THE INFLUENCE OF MEDIEVAL ILLUMINATED MANUSCRIPTS

turies, (London: William Smith, 1843-45), p. xv; Mauhew Digby Wyau and W. R.Tymms, The ArtofIlluminating as Practised ill Europe From the Earliest Times. Illus-trated by Borders. Initial Letters and Alphabets Selected & Chromolithographed (Lon-don: Day & Son, 1860 [Isr ed. 1859]; reprint Hertfordshire: Wordsworrh Editions,

1987), p. 46. For Vasari's praise ofClovio see: Giorgio Vasari, Le Vite de'piri eccellentipittori, scultori earchitectori, ed. Paola della Pergola, Luigi Grassi, Giovanni Previtali,10 vols. (Novara: [stituto Geografico de Agosrini, 1967), vol. VII, p. 446.

5See Ruskin, Lib. Ed., vol. XXIV, pp. 25-26. Morris acquired Rosseni's The Blue Closet,The Damselofthe Sanet Graeland The lime ofthe Seven Towers of1857 (Tate Britain)as well as Fra Pace and The Death ofSir Bars sam Pitie.

6 See Rosserri's lerrer to his brother William Michael Rossetti, dated 18 September, 1849:

'f...] having wasted several days at the Museum, where [have been reading up allmanner ofold romaunts [sic], to pitch upon stunning words for poetry. I have found

several, and also derived much enjoyment from the things themselves, someofwhich

are tremendously fine', William Michael Rosseui, ed., Dante Gabriel Rossetti: HisFamily Letters with aMemoir (London: Ellis & Elvey, 1895), vol. n, p. 51.

7 Ruskin, Lib. Ed., vol. XXXIII, p. 269.8 SeeJulian Treuherz, 'The Pre-Raphaelites and Mediaeval Illuminated Manuscripts', in

Pre-Raphaelite Papers, ed. Leslie Parris (London: Tate Gallery Publications, 1984), p.158; Alicia Craig Faxton, Dante Gabriel Rossetti (New York & London: AbbevillePress, 1994 [1st ed. 1989]), pp. 92-95, 103, 111-13.

9Joanna Banham &Jennifer Harris, eds., exhib. cat. William Morris andthe MiddleAges,Manchester Art Gallery and Museums (Manchesrer: Manchester Universiry Press,

'984), cat. no. 57, pp. 120-21.

TO SeeTreuherz, 1984, op. cit., pp. 156-58. Coliins used theArdinghelli-Segni prayer book

(Soane Museum) and the initial page of the St. John's Gospel in the Arnstein Bible

(British Library, MS Harley 2799, fol. ,85v), which was depicted in Henry Noel

Humphreys and Owen Jones' Illuminated Books ofthe Middle Ages (London: Long-man, Brown, Green, & Longman, 1849), pp. 49, 50.

11 See Roy Srrong, Recreatingthe Past: British History andthe Victorian Painter (London &New York: Thames & Hudson, The Pierpom Morgan Library, 1978), pp. 58-59;

Treuherz 1984, op. cit., pp. 154-55.

12 In a second edirion by Rush Meyrick and John Briuon, eds., London 1838.

13 F. W Fairholr, Costume in England. A History ofDress to the Endofthe Eighteenth Cen-tltry, new enlarged edition by H. A. Dillon, 2 vols. (London: Bell, ,885; reprintDetroit: SingingTree Press, 1968 [ISI ed. 1846]), ill. 87 on p. 112.

14 See Banham & Harris, 1984, op. cit., cat. no. '53, pp. 191-92. The miniature is depict-ed in Shaw's Dresses and Decorations ofthe Middle Ages, 2 vols. (London: WilliamPickering, 1843), vol. I, ill. 17; in Joseph Srrurr's A Complete View ofthe Dress andHabits ofthePeopleofEnglandfrom the EstablishmentoftheSaxons in Britain to the Pre-sent Time: illustratedby engravings takenfrom the mostauthentic remains ofantiquity towhich is prefixed an introduceion, containing a general description ofthe ancienthabits in use among mankindji-om the earliestperiodoftime to the conclusion ofthe seventh century (2 vols., rev. ed. byJ. R. Planche, reprinted in London: Tabard Press Ltd.,

JO~RNAL OF WILLIAM MORRIS STUDIES SUMMER 2004

1970 [IS( ed. London, 1796; IS{ ed. ofthe revised edirion in 3vols. London: Henry G.Bohn, 1842]), vo!. I, ill. LxvI.

15 A. R. Dufty, Morris Embroideries: Tbe Prototypes (London: The Society ofAntiquaries,1985), p. n, ill. 11, Ill.

16 For the Guendolen page see Alan G. Thomas-Sale, Sotheby"s, London, 21.-22.6.1993,lot 244; published as 'Rapumel' in The Deftnce ofGuenevere (1858). For Morris's earlyilluminations see: ]oseph Riggs Dunlap, 'The Road to Kelmscotr: WiUiam Morris

and the Books Am before the Foundingofthe Kelmscorr Press' (Columbia Univer-

sity, Disserration 1972), pp. 109-28.

17 Quoted after William S. Peterson, The Kelmscott Press, A History ofWilliam MorrissTypographicalAdvellture (Oxford: Clarendon Press, (991), p. 60.

18 Dante Gabriel Rossetti, Letters ofDante Gabriel Rossecci to William Allingham1854-1870, ed. George Birbeck Hill, London, 1897, p. '93, quoted in ]oseph RiggsDunlap, 'Morris and the Book Am before the Kelmscolt Press', Victorian Poetry 13,3-4 (Autumn-Winter 1975), p. 142.

19 See for example British Library, MSS Roy.I.D.i (Bible of William of Devon,

1260-1270), Roy.2.B.ii (French Psalter, middle of the thirteenth century), Add.

48985 (Salvin Hours, 1270-1280), Add. 17341 (French Gospel Lectionary, end of the

thirteenth century), Add. 24686 (Alphonso or Tenison Psalter, 1284); Bodleian

Library Oxford, MS Douce 366 (Ormesby Psalter, early fourteenth century). Com-

pare]. W. Mackail, Tbe Lift ofWilli4m Morris (New York: Dover Publications Inc.,1995 [1st ed. London, 1899]), vol.l, p. 276.

20 William Morris, 'Some Notes on the Illuminated books ofthe Middle Ages' (t894), in

The Ideal Book: Essays and Lectures on the Arts ofthe Book by William Morris, ed.William S. Peterson (Berkeley & Los Angeles: University ofCalifornia Press, 1982),

p.lO.

21 Ibid., p. 12.

22 Ibid., p. 13.

23 See ibid., p. 121, note 7.

24 Ibid., p. 1425 See for example: H. N. Humphreys's The Art ofIllumination and Missal Paillting. A

Guide to Modern Illuminators Illustrated by a Series ofSpecimens}Tom Richly Illumi-natedMSS. ofVarious Periods. Accompanied by a Set ofOutlines to be Coloured by theSrudentaccording to the TheoriesDevelopedin the WOrk (1849); Henry Shaw'sA Hand-bookoftheArtofIllumination as Practisedduringthe MiddleAges with a Description ofthe Metals, Pigments, and Processes Employed by the Artists at Diffirent Periods (lon-don, 1866); W. R. Tymm's and M. D. Wyan's The ArtofIlluminating as Practised inEurope}Tom the Earliest Times. Illustrated by Borders, Initial Letters andAlphabetsSelected & Chromolithogmphed (r860 [ISt ed. 1859]).

26 H. N. Humphreys, 18491r989, op. cit., p.!? Shaw, 1843, I, op. cit., Introduction, no

page nos.

27 Sir Frederic Madden & Hen ey Shaw, Illuminated Ornaments Selected}Tom Manuscripts and Early Printed Books}Tom the Sixth to the Seventeenth Centuries (London:William Pickering, 1830-33), p. 12.

THE INFLUENCE OF MEDIEVAL ILLUMINATED MANUSCRIPTS

28 Ibid. p. 13.

29 Thomas Kren. ed. exhib. car. Renaissance Painting in Manuscripts: Treasures oftheBritish Library (New York: Hudson Hills Press, 1983), cat. no. 6, pp. 49-58.

30 Diary entry in George Price Boyce's diary. 14 ofApril, 1860; cired in Treuherz. 1984,

op. cic., p. 167, after VirginiaSurrees. The DiariesofGeorgePrice Boyce(Norwich: RealWorld. 1980), p. 30.

31 A Catalogue ofHarleian MSS in the British Museum with Indices ofPersons, Places 6-Matters, 4 vols. London 1808-[2, vol. I 1808, preface, p. 25. For a similar assessmentwhich copies the exacr wording ofrhe caralogue. 'in a mosr masrerly manner', when

describing rhe miniarures see Thomas HarrweU Home, An Introduction to the StudyofBibliogmphy(London: Cadell & Davies, 1814). vol. I, p. r31.

32 Thomas Frognall Dibdin. The Bibliographical Decameron; or, Ten Days Pleasant Dis-course upon Illuminated Manuscripts and Subjects Connected with Early Engraving,Tjpography, andBibliography, 3vols. (London: W. Bulmer, r8I7), vol. I, pp. ccxi-ecxii,nore.

33 Strurr's notes in British Library, MS Eg. 888.1, fol. 16. Strutt 1970, op. cit., vol. n, fron-tispiece. p. 271.

34 Shaw, 1843. n. op. cir., ill. 56-58.35 Ibid., rext to ill. 57.

36 Ibid., rext to ill. 56.

37 For more infoImation abour rhe chimney piece see Mark Girouard, The VictorianCountry House (New Haven & London: Yale University Press. 1979), figs. 85 and 86on p. JI5.

38 Gustav Friedrich Waagen, Kunstwerke "nd Kiinstler in England und Paris (Berlin:Nicolaische Buchhandlung, 1837), vol. 1, p. 147; see also Waagen 1854, op.cir., vol. I,

p. JI8. Waagen ascribed rhe manuscripr ro rhe French School and dared ir around

r500.

39 See Morris's norebook, Brirish Library, MS Add. 45305. Compare Michaela Braesel,

'The Tile Decorarion by Morris & Co. for Queens' College, Cambridge: The Inspi-rarion ofIlluminared Manuscripts', Apollo 149, no. 443 (January 1999), pp. 25-33.

40 Treuher2, 1984, op. cit., p. 167.

41 Compare Burne-Jones's Pygmalion-cycle and rhe miniarures in MS Harley 4425, fol.

60rand 78r.

42 Barbara Eschenberg and Helmur Friedel, eds. exhib. car. DerKampfder Geschlechter:Der neueMythos in der Kunst I85O-I930 (Cologne: DuMont, [995), car. no. 8, p. 60.

43 See for example MS Harley 4425, fol. IIV.

44 See Carote Silver, The Romance ofWilliam Morris (Athens. Ohio: Ohio UniversiryPress, 1982), pp. 2, 5, I3;Jerome McGann: '"AThing to Mind": The MaterialisricAes-rheric ofWilliam Morris', in The Pre-Raphaelites in Context, ed. Malcolm Warner(San Marino, California: Henry E. Hunrington Library and Arr Gallery, 1992), pp.

5945 Silver, 1982, op.cir., p. 6.

46 William Morris, 'Golden Wings'. in The Collected WOrks ofWilliam Morris, ed. MayMorris (London: Longmans, Green & Co., 1910), vol. I, p. JI6, verse I, lines 3. 1,4.

53

JOURNAL OF WILLIAM MORRIS STUDIES SUMMER 2004

47 Ibid., verse 11, lines 1,2,3 and verse IV, line 1.

48 Ibid., verse IV, line 4 and verse v, line 2.

49 Kren, 1983, op. cit., pp. 79-80. MS Add. 18855: Bruges, around '450, BourdichonSchoo!. The May page ofrhe MS is now in the Victoria & Albert Museum, The Salt

ing Bequest, MS 2538v. On the amibution see Janet Backhouse, The IlluminatedPage: Ten Centuries o/ManuscriptPainting in the British Library (London: The BritishLibrary, 1997), no. 210, p. 231.

50 Verse 11, line 2: 'My Lady often hawking goes', cited in Collected I17orks, vo!. I, op. cit.,p.82.

51 Verse VII, lines 8-13, ibid., p. 83. For more information about this poem see LindsaySmi th, Victorian Photography, PaintingandPoetry: The Enigma ofVisibility in Ruskin,Morris and the Pre-Raphaelites (Cambridge: Cambridge University Press, 1995), pp.

175-7952 Morris, Collectedl17orks, vo!. t, op. cit., p. Il7, verses XII-XVI.53 Roger Wiehe, 'Sacred and Profane Gardens: Self-Reflection and Desire in Pre-

Raphaelite Painting and the Poetry of the Rossettis', in Pre-Raphaelitism andMedievalism in theArts, ed. Lianade Girolami Cheney (Lewiston, Lampeter, Queen-ston: Edwin Mellon Press, 1992), pp. 109-27; p. 109.

54