The individuality of Netherlandish illumination above
every other quality establishes its identity. Look at the expression of
the onlookers in a Crucifixion, or a Christ before Pilate, or a Stoning
of St. Stephen--the diabolical ferocity, the fiendish earnestness, the
downright intentional ugliness put on some of the characters are in
direct contrast to the sweet indifference, the calm complaisance, and
blank unconcern of a crowd as shown in similar scenes by French
illuminators.
[Illustration:
HOR?
15TH CENT. (LATE)
_Brit. Mus. Add. MS. 17280. fol. 21_]
[Illustration:
VALERE MAXIME, TRAD. PAR SIMON DE HESDIN
15TH CENT. (LATE)
_Brit. Mus. Harl. MS. 4375, fol. 68_]
We have seen something of the earlier kind of Netherlandish MSS. in
those already referred to. It now remains to take a rapid glance at a
few of the later ones, and here the difficulty is that of selection.
In 1484 Gerard David appears on the list of illuminators of Bruges,[54]
and it appears that he, and not Hans Memling, was the painter of those
marvellous miniatures in the Grimani Breviary at Venice usually
attributed to the latter, and therefore may be considered as one of the
founders of the school of Bruges, or at least of the later style that
may be referred to the Grimani Breviary as its most perfect example.
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