And the folk of Jerusalem must make many varied and strange gestures, as people who are terrified by these marvels that they see above them. Then Ysacar says to Ysmael, in a very frightened manner..
Mystère de la Vengeance de Nostre Seigneur Ihesu Crist
By Eustache Marcadé
1465
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“Here above Jerusalem there should appear fire in the form of flying dragons and a comet, armed men and flaming chariots, etcetera. According to the discretion of the company and the labourer, while at the same time the letters are written. And the folk of Jerusalem must make many varied and strange gestures, as people who are terrified by these marvels that they see above them. Then Ysacar says to Ysmael, in a very frightened manner…’ (Mystère de la Vengeance de Nostre Seigneur Ihesu Crist, p. 37)
The manuscript is the second volume of the Mystère de la Vengeance de Nostre Seigneur Ihesu Crist by Eustache Marcadé (the first volume is Add MS 89066/1).
f. 1r: (see Add MS 89066/1, f. 137v for rubric): Pilate is brought under arrest before Emperor Tiberius, and is convicted of Christ’s murder;-
f. 8v: ‘Comment Despert entre a Lyon a tout troys ou quatre varles qui tiennent Pylate lie tresfort et puis Despert dit au bailiff de Lyon’ (‘How Despert enters Lyon together with three or four youths who are holding Pilate tightly bound and then Despert says to the steward of Lyon’);-
f. 29v: ‘Comment lempereur Neron apres quil vist que ses conseiliers ne sacordoient pas tous a une chose voulut eslire ung connestable pour mener lost des rommains en iudee pour guerroier les Juifs’ (‘How the Emperor Nero, after he saw that his counsellors could not all agree on anything, wished to elect a commander to lead the Roman army to Judea to fight against the Jews’);-
ff. 32r-33r: sermon by the Preacher, marking the end of the second day of the play;-
f. 33r: sermon by the Preacher, marking the beginning of the third day of the play; an address by the Leader of the Play. The dialogue resumes on f. 35v; Nero sends Vespasian and Vespasian’s son, Titus, to put down a revolt in Judea; the Romans beseige the city of Jotapate [Yodfat]. Nero has Seneca commit suicide, orders the murder of his mother and others, before he commits suicide and is seized by the devil;-
f. 37v: ‘Cy doit on faire aparoir dessus Iehrusalem feu en fourme de dragons volans et dune commette gens armees et cars ardans et cetera. Selonc la discrecion des compaignons et de louvrier aussi en ce pendant quon escript les lettres. Et doivent ceulx de Jherusalem faire moult diverses et estrainges manieres comme gens espouentes en regardant hault ces choses merveilleuses. Puis dit Ysacar moult effroyement a Ysmael’ (‘Here above Jerusalem there should appear fire in the form of flying dragons and a comet, armed men and flaming chariots, etcetera. According to the discretion of the company and the labourer, while at the same time the letters are written. And the folk of Jerusalem must make many varied and strange gestures, as people who are terrified by these marvels that they see above them. Then Ysacar says to Ysmael, in a very frightened manner…’);-
f. 70r: ‘Ilz vont au temple et durant quilz y vont il y a filete de trompetes et quant ilz y sont ilz lassieent en une moult belle chaire comme empereur. Et le couronnent et lui baillent en sa main le sceptre. Et puis crient tous “Vive Gabbe Servius” (They go to the temple and while they are walking there is trumpet music and when they get there they seat him in a very beautiful chair as emperor. And they crown him and give him the sceptre into his hand. And then they all shout, “Long live Galba Servius”);-
f. 78v: ‘Et ainsi doivent crier ceulx qui sont avecques Othe. Et adoncques Othe aproche de lui lespee traite et le tue et il chiet mort puis Othe dit’ (‘And in this way Otho’s companions must shout. And then Otho approaches him, with his spear drawn and kills him and he falls dead and then Otho says…’);-
ff. 91r-91v: ‘Cy assemblent les ungs aux aultres et adonc se combatent ensemble et en abatent dung les et daultre de ceulx qui pas ne doivent parler. Trompetes sonnent dehors et dedens yoieusement tant que la bataille dure a la voulente des meneus et sans blecier lung laultre se doit faire. Et faintement se laisier cheoir’ (‘The one side and the other come together and fight each other and one side attacks the other, without saying anything. Trumpets sound joyously without and within, while the battle continues at the will of the directors and it must be done without anyone injuring each other. And they should pretend to fall down’);-
ff. 94v-96r: sermon by the Preacher, marking the end of the third day of the play;-
f. 96r: address by the Leader of the Play, marking the beginning of the fourth day of the play; the beginning of the ‘year of the four emperors’;-
f. 103r: ‘Comment Vaspasien fut esleu en empereur et couronne’ (‘How Vespasian was elected emperor and crowned’); Vespasian begins to enact revenge upon Jerusalem in reponse to the Jewish rebellion;-
f. 103v: ‘Ilz sen vont devers Vaspasien. Maurice parle a Vaspasien’ (‘They go towards Vespasian. Maurice talks to Vespasian’);-
f. 112r: ‘Comment bataillent moult asprement ensemble les ungs contre les aultres par bonne maniere. Trompetes sonnent a commencer la bataille et se combatent moult longuement. Vitelle est desconfit et toutes ses gens mors et abatus’ (‘How they fight fiercely against each other in the correct way. Trumpets sound at the beginning of the battle and they fight for a very long time. Vitellius is defeated and all his people are dead and beaten’);-
f. 126r: ‘Une femme grosse qui tient ung enfant entre ses bras qui dit devant les princes des Juifs bien piteusement et hault’ (‘A pregnant woman who holds a baby in her arms, who speaks piteously and loudly before the prince of the Jews’);-
ff. 163r-163v: ‘Lempereur aproche et les rommains yssent de Romme et vont au devant en belle ordonnance et soit fait le plus noblement quon pourra en signe de triumphe comme on faisoit anciennement quant [un] empereur avoit eue victoire le pueple aloit au devant hommes femmes jeunes filles parees et atornees de chapeaulx de fleurs et chantans. Et y avoit de tous instrumens et lempereur entroit en la cite sur [un] car vestu dor et de pourpre on my lieu de ses gens les nobles prisonniers devant son car et a ce chariot doit tenir Porphire la main et des chevaliers. Ainsi entrant Vaspasien et Titus en Romme. Et porterent les tables Moyse, les arches du viel testament, et la verge Aaron, et encore appert son triumphe a ung des edefices qui se nomme larche triumphant de Vaspasien, et de Titus. Porphire en rencontrant lempereur sagenouilla de dit’ (‘The emperor approaches and the Romans come out of Rome and walk in front in formation and it should be done as nobly as possible, like the triumphant march performed by the ancients for a victorious emperor. The people went in front: men, women, young girls, dressed up and adorned with floral headdresses, singing. And there were all types of instruments playing and the emperor entered the city on a chariot festooned with gold and purple and in the midst of his people, with the noble prisoners before his chariot and Porphire must hold on to this chariot with his hand, and some knights. Thus Vespasian and Titus entered Rome. And they carried the tablets of Moses, the ark of the Old Testament and the rod of Aaron, and again their triumph is shown in one of the buildings which is called the triumphal arch of Vespasian and of Titus. Porphire, coming before the emperor, kneels down and says…’).-
f. 167v: the end of the fourth day of the play (explicit: ‘In secula seculorum. Amen’).Decoration: Eleven large half-page miniatures in colours and gold, in arch-topped (ff. 1r, 38r, 70r, 79r, 103v) or rectangular/square compartments (ff. 8v, 29v, 91r, 111v, 125v, 163v).Twelve three- or four-line foliate initials in colours and gold (ff. 1r, 9r, 29v, 32r, 38r, 70r, 79r, 85r, 91v, 103v, 112r, 163v).Cadels in red or black ink at frequent intervals throughout.Capitals marked with yellow wash.
The miniatures were executed by the artist Loyset Liédet (b. 1420, d. 1479).
The subjects of the miniatures are:-
f. 1r: in the background and to the left, soldiers are escorting Pilate past a walled garden and through the streets to the imperial court; in the foreground, Pilate is pleading for his life before Emperor Tiberius, who sits crowned and enthroned beneath a decorated canopy, and is surrounded by counsellors who gesture their disapproval of Pilate.-
f. 8v: Pilate, bound in ropes, is being escorted into the walled city of Lyon by Despert and his men, who are carrying swords, lances and halberds; they are being greeted by the bailiff of the city, who holds his staff of office, and gestures with a pointed finger towards Pilate; in the background, Pilate is standing atop a scaffold, wearing a mitre, and is being mocked and humiliated by a crowd beneath him.-
f. 29v: Emperor Nero, enthroned, wearing a golden chain and holding the imperial sceptre, is meeting with his counsellors to debate waging war upon the Jews.-
f. 38r: an open scene of a square in Jerusalem, above which portents of the city’s destruction are appearing in the sky, in the form of fire-breathing dragons, armed soldiers and burning chariots; the men, women and children below are gazing upon them in shock and astonishment, gesturing and pointing at them, and conversing urgently with one another; in the background, in a side street, a man is leaning out of a stable door to see the apparitions;-
f. 70r: the coronation of Emperor Galba: a bishop is placing the imperial crown upon his head and a kneeling attendant is handing him the imperial sceptre; courtiers are standing to the right, witnessing the event;-
f. 79r: an open scene in the centre of a town; in the middle-ground runs a canal or watercourse, at which a woman is doing washing while another is carrying away water in a vessel atop her head; in the foreground, Emperor Galba is lying on his back, his crown thrown aside, with the rebels pointing their lances at his head; Otho, their leader, is pinning Galba to the floor by resting his foot on Galba’s chest, and is about to plunge his sword through the Emperor’s neck. In the middle-ground and background, other soldiers are patrolling the streets and attacking the citizenry;-
f. 91r: a battle scene between the Roman and Jewish armies outside the walls of Jerusalem; the Roman knights are routing the Jewish knights, driving them off to the right and in retreat to the city; in the foreground, one Jewish knight is wielding his scimitar at an advancing Roman horseman; the ground is littered with the bodies of men and a horse killed in the course of battle.-
f. 103v: the coronation of Emperor Vespasian; a bishop is placing the imperial crown upon Vespasian’s head, as courtiers and other clerics stand witness; one of them is holding an open book before him; Vespasian is dressed in ermine and gilt-robes. Outside, to the left, Vespasian and Maurice are talking, while in the background imperial heralds proclaim the news with trumpets adorned with banners bearing the imperial eagle;-
f. 111v: a battle scene between Vespasian’s army and Vitellius’s rebels; in the mêlée, knights and footsoldiers are attacking one another; a knight is thrusting his lance into the back of another; one is ducking behind his shield to avoid the blow of another’s sword; in the foreground, a felled soldier is trampled by a horse, one soldier is slitting the throat of another; one is plunging his stave into the chest of a prone soldier; and other bodies are strewn across the ground;-
f. 125v: Emperor Vespasian is sitting enthroned, attended to his right by the historian Josephus; before them, a pregnant women is holding a naked infant in her arms, offering him as a sacrifice in atonement for the murder of Christ; courtiers and attendants are looking on from the right in astonishment;-
f. 163v: Emperor Vespasian is entering Rome in a horse-drawn carriage at the head of a triumphal procession; the citizens are standing in the foreground and background, waving their arms and raising their hats in celebration.
- Language: French, Middle
- Materials: parchment.
- Dimensions: 370 x 265 mm (text space 240 x 120-140 mm) in a single column.
- Foliation: ff. 167 + i. Folio i is a medieval parchment flyleaf; plus five unfoliated modern paper flyleaves.
- Collation: xviii8-3 (ff. 1-5; 1st-3rd leaves are at the end of the fist volume), xix-xxxvii8 (ff. 6-157), xxxviii10 (ff. 158-67).
- This manuscript and Add MS 89066/1 were originally bound as one volume, but had been divided into two by the early eighteenth century. The collation is therefore continued from the first volume (although folio numbering is restarted in the second volume).
- Script: Gothic cursive (lettre bâtarde).
- Binding: Post-1600. Early eighteenth-century French olive morocco over pasteboards with gilt three-line fillet added, enclosing the arms of the Duke of Roxburghe between two club-wielding wild-men in the center of the binding. These are flanked by the arms of the Dukes of Devonshire with the cipher of the sixth Duke added in gilt in each corner (a large ‘D’ with a smaller ‘WS’ within, all surmounted by a ducal coronet). The spine is elaborately gilt in a late fanfare style with circles, foliage, fleur-de-lys and the La Vieuville family device of a ‘W’ surmounted by a coronet. Morocco title labels are laid on the spine. Gilt fore-, head- and tail-edges.
Ownership
Origin: southern Netherlands (Bruges). The Ducal Account Registers of the dukes of Burgundy record the payment in July 1468 of the scribe and artist responsible for producing the volume (see Durrieu, ‘Découverte de deux importants manuscrits’ (1910)).- Loyset Liédet, ‘enlumineur’, paid for executing 20 large miniatures at 18 shillings each: £18.- Yvonnet le Jeune, ‘clerc, escripvain’, paid for writing 38 quires at 16 shillings each: £30 8s.- other costs included: 24 large illuminated initials at 12 pence each (£1 4s); binding at 31 shillings (£1 7s); metal fittings on the binding at 14 shillings.- the total cost of the book was £51 19s.
Provenance: Philip the Good (b. 1396, d. 1467), Duke of Burgundy (from 1419), Count of Flanders, Artois and Franche Comté: the manuscript is recorded in the inventory of the ducal library made at Philip’s death (see Barrois, Bibliothèque Prototypographique (1830), no. 792; and Doutrepont, La littérature française (1909), pp. xxxix-xl).Maximilian I of Austria (b. 1459, d. 1519), Holy Roman Emperor (from 1493).
The manuscript is recorded in an inventory of his goods taken in Brussels in November 1487 as ‘ung autre grant volume couvert de cuir noir, à tout cloans et cincq boutons de léton sur chacun costé, historié et intitulé: La Vengeance de notre Seigneur Jésus-Crist; encomenchant ou second feuillet, Come Jésus-Crist leur Seigneur, et finissant ou derrenier, in secula seculorum. Amen’ (see Barrois, Bibliothèque Prototypographique (1830), p. 240, no. 1680).
The book is recorded in the inventory compiled by Viglius de Zuichem in 1577.René-François (b. 1652, d. 1719), Marquis de La Vieuville, courtier to Louis XIV, governor of Poitou. Perhaps acquired by Charles, Duc de La Vieuville (b. 1583, d. 1653), courtier to Louis XIII and Royal Surintendant des finances, exiled in Brussels from 1633 following his involvement with the Fronde. The manuscript was bound for René-François, Marquis de La Vieuville, c. 1707-1710 by the doreur of the royal binder Luc Antoine Boyet (for other books with similar bindings, see Three Renaissance Masterworks from Chatsworth, Sotheby’s Old Master and British Paintings Evening Sale, 5th December 2012, sale L12036, lot. 50, p. 20). Chrétien II de Lamoignon (b. 1676, d. 1729): paper book label ‘Bibliotheca Lamoniana Y66’ (glued to paste-down front endpaper) (in Add MS 89066/2, the second volume, this reads ‘Y67’); black ink stamp of an elaborate initial ‘L’ within a circle (f. 3r). The Lamoignon library was catalogued by Mérigot in Paris in 1791-92; listed as no. 168 in the manuscript section; the library was sold en bloc to Thomas Payne, bookseller (b. 1752, d. 1831), who exported it to London, and issued his own catalogue in February 1793; this manuscript is listed as no. 10637.John Ker (b. 1740, d. 1804), 3rd Duke of Roxburghe: his mark ‘M74’ (f. [ii] recto) (in Add MS 89066/2, the second volume, this reads ‘M75’); leather labels on the spine; his coat of arms between two club-wielding wildmen gilt-stamped on the front and rear covers; his library sold over 45 days in 1812: this manuscript was lot 3712, sold for £493 10s (470 guineas) to Thomas Payne, bookseller (b. 1752, d. 1831).William George Spencer Cavendish (b. 1790, d. 1858), 6th Duke of Devonshire: Chatsworth MS 48B.Allocated to the British Library by HM Government in lieu of Inheritance Tax under the Acceptance in Lieu (AIL) Scheme, which is administered by Arts Council England on behalf of the Department for Culture Media and Sport. The acquisition was supported by generous grants from the Art Fund (with a contribution from the Wolfson Foundation), the Friends of the British Library, International Partners in memory of Melvin R. Seiden, the Breslauer Bequest and the Harkstead Charitable Trust. Allocated to the British Library by HM Government in lieu of Inheritance Tax under the Acceptance in Lieu (AIL) Scheme, which is administered by Arts Council England on behalf of the Department for Culture Media and Sport. The acquisition was supported by generous grants from the Art Fund (with a contribution from the Wolfson Foundation), the Friends of the British Library, International Partners in memory of Melvin R. Seiden, the Breslauer Bequest and the Harkstead Charitable Trust.
Bibliography
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