PLATE I.Bodo at his work
From an eleventh-century Anglo-Saxon calendar in the British Museum (MS. Tit., B.V., pt. I), showing the occupations of Bodo, or of his masters, for each month of the year. The months illustrated are January (ploughing with oxen), March (breaking clods in a storm), August (reaping), and December (threshing and winnowing). The other pictures represent February (pruning), April (Bodo's masters feasting), May (keeping sheep), June (mowing), July (woodcutting), September (Bodo's masters boar-hunting), October (Bodo's masters hawking), and November (making a bonfire).
PLATE II.Embarkation of the Polos at Venice
From the magnificent MS. of Marco Polo's book, written early in the fifteenth century and now preserved at the Bodleian Library, Oxford (MS. no. 264, f. 218). The artist gives an admirable view of medieval Venice, with the Piazetta to the left, and the Polos embarking on a rowing boat to go on board their ship. In the foreground are depicted (after the medieval fashion of showing several scenes of a story in the same picture) some of the strange lands through which they passed. Note the Venetian trading ships.
PLATE III.Part of a landscape roll by Chao Mêng-fu
This very beautiful scene is taken from a roll painted by Chao Mêng-fu in 1309 in the style of Wang Wei, a poet and artist of the T'ang dynasty (A.D. 699-759). A fine description of it is given by Mr Laurence Binyon: 'In the British Museum collection is a long roll, over seventeen feet long, painted almost entirely in blues and greens on the usual warm brown silk.... It is one continuous landscape, in which the scenes melt into one another. Such rolls are not meant to be exhibited or looked at all at once, but enjoyed in small portions at a time, as the painting isslowly unrolled and the part already seen rolled up again. No small mastery is requisite, as may be imagined, to contrive that wherever the spectator pauses an harmonious composition is presented. One has the sensation, as the roll unfolds, of passing through a delectable country. In the foreground water winds, narrowing and expanding, among verdant knolls and lawns, joined here and there by little wooden bridges; and the water is fed by torrents that plunge down among pine-woods from crags of fantastic form, glowing with hues of lapis-lazuli and jade; under towering peaks are luxuriant valleys, groves with glimpses of scattered deer, walled parks, clumps of delicate bamboo, and the distant roofs of some nestling village. Here and there is a pavilion by the water in which poet or sage sits contemplating the beauty round him. These happy and romantic scenes yield at last to promontory and reed-bed on the borders of a bay where a fisherman's boat is rocking on the swell. It is possible that a philosophic idea is intended to be suggested--the passage of the soul through the pleasant delights of earth to the contemplation of the infinite.'--Laurence Binyon,Painting in the Far East(1908), pp. 75-6. The section of the roll which has been chosen for reproduction here has already been reproduced in S.W. Bushell,Chinese Art(1910), II, Fig. 127, where it is thus described: 'A lake with a terraced pavilion on an island towards which a visitor is being ferried in a boat, while fishermen are seen in another boat pulling in their draw-net; the distant mountains, the pine-clad hills in the foreground, the clump of willow opposite, and the line of reeds swaying in the wind along the bank of the water are delightfully rendered, and skilfully combined to make a characteristic picture.'--Ibid., II, p. 134. Other sections of the same roll are reproduced in H.A. Giles,Introd. to the Hist, of Chinese Pictorial Art(2nd ed., 1918) facing p. 56; and in L. Binyon,op. cit., plate III (facing p. 66). It is exceedingly interesting to compare this landscape roll with the MS of Marco Polo, illuminated about a century later, from which the scene of the embarkation at Venice has been taken; the one is so obviously the work of a highly developed and the other of an almost naïve and childish civilization.
PLATE IV.Madame Eglentyne at home
This is a page from a fine manuscript ofLa Sainte Abbaye, now in the British Museum (MS. Add. 39843, f. 6 vo). At the top of the picture a priest with two acolytes prepares the sacrament; behind them stands the abbess, holding her staff and a book, and accompanied by her chaplain and the sacristan, who rings the bell; behind them is a group of four nuns, including the cellaress with her keys, and nuns are seen at thewindows of the dorter above. At the bottom is a procession of priest, acolytes and nuns in the choir; notice the big candles carried by the young nuns (perhaps novices) in front, and the notation of the music books.
PLATE V.The Ménagier's wife has a garden party
This beautiful scene is taken from a fifteenth-century manuscript of theRoman de la Rose(Harl. MS. 4425), which is one of the greatest treasures of the British Museum.
PLATE VI.The Ménagier's wife cooks his supper with the aid of his book
From MS. Royal, 15 D. I, f. 18, in the British Museum which is part of apetite bible historiale, or biblical history, by Guyart des Moulins, expanded by the addition of certain books of the Bible, in French. It was made at Bruges by the order of Edward IV, King of England by one J. du Ries and finished in 1470, so that it is about eighty years later than the Ménagier's book. The illustration represents a scene from the story of Tobias; Tobit, sick and blind, is lying in bed, and his wife Anna is cooking by the fire, with the help of a book and a serving maid. The right-hand half of the picture, which is not reproduced here, shows the outside of the house, with Tobias bringing in the angel Raphael. The illuminated border of the page from which this scene is taken contains the arms of Edward IV, with the garter and crown.
PLATE VII.Calais about the time of Thomas Betson
This plan of Calais in 1546 is reproduced from a 'Platt of the Lowe Countrye att Calleys, drawne in October, the 37th Hen. VIII, by Thomas Pettyt,' now in the British Museum. (Cott. MS. Aug. I, vol. II, no. 70). There is only room to show the top corner of the plan, with the drawing of Calais itself, but the whole plan is charming, with its little villages and great ships riding in the channel.
PLATE VIII.Thomas Paycocke's house at Coggeshall
From a photograph of the front of the house, standing on the street. Note the long carved breastsummer that supports the overhanging upper story. On the left can be seen, much foreshortened, the archway and double doors of linen fold panels. The windows are renovations on the original design, flat sash windows having been put in in the eighteenth century.