From Parchment to Cyberspace

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Introduction

Figure 0.1. Critical edition of Roman de la Rose, showing multiplicity of manuscripts it purports to represent.

Figure 0.2. Manuscript Folio (leaf/page) as complex hand-written and -painted artifact. Christine de Pizan composing poetry. London: British Library, MS Harley 4431, fol. 4r. Paris 1406–10.

Figure 0.3. Fleshing and removing hair from a cowhide in preparation for making manuscript parchment.

Figure 0.4. Polishing dried cowhide with pumice stone to make it smooth enough for painting and lettering.

Figure 0.5. Example of Lyric Insertion and surrounding huitains (95–96) in a bilingual edition of Villon’s Testament. [François Villon, Oeuvres completes, edition établie par Jacqueline Cerquiglini-Toulet avec la collaboration de Laëtitia Tabard (Paris: Gallimard, 2014), pp. 96–97.]

Figure 0.6. Bi-folio from Le Testament Villon, Paris: Bibliothèque nationale de France, MS fr. 20041, fols. 113v–114r. ← xi | xii →

Figure 0.7. Example of Lyric Insertion and surrounding huitains (“95-½ of 99”) in Paris: Bibliothèque nationale de France, MS fr 20041, fols. 131v–132r. Paris, 15^th century.

Chapter 1

Figure 1.1. Grandes chroniques de France, Paris: Bibliothèque nationale de France, MS fr 2813, fol. 357v. Paris, 1375–80.

Figure 1.2. Bas-de-page drawing of a poet/scribe reciting troubadour poetry he’s copying into a manuscript (shown here as a scroll). New York: The Pierpont Morgan Library, MS. 819, fol. 63. Padua, c. 1280.

Figure 1.3. Author “Portrait” of troubadour Peire Milon. New York: The Pierpont Morgan Library, MS 819, fol. 103r. Padua, c. 1280.

Figure 1.4. Composite author “portrait” showing Guillaume de Lorris and/or Jean de Meun, the poets responsible for bi-partite Roman de la Rose in c. 1235 and 1280 C. E. respectively. Guillaume, 4,000+ lines, completed by Jean de Meun in 18,000+ lines. New York: The Pierpont Morgan Library, MS 948 fol. 5r. Rouen, c. 1525.

Figure 1.5. Guillaume de Lorris and Jean de Meun, Le Roman de la Rose, Miniature marking the transition from Guillaume to Jean’s continuation. Rubric under painting reads: “Ci commence mestre Jehan de Meun.” Dartmouth College, MS Rauner Codex 3206, fol. 27r (Paris, c. 1330–1350). Courtesy of Dartmouth College Library.

Figure 1.6. Guillaume de Lorris lies dead and ready for burial, while the Lover (or Jean de Meun) stands outside the room mourning, but prepared to continue the quest/poem. Roman de la Rose, New York: The Pierpont Morgan Library, MS Morgan 948, fol. 44. Rouen, c. 1525.

Figure 1.7. Vincent de Beauvais Speculum historiale/Miroir historiale, tr. Jehan de Vignay for Jeanne de Bourgogne, Queen of France 1328–1348. Left panel, St Louis commissioning Latin work from Vincent de Beauvais in 1251; right panel, Jeanne de Bourgogne commissioning French translation from Jehan de Vignay in 1332–1333. Paris: Bibliothèque de l’Arsenal 5080 réserve, fol. 1, detail. Paris, 14^th century. ← xii | xiii →

Figure 1.8. Vincent de Beauvais, Mireoir hÿstorial, Paris: Bibliothèque nationale de France, MS fr 313, fol. 1r. Paris, 1396. Raoulet d’Orléans & Guillaume de Hervi, scribes, Perrin Remiet, artist. Escutcheon in lower part of folio bears the arms of Louis I, duc d’Orléans, brother of Charles VI, indicating this was his personal copy.

Figure 1.9. Saint Augustine, La cité de Dieu, translated by Raoul de Presles for Charles V from 1375–78. Folio shows translator’s identification of sources in left hand column (“Ysidore” [of Seville]), while rubric in column 2 summarizes the chapter to follow. Paris: Bibliothèque nationale de France, MS fr 22912, fol. 249v. Paris, 1375–78.

Figure 1.10. Gérard du Bus, Chaillou de Pesstain, & Philippe de Vitry, Le Roman de Fauvel. Paris: Bibliothèque nationale de France, MS fr 146, fol. 1r. Paris, c. 1314.

Chapter 2

Figure 2.1. Roman de la Rose, Courtly “vices:” Haÿne, Felonie et Vilainie, Convoitise. Berlin: Staatsbibliothek, MS Cod. Gall. 80, fol. 2r. Paris, first half 14^th century.

Figure 2.2. Roman de la Rose, Courtly “vices:” Haigne. Paris: Bibliothèque nationale de France, MS fr 25526, fol. 2r. Paris, 2^nd half 14^th century.

Chapter 3

Figure 3.1. Roman de la Rose. Courtly Vices painted on the exterior wall of the Jardin de Déduit (Pleasure Garden): “Felonnie,” “Convoitise” [Cupidity], “Avarice,” “Envie.” Paris: Bibliothèque nationale de France, MS fr 378, fol. 13v. Paris, c. 1290. ← xiii | xiv →

Figure 3.2. Roman de la Rose. Courtly Vices painted on the exterior wall of the Jardin de Déduit (Pleasure Garden): “Convoitise,” “Avarice.” Oxford: Bodleian Library, MS Douce 195, fol. 2v. Paris, 15^th century.

Figure 3.3. Complex manuscript page (folio). Roman de la Rose. Munich: Bayerische Staatsbibliothek, MS Cod. Gall. 17, fol. 1. Paris, 1407.

Figure 3.4. Coronation of Philip VI of France, the first Valois King, in 1328. Grandes Chroniques de France. Paris: Bibliothèque nationale de France, MS fr 2813, fol. 353v. Paris, 1375–80.

Figure 3.5. Page layout with alternating red and blue decorated initials and elongated flourishes. Roman de la Rose. Dartmouth College, MS Rauner Codex 3206, fol. 5v. Paris, c. 1350. Courtesy of Dartmouth College Library.

Figure 3.6. “Exposicion sus ce chapitre.” “Le translateur.” Gloss incorporated into translation of Saint Augustine’s Cité de Dieu [City of God] by the translator, Raoul de Presles, at the behest of Charles V. Paris: Bibliothèque nationale de France, MS fr 22912, fol. 269r. Paris, 1375–77.

Figure 3.7. Marginal painting depicting a visual interpretation of the love “combat” in the poem it illustrates. New York: Pierpont Morgan Library, MS Morgan 819, fol. 211 (detail). Padua, c. 1280.

Figure 3.8. Presentation miniature showing Christine de Pizan offering this copy of her collected works to her patron, Queen Isabeau of Bavière, wife of Charles VI of France. London: British Library, MS. Harley 4431, fol. 3r. Paris, 1406–10.

Figure 3.9. Example of a basic, relatively inexpensive manuscript of the Roman de la Rose. Baltimore: Walters Art Museum, MS Walters 143, fol. 8r. Paris, c. 1325.

Figure 3.10. Beginning (incipit) of the Roman de la Rose: “Maintes gens dient que en songes …” [Many people say that dreams are …]. Paris: Bibliothèque nationale de France, MS fr 25526, fol. 1r. Paris, 14^th c.

Figure 3.11. The Lover at the Pool of Narcissus. Roman de la Rose. Munich: Bayerische Staatsbibliothek, MS. Cod. Gall. 17, fol. 10v. Paris, c. 1407.

Figure 3.12. The Lover at the Pool of Narcissus. Roman de la Rose. Paris: Bibliothèque nationale de France, MS fr 1559, fol. 14v. Paris, 1280–1300. ← xiv | xv →

Figure 3.13. Oiseuse (the doorkeeper), holding a mirror, admits the Lover into the Jardin de Déduit. Roman de la Rose. Oxford: Bodleian Library, MS. Selden Supra 57, fol. 5v. Paris, 14^th c.

Figure 3.14. Oiseuse, holding a mirror, admits the Lover into the Jardin de Déduit. Roman de la Rose. Oxford: Bodleian Library, MS. Douce 195, fol. 5r. Paris, later 15^th c.

Figure 3.15. Portrait of two of nine courtly “vices” painted on the exterior wall of the Jardin de Déduit [Pleasure Garden], Papelardie and Povreté [Religious Hypocrisy and Poverty]. Roman de la Rose. New York: Pierpont Morgan Library, MS Morgan 948, fol. 11r. Rouen, c. 1525.

Figure 3.16. Early portrait of the courtly “vices” painted on the exterior wall of the Jardin de Déduit. “Povreté pourtraite” [Portrait of Poverty]. Roman de la Rose. Baltimore: Walters Art Museum, MS. Walters 143, fol. 4v. Paris, c. 1325.

Chapter 4

Figure 4.1. Ernest Langlois’s critical edition of the Roman de la Rose par Guillaume de Lorris and Jean de Meun, publié d’après les manuscrits (5 vols. Paris: Firmin Didot and Honoré Champion, 1914–1924) surrounded by a sample of Rose manuscripts ranging from the early fourteenth to the early sixteenth centuries.

Chapter 5

Figure 5.1. Author Portrait showing Christine de Pizan writing the Cent ballades. London: British Library, MS Harley 4431, fol. 4r (Paris, 1410–12).

Figure 5.2. Le Roman de la Rose. Youth personified as young couple embracing. Paris: Bibliothèque Sainte Geneviève MS 1126, fol. 7v (Paris, 1325–1375).

Figure 5.3. Le Roman de la Rose. Youth personified as young couple embracing. Paris: Bibliothèque Sainte Geneviève MS 1126, fol. 8r (Paris, 1325–1375). ← xv | xvi →

Figure 5.4. Le Roman de la Rose. Introduction by Guillaume de Lorris (detail). Paris: Bibliothèque Sainte Geneviève MS 1126, fol. 1v-c (Paris, 1325–1375).

Figure 5.5. Le Roman de la Rose. God of Love shoots lover through the eye to reach his heart (to provoke love for the Rose). Lyon: Bibliothèque municipal, MS 763, fol. 12r (Paris, 14^th c.).

Figure 5.6. Le Roman de la Rose. God of Love shoots lover through the eye to reach his heart (to provoke love for the Rose). Lyon: Bibliothèque municipal, MS 763, fol. 12r, detail (Paris, 14^th c).