![]() ![]() Initials within the work allotted to Border Artist B have mainly coloured balls on extended pen lines' (Scott, 1996, pp. 1), on two sides a filigree band and on the others a bar frame. Border Artist B had the distinction of making the only full border in the volume (f. His main colour range is orange, a murky or pale rose, and blue in two tones. His partial borders are characterised by a vine that curls back on itself in a large loop by staggered leaf motifs on vines, by trefoil leaves with white circles on two lobes, rather like eyes or Romanesque beaker heads, and by pairs of barbed, rounded daisy buds. ![]() 19v, 21r, 24r), and in the occasional lack of balance in handling vine-and-leaf branches (e.g. Scott notes that Border Artist B is the second most accomplished Border Artist but writes that he 'has a provincial air, noticeable in the initial sprays with either rather feebly executed coloured balls, pairs of daisy-buds sometimes placed oddly with other motifs on initials (e.g. Stylistically close to Border Artist F with its characteristic style being 'brief sprigs of coloured balls or buds and untinted squiggles in pale brown ink on initials (or no sprigs) and well defined white patterns on and in initials (Scott, 1996, p. (For a summary of different identifications of the artists, and interpretations of their division of labour, see The Making of the Vernon Manuscript, ed. 183–9) to 'Illustrator C', also dubbed 'Border artist D1', an imitator of Border Artist D (see below). This initial is attributed by Dennison (2013, pp. LXXIV) produced for the Benedictines of Norwich Cathedral Priory, c. LXX), Oxford, Bodleian Library, Canon misc. Doyle notes that the columbines which hang from the vine at the bottom of the page are also included in some other manuscripts of similar date: Oxford, Bodleian Library, Bodley 316 c. The initial shows a similar technique and colouring, green flowers with red centres and is accompanied by the work of Border Artist D D also worked on the borders of the Euangelie. Possibly by the La Estorie del Euangelie artist. God the Father holding a Crucifix between angels with censers with a monk in white habit kneeling in front, holding a scroll, 'miserere mei deus secundum magnam misericordiam' (Doyle, 1987, pl. One twenty-two-line historiated initial for the Prick of Conscience on f. Two-line indented initials, in gold or deep crimson or blue grounds, with or without marginal extension of more than one sort begin secondary divisions of text or Latin quotations.įour or five-line initials start primary divisions (single legends, miracles, or chapters within work) with the larger marginal extensions called at the beginning of items and of parts of the volumes. Quires 32–36, and 41 have one-line gold initials with brown penwork and blue or orange paraphs. One-line coloured (normally blue or red) or gold initials, which normally have contrasted and alternating penwork. 22283) but has not yet been identified in any other manuscripts or documents. This scribe was also responsible for most of the Simeon manuscript ( London, British Library, Add. Characteristics: 'steady set round anglicana' without Secretary influence (Doyle, 1987, pp. Scribe 2/Scribe B: Completed all texts apart from Quire 1 and some of the rubrics left blank in the quires he copied. This scribe also copied several Warwickshire documents, notably the cartulary of Stoneleigh Abbey (Horobin, 2013, pp. Characteristics: flat-topped t Majuscules: several forms of A with a long approach stroke on the left, exaggerated in the margin one or two forms of B, wide V with first stroke from low left or higher right uncial M with closed first compartment occasional composite S Minuscules: convex top right segment of the loop of b frequent 8-like s in initial and final position and 6-like deep-bowled cursive form flat-topped t w with first stroke rising from low left unlooped l (Doyle, 1987, pp. i-viii and rubrics left blank by Scribe 2 in later quires) writing in an Anglicana hand. ![]()
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