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Chartres manuscripts from the 12th century - 5/5

While the royal portal was being built and the three large windows of the western façade were being created, the cathedral – or the abbey of St Père en Vallée, in the lower town – also produced several manuscripts whose decoration is on a par with sculpture and glass art: an artistic summit.

Two manuscripts have already been discussed (see 1/5 and 2/5). Manuscript 2391 from the Troyes library, known as the “Bible des comtes de Champagne”, bears a strong resemblance to Bible 458, preserved in the same institution and of which it is perhaps the continuation, even if the different volumes subsequently followed a different itinerary. Manuscript 2391 includes the Old Testament books from Chronicles to Maccabees, as well as the entire New Testament. The patron is thought to be Thibaut II of Champagne, who was also Count of Meaux, Blois, Châteaudun… and Chartres.

The Chartres origin has been confirmed by Patricia Stirnemann, a researcher at the Institut de Recherche et d’Histoire des Textes, who has made the connection with several previously catalogued works. It can be dated to between 1140 and 1160.

The ornate letters use a variety of motifs, the most common of which are the scroll and the dragon. The leaves are frequently inspired by acanthus. Some letters at the head of a biblical book also depict scenes from the story.

Selection of the most beautiful letters:

Initial P from the Epistle to the Philippians. This is a typical Chartres creation, featuring only vegetal interlacing – with the exception of a monster at the top of the vertical bar. You’ll have to ask an illuminator to explain the very high technical level of this work: each color comprises three shades – requiring work on a millimeter scale © Photographies by H. Gaud
These intertwined motifs are obviously reminiscent of the colonnettes on the royal portal, which were produced in the same years. Contacts may have existed between copyists and sculptors © NDC
Initial P from the Epistle to Titus. The craftsman has changed his approach: the interlacing is retained only in the loop of the P. The foot is decorated with a serrated motif. The outline of the loop is in the shape of a dragon. Note that its tail is transformed into a plant: this fantastic combination of animal and plant is typical of the 12th century © Photographies by H. Gaud
Initial P, with the conversion of Saint Paul. The hand of God points to the eyes of the saint, who has fallen to the ground: an allusion to the blindness that struck him © Photographies by H. Gaud
Initial P from the Second Epistle to the Thessalonians, with Saint Paul escaping from the city of Damascus in a basket at the end of a rope. Note the amusing boar below the foot of the letter © Photographies by H. Gaud
This scene is featured on a panel in the cathedral’s St. Paul’s stained glass window. Please note that this panel is a ‘pastiche’ from 1872 © Photographies by H. Gaud
Initial P from the Second Epistle to the Corinthians, with Ananias healing Saint Paul © Photographies by H. Gaud
Initiale P de la lettre aux Galates, avec le baptême de saint Paul. Note the quality of the drapery (in the historiated scene) and foliage (on the foot of the letter) © Photographies by H. Gaud
Initial P from the first letter to the Thessalonians, with Saint Paul and the Maltese viper © Photographies by H. Gaud
Initial P from the letter to the Ephesians, with Saint Paul appearing before the Sanhedrin. The same green strokes are used to draw the tunic of a judge and the ribs of the bare-chested saint. The blue drapery is remarkably intense. The executioner has been given a fierce expression © Photographies by H. Gaud
Initial P from the first letter to Timothy, with the stoning of Saint Paul. The illuminator has gone so far as to indicate red dots, barely visible in close-up, on St. Paul’s bald forehead. Note the harmless-looking dragon and the dazed bearded figure at the foot of the letter © Photographies by H. Gaud
Initial P, with the decapitation of Saint Paul. The saint is kneeling; the executioner’s sword is about to fall on his neck © Photographies by H. Gaud
This scene is featured on a panel in the cathedral’s St. Paul’s stained glass window. This authentic panel was made around 1210/1215. Two executioners are now in charge of the execution. The hand of God sends divine grace to the apostle © Photographies by H. Gaud
Initial M from the Epistle to the Hebrews. Respecting total symmetry, this creation recaptures the spirit of the ornate letter that began this series: plant interlacing takes pride of place, with dragons of various sizes © Photographies by H. Gaud