Three Manuscripts of the Ovide moralisé

Author(s): Carla Lord

Source: The Art Bulletin, Vol. 57, No. 2 (Jun., 1975), pp. 161-175
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/3049367 .
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 I6I

Three Manuscriptsof the Ovide moralisd*

CarlaLord

The importance of the moralized versions of Ovid's lished plot and rubrics or captions have not yet been fully
Metamorphoses has long been recognized,1 although their explored.6 Cassone and desco painters of the earlier quattro-
repercussions in art have not yet been thoroughly sounded. cento and Venetian artists of the cinquecento may have allied
From Filarete's doors of St. Peter's to the Farnese Gallery, themselves closely with the illustrated book tradition, first
no one has resolved forevermore whether Renaissance and with illuminated manuscripts, then with engravings from
Baroque mythological imagery was meant to be "read" as printed books.7 They probably found neatly labeled illustra-
edifying or found purely delectable.2 It is evident, however, tions more useful models for a specific mythological theme
that with or without moralizations, Ovid's Metamorphoses than unidentifiable sarcophagi.8
was very popular thematic material.3 In addition to texts In the early quattrocento, interest in Ovidian tales was
such as Ovid, other Classical literary sources, medieval spurred by the illustrated Epitre d'Othia by Christine de
commentaries, and Renaissance handbooks, there are still Pisan.9 But when did the tradition of illustrated Ovid
other sources of mythological imagery. begin ? Unlike the Aeneid, we have no record of an illustrated
The visual arts offered three major models: (I) ancient Metamorphosesdating back to antiquity.10 Ovid's Metamor-
monuments, (2) pattern- or sketch-books, and (3) illustrated phoses, pure and unmoralized, was rarely illuminated in the
books. For the artist confronted with the task of depicting a Middle Ages or even the Renaissance.n1 It is still unknown
specific Classical myth, ancient monuments could be whether Arnulf of Orleans, John of Garland, or any of the
difficult models. Despite their rich array of authentic motifs, other twelfth- and thirteenth-century commentators on Ovid
antique reliefs could not always be decoded.4 Although the had their works illuminated.
existence and use of pattern- and sketchbooks have been Among the most famous and certainly the most prolix
ascertained,5 without subtitles they presented the same "translations" of the Metamorphosesinto the vernacular is
challenge as ancient monuments. The advantages for the that by the anonymous author of the Ovide moralis.'12
literate artist of an available illustrated book with embel- Conceived as a mythological prefiguration of the New

* The following institutions and individuals are to be thanked for their B. Degenhart and A. Schmitt, Corpusder italienischenZeichnungen,1300-
hospitality and cooperation: the Warburg Institute, London, and par- 1450, esp. Pt. I, Vol. I, xvff. and xxxI; S. Edmunds and A. Van Buren,
ticularly Dr. Jennifer Montagu, for making photographs of the Ovide "Playing Cards and Manuscripts ... ," Art Bulletin, LvI, 1974, I8ff.
moralisdavailable, and Mr. J. B. Trapp for his bibliographical prowess; 6 The designer of the HypnerotomachiaPolifili and Bernard Salomon are
the Cabinet des manuscrits, Bibliotheque nationale, Paris, of which the
among the few illustrators whose influence has been assessed, the first
conservator, M. Marcel Thomas, and the librarian, M. Frangois Avril, perhaps overly so.
made valuable suggestions; the Pierpont Morgan Library, New York, 7 For manuscripts see E. H. Gombrich, "Apollonio di Giovanni,"
and especially Mr. William Voelkle for his clarification of codicological
NormandForm, London, 1966, I3ff.; E. B. Cantelupe, "The Anonymous
problems; the staffs of the libraries of Rouen, the Arsenal in Paris, and of Venus in the Louvre," Art Bulletin, XLIV, 1962, 240; for
Triumph
Lyons, who will be further cited in the discussion of respective manu-
scripts; Dr. Rosalie B. Green, and Dr. Adelaide Bennett of the Princeton printed book illustration, M. D. Henkel, "Illustrierte Ausgaben von
Ovids Metamorphosen im xv. xvI. und xvii. Jahrhundert,"
Index of Christian Art; the Fine Arts Library, Columbia University;
and Professor Robert Branner, who in his last years was most encourag- Vortriigeder Bibliothek Warburg, 1926-27, Leipzig, 1930; E. Panofsky,
Problemsin Titian, MostlyIconographic,New York, 1969, i57ff.
ing.
N.B. A bibliography of frequently cited sources follows the footnotes. 8 Some of the preceding material has been covered at greater length in
1 E. Panofsky, Renaissanceand Renascencesin WesternArt, 2nd ed., Stock- my dissertation, "Some Ovidian Themes in Italian Renaissance Art,"
Columbia University, New York, 1968.
holm, 1965, 78ff., n. 2. (one of his most monumental and useful foot-
notes); Don Cameron Allen, MysteriouslyMeant, Baltimore and London, 9 See M. Meiss, FrenchPainting in the Time ofJean de Berry: The Limbourgs
and Their Contemporaries,New York, 1974, 23-41.
1970, 163-67, esp. 166, n. 7.
2 See my forthcoming article on Filarete's Doors to St. Peter's, Rome, 10 Ovid's name is not mentioned by K. Weitzmann, AncintBookIllumina-
Gazette des beaux-arts; the controversy between J. R. Martin and C. tion, Cambridge, Mass., 1959, or Illustrationsin Roll and Codex,2nd ed.,
Princeton, 1970.
Dempsey over a moralized interpretation of the Farnese Gallery is cited
by D. Posner, AnnibaleCarracci..., London, 1971, text, 93f., cat., 49; and 11Panofsky, Renaissanceand Renascences,84; for the few medieval illumi-
the still valid warning by Jean Seznec, The Survivalof the Pagan Gods, nations of the Metamorphoses, see my dissertation, Appendix in, and F.
trans., New York, 1953, 96ff. and 270ff. Munari, Catalogueof the MSS of Ovid's Metamorphoses(University of
with the WarburgInstitute,
London,Instituteof ClassicalStudiesin Conjunction
3 See A. Pigler, Barockthemen, ii, Budapest, 1956, and E. W. Bredt, Ovid:
DergotterVerwandlungen, Munich, n.d., passim.
BulletinSupplement,4), London, I957, and "Supplemento al catalogo dei
manoscritti delle Metamorfosi 'ovidiane,'" Rivistadefilologiae di istruzione
4 Michelangelo, Peruzzi, and Giulio Romano are among those artists classica, xcIII, Turin, 1965, 288-297.
who obviously understood the substance of ancient monuments, but even 12The various manuscripts were first collated and edited in extensoby C.
so experienced an antiquarian as Pirro Ligorio made mistakes in his
de Boer, "Ovide moralis', poeme du commencement du quatorzieme
interpretations of narrative reliefs. It was not until 1556 that Aldrovandi
pioneered in writing about Roman sarcophagi. See E. Mandowsky and siecle, publi6 d'apres tous les manuscrits connus," Verhandelingen der
C. Mitchell, Pirro Ligorio's Roman Antiquities (Studies of the Warburg KoninklijkeNederlandscheAkademievan Wetenschappen, Afd. Letterkunde,n.s.,
Institute,xxvii), London, 1963, 19, and H. Dessau, "R6mische Reliefs, xv, 1915, XXI, 1920, xxx, 1931; xxxvII, 1936, XLIII, 1938 (hereafter cited
beschrieben von Pirro Ligorio," SitzungsberichtederKoniglichPreussischen as De Boer). For a recent definition of medieval "translation" and a
Akademie der Wissenschaften zu Berlin, curiously garbled summary list of Ovide moralise'manuscripts, R. H.
ni, 1883, 1077-11 05
5 See R. W. Scheller, A Surveyof MedievalModel Books, Haarlem, 1963; Lucas, "Mediaeval French Translations of the Latin Classics to 1500,"
Speculum, XLV, 1970, 225, 242-244.
 162 THE ART BULLETIN

Testament, the Ovide moralise'is the answer to the thirteenth- The term jadis does not, unfortunately, indicate a fixed
century Bible moralise'eand indeed borrows from it.13 Ovid's time, but it must at least refer to the past. Twice the seat of
Metamorphosesis the main, though not exclusive source for Christianity is described as having been located formerly in
the mythologies, and its fifteen books were mercilessly re- Rome. The implication is that Rome has since been aban-
worked into a retelling, with endless interpolations of doned in favor of another capital. One can thus set for the
allegorical verses.14 Ovide moralisda terminuspost quem of 1309, when Clement V
In the fourteenth century the Ovide moralise'was already established the Papacy at Avignon.19
copiously illustrated in several editions. There were two Book xiv of the Ovide moralisddeserves to be studied more
main types of illumination: the type that evolved later in closely, for it contains in its allegories an intriguing capsule
the second half of the fourteenth century consists of a series history of the French kings and of the Church. It also con-
of Roman deities unrelated to the text at hand, but influ- tains a tribute to the Master Illuminator.
enced by a moralization of the 1340's by Pierre Bersuire.15 Nostre mestre enlumineor
The earlier type, composed of narrative imagery completely Qui pour enluminer le monde,
dependent on the text of the Ovidemoralisdin verse, is worthy Ou toute iniquitez habonde
of reconsideration. New evidence on its dating and its Et tous malz, deiissent au mains
master illuminator are among the concerns of this paper. Porter double lumiere aus mains;
De sainte predicacion
Et de bone operacion ... 20
Dating The Text There is some question as to whether the mestreenlumineor
The Ovide moralise'had been thought to date loosely from is meant to be interpreted figuratively, i.e., as Christ, the
the late thirteenth to the early fourteenth century.16 De Boer Illuminator shedding light, or more literally as the Master
fixed a more precise time, 1316 to 1328, on the grounds that Painter of the manuscript, who could be viewed as carrying
the work may have been commissioned by Jeanne de the double torch of illuminator in preaching and in prac-
Bourgogne, wife of Philippe V le Long.17 Whether that tice.21 In an era when lay illuminators are thought to have
Jeanne or any of the half-dozen queens named Jeanne in the virtually monopolized the field of book decoration, it would
first half of the century was the sponsor cannot at the be curious if the Ovide moralise'had been designed by a man
moment be proved, but the text of the Ovide moralise itself of the cloth.22 The identities of the Master Illuminator and
will support moving the date into the fourteenth century. indeed of the author himself have yet to be determined, and
Though unnoticed by the indefatigable editor, De Boer, an the localization of the scriptorium of the original manu-
obscure passage in Book xIv, explicating the story of script is also uncertain. De Boer used the Rouen manuscript
Canens, is significant: that will next be discussed as the Ur text.
Par tout le monde, a grant meschief...
Vendront &Rome, ob6jadisiere
Li chiez de la crestient6, Rouen MS0.4
Qui lors iert en grant orfent' ... The ancestor of all surviving illustrated Ovide moralisi
Mes com bien qu'ele soit mar nee, manuscripts is Rouen Bibliothbque municipale Ms o.4
Si remandra la renomee (I o44) .23Four hundred and fifty-three elegantly illuminated
Et dira I'on que Sainte Yglise images are gathered in fifty-four quires (I6, 115, III-XIII8,
Sieltjadis estre &Rome assise [italics added]18 xIv6, XV-LIII8, LIV3) with the text in two columns. The

13 De Boer, 1I915, 55. 19See G. Mollat, LesPapesd'Avignon(13o5-1378), 9th ed., Paris, 1949, i8.
14 RosemondTuve, Allegorical
Imagery..., Princeton, 1966, 300-316, 20 De Boer, 1938, 95, Book xIv, vv. 3362-3368.
best analyzes the poverty of imaginationand strainedparallelsin the 21 For the term enlumineoras Christ,
Ovidemoralisi. giver of light, see F. Godefroy,
Dictionnairede l'anciennelanguefranfaise . . ., III, Paris, 1884, 198; for
Panofsky, RenaissanceandRenascences,
15 n. 2 on 8of., Group D, specifically enlumineoras a professional manuscript illustrator, A. Tobler and E.
Paris fr. 373, Vat. reg. lat. 1480; Geneva fr. 176; London, Cotton Lommatzsch, AltfranziisischesW6rterbuch, III, Wiesbaden, 1954, 446f., and
Julius F. vii; see also J. Engels, ed., Petrus Berchorius, De formis F. Baron, "Enlumineurs, peintres et sculpteurs parisiens des XIIIe et
figurisque deorum(Werkmateriaal,Institut voorLaat Latijn), Utrecht, 1966, XIV siecles d'apres les r6les de la taille," Bulletin arclhologiquedu Comiti
I-XXIII. des TravauxHistoriqueset Scientifiques,Iv, 1968, 37-12 1.
xeFor an earlier dating, De Boer cites the earlier literature, 1915, 9-I I. 22H. Martin, La miniaturefranfaise du XIIIe au XVe siecle,Paris, 1923, I If.,
See alsoJ. Engels,Etudessurl'Ovidemoralise',
Groningen,1943-45,vii and 24; J. Porcher, L'enluminurefranfaise, Paris, 1959, 4Iff.; R. Branner,
46ff. "Manuscript Makers in Mid-Thirteenth Century Paris," Art Bulletin,
17Bersuire,ca. 1350,refersto the fablesthat were moralizedand trans- XLVIII, 1966, 67.
lated into Frenchrhymeperhapsby the commissionbut at least during 23J. Dupic, "Ovide moralis6, Ms. du XIVe Siecle," Pricis analytiquedes
the time of the former Queen Jeanne: "Non moveat tamen aliquem quod travauxde l'Academiedes Sciences,Belles-Lettreset Arts de Rouen. .. . 1945
dicunt aliqui fabulaspoetarumalias fuissemoralizatased ad instantiam
domineJohanne,quondamregineFrancie,dudumin rithmumgallicum 1950, Rouen, 1952, 67-77, well characterized the charm of the imagery
and discussed the problems of provenance, 7If. I am thankful to the
fuissetranslatas.. .," cited by C. Samaran,Histoirelittgraire
dela France, librarian of the Bibliotheque municipale, Rouen, M. Simonnet, for
xxxix, Paris, 1962,342. The terminus a quomay be 1328,with an item in courtesies extended to me, especially during the photography of the
the inventory of Clemence of Hungary: "grant roumans couvert de cuir
vermeildes fablesd'Ovide qui son ramen(e)eza moralit6de la mort de manuscript. The Rouen Ovidemoralisdwas also ascribed to the school of
Paris in the first third of the I4th century by J. Porcher in the exhibition
Jesus Christ"(De Boer,1915, Io; Engels,Etudes,46ff.). catalogue of the Bibliotheque nationale, Les manuscrits'a peinturesen
18De Boer,1938,96f., Book 3419-3440. FranceduXIIIe au XVIe siecle,Paris, 1955, 26, No. 40.
xrv,vvw.
 THREE MANUSCRIPTS OF THE "OVIDE 163
MORALISEi"

rubricated chapter headings are all collected in the first two armor and with gold highlights for the crowns of the gods,
quires. The miniatures are small, averaging fifty millimeters for some elaborate architectural framework, and for parts of
by sixty-five to seventy millimeters. Assuming that the the diapered or checkered background. Animals are sen-
Rouen manuscript is either the original Ovidemoralisdor very sitively rendered (Fig. 5). At their worst the miniatures are
close to it, I would agree with J. Dupic in comparing its style mechanically and carelessly executed, with haphazard
with that of early fourteenth-century manuscripts (though drawing of facial features, limbs, and extremities. Only two
it is now established that it could not date before the second quires show the work of a distinctly different hand. The
decade), and also in localizing the Rouen miniatures in the Temporary Master auditioned on folio 48 (Fig. 15) and the
school of Paris. complementary folio 55. He then completed two quires, ix
Francois Avril has further strengthened the argument for and x, fols. 64-79 (see Figs. 2, I I, 21). He finished only
fixing the origins of the Rouen codex in Paris between 1315 twenty-nine miniatures of very careful workmanship,
and I325. He has pointed to a group of manuscripts that neatly coiffing his figures and clothing them in drapery of
are possibly by the same hand. Of these the closest are the hairpin curves and dramatic shading. Drawing with a firm
Image du monde (Paris, Bibl. nat. fr. 574) and more signi- but not exaggerated line, he endowed his figures with rather
ficantly the Grandes Chroniquesde France (Paris, Bibl. nat. large, melancholy eyes and slightly open-mouthed expres-
fr. 2615) of which the unified pictorial cycle in question sions that are capable of some emotional diversity. He also
ends with the ascendence of Philip V (1316-1322), fol. 279v. finished hands and feet meticulously. The Temporary
Avril notes that the demand for such a genealogy with a Master approached the orbit of Jean Pucelle, whereas the
lavishly illustrated series of coronation scenes is more chief Master Illuminator of the Rouen Ovide moralisd
likely to have come from the court of Paris than elsewhere.24 remained strictly within the mode associated with the
For a work executed after 1310, the style of the Rouen Maitre Honore - a mode of flattened space and finesse of
Ovide moralise is retardataire. The decoration of the page is execution.
strictly traditional: the picture frames have a zigzag or bow
motif, fleuronni at the corners and centers of the borders;
and tendrils and ridges emerge from the gold, blue, and
white initials in a manner that recalls the V6gece Ms, Paris, Arsenal Ms5069
Dresden Oc 57 or the Meliacen Ms, Bibl. nat. fr. 1633, of the The Arsenal manuscript was executed more freely, if
I280's.25 The style of one master predominates in the Rouen somewhat more sloppily. With only 302 remaining images in
miniatures. At its best the imagery offers slender figures of thirty-three quires (plus one reconstructed), it has been
polite gesture and expression, clad in free-flowing mantles dated to the second quarter of the fourteenth century.26
and delicately shaded tunics. The predominant colors are Arranged in three columns per page, this recension has larg-
dark blues, reds, and mauves, with pseudo-gold for the er miniatures than does the Rouen Ms, usually eighty by

24 I am very much indebted to M. Avril for his guidance and for his Berlin, 1932, fig- 3, and below, n. 43. See also Henry Martin, Catalogue
permission to put his observations into print. A study of the Image du des manuscritsde la Bibliothiquede l'Arsenal, v, Paris, 1889, 35f. For a
mondeis in preparation by M. W. Evans. shadowy reproduction in reduced format, see the Collectionof Photo-
25 Graf G. Vitzthum, Die Pariser Miniaturmalereivon der Zeit des HI. graphicFacsimiles,ModernLanguageAssociation,326, 1936. I am grateful to
the Arsenal for allowing me to examine the manuscript closely and to
Ludwigzu Philippvon Valoisundihr Verhiiltniszur Malereiin Nordwesteuropa,
Mme. Muzerelle and M. Coq for X-raying the colophon to determine
Leipzig, 1907, 24ff. and pls. iii and Iv.
earlier signatures. Unfortunately the results were disappointing.
26W. Stechow, Apollo und Daphne (Studiender BibliothekWarburg,xxm),
164 THE ART BULLETIN

eighty millimeters. It also poses more codicological reverse (see Figs. 3-4, 5-6, 7-8, I7-18). Even then the
problems.27 differences are remarkable, simply because of the enlarged
There is a uniformity of style throughout the Arsenal scale of the Arsenal miniatures. Magnified by about one
manuscript that suggests the work of a speedy, slapdash third, many of the Arsenal miniatures have a squared
designer who had a certain respect for the original Ovide background (Figs. 8, 12, 14, I6, 20) that suggests not only a
moralisebut not to the point of slavish copying. His coloring decorative foil, but the possible use of a grid system for
is of a more diluted gouache than that found at Rouen, with transfer.28 Major figures were blown up from the older
more reds and violets, and a greater use of pseudo-gold. manuscript while complementary figures vanished (see
Only about fifty of the Arsenal scenes are very close visually Figs. 9-1o, 11-12). The few continuous narrative scenes in
to those of Rouen, although they sometime quote Rouen in Rouen have been sawed in half (Fig. I and Stechow, fig. 3:

27Arsenal MS5069. The quires are gathered as follows: [18 lacks]; II-vIII8

F
supplied here the themes of Bellerophon killing Chimaera (fol. 126) and
(catchwords); ix6 (cw; lacks 2 folios); x-xi7 (no cw, each lacks last folio) ; an allegory of Atlas (fol. I26v).
xII8 (cw, folios 79 and 82 are reversed); xIII-xv8 (cw); xvI6 (cw); xvII- QuireX
XXV8(cw); XXVI4(CW);XXVII1(CW);XXVIII-XXXIII8 (CW);XXXIV8(in- -I~---------
cluding 3 flyleaves).
Method of reconstruction: The missing miniatures can be reconstructed
from the more complete manuscript at Rouen, and can be further veri-
fied by noting the system in which the Arsenal manuscript itself was
organized. With sometimes two or three images per leaf, each miniature
is placed within the text column of fifty lines. Each image is vividly an-
nounced by the rubrication: a large bright red Roman numeral at the
top of its column and an explanatory red heading just above the picture
(although the system occasionally breaks down after fol. 165). Thus if the
sequence of large bright red Roman numerals is interrupted, one suspects 63 64 65 66 67 68 69
a loss. If the text, as known from the Rouen manuscript, is missing, and (no cw)
especially if between 250 and three hundred lines are gone, one
may postulate a missing folio. If the maximum three hundred lincs are The hypothesized leaf after fol. 69 (which has no catchword) should
lacking (fifty lines per column multiplied by six [columns]), there would have contained the missing sequence of red notations: cxxxv, cxxxvi,
have been no images on the lost leaf; but if fewer verses are missing, it and cxxxvii. From Rouen one may derive the scenes on fol. 141:
Perseus showing the head of Medusa to Phineus, and fol. I4Iv: Pallas
may be inferred that the space was originally occupied by one or more
and the Muses; plus a choice of religious themes, either the Trinity
images. Then one would have to calculate further that each miniature
takes the space of six or seven lines worth of column, and three or four (fol. 138) or the Last Judgment (fol. 1'4), all adorning the Rouen text,
lines are allotted for the red heading. v, 1537-1770, which lacks in the Arsenal Ms.
In the Arsenal manuscript it is evident that the whole first gathering QuireXI
of eight folios, along with eighteen images, has vanished, since the large
bright red numerical notation at the top of the first column of the codex
starts at xix and the text begins in the middle of the first book of the
Ovidemoralise(I, 1971).
Reconstruction of thirty-eight images missing in Arsenal Ms 5069,
QuireI:
In addition to the seven themes in common listed in the Appendix
(Rouen, fols. 19-24, and Lyons, fols. 6v-Iov), the Arsenal Master is
likely to have adapted the remaining themes (reconstructed from the
Rouen Ms) as follows: an author portrait (Rouen, fol. I6v or I7v), the
Golden Age (fol. i9), the Iron Age Battles and Saturn Exiled to Lom- 70 71 72 73 74 75 76
bardy (fol. 20), Jupiter sets out to rule the world (fol. 24v) and/or the (no cw)
Armies of Jupiter conquering the world (fol. 25); and a multiple choice The lost folio after 76, including text gap v, 3720-3935, would have
of five or six from the following biblical or allegorical scenes from had four miniatures, along with the red enumeration, cxLIII, cxLIv,
Rouen: God creating the Elements (fol. I7v), God creating the Winds
CXLv,CXLvI.Rouen may have furnished ideas such as Triptolemus and
(fol. I7v), God creating the Animals (fol. 18), God creating Adam Ceres (fol. 53v), Famine in the Land (fol. 154), and the Pierides chang-
(fol. i8), Allegory of Vulcan (2ov), Eden before the Fall (fol. 21), Tilling ing into Birds (fol. 154), plus the option of either a saint preaching
of the land after the Fall (fol. 21 v), Moses Giving the Law (fol. 25), or the
(fol. 154) or the Jaws of Hell (fol. I54v)-
Massacre of the Innocents (fol. 25v)
Finally, scattered throughout the manuscript are eight images that
QuireIX had been clipped prior to the publication of the Arsenal catalogue in
1889 (see Martin, 95f.). The clipped images are reconstructed as follows:
fol. 8v: Juno and the Peacock (no equivalent in Rouen) but the rubric
above its placement at I, 3741 remains: "Ce devise comment Juno la
deese mist les yex Argus ... en la queue de son paon . ."; fol. 139, x,
Ir I 2598, Allegory of the birth of Adonis (see Rouen, fol. 26Iv); fol. 143, x,
3701, Allegory of Venus and Adonis (See Rouen, fol. 268); fol. I68v,
XII, 2045, Banquet for Achilles' victory over Cycnus (see Rouen, fol. 308);
fol, 172, xII, 3035, Battle of Lapiths and Centaurs recounted by Nestor
(see Rouen 3I3v); fol. i85, xIII, 1639, Agamemnon arrives in Troy (see
Rouen, fol. 334); fol. i86, xiii, 1815, Death of Hecuba's Daughter (no
57 58 59 60 61 62 (cw) equivalent in Rouen, but the rubric survives): "Comment Ecuba manie
Between fols. 58 and 59 the text, IV, 5353-5592, is lost. Also missing duel pour sa fille quelle trova morte"; fol. 186v, xIII, 2029, Hecuba kills
are the important red headings for rubrics and miniatures: cxII, cxIII, Polymester (see Rouen, fol. 336).
and cxIv. For the text the three corresponding Rouen miniatures are 28 For the ancient use of the grid system for transfer, see Scheller,
fol. 121: the war between Cadmus and Bacchus; fol. 12Iv: Acrisius Surveyof MedievalModel Books,4. The squared-off outline is also the basis
locking Danae in the Tower and fol. I122: Allegory of the birth of Perseus. of the medieval checkerboard or diaper pattern (see H. Lehmann-Haupt,
Between folios 60 and 61, the text, Iv, 6073-6328, lacks. Also gone are The GottingenModel Book, Columbia, Mo., 1972, facs. 6v-9v and Eng.
the red numbers cxx and cxxi. The Rouen manuscript may have trans., 70ff.).
 THREE MANUSCRIPTS OF THE MORALISI" 165
"OVIDE

x Apollo and Daphne. Rouen, Bibl. mun. Ms0.4, fol. 33v 2 Pallas at the House of Envy. Rouen, Bibl. mun. Ms0.4,
fol. 68

3 Deucalion and Pyrrha. Rouen, Bibl. mun. Ms0.4,

fol. 28 (at exact size inside frame - 64mm wide)

4 DeucalionandPyrrha.Paris, Arsenal Ms5069, fol. Iv (photo:

Warburg Institute) (at exact size inside frame - 8omm wide)

5 Mercury, Argus, and lo. Rouen, Bibl. mun. Ms0.4, fol. 38 6 Mercury,Argus,andlo. Paris, Arsenal Ms
5069, fol. 7 (photo: Warburg Institute)
I66 THE ART BULLETIN

Apollo's pursuit of Daphne has been cut). The effect in the (3) What puts the Ovide moralisdin a class by itself is, after
Arsenal version is one of large close-ups both inflated as all, the allegories.36 In at least ten instances the imagery is too
well as conflated. Flamboyant architectural frameworks and close for coincidence,37 and it ineluctably binds the Arsenal
arcatures have been reduced (Figs. 13-14), and so have Master to the Rouen manuscript or both to a mutual lost
landscapes (Figs. 7-8). To convey the comparative scale of archetype. The miniatures are placed at, or almost at the
the Rouen and Arsenal miniatures, Figures 3 and 4 are here same verse in all cases.38 Capturing the flavor of the allegor-
reproduced in their actual sizes. ical imagery is, for example, the allegory of the Judgment of
The Arsenal Master has taken other liberties with the Paris (Figs. 17 and 18), in which the principles of the
earlier images, if not the text, and is more creative in depict- contest personify three different ways of life. Pallas reading
ing metamorphoses, one of Ovid's greatest challenges to the denotes the Contemplative Life, Juno spinning the Active
artist.29 Freely inventing a variety of suitable hybrids, the Life, and Venus looking into a mirror the Voluptuous
Arsenal Master was possibly more influenced by Northern Life.39 In the Ovide moralisd the Contemplative Life is
grotesques30 than the Rouen Master, who mainly confines preferred.40 Typically, the Arsenal Master reversed the
his hybrids to the familiar sirens and centaurs already composition and converted Pallas into a bearded scholar.
popularized in Romanesque art throughout France (see Given a more obscure myth and allegory, characteristic of
Figs. 15-16).31 the curious harnessing of Ovid, the story of Alpheus and
The bulk of the remaining 250 scenes in the Arsenal Arethusa as they turn into a stream becomes an allegory of
manuscript are not quoted directly from Rouen. The Penance: it is God who cleanses the true repentant of all
compositions are unrelated or a different iconographic filth, of sin by ablution of the soul through confession.41
moment has been chosen, even for the same verses. The The text does not call specifically for a personification of the
obvious questions arise: (i) Did the Arsenal Master freely sacrament, but the Arsenal Master has again followed the
invent the majority of scenes? (2) Did he borrow from other pictorial model (Fig. 19-20), varying it by sparing the rod.
illustrated cycles? (3) Did he borrow some scenes from (4) Although nearly a dozen allegorical scenes go beyond
Rouen and other sources and fabricate the rest ? (4) Is there the text to establish a visual bond between the Arsenal
a lost common archetype of some 6oo to 650 images upon manuscript and the type of imagery that appears in Rouen,
which the Rouen, Arsenal, and Lyons manuscripts depend ? there is always the possibility of a missing archetype. Again
A perfect solution is not about to be offered, but the using allegories as a starting point, however, one can see the
questions will be addressed in order: divergence between the Arsenal and Rouen types: almost
(i) The Arsenal Master already freely varied the compo- as many times that both artists place their images at the
sitions that are close to Rouen, and he probably improvized same verse each makes a different iconographic choice.
upon whatever model he used. In the allegory of Europa, both illustrated II, 5085, but
(2) The cycles that are most disparate betweeen the Arsenal the Rouen Master chose an Ascension (Fig. 21), which
and Rouen manuscripts are the ones that appear in other fits II, 5131, whereas the Arsenal illustrator chose Christ
literature,32 some of which had certainly already been carrying the Cross (Fig. 22), which suits II, 5126. Are
illustrated, including the Trojan cycle (Histoire universelle, we then dealing with a pyramid of scenes from the lost
Romande Troie),33Jason and Medea (Heroides,Romande Troie), archetype from which both the Rouen and Arsenal artists
Mars and Venus (Roman de la Rose),34 Philomela (Chritien may have chipped away in a lopsided manner, Rouen reduc-
de Troyes, Philomena), and possibly a lost Metamorphosesof ing it by a third, and the Arsenal by almost half? The
Ovid which will not be speculated upon here.35 question cannot at this moment be resolved, at least to my

29 B. Pace, "Metamorfosi figurate," Bollettinod'arte,xxvii, 1934, 487-507, Buchthal, MiniaturePainting in the Latin Kingdomof Jerusalem, Oxford,
discusses the difficulty of converting Ovid's narratives on transformations 1957, 68ff., and Historia Troiana . . . (Studies of the WarburgInstitute,
into art and stresses the rarity of such hybrids in ancient art. xxxi), London, 1971, chap. i.
30 See L. M. C. Randall, Images in the Margins of Gothic Manuscripts, 34 See A. Kuhn, "Die Illustration des Rosenromans," Jahrbuch der
Berkeley and Los Angeles, 1966, 9f., also index, s.v. Hybrid. Hybrids in kunsthistorischen Sammlungendes allerh6chsten Kaiserhauses,xxxi, I912, 6off.
margins may or may not always be relevant to the text (p. I9f.), whereas 35 See above, n. Io.
the miniatures of the Ovidemoralise' are dictated by the text, and hybrids
do not stray into the borders. Randall, 12ff., aptly comments that secular 36 For allegories from the Ovide moralise,see above, n. 14; E. Male,
texts were usually more restrained in marginal illustration than psalters, L'art religieux au XIIPe sikcle, 5th ed., Paris, 1923, 342f.; and I. Lavin,
breviaries, and other theological texts. "Cephalus and Procris, Transformations of an Ovidian Myth," Journal
of the WarburgandCourtauldInstitutes,xvII, i954, 26Iff. and 276.
31 See J. Adh6mar, Influencesantiquesdans l'art du moyendgefranfais . ..
(Studiesof the WarburgInstitute,vii), London, 1939, 179-185, 266-269, 37 See Appendix for the corresponding allegorical images at Rouen,
fols. 61, 96v, I20, 145, I53, 209v, 248, 274, 275v, 285, and 293-
287f., and J. BaltrusAitis, Re'veilset prodiges: le gothiquefantastique,Paris,
38 Ibid.
1960, 55-6I.
The idea of trees in anthropomorphosis may derive from earlier 39 De Boer, 1936, 176, Bk. xI, 2421ff. See I. Ragusa and R. Green, ed. and
biblical illustrations, e.g., see A. Watson, The Early Iconography of the Tree trans., Meditationson theLife of Christ,Princeton, 1961, 246-90.
of Jesse, Oxford, 1934, pl. xvii. Another possible source for the trans- 40 For the survival of the Active and Contemplative Lives and other such
figured tree-faces is that of the voices from the forest in Judges 9: 7-15
antitheses, see E. Panofsky, Hercules am Scheidewege. . (Studien der
(see R. Haussherr, Bible moraliseeFacsimile... Vindobonensis 2554, Graz
and Paris, 1973, commentary, 54; and pl. 73 [fol. 6ov]). The latter two Bibliothek Warburg,xviii), Leipzig and Berlin, 1930; idem, Studies in
references were kindly called to my attention by Dr. Adelheid Heimann. Iconology,2nd ed., New York and Evanston, 1962, esp. 189-209; E.
32 De Boer provides alternative sources to the Metamorphoses Wind, Pagan Mysteriesin the Renaissance,London, 1958, 78; and J. R.
in the preface
Martin, TheFarneseGallery,Princeton, 1965, 24.
to each book of the Ovidemoralise. 41 De Boer, 1920, 263, Bk. v, 3648-3683-
33 For a clarification of the medieval sources on the Trojan cycle, see H.
 THREE MANUSCRIPTS OF THE
"OVIDE MORALIS" I167

andSalmacis.Rouen, Bibl. mun.

7 Hermaphroditus
MS0.4, fol. I02V

8 HermaphroditusandSalmacis.Paris,
Arsenal MS5069, fol. 47 (photo: Warburg
Institute)

g Ninus and Semiramis.Rouen, Bibl. mun. MS0.4, xo NinusandSemiramis.Paris, Arsenal MS

fol. 31 5069, fol. 2v (photo: Warburg Institute)

xi Jupiter and Europa. Rouen, Bibl. mun. MS0.4, fol. 7 I

12 JupiterandEuropa.Paris, Arsenal MS
5069, fol. 27 (photo: Warburg Institute)
168 THE ART BULLETIN

13 PhaethonbeforeSol. Rouen, Bibl. mun. MS 14 PhaethonbeforeSol. Paris, Arsenal MS

0.4, fol. 42 5069, fol. 9v (photo: Warburg Institute)

15 Heliades. Rouen, Bibl. mun. Ms0.4, fol. 48v

x6 Heliades.Paris, Arsenal Ms5069, fol. 13
(photo: Warburg Institute)

satisfaction. It is almost unnecessary to postulate, however, worked roughly from a model but who then, being fairly
a single monster archetype or a multiple set of literary competent and experienced, churned out an enormous
sources or even a wild burst of creativity for either the Rouen number of images in a quick, but skilled routine, exhibit-
or the Arsenal designer. Obviously some kind of illustrated ing in his speed a few unconscious or sometimes deliberate
Ovide moralisi was available, at least to the Arsenal Master, individual idiosyncrasies.
and served him as a rough guide. For the most part, how- Boinet and more recently Bucher have already included
ever, the inspiration of stereotypes prevails for the Rouen and the Arsenal Ovide moralisi within a group of other hastily
Arsenal miniatures. The themes are approached as inter- executed manuscripts whose subject matter spans the
changeable and the range of scenes is small, blurring the spheres of sacred and secular.43 One can postulate the
barrier between Classical and biblical imagery. existence of a very successful atelier, mass-producing copies
A stockpile or sketchbook of such scenes might have been of previously illustrated literature at a speed not matched
kept in the atelier.42 It is also possible that the task of filling until the advent of printing.44 The international features of
300 to 450 small blank spaces went to a designer who these illustrations have been noted, although the arguments

42 See above, n. 5, and K. Morand, Jean Pucelle,Oxford, I962, 23. E. H. 43A. Boinet, Les manuscritshipeinturesde la BibliothequeSainte-Genevievede
Gombrich, Norm and Form, I8ff., suggests the continued use of ready- de Manuscritsa'Peintures,
Paris (Bulletindela Socie'tiFranaise de Reproductions
made formulae in the Renaissance. For a much earlier use of such a v), Paris, 1921, 73ff., and F. Bucher, The PamplonaBibles, New Haven
repertory in Byzantine art, E. Kitzinger, The Mosaics of Monreale, and London, 1970, text, 73ff-
Palermo, 1960, 84, postulates that artists, after repeated exercise, ab- 44 See Bucher, 65ff.
sorbed the current motifs, so that there was no longer recourse to a
pattern-book.
 THREE MANUSCRIPTS OF THE "OVIDE MORALISE" I169

17 Allegory- Active, Contemplative,VoluptuousLife. Rouen, Bibl. x8 Allegory- Active, Contemplative,VoluptuousLife.

mun. MS0.4, fol. 285 Paris, Arsenal MS5069, fol. 153v (photo: Warburg
Institute)

xg Allegory- Penance, Rouen, Bibl. mun. MS0.4, fol. 153 20 Allegory - Penance. Paris, Arsenal MS5069,
fol. 76v (photo: Warburg Institute)

for localizing the workshop in Paris have not yet been of the manuscript, was devoted to allegorical imagery. The
superseded.45 surviving miniatures from the Arsenal Ovide moralise'show a
Some of the formulae found in the manuscripts - Ad- proportional lessening of enthusiasm for religious themes:
ventus scenes, dialogues, chivalrous combat, ships at sea, about thirty or one tenth of the images are of a devout
love scenes, Nativities - could be exploited for any purpose. nature. Finally, in the last manuscript to be surveyed very
The stoning of a martyr, whether Orpheus or St. Stephen, briefly here, the Lyons MS742 Ovide moralisg,only two of the
could be accomplished with the same gory despatch, and images, the Creation of the World, fol. 4, and the Tower of
sometimes the pictorial parallels were intentional. Babel, fol. Io, can testify to piety.
Just how seriously the moralizations were taken in the
fourteenth century is perhaps as open to debate as how the
mythologies of the Renaissance and Baroque were viewed. Lyons Ms742
Those who discount the religious fervor of artists or patrons The best-known of the Ovide moralise manuscripts is Lyons
in later times might cull relevant statistics from the Ovide Bibliotheque municipale MS 742 of the later fourteenth-
moralisdof the fourteenth century. In the earliest manuscript century, which belonged to Jean de Berry.46 The manu-
at Rouen approximately ninety images, or almost one fifth script should be examined codicologically. Reduced to
45Bucher,73f.;Boinet,74f. The LimbourgBrothers,1974, 24, and figs. 78, 92. Seznec, Survivalof the
46 Panofsky, Renaissanceand Renascencesin Western Pagan Gods, 1o9, and figs. 33-36, captured the enchanting and refreshing
Art, 8o, n. 2, and figs.
49-50, dated the Lyons manuscript to the third quarter of the 14th quality of the Lyons manucript, although one could still argue that it
century. M. Meiss, FrenchPainting in the Time of Jean de Berry: The Late is the text and not the pictures alone that contains a lesson or sermon. I
Fourteenth
Centuryand the Patronageof the Duke, 2nd ed., London and New am thankful to Mme. Rocher-Jauneau and M. Guy Parquez for the
York, 1969, 311, placed the Lyons codex ca. 1390 and then ca. 1385 in courtesies they extended to me in the Bibliotheque municipale in Lyons.
I70 THE ART BULLETIN

21 Allegory - Ascension.Rouen, Bibl. mun. MS0.4, fol. 72 22 Allegory - ChristCarryingthe Cross.

Paris, Arsenal MS5069, fol. 27v (photo:
Warburg Institute)

fifty-seven images, it is charmingly designed in light pastel

tones with an occasional dash of orange. The diapered Bibliography of Frequently Cited
foil has vanished in favor of spacious landscape vistas, Sources
occasionally divided into two or three grounds, with stylish
Adh6mar, J., Influences antiques dans l'art du moyen dge franfais
figures of somewhat vapid expression. Of the three works (Studies of the WarburgInstitute, vii), London, 1939
discussed, the Lyons recension selects what will be the most Boer, C. de, "Ovidemoralisd,poeme du commencement du quator-
popular themes of the future.47 zieme siecle, publi6 d'apres tous les manuscritsconnus," Verhan-
The threads of Ovidian narration continued to unwind delingen der Koninklijke Nederlandsche Akademie van Wetenschappen,
Afd. Letterkunde,n. s., xv, 1915, xxI, 1920, xxx, I931, xxxvII,
through the manuscripts of Pierre Bersuire and Christine de
1936, XLIII, 1938
Pisan around the beginning of the quattrocento before they
Engels, J., Etudes sur l'Ovide moralisd,Groningen, 1943-45
were adapted by cassonepainters and later monumental art. Gombrich, E. H., "Apollonio di Giovanni," NormandForm,London,
The delightful Gothic quality of the Ovide moralisdillumin- 1966 (Ist printed in WarburgJournal, xvIIi, 1955, 16-34)
ations, with their ancient deities masquerading as chival- Meiss, M., French Painting in the Time of Jean de Berry: The Lim-
rous knights and well-bred damsels, has been eloquently bourgsand Their Contemporaries,New York, 1974
Panofsky, E., Renaissance and Renascences in Western Art, 2nd ed.,
recorded. At the same time the strictly contemporary
Stockholm, 1965
costuming of the miniatures, gracefully disjoined from the Scheller, R. W., A Surveyof Medieval Model Books, Haarlem, 1963
proper Classical mode, has been analyzed somewhat super- Seznec, J., The Survival of the Pagan Gods, Trans., New York, 1953
ciliously.48 In a more positive light, it is just these French Stechow, W., Apollo und Daphne (Studien der Bibliothek Warburg,
illustrations that during the course of the fourteenth century xxIII), Berlin, 1932
Tuve, R., Allegorical Imagery; SomeMediaeval Books and TheirPosterity,
kept the Ovidian tradition visually alive. It is conceivable Princeton, 1966
that they had as much impact on later mythologies as the
rediscovered ruins of Rome.49

Kean College of New Jersey

47 A sub-group was added to the Lyons manuscript tradition, Paris, romances and their influence on Italy have been noted in passing by
Bibl. nat. Ms fr. 871, placed by Panofsky into Group A, Renaissanceand "early" Panofsky and F. Saxl in their famous "Classical Mythology in
Renascences, 8o, n. 2, and discussed by O. Raggio, "The Myth of Prome- Mediaeval Art," MetropolitanMuseum Studies, Iv, 1932-33, 259; and
theus," Journal of the Warburgand CourtauldInstitutes,xxI, 1958, 49, and stressed, with particular reference to northern Italian courts, by J. von
pl. 6e. British Museum Add. Ms10324 has been found to contain a grisaille Schlosser, "Die Werkstatt der Embriachi in Venedig," Jahrbuch der
frontispiece that is identical to that of Bibl. nat. fr. 871, except that it kunsthistorischenSammlungendes allerhochstenKaiserhauses,xx, 1899, 273f.;
lacks a unicorn and two tituli. A. Warburg, GesammelteSchriften,Leipzig and Berlin, 1932, 1, 182; F.
48 For Panofsky's principle of disjunction, see Renaissanceand Renascences, Antal, FlorentinePainting and Its Social Background,London, 1947, 369;
Gombrich, NormandForm,20; Meiss, TheLimbourgs,22f.
84ff.; see also Adh6mar, Influencesantiquesdansl'art du moyendgefranfais,
36, 12ff., 292ff., and Seznec, Survivalof the Pagan Gods, 149ff., 184ff., 49 This article forms part of a larger study that I am preparing on the
esp. 195. On the other hand, the pervasiveness of French illustrated manuscripts of the Ovidemoralist.
 THREE MANUSCRIPTS OF THE "OVIDE MORALISJE" 171

Appendix
An abridged concordance of only those themes shared by two or
three of the narrative manuscripts is offered below, arranged as
follows: (I) modern folio numbering; (2) subject; (3) placement of
image in manuscript before the appropriate verses in the Ovide
moralisd, as enumerated by De Boer (unless otherwise listed as
after); (4) "See Arsenal, Rouen or Lyons" is indicated only when
the compositions are close; otherwise only the choice of subject is
comparable; (5) illustrations when available.

Rouen MS 0.4 Arsenal MS 5069 Lyons MS 742

xg, Cybele deceiving Saturn, I, 515 6v, Cybele deceiving Saturn, I, 587
21, Jupiter enthroned, I, 827 8, Jupiter enthroned, I, 827 (Seznec,
Fig. 33)
22, The first wars, I, 937 8v, The first wars, After I, 922
22, The first seafarers, I, 951 8v, The first seafarers, I, 951
22v, Combat of Titans, I, io65 Combat of Titans, I, io65
9v,
23, Jupiter triumphs over Titans, I, I I1oo, 9v, Jupiter triumphs over Titans, I, I Ioo
(See Lyons) (See Rouen)
Council of gods, I, 1271 (See Lyons)
24, iov, Council of gods, I, 1234 (See Rouen)
27, Deucalion and Pyrrha in boat, I, Deucalion and Pyrrha in boat, I, 14, Deucalion and Pyrrha in boat,
After I, 1788 1971 (See Lyons) After I, 2024 (See Arsenal)
28, Deucalion and Pyrrha throwing stones, Iv, Deucalion and Pyrrha throwing
I, I945 (Fig. 3) stones, I, 2 I I7 (Fig. 4)
31, Ninus and Semiramis worshipping 2v, Ninus and Semiramis worshipping
idol Belus, I, 2453 (Fig. 9) idol Belus, I, 2453 (Fig. Io)
31v, Sodomite Wars, I, 2542 (See Arsenal) 3, Sodomite Wars, I, 2542 (See Rouen)
32, Apollo and Python, I, 2647 (See 3v, Apollo and Python, I, 2647 (See x6v, Apollo and Python, I, 2647 (See
Arsenal and Lyons) Rouen and Lyons) Rouen and Arsenal)
33v, Apollo with Daphne as laurel tree, 4, Apollo and Daphne as partly
I, 2861 (Fig. I) transformed tree, I, 2861 (Stechow,
Fig. 3)
37v, Juno asks Jupiter for gift of cow (Io) 6, Juno asks Jupiter for gift of cow (Io) 2or, Juno asks Jupiter for gift of cow (Io),
I, 3513 (See Arsenal and Lyons) I, 3408 (See Rouen and Lyons) I, 3526 (See Rouen and Arsenal)
38, Io, Mercury and Argus, I, 3653 (See 7, Io, Mercury and Argus, I, 3631 (See 2Iv, Mercury and Argus I, 3740 (Seznec,
Arsenal) (Fig. 5) Rouen) (Fig. 6) Fig. 34)
38v, Mercury slays Argus, After I, 3737 7, Mercury slays Argus, I, 3677 (See
(See Arsenal) Rouen)
42, Phaethon before Sol, I, 426I 9v, Phaethon before Sol, ii, I 23v, Phaethon before Sol, ii, I
(See Arsenal) (Fig. i3) (See Rouen) (Fig. 14)
43, Ride of Phaethon, After II, 206 Io, Ride of Phaethon, II, 207
45v, Fall of Phaethon, II, 581 (See Arsenal) iiv, Fall of Phaethon, II, 6o0 (See Rouen)
48v, Clymene with Heliades as trees and 13, Clymene with Heliades as hybrid
Cycnus, II, II 19 (Fig. 15) trees, without Cycnus, ii, 1013
(Fig. I6)
50, Jupiter and Callisto; Diana, Callisto 14v, Jupiter and Callisto, II, 1365 30, Diana, Callisto and Nymphs, ii, 1583
and Nymphs, ii, 1391 (Dupic, (Seznec, Fig. 35)
facing p. 168)
53v, Juno asks clothed sea gods about x6v, Juno asks nude sea gods about
Callisto, H, 2007 (See Arsenal) Callisto, 11,2007 (See Rouen)
54v, Juno riding chariot, 11, 2121 17, Juno riding chariot, 11, 212 I
(See Arsenal) (See Rouen)
56, Apollo kills Coronis, I, 2382 x8, Apollo kills Coronis, 11, 2283 32v, Apollo kills Coronis, 11, 2359
57v, Erichthonius given to daughters of 19, Erichthonius given to daughters of
Cecrops to guard, 11, 2623 Cecrops to guard, 1, 2623
(See Arsenal) (See Rouen)
6x, Allegory - Sage reading, 11,3204 21v, Sage reading, 11,3204 (See Rouen)
(See Arsenal)
66, Marriage of Mercury and Herse, ii, 23, Marriage of Herse and Mercury, ii,
4077 3777
68, Pallas at the house of Envy, 11,4414 23v, Pallas at the house of Envy, 11,3941
(Fig. 2)
69, Murder by Danaids, 11,4567 25v, Murder by Danaids, 11,4567
(See Arsenal) (See Rouen)
71, Jupiter and Europa, 4937 (Fig. I I) 27, Jupiter and Europa, 4937 (Fig. 12) 40, Jupiter and Europa, 5085
72v, Cadmus sows teeth ofu,dragon, uI, I 28, Cadmus slays dragon,u,uI, I 41, Cadmus slays dragonu, and sows its
teeth, III, 121
74v, Diana and Actaeon as stag, III, 337 29, Diana and Actaeon as stag, III, 337
(See Arsenal) (See Rouen)
172 THE ART BULLETIN

Rouen MS 0.4 Arsenal MS 5069 Lyons MS 742

76v, Jupiter and Semele, III, 701I 29v, Jupiter and Semele, III, 549
(See Arsenal) (See Rouen)
77v, Semele and Nurse, mI,856 30v, Semele and Nurse, III,701
78v, Juno, Jupiter question Tiresias, IIm, 31v, Juno, Jupiter question Tiresias, III,
999 999
8Iv, Narcissus and Echo, III, 1547 33, Narcissus and Echo, III, 1381 48, Narcissus and Echo, III, 1574
84, Worship of Bacchus, III, 1965 35, Worship of Bacchus, III, 1965
85v, Pentheus and Acestes, III, 2201 36, Pentheus and Acestes, III, 2200
87, Pentheus beaten to death, III, 2497 37, Pentheus beaten to death,
II, 2497
88, Bacchus and sailors thrown overboard, 37v, Bacchus and sailors thrown overboard,
mI, 2688 After
III, 2687
89v, Worship of Bacchus, Iv, I 38v, Worship of Bacchus, Iv, 13
89v, Alcithoi and sisters refuse to 54, Alcithoie and sisters refuse to
worship Bacchus, IV, 14 worship Bacchus, Iv, I
go0v, Naiads changing men into fish, IV, 145 39, Naiads changing men into fish, Iv, 145
91, Pyramus and Thisbe and parents, Iv, 4o, Pyramus and Thisbe with parents, Iv, 55v, Pyramus and Thisbe, Iv, 229
229 (See Arsenal) 303 (See Rouen)
92, Pyramus alone, Iv, 375 (See Arsenal) 40, Pyramus alone, Iv, 375 (See Rouen)
92v, Thisbe alone, IV, 446 4ov, Thisbe alone, Iv, 446
93, Pyramus and Thisbe talk through 4Iv, Pyramus and Thisbe talk through
chink in wall, IV, 534, and repeat Iv, chink in wall, Iv, 733
733, fol. 94
94v, Lion and Thisbe, Iv, 820 42, Lion and Thisbe, Iv, 820 59v, Lion, Thisbe and Pyramus, Iv, 91 o
95, Pyramus kills self, Iv, 930 42, Pyramus kills self, Iv, 91o
96v, Thisbe kills self, Iv, I 158 42v, Thisbe kills self, Iv, 1023
96v, Allegory - Christian Martyrs, Iv, 43, Allegory - Christian Martyrs, Iv,
I 178 (See Arsenal) I 170 (See Rouen)
97, Mars and Venus shown by Vulcan to 43v, Mars and Venus discovered by
other gods, Iv, 1268 Vulcan, Iv, 1268
97v, Helios and Leucothoe, IV, 1342 44, Helios and Leucothoe Iv, 1342
IoI, The daughters of Minyas weaving, 46, The daughters of Minyas weaving,
After Iv, 1923 IV, 1924
Ioiv, Hermaphroditus and Salmacis, Iv, 46v, Hermaphroditus and Salmacis, Iv,
1997 (See Arsenal) 1998 (See Rouen)
102v, Hermaphroditus and Salmacis as one, 47v, Hermaphroditus and Salmacis as one,
Iv, 2172 (See Arsenal) (Fig. 7) Iv, 2172 (See Rouen) (Fig. 8)
io6, Minyeides and bats, Iv, 2785 48, Minyeides transformed into bats, Iv,
2390
io6, Phrixus and Helle on Ram, Iv, 2804 49, Phrixus and Helle on Ram, Iv, 2905
(See Arsenal) (See Rouen)
107, Phrixus offers ram to Jupiter, Iv, 2932 49v, Phrixus offers ram at altar, Iv,
After 2932
109, Hero and Leander, Iv, 3322 (See 5ov, Hero and Leander, Iv, 3150 (See 69v, Hero and Leander, Iv, 3204 (See
Arsenal and Lyons) Rouen and Lyons) Arsenal and Rouen)
I Iov, Leander and drowned Hero, Iv, 3556 52, Leander and drowned Hero, Iv, 3556
IIIv, Juno in Underworld, Iv, 3732 52v, Juno in Underworld, Iv, 3732
I 12V, Ino and child, Iv, 3922 53v, Ino, Athamus, and children, Iv, 3922
I I7v, Venus asks Neptune to deify Ino and 56v, Venus asks Neptune to deify Ino and
Melicerta, Iv, 4756 Melicerta, Iv, 4756
i 8, Changing of Theban women into 56v, Juno changing Theban women into
stones and birds, Iv, 4865 birds, After Iv, 4864
I I8v, Iris sent by Juno into Underworld, Iv, 57, Iris sent byJuno into Underworld, Iv,
4981I (See Arsenal) 498I (See Rouen)
I I9gv, Harmonia, with Cadmus as snake, Iv, 58, Harmonia and Cadmus as snakes, Iv,
5116 5170
120o, Allegory - Harvesting of the land, Iv, 58, Allegory - Harvesting of the land, Iv,
5200 (See Arsenal) 5200 (See Rouen)
122v, Perseus takes eye from Gorgons, Iv, 59, Gorgons with communal eye, Iv,
5637 5637
124v, Bellerophon, father and stepmother, 6o, Bellerophon, father and stepmother,
Iv, 5965 Iv, 5892
125, Bellerophon killing lions and goats, 6ov, Bellerophon with sword, Iv, 5965; 79v, Lions and goats, Iv, 6157 (See Rouen
Iv, 5996 (See Arsenal and Lyons) lions and goats, Iv, 5996 (See Rouen and Arsenal)
and Lyons)
a128, Perseus and Andromeda tied, After Iv, 6Iv, Perseus and Andromeda tied, Iv,
6585 6586
129g, Perseus slays monster, Iv, 6724 62v, Perseus slays monster, Iv, 6724 8Iv, Perseus slays monster, Iv, 6748
(Meiss, I974, fig. 92)
I29gv, Marriage of Perseus and Andromeda, 62v, Marriage of Perseus and Andromeda,
Iv, 6830 (See Arsenal) Iv, 6830 (See Rouen)
130, Allegory of perils of the sea, Iv, 6862 63, Allegory of perils of the sea, Iv, 6862
 THREE MANUSCRIPTS OF THE "OVIDE 173
MORALISi"

Rouen MS 0.4 Arsenal MS 5069 Lyons MS 742

132, Battle of Phineus and Perseus, v, I 64, Dispute of Phineus and Perseus, v, I
82v, Phineus and Perseus, Wedding of
Perseus, Andromeda, v, I
133v, Perseus kills Eurytus, v, 278 65v, Perseus kills Eurytus, v, 278
135v, Perseus shows Medusa head, v, 581 66v, Perseus shows Medusa head, v, 581
x36, Phineus pleads with Perseus to spare 67, Phineus pleads with Perseus to spare
his life, v, 679 his life, v, 679
x38, Perseus leads Andromeda home, v, 68, Perseus leads Andromeda home, v,
ioI8 IoI8
Pallas and the Muses, v, 1694
1x4v, Pallas and the Muses, v, 1648 87,
(Seznec, fig. 36)
145, Allegory - Praying figures, v, 2300 7Iv, Allegory - Praying figure, v, 2297
(See Arsenal) (See Rouen)
i5iv, Sirens, v, 3444 (See Arsenal) 75v, Sirens, v, 3444 (See Rouen)
152, Alpheus and Arethusa, After v, 3504 76, Alpheus and Arethusa, v, 3518
153, Allegory - Penance, v, 3648 (Fig. 19) 76v, Allegory - Penance, v, 3648 (Fig. 20)
(See Arsenal) (See Rouen)
155, Arachne and Pallas, vi, I 77, Arachne and Pallas, vI, I
I56v, Arachne alone at loom, vI, 220 78, Arachne alone at loom, After vI, 219
(See Arsenal) (See Rouen)
157, Arachne changing into a spider and 78, Arachne changing into a spider, vI,
Pallas, vI, 286 286
x59, Antigone becomes a stork, vi, 613 79, Niobe in prayer, with dead children
(See Arsenal, fol. 82v) at left, vI, 1305 (Rouen, fol. 163)
x6x, Niobe warns Thebans against cult of 81, Niobe warns Thebans against cult of
Latona, vI, 973 Latona, vI, 973
x62v, Death of Niobids, vi, I 171 8xv, Apollo kills Niobids, vi, I 171
x63, Niobe in prayer with dead children 82v, Antigone becomes a stork, vI, 605
around her, vI, 1305 (See Arsenal, (See Rouen, Fol. 159) (Arsenal Fols.
Fol. 79) 79 & 82 are bound in reverse)
x65v, Latona and Lycian peasants (See 83, Latona and Lycian peasants, vi, 1o4v, Latona and Lycian peasants, vi, 1627
Arsenal and Lyons), vi, 158 I I58 I (See Rouen and Lyons) (See Rouen and Arsenal)
I65v, Latona with peasants turned into 83v, Latona and peasants turned into
frogs, vi, 1723 frogs, vI, 1723
x67, Pallas tries to play the flute, vI, 1932 84v, Pallas tries to play flute, After vI, 1920
(See Arsenal) (See Rouen)
x67v, Pelops at dinner vI, 2057 85, Pelops at dinner, After vI, 2056
170v, Pandion, Tereus and Philomela, vi, 87, Pandion, Philomela and Tereus,
2537 After VI, 2551
Ix73v,
Tereus cuts out tongue of Philomela, 88v, Tereus cuts out tongue of Philomela,
vI, 3076 vI, 2943
174, Tereus reports alleged death of 89, Tereus reports alleged death of
Philomela, vI, 3Io0 Philomela, vI, 3075
177, Philomela shows head of Itys to 91, Philomela shows head of Itys to
Tereus, vI, 3629 Tereus, vI, 3597
177, Philomela, Procne, and Tereus turn 91, Philomela, Procne, and Tereus turn
into birds, vI, 3688 (See Arsenal) into birds, vI, 3629 (See Rouen)
178, Boreas and Orithyia, vI, 92, Boreas and Orithyia, vI, 3841
3841I
x79v, Peleus sends Jason in quest of golden 93, Peleus sends Jason in quest of
fleece, After vI, 4068 (See Arsenal) golden fleece, vII, 93 (See Rouen)
x8o, Jason sets sail, vii, 93 x x5v, Jason sets sail, vII, I
184v, Welcome ofJason and Medea in 95v, Welcome ofJason and Medea in
Greece, vII, 814 Greece, vII, 821
x87v, Daughters kill Peleus, vII, I355 97v, Daughters kill Peleus, vII, I355
191, Pluto and Cerberus, vII, 1953 99v, Pluto and Cerberus, vII, 1953
xg9xv, Aegeus gives Theseus drink 0oo, Aegeus gives Theseus drink
poisoned by Medea, vII, 2069 poisoned by Medea, vII, 2069
x192, Banquet for Theseus, vII, 2171 ioov, Banquet for Theseus, vII, 2171
x92v, Minos rides against Athens, vII, 2243 lox, Minos rides against Athens, vII, 2243
x93v, Minos sails for Athens, vII, 2387 ioxiv, Minos sails for Athens, vII, 2387
202, Minos and Scylla with head of Nisus io6, Minos and Scylla with head of Nisus
(See Arsenal), vIII, 21 I (See Rouen), viII, I
203, Scylla gives Minos key to city, viII, o107, Scylla gives Minos key to city, vIII,
353 333
2o4v, Pasiphae and the Bull, viII, 617 io8v, Pasiphae and the Bull, viII, 76I
2o8v, Bacchus and Ariadne, vIII, 1339 xIIIx
x, Bacchus and Ariadne, viII, I339
2o9v, Allegory - Church and Synagogue, xiv,
xix Allegory - Church and Synagogue,
vIII, 1506 (See Arsenal) vIII, 1506 (See Rouen)
2xo, Daedalus and Icarus in Flight, vIII, 138, Fall of Icarus, vIII, 1653
1579
212v, Calydonian Boar Hunt, vIII, oo2002 xI2, Calydonian Boar Hunt, vIII, 2IO09
 I74 THE ART BULLETIN

Rouen MS 0.4 Arsenal MS 5069 Lyons MS 742

216, Death of Meleager by Fire, vIII, 2621 11 3, Death of Meleager by Fire, After
VIII, 2460
Achelous' Banquet, vIII, 2737 Achelous' Banquet, vIII, 2737
217, ix 4v,

228, Hercules, Nessus with Deianira, Ix, 121, Nessus with Deianira, Hercules, Ix, 153v, Hercules, Nessus with Deianira, Ix,
347 325 405
23ov, Death of Hercules, IX, 791 x56, Death of Hercules, ix, 8oi
234v, Exile of Tydeus, IX, 1455 125, Exile of Tydeus, ix, I455
238, Hebe and Elders, Ix, 1997 I26v, Hebe and Elders, After Ix, 1996
24I, Byblis pleads with Caunus, IX, 2483 129, Byblis pleads with Caunus, IX, 2529
242v, Birth of Iphis awaited, IX, 2763 130, Birth of Iphis, IX, 2763
132V, Marriage of Orpheus and Eurydice, I65v, Marriage of Orpheus and Eurydice,
X, I X, I
246v, Eurydice bitten by serpent, x, I I66, Eurydice bitten by serpent, After x,
37
246v, Orpheus in Hades x, 50 (See Arsenal) 132V, Orpheus in Hades, x, 102 (See Rouen)
247, Orpheus and Eurydice in Hades, x, I66v, Orpheus and Eurydice in Hades,
102 After x, Io0
248, Allegory - Hell's Mouth, x, 220 133, Allegory - Hell's Mouth, After x, 195
250, Orpheus in forest (no animals), x, 594 x67, Orpheus in forest plays to animals, x,
593
252, Pygmalion and statue, x, 929 x69, Pygmalion and statue, x, 929
254, Myrrha and Nurse, x, I278 134v, Myrrha and Nurse, After x, 577
257, Myrrha, Cinyras, and Nurse, x, I8o8 136, Myrrha, Cinyras, and Nurse, x, 1698
258v, Venus and Cupid embrace, x, 1994 137, Venus and Cupid embrace, After x,
1992
259, Venus warns Adonis, x, 2082 138v, Venus warns Adonis, After x, 2437
266v, Jupiter, King of Crete, x, 3368 142, Jupiter and three subjects, x, 3368
267v, Allegory - saint preaching, x, 3520 144, Allegory - monk preaching, x, 3954
(See Arsenal) (See Rouen)
271, Death of Orpheus, xI, II (See Arsenal) 145, Death of Orpheus, xi, i i (See Rouen) 178v, Death of Orpheus, xI, I
272, Apollo changing serpent into stone, 145, Apollo changing serpent into stone,
xI, 156 (See Arsenal) xI, 156 (See Rouen)
272v, Midas requests golden touch, xI, 287 146, Midas requests golden touch,
After xI, 286
274, Allegory - Crucifixion, xI, 490 I46v, Allegory - Crucifixion, xI, 489
(See Arsenal) (See Rouen)
275, Contest of Apollo and Pan Judged, I47v, Contest of Apollo and PanJudged,
xI, 65I XI, 65 I
275v, Allegory - Two monks reading, xI, - Two monks reading,
x47v, Allegory
771 (See Arsenal) After xI, 770 (See Rouen)
28IV, Judgment of Paris cycle, xI, 1831 15ov, Judgment of Paris cycle, After xI, 187, Judgment of Paris, xI, 1852
1468
285, Allegory - Active, Contemplative, 153, Allegory - Active, Contemplative,
Voluptuous Life, xI, 242 1 (Fig. 17) Voluptuous Life, After xI, 2420
(Fig. 18)
286, Peleus before Ceyx, xI, 2534 154, Peleus before Ceyx, xI, 2534
287v, Story of raving wolf, xI, 2798 155v, Story of raving wolf, xI, 2798
g29, Alcyone prays toJuno, xI, 3394 x57v, Alcyone prays toJuno, xI, 3418
292v, Drowned Ceyx floats home, xI, 37Io 197, Drowned Ceyx floats home, xI, 3710o
293, Alcyone and Ceyx as birds, xI, 3756 159, Ceyx drowned and grasped by
Alcyone, already a bird, xI, 3756
293, Allegory - Four figures before altar, 159, Allegory - Four figures before altar,
xI, 3790 (See Arsenal) xI, 3790 (See Rouen)
295, Aesacus pursuing Hesperia, xI, 4148 x6ov, Aesacus pursuing Hesperia, xI, 4148
(See Arsenal) (See Rouen)
296, Menelaus welcoming ship of Paris, x98v, Menelaus welcoming ship of Paris,
XII, I XII, I

296v, Paris, Menelaus, and Helen, xuII, 71 I6I, Paris, Menelaus, and Helen, xuii, I
(See Arsenal) (See Rouen)
296v, Paris and Helen, xII, I 12 (See I62v, Paris and Helen, xII, 373 (See
Arsenal) Rouen)
3oo00, Helen abducted, xu, 745 x63v, Helen abducted, xII, 745 203, Paris and Helen set sail, xii, 769
3o6, Achilles kills Cycnus, xII, 1755 x67v, Achilles kills Cycnus, xii, 1755
3o8v, Nestor recounts Achilles' victory, xiI, I69, Nestor recounts Achilles' victory, xiI,
2155 2155
3x6, Fall of Patroclus, xnII,3424 x73v, Fall of Patroclus xII, 3424
317, Mourning over body ofPatroclus, xiI, I74v, Mourning over body of Patroclus, xiI,
3583 (See Arsenal) 3583 (See Rouen)
319v, Death of Hector, xII, 4021I I76, Death of Hector, xII, 402I
321x, Sacrifice ofPolyxena, xII, 4305 177, Sacrifice ofPolyxena, xII, 4305
 THREE MANUSCRIPTS OF THE "OVIDE MORALISE" 175

Rouen MS 0.4 Arsenal MS 5069 Lyons MS 742

322, Paris kills Achilles, XII, 4570 178, Paris kills Achilles, xII, 4570 222V, Paris kills Achilles, xII, 4570
324, Dispute over arms of Achilles, xiI, 179, Dispute over arms of Achilles, xII,
4799 4799
324v, Dispute continued, xii, I 179v, Dispute continued, xIII, I 224v, Ulysses receives arms of Achilles,
XIII, I

331v, Suicide of Ajax, After xIII, 1254 184, Suicide of Ajax, xIII, 1255
337v, Aurora prays to Jupiter, xIII, 2296 187v, Aurora prays to Jupiter, xIII,
After 2295
339v, Fall of Troy, xIII, 2569 x89, Fall of Troy, xIII, 2569
349, Glaucus and Scylla, xIII, 4295 195, Glaucus and Scylla, xIII, 4295
9x6v, Glaucus and Circe, xiv, I 241v, Glaucus and Circe, xIV, I
352v, Dido greets Aeneas, xIv, 302 197v, Dido greets Aeneas, xIv, 303
354v, Aeneas and men set sail, xIv, 596 198v, Aeneas and men set sail, After xiv,
596
355v, Aeneas and Cumaean Sibyl, xIv, 791 x99, Aeneas and Cumaean Sibyl, xIv, 791
357, Tiburtine Sibyl and Roman Senators, 2oov, Tiburtine Sibyl and Roman Senators,
xIv, 10o67 XIV, I195
364v, Ulysses' men already changed into 204v, Circe transforming Ulysses' men into
animals, xIV, 2355 animals, xIv, 2355
372, Diomedes refuses aid for Turnus, xIv, 2o9, Diomedes refuses aid for Turnus, xIv,
3691 3691
375, Cybele rescues Aeneas' ship from 211, Cybele rescues Aeneas' ship from
burning, xIv, 4209 burning, After xIv, 420o8
377v, Venus introduces Aeneas to the Gods, 212v, Venus introduces Aeneas to Jupiter,
xiv, 4591 After xIv,
459I
379, Vertumnus and Pomona, xIv, 4865 213v, Vertumnus and Pomona, xIv, 4865
388v, Iris comforts Hersilia, After xIV, 6528 219v, Iris and (Juno ?) comfort Hersilia,
After xIv, 6536
389v, Numa ruling, xv, I 22ov, Numa ruling, xv, I 260, Numa ruling, xv, I
(See Arsenal and Lyons) (See Rouen and Lyons) (See Rouen and Arsenal)
391, Pythagoras teaching, xv, 21 I 222, Pythagoras teaching, xv, 437
396v, Comforting of Egeria, xv, 1229 224v, Comforting of Egeria, xv, 1229