in England. J. S. Gardner.
Foreign Armour in England. J. S. Gardner.
Cameos. Cyril Davenport.
Peter Vischer. Cecil Headlam.
St. Eloi and St. Bernward. Baring Gould; Lives of the Saint.
European Enamels. H. Cunynghame.
Intarsia and Marquetry. H. Jackson.
Pavement Masters of Siena. R. H. Cust. Sculpture in Ivory. Digby
Wyatt. Ancient and Mediaeval Ivories. Wm. Maskell. Ivory Carvers of
the Middle Ages. A. M. Cust. Arts of the Middle Ages and Renaissance.
P. Lacroix. Ivories. A. Maskell. Old English Embroidery. F. and H.
Marshall. The Bayeux Tapestry. F. R. Fowke. History of Tapestry.
W. G. Thomson. La Broderie. L. de Farcy. Textile Fabrics. Dr. Rock.
Needlework as Art. Lady Alford. History of Needlework. Countess
of Wilton. Gilds; Their Origins, etc. C. Walford. Tapestry. A.
Champeaux. Tapestry. J. Hayes. Ornamental Metal Work. Digby Wyatt.
La Mosaique. Gerspach. The Master Mosaic Workers. G. Sand. Revival
of Sculpture. A. L. Frothingham. History of Italian Sculpture. C.
H. Perkins. Art Applied to Industry. W. Burges. Four Centuries
of Art. Noel Humphreys. Aratra Pentelici. Ruskin. Seven Lamps of
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Lectures on Sculpture. Flaxman. Brick and Marble. G. E. Street.
Sculpture in Wood. Williams. Greek and Gothic. St. J. Tyrwhitt.
Westminster Abbey and Craftsmen. W. R. Lethaby. Le Roi Rene. L. de
la Marche. English Mediaeval Figure Sculpture. Prior and Gardner.
Churches of Paris. Sophia Beale. Matthew Paris' Chronicle. Crowns
and Coronations. Jones. Bell's Handbooks of Rouen, Chartres, Amiens,
Wells, Salisbury and Lincoln. History of Sculpture. D'Agincourt.
The Grotesque in Church Art. T. T. Wildridge.
Choir Stalls and Their Carving. Emma Phipson. Memorials of Westminster
Abbey. Dean Stanley. Memorials of Canterbury. Dean Stanley. Les
Corporations des Arts et Metiers. Hubert Valeroux. Finger Ring
Lore. Jones. Goldsmith's and Silversmith's Work. Nelson Dawson. The
Dark Ages. Maitland. Rambles of an Archaeologist. F. W. Fairholt.
History of Furniture. A. Jacquemart. Embroidery. W. G. P. Townsend.
Le Livre des Metiers. Etienne Boileau. Illuminated Manuscripts.
J. H. Middleton. Illuminated Manuscripts. Edward Quaile. English
Illuminated Manuscripts. Maunde Thompson. Les Manuscrits et l'art
de les Orner. Alphonse Labitte. Les Manuscrits et la Miniature.
L. de la Marche. Primer of Illumination. Delamotte. Primer of
Illumination. Digby Wyatt. Ancient Painting and Sculpture in England.
J. Carter. Vasari's Lives of the Painters. (Selected.) Benvenuto
Cellini--Autobiography. Illuminated Manuscripts. O. Westwood. Celtic
Illuminative Art. S. F. H. Robinson. Illuminated Manuscripts. Bradley.

INDEX

Aachen, 16
Abbeville, 265
Abbo, 57
Absalom, 299
Acherius, J., 335
Adam, 28
Adam, Abbot, 21
Adaminus, 222
Adelard, 229
Aelfled, 199
Aelst, 172
Agatho, 281
Agnelli, Fra, 226
Agnese, St., 14, 316
Agnolo, B., 303
Ahab, 276
Aignan, St., 354
Aix-la-Chapelle, 98, 287
Albans, St., 114, 186, 207, 250
Alberti, L., 131
Aleuin, 14, 278, 332
Aldobrandini, 131
Alfred, King, 4, 64, 67, 94, 199
Alford, Lady, 188, 303
Alicante, 167
Almeria, 183
Aloise, 20
Alwin, Bp., 252
Alwyn, H. F., 25
Amasia, Bp. of, 191
America, 25
Amiens, 65, 144, 230, 233, 236, 238, 240, 244, 265
Anastatius, 201, 281
"Anatomy of Abuses," 26
Ancona, 224
"Ancren Riwle," 75
Angers, 164, 208
Anglo-Saxons, 49, 92, 95, 100, 111, 159, 184, 294, 343
Anne of Bohemia, 65, 135
Anne of Brittany, 174, 211, 361
Anne of Cleves, 206
Anquetil, 230
Antelami, 221
Anthemius, 316
Anthony, St., 254
Antwerp, 116
Apollinaire, St., 316
Apollonius, 319
Apulia, 182
Arabia, 5, 14, 147
Arles, 18, 192, 229
Arnant, A., 292
Arnolfo di Cambio, 227
Armour, 121-132
Arphe, H. d' and J. d', 24, 25
Arras, 20, 165, 166, 167, 171
Arrigo (see Peselli)
Arthur, Prince, 205
Artois, 166
Asser, 4
Asterius, St., 192
Atlas, 9
Athelmay, 4
August the Pious, 245
Augustine, St., 279, 354
Aurelian, 180
Auquilinus, 230
Austin, W., 129
Auxene, 162
Aventin, St., 231
Avernier, A., 265
Avignon, M. de, 33

"Babee's Book," 39
Bakes, J., 171
Balbastro, 130
Baldini, B., 34
Baldovinetto, 322
Ballin, C., 35
Bamberg, 258
Baptist, John, 65
Barbarossa, 16
Barcheston, 171
Bargello, 281
Barnwell, 330
Bartholomew Anglicus, 4, 81, 83, 110, 149
Basilewski, 291
Basle, 23
Basse-taille, 103
Bataille, 166
Bavaria, 165, 266, 295, 362
Bayeux Tapestry, 154-159
Bazinge, A. de, 207
Beauchamp, R., 144
Becket, T. a, 28, 46, 54, 61
Bede, 110, 145
Begue, J. de, 338
Bells, 145
Benedict, St., 4, 329
Benedictional of Ethelwold, 355
Benet, J., 250
Bergamo, 308
Bernard, M., 167
Bernard, St., 21, 22, 270, 287
Bernward, Bp., 16-20, 136, 140, 229, 317
Berquem, L., 74
Bess of Hardwick, 211
Bethancourt, J. de, 33
Beverly, 257, 274
Bezaleel, 1, 25
Bezold, H. van, 268
Bianchini, 324
Billiard Balls, 295
Birch, W. de G., 349
Biscornette, 113
Black Prince, 135
"Blandiver, Jack," 152
Bloet, Bp., 246
Blois, 174
Boabdil, 127
Boileau, E., 217
Boleyn, A., 78
Bologna, 224, 308
Bolognese, M. S., 337
Boningegna, G., 98
Boston Art Museum, 342
Bosworth, 66
Botticelli, 190
Boudichon, J., 361
Boulin, A., 265
Boutellier, J. le, 237
Bradshaw, 170
Brandenburgh, 295
Bridget, St., 53, 346
Briolottus, 222
Brithnoth, 160
British Museum, 292, 345
Bronze, 132-149
Brooches, 50-56
Browning, R., 258
Brunelleschi, 305
Brussels, 172
Brussels, M. S., 337
Burgundy, 194
Byzantine style, 13, 22, 24, 49, 63, 84, 87, 92, 97, 103, 183, 191,
199, 220, 224, 340
"Byzantine Guide," 342

Cadwollo, 134
Caffi, M., 307
Cambio, A. del, 301
Cambridge, 37, 364
Camerino, J., 321
Cameos, 85-90
Cano, A., 268
Canterbury, 54, 135, 176, 243
Canute (see Knut)
Canozio, 305
Caradosso, 8
Caramania, 168
Carazan, 5
Carlencas, 218
Carovage, 151
Carpentras, Bp. of, 37
Carrara, 221
Carter, J., 106, 251, 290
Casati, 90
Cassiodorus, 327
Castel, G. van, 268
Castiglione, Count, 308
Cecilia, St., 186
Celestine III., Pope, 18
Cellini, Benvenuto, xii, 7-13, 43, 56, 68-71, 91, 96, 105, 127, 132,
304
Celtic style, 50-54, 92, 343
Centula, 317
Chained Books, 330
Chalices, 29
Champleve, 94, 103
Charlemagne, 14, 15, 23, 62, 98, 124, 146, 181, 203, 224, 294, 328,
332, 338
Charles I., 212
Charles V., 40, 70, 165, 209, 265, 295, 359
Charles the Bold, 15
Chartres, 107, 145, 219, 229, 231, 234, 237, 238, 242, 312
Chaucer, 169, 181, 193
Chelles, J. de, 240
Cherio, L. de, 355
Chester, 170, 273
Chichester, 242
Chilperic, 38
Chinchintalas, 187
Christin of Margate, 207
Cid, The, 128
Claudian, 278
Clement le Brodeur, 207
Clement, Pope, 9, 56, 89
Clemente, St., 321
Clermont, 314
Clocks, 150
Clothaire II., 157
Clovio, G., 361
Clovis II., 62
Cluny, 14
Cockayne, W., 44
Coinsi, Prior, 270
Colaccio, M., 305
Cola di Rienzi, 204
Coldingham, 249
Cologne, 98, 115, 145
Columba, St., 220, 327, 344
Columbkille, 52
Constantine, 13, 313, 316, 340
Constantinople, 57, 84, 86, 97, 136, 181, 225, 316, 317, 318, 340
Constanza, Sta., 314
Coquille, G. de, 32
Cordova, 25
Coro, D. del, 299
Cosmati Mosaic, 310
Coula, 53
Courtray, 152
Coventry, 201
Cozette, 177
Cracow, 266
Crete, 276
Crest, H., 33
Crivelli, C., 183
Croisetes, J. de, 166
Cromwell, O., 29
Crown Jewels, 66
Croyland, 147, 164, 192, 200
Crumdale, R., 250
Cunegonde, 207
Cunegunda, Queen, 2, 24
Cups, 44
Curfew, 147
Curmer, 361
Cuserius, 315
Cuthbert, St., 53, 145, 199, 345
Cynewulf, 149
Cyzicus, L. de, 279, 341

Dagobert, 62, 162
Damascening, 126
Damiano, Fra, 308
Davenport, 287
Davenport, C., 86
Davi, J., 236
Day, Lewis, 183
Decker, H., 259
Delhi, 57
Delphyn, N., 255
Delobel, 196
Denis, St., 20, 22, 58, 83, 162, 230, 232
Deschamps, E., 359
Diamonds, 71-74
Diane of de Poictiers, 107
Didier, Abbe, 318
Didron, 18, 140
Dijon, 152, 194, 229
Dipoenus, 276
Dioscorides, 341
Domenico of the Cameos, 88
Donatello, xiii, 227
Donne, Dr., 79
Dourdan, 166
Drawswerd, 255
Dresden, 85
Dublin, 27, 344
Ducarel, 159
Dunstan, St., 75, 110, 182
Duerer, A., 132, 258, 266, 268
Durham, 53, 148, 172, 197, 250, 252, 288, 318
"Durham Book," 344
Durosne, 33
Duval, J., 173

Ebony, 307
Ecclesiasticus, 81
Edinburgh, 130
Edgitha, 193
Edith, Queen, 159
Edrisi, 167
Edward, goldsmith, 28, 36
Edward I., 75
Edward II., 168, 199
Edward III., 36, 66, 193
Edward IV., 37, 117
Edward the Confessor, 26, 28, 75, 156, 193, 224, 251
Egebric, 147
Eginhard, 282
Egyptians, 1
Eleanor, Queen, 117, 135, 144, 165, 249
Elfen, 309
Elizabeth, Queen, 26, 129, 211
Eloi, St., 22, 57-62, 111
Ely, 159, 195, 200, 249
Embroideries, 179-212
Emesa, 65
Emma, Queen, 200, 251
Enamels, 91-108
England, 2, 4, 23, 135, 164, 214
Eraclius, 336
Essex, William of, 107
Etheldreda, St., 249
Explicit, 354
Exodus, 1
Ezekiel, 276

Fairill, 53
Falkland, Viscount, 211
Farcy, L., 189, 203
Ferdinand I., 302
Ferdinand II., 302
Fereol, St., 328
Ferucci, F., 302
Filigree, 12
Finger-rings, 74-78
Finiguerra, M., 34, 101
Flagons, 37
Flanders, 165
Florence, xii, 26, 34, 88, 115, 136, 147, 176, 224, 264, 298, 301,
303, 319, 322
Florence, Jean of, 165
Florent, St., 163
Fontaine, E. la, 23
Foucquet, J., 361
Fowke, F. R., 155
Fra Angelico, 357
France, 2, 3, 5, 23, 162, 164, 214-216, 257, 262, 291, 325
Francia, 34, 183
Francis I., 11, 105, 107, 133, 152, 177
Fremlingham, R. de, 250
Froissart, 131, 152, 356
Fuller, 189, 201

Gaddi, G. and A., 319-320, 322
Gaegart, 114
Gale, P., 207
Gall, St., 124, 145, 263, 285
Galla Placida, 315
"Gammer Gurton's Needle," 188
Gandesheim, 19
Garlande, J. de, 62
Garnier, 230
Gaunt, J. of, 35, 55
Gautier, R., 207
Gendulphus, St., 288
Genesis, 160
Genevieve, St., 3, 239
Genoa, 12, 180
Gerbert, 150
Germany, 5, 16, 17, 114, 130, 139, 141, 185, 198, 214, 257, 262, 291
George II., 186
George IV., 75
Gerona, 160
Ghent, 130
Ghiberti, xii, 34, 71, 136, 227
Ghirlandajo, 33, 322
Giacomo, Maestro, 306
Gifford, G., 29
Gilles, St., 229
Giralda, 135
Giraldus, Cambriensis, 335
Girard d'Orleans, 265
Giotto, 264, 322
"Giovanni of the Camelians," 88
Giudetto, Maestro, 296
Glastonbury, 110, 152, 220, 331
Gloucester, 327, 331
Gloucester, John of, 248
Gobelins Tapestry, 160, 164, 176
Godemann, 355
Gold Leaf, 335
Gontran, 229
Gothic style, 24, 29
Gouda, 299
Granada, 183
Gregory, St., 221, 277
Gresham, Sir T., 25
Gres, H. de, 292
Grimani Breviary, 361
Grosso, N., 116
Grotesques, 235-243, 273, 349, 353
Grove, D. van, 268
Guerrazzar, Treasure of, 63
Guillaume, Abbot, 229
Gutierez, 167

Haag, J., 240
Hall Mark, 3
Hankford, Sir W., 36
Hampton Court, 171
Hannequin, 32
Harleian MS., 352
Harrison, 193
Harold, 157, 158
Hasquin, J. de, 33
Hatfield, 171
Hayes, S. L., 156
Headlam, C., 268
Hebrides, 196
Hebrews, 1
Heliot, 292
Hennequin de Liege, 240
Henry I., 23, 155
Henry II., 83, 107, 197
Henry III, 27, 28, 36, 38, 86, 117, 135, 144, 207, 248, 287, 311
Henry V., 252
Henry VI., 185
Henry VII., 102, 181, 206, 253, 254, 257, 268
Henry VIII., 131, 175, 195, 209, 254
Henry the Pious, 23
Herlin, F., 266
Herman, 74
Herodias, 65
Hezilo, 20
Hildesheim, xii, 16-20, 116, 136, 139, 140, 258, 285, 286, 309, 317
Holanda, A. de, 361
Holderness, 273
Honorius, Pope, 316
Hudd, A., 255
Huberd, R., 251
Hugh, St., 246
Hughes, Abbot, 229
Husee, 37-78
Hust, A., 265

Il Lasca, 305
Illumination, 326-364
Imber, L., 255
Inlay, 296-309
Innocent IV., 200
Iona, 220
Ireland, 342-345
Iron, 109-121
Isaiah, 1
Isidore, 316
Isle of Man, 77
Islip, Abbot, 102, 275
Italy, 5, 21, 92, 141
Ivan III, 283
Ivory carving, 275-295
"Ivy Pattern," 347

Jackson, H., 307
Jacob of Breslau, 328
Jacobus, Fra, 319
James, 315
James I., 56, 176
Jeanne, Queen, 173
Jeanne of Navarre, 68
John, King, 66, 105, 207
John XII., 111
John IV., 316
Johnson, R., 117
Joinville, Sirede, 194
Jones, Sir E. B., 203
Jouy, B. de, 314
Justinian, 220, 221, 315

Katherine, Queen, 252
Katherine of Aragon, 209
Keepe, H., 241
Kells, Book of, 49, 344
Kent, Fair Maid of, 196
Keys, 119
Kildare, Gospels of, 345
Kirton, Ed., 241
"Kleine Heldenbuch," 189
Knight, 210
Knut, King, 200, 252
Kohinoor, 71
Kraft, A., 141, 213, 258, 259, 261, 266
Krems, 115

Laach, 262
Labenwolf, 143
Labarte, 302
Laborde, 74
Labraellier, J., 295
Lacordaire, 160
Lagrange, 168
Lambspring, B., 129
Lamoury, S., 166
Lateran, The, 205, 316, 321
Laura, 193
Lawrence, St., 315
Lead, 149
Lebrija, 269
Leighton, T. de, 117
Leland, 206
Leo III., 203
Leo X., 172
Leon, 25
Leopardi, 302
"Les Maitres Mosaites," 323
Lethaby, W. R., 252, 311
Lewis, 293
Lewis, H., 117
Liberale da Verona, 361
"Liber Eliensis," 200
Lille, 166
Limoges, 24-57, 103, 107, 144
Lincoln, 244, 246, 274
Lincoln Imp, 247
Lindisfarne, 53, 345
Limousin, E. and L., 107
Lisle, Lord, 35, 55
Little Gidding, 212
Locks, 120
Lombards, The, 18, 63, 220, 277
London, 25, 26, 44, 182, 185, 206, 248, 288
Lothaire, 38
Louis VI., 21
Louis VII., 21
Louis XII., 174, 361
Louis XIV., 197
Louis, Prince, 20
Louis, St., 22, 194, 232, 240, 253
Louvre, The, 270, 292
Luebke, xi
Lucca, 221, 296
Luca della Robbia, 213
Ludlow, 273
Luini, B., 307
Luna, de, 306

MacDurnam, 344
"Mad Meg," 130
Madrid, 177-270
Maes Eyck, 358
Magaster, 278
Maiano, B. de, 304
Maitland, 14
Maitani, L., 227
Malaga, 269
Malmsbury, W. of, 65, 75, 220
Malvezzi, M., 308
Manne, P., 33
Mantegna, 101
Mantreux, J. de, 32
Manuello, 302
Mapilton, Master, 252
"Mappae Claviculae," 276
Marcel, St., 238
Marcellus, 65
Marche, L. de la, 341
Maretta, G., 8
Mariana, Queen, 270
Mark's, St., 318, 323, 361
Marten, 66
Martin, St., 17, 87
Martyr, Bp., 240
Mary, Queen of Scots, 210
Maskell, A. and W., 32, 186, 294
Massari, A., 306
Matilda, Queen, 155
Matsys, Q., 118, 141
Matteo da Siena, 300
Maximian, 282
Medici, The, 85, 176, 211, 254, 301
Memlinc, 166
Mexicans, 18
Michael, St., 18, 19
Michelangelo, 9, 90, 116, 254, 303
Milan, 281, 307
Mildmay, H., 67
Minella, P. de, 299
Miniato, San, 298
Miserere Stalls, 271-275
"Mons Meg," 130
Monte Cassino, 318
Montereau, J. de, 240
Montfort, S. de, 63
Montarsy, P. de, 35
Monza, 23, 63, 221
Monzon, 146
Moore, Charles, xi, 234
Moorish style, 24
Moreau, J., 241
Morel, B., 135
Mortlake, 178
Morris, Wm., v, x, 248
Moryson, F., 26
Mt. Athos, 341
Moeser, L., 266
Mosaic, 309-327

Nantes, 314
Nassaro, M. dal, 88
Naumberg, 259
Navagiero, 183
Nevers, Count of, 194
Nicolas, J., 33
Niello, 49, 99-102
Nomenticum, 166
Norfolk, 31
Norman style, 29
Norton, C. E., 219, 226
Norwich, 45, 196, 331
Notre Dame, Paris, 218, 234, 238, 240
Noyon, 58, 60
Nueremberg, 141, 152, 258, 259, 266, 292, 309

Oath Book of the Saxon Kings, 346
Odericus, 311
Odo, goldsmith, 14, 27
Odo, Abbot, 115
Olivetans, 307-308
Orcagna, 34, 140, 183, 227
Orebsc, S. M., 24
Orghet, J., 166
Oriental, 24, 84
Orleans, 33
Orso Magister, 222
Orviedo, 278
Orvieto, 33, 227, 244, 302, 310
Osmont, 204
Othlonus, 356
Otho, 230, 286
Otto III., Emperor, 16
Oudenardes, 169
Ouen, St., 58
Oxford, 168, 210, 248, 255, 354

Pacheco, 25
Padua, 305
Pala d'Oro, 23, 97, 98
Palermo, 311
"Pancake Man" 245
Paris, 2, 17, 20-23, 26, 37, 52, 69, 86, 113, 149, 166, 186, 200, 218,
229, 234, 238, 239, 240, 339
Paris, Matthew, 27, 180, 207
Parma, 221
Patras, L., 139
Patrick, St., 2, 49, 52, 145, 238
Paul the Deacon, 221
Paulus, 315
Pausanias, 121
Pavia, 221
Pembroke, Earl, 67
Penne, 208
Perseus, 134
Persia, 55
Perugia, 224, 298
Peselli, 322
Peter Albericus, 224
Peter Amabilis, 224
Peter the Great, 295
Peter de St. Andeman, 335
Peter Orfever, 224
Peter of Rome, 310
Peter of Spain, 241
Petrarch, 192, 362
Philip IV., 167
Philip the Bold, 165
Philip the Good, 165
Philippa, Queen, 194
Philostratus, 91, 103
Philoxenus, 277
Picardie, 317
Pickering, W., 129
Pietra Dura, 301
Piggigny, J. de, 32
Pinturicchio, 300
Pirckheimer, W., 132
Pisa, 221, 225, 298
Pisani, The, 71, 216, 221, 225, 234, 244
Pistoja, 298
Pitti Palace, 101, 177, 301, 302
Pius II., 67
Pliny, 2, 110, 143
Poitiers, 162, 163
Pollajuolo, xiii, 34, 195
Polo, Marco, 5, 55, 71, 184, 187, 278
Pordenone, 323
Portland Vase, 87
Poucet, J. de and B., 241
Poulligny, G. de, 207
Poussin, N., 33
Precious Stones, 77-83
Prior and Gardner, 244
Probus, 277
"Properties of Things," 4
Psalter of Edwin, 353
Ptolemies, The, 83
Pudenziana, St., 314
Pugin, 120, 153

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