Gathercole Illustrations of the 'Roman de Renart' Manuscripts BN Fr 1581 and BN Fr 12584

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Illustrations of the "Roman de Renart": Manuscripts BN fr. 1581 and BN fr. 12584Author(s): Patricia M. Gathercole

Source: Gesta, Vol. 10, No. 1 (1971), pp. 39-44Published by: The University of Chicago Press on behalf of the International Center of Medieval Art

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Illustrationsof the "Roman de Renart":

Manuscripts BN fr. 1581 and BN fr. 12584

PATRICIAM. GATHERCOLE

Roanoke College

Among the masterpieces of narrative bourgeois literature

produced during the Middle Ages in France, the Roman de

Renart occupies a significant position. Grouped into twenty-

seven long independent poems called "branches," written

by different "clercs" or jongleurs, the work became popular

primarily in the twelfth and thirteenth centuries. Subse-

quent versions were added in the fourteenth century. The

poets, chiefly anonymous and coming from Picardy or the

Ile-de-France, used various types of animals to ridicule hu-

man foibles. A recital of the actions of these animals is in-

terspersed with vast compilations of knowledge, but the

main theme of the epic remains the implacable enmity be-

tween the fox and the wolf.1 Later writers developed a

more marked and sharper social satire: the animals became

mere caricatures for didactic purposes, that is, to draw at-

tention to the increasing corruption in the upper echelons

of contemporary society.2 Favorite branches for illustration

included those of "Renart le Contrefait" and the "Pelerin-

age de Renart," with their brief scenes of adventure ani-

mated by dialogue.Some of the most interesting French manuscripts of the

Roman de Renart are found at the Bibliotheque Nationale

in Paris.Among

thecopies,

two that revealhighly

enter-

taining miniatures are fr. 1581 (thirteenth century) and fr.

12584 (fourteenth century). For purposes of simplification,

they will be designated here as A and B respectively. In the

manuscripts the artists paint numerous miniatures that

show the well-known figure of Renart the fox, Brun the

bear, Ysengrin the wolf, Tibert the cat, Noble the lion, as

well as a host of other animals such as donkeys, reindeer,

goats, and also birds. Depictions of the rebellious Renart,

who continually pokes fun at justice, occur repeatedly.The two manuscripts in question,3 executed on vellum,

disclose red and blue decorated capital letters. Copy B has

marginal prolongations and drawings of faces in caricature.

Copy A reveals droleries that suit the amusing and whim-sical tone of the writing: exotic birds step forth from the

frames of miniatures to take part in the action (fol. 2v and

14).

The illuminations on the whole are fairly small, servingto highlight the colorful legends related in the text. The

opening conventional miniature in A, shows the scribe or

author working at his desk. The illuminations on later

pages, as mentioned above, usually depict animals engagedin scenes of violent action described in the narration. We

witness a representation of feudal society during the Middle

Ages, of popular customs and happenings seen through the

aspect of an animal world. The various animals, given hu-

man qualities for the purpose of satire, appear gay and alive.

Some episodes recall the modern Punch and Judy show in

the comic spirit of their vivid portrayal. Noble, the lion and

symbol of majesty, haughtily admonishes a varied group of

sinners (MS. B, fol. 125). Renart and Ysengrin, lifelong ene-

mies, are revealed as medieval knights on horseback en-

gaged in duels. An army of animals with medieval accoutre-

ments attacks a mighty fortress. There are innumerable

fierce and bloody fights. Battles at sea disclose ships manned

by animal-soldiers (MS. A, f. 29v). Farcical scenes, such as

the lively picture of a peasant in the act of beating the

troublesome Tibert (MS. A, f. 23), Renart and Ysengrin be-

ing raised and lowered in a well (MS. B, f. 39v), all occur

repeatedly. Banquet scenes of revelry and feasting enhance

several folios (MS. A, f. 50v; MS. B, f. 14v).The famous Wheel of Fortune is given an original por-

trayal on folio 57 of Ms. A. On this manuscript Lady For-

tune, wearing a long orange gown stands behind the wheel

and turns it with her hands. Three representations of the

fox are at the top; they are dominated by a Renart, who

withcape

and crown,presides

inglory.

Humanfigures,

straddling the sides, attempt to stay on the wheel. One

slides down, the other rises; they represent the specific qua-lities of justice and industry. The four figures placed around

the wheel form a coherent conceptual whole. In the lower

left-hand corner is seated a woman who holds a cross. This

is Charity (Caritas) as the inscription states, and as is indi-

cated by her gesture of releasing coins recalling the Roman

personification of Largitas. In the lower right-hand corner

sits Humilitas, a figure concealed by coverings. Ridinghorseback in the two upper corners are the opposing sins of

pride (a man) and greed (a woman).This Wheel of Fortune was also a favorite subject for

miniatures in the French De Casibus manuscripts where, ac-cording to the text of Boccaccio, kings and other men are

seen toppling from the sides of the wheel while the devil

rides at the top (cf. fol. 1, BN fr. 16994; fol. 73v, BN fr.

16995; fol. 12v, BN fr. 226; fol. 1, BN fr. 230; other exam-

ples in BN fr. 130; Arsenal 5192; Univ. of Glasgow 371;

Chantilly 858 (487); Munich, Staatsbibliothek, 369). On fo-

lio 136 of Ms. 622 at Carpentras, also a copy of De Casibus,

Lady Fortune, holding a small wheel appears at the top of

a stairway with men falling down in confusion on either

side. These early artistic embodiments of an allegorical na-

39

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FIGURE2. Renart and Noble Fight. Paris, Bibliotheque Nationale,

fr. 1581,fol. 47.

FIGURE3. Tibert the Cat. Paris, BibliothequeNationale, fr. 12584,

fol. 52.

ture foreshadow paintings of the Venetian Renaissance

School, as Titian's "Cupid and the Wheel of Fortune" in the

National Gallery, Washington, D. C.

The animals portrayed on the Renart manuscripts may be

attired in the long flowing robes worn by the people of the

time or remain unclothed. The mischievous Renart4 some-

times sports a voluminous cape. When fighting, he and his

retinue are often protected by the cumbersome armor of the

medieval knight: coats-of-mail, breastplates, helmets, etc.

Some animals, unclothed, merely carry imposing shields,

lances and swords. Noble the lion, as a king, is dignified by

gold crown and scepter (MS. A, f. 47). Court costumes andthe manners of the rich, however, cannot be minutely stu-

died here.

To make the animal characters appear more ridiculous,

the artists exaggerate certain features, for example, the di-

mensions of the ears or feet, lips or tongues. The animals,

grotesque in shape, may adopt human attitudes: they lie in

bed, paddle boats, ride horses, and play stringed instru-

ments. The gestures of the creatures may be taken from

their human counterparts (MS. B, f. 52). As on other manu-

scripts of these years, their movements seem stiff and thea-

trical. Sometimes, nevertheless, especially in MS. B, the ani-

mals walk in a natural fashion on all fours. The portraits

emphasize the principal traits of the animal characters:

Renart, guile, Isengrin, stupidity; Brun, brutality. Impres-sive figures such as the fox, call to mind similar types occur-

ing in Aesop's fables. Certain birds and animals betray re-

markable expression on their faces. A few human beings

grace the miniatures; they are usually peasants modestlydressed in tunics (MS. B, fol. 26v). Nuns and monks typifyor satirize the religious spirit prevalent during the period:a tonsured friar addresses Renart and Ysengrin on folio

28 of MS. B.

Castles with round crenelated turrets are found on both

manuscripts. The towers at times extend into the upper

margins. The doors look heavy with their massive hinges

(MS. A, fol. 25v). A windmill, a possible indication of Nor-

thern provenance, is visible in MS. B, fol. 65.

The miniaturists pay scant attention to landscape on the

manuscripts of the Roman de Renart. A definite use of

perspective is lacking. Two trees may symbolize a forest.

Nature assumes a rather strange aspect on MS. A, where a

tree shows a brown trunk but white leaves (fol. 34). MS. B

is more conventional in this regard: The ground is covered

withgrass

or rock formations. Thesky,

often blue on both

FIGURE. Renart Dispatches a Letter. Paris, Bibliotheque Nation-

ale, fr. 1581,fol. 34.

41







FIGURE5. Renart

atthe Top of

theWheel of For-tune. Paris,BibliothequeNationale, fr. 1581,fol. 57.

codices, is uninteresting in texture when compared with the

striking mosaic effects to be discovered on other comparableFrench manuscripts, such as those of Tristan and Lancelot.

The lack of concern for an elaborate setting serves to accen-

tuate the actions and gestures of the animal characters.

The two manuscripts under discussion do not present

especially attractive colors on their miniatures. MS. A dis-

plays blue, rose and brown tints with a touch of orange.The background for a picture on this copy may be a radiant

azure with tiny orange stars and white dots (fol. 6v, fol.

17). Animals, frequently brown, may be painted in fantas-tic colors such as blue (fol. 8v). A lack of green shades is

apparent, even the sea takes on a white appearance (fol. 36).MS. B portrays brown coarse-looking animals, but has more

colorful contrasting details. The figures are often brightened

by red tongues and mouths, or bloodstains on their bodies

during a fight. Chantecler, the rooster, is realistically drawn

with scarlet crest at the top of a greenish-gray body. Back-

grounds differ in their hues of blue, gold, etc., but they are

not noteworthy, above all when compared with the beautyof certain Arthurian manuscripts.

The artists of MSS. A and B are not masters in the art

of composition and symmetrical balance. A single illumina-

tion can furnish an astonishing variety with respect to

shapes and sizes, although the animals are often wanting in

natural proportions and appear topheavy. Renart occasion-

ally looks flattened out, or assumes a most awkward pos-ture. As was common during the period, objects may be

magnified in size to such an extent that they provide an am-

using sight. On folio 34 of MS. A, for instance, Renart sends

off a letter that is larger than the birds destined to deliver

it.There is remarkable care exercised in the handling of de-

tail, which allows for greater realism and which may prove

exceptional in manuscript collections. The figures are ex-

pressive and vigorous in outline, and have the sureness of

works executed on a far larger scale. The animals at war

carry different sorts of tiny shields, that may be distin-

guished by humorous bestial faces. The warriors blow trum-

pets or stand ready to shoot bow and arrow. Tibert, the

resourceful cat (complete with black whiskers and yellow

eyes) is very life-like (MS. B, fol. 52). Quaint sailing-ships

42







are viewed on a wavy sea. These miniatures are indeed re-

freshingly realistic and vital when compared with the

sumptuous fantastic decorations of numerous other crea-

tions of the late fifteenth century.The paintings in the manuscripts of the Roman de Re-

nart, the celebrated animal epic,5 do not reveal the roman-

tic charm, delicate coloring, fine execution, and at times

the luxurious magnificence found on many medieval French

manuscripts. They are definitely not the work of such

skilled craftsmen as Master Honore or Jean Pucelle. The

miniatures are noteworthy for their crude realism, parody,and whimsical spirit. They recall the medieval bestiaries,

fabliaux, and farces in their sustained gaiety and amusingdeeds.6 The artists (several probably decorated a single

manuscript) have captured the verve and humorous style of

the tales themselves. The miniatures, small and abundant,

betray a wealth of action and artful tricks. The painters re-

flect the life and customs of their period, the medieval

jousts, quarrels and other incidents. Religious content, so

predominant on other manuscripts executed in the monas-

tic scriptoria, is minimized here. Architectural settings re-

main unimportant. The bourgeois atmosphere of constant

rivalry is carried over from the poems into the miniatures;

one can distinctly sense a criticism of the lofty tone of theroman courtois and the knightly element of the chansons de

geste. The animals and birds appear quite lifelike despitetheir lack of proportion in drawing. MS.B, more roughlyexecuted and a century later than A, is even more strikinglyrealistic. Considered in their entirety, the miniatures vividly

present a satire on medieval life, and indeed on human ex-

istence of all times.

Recension of Miniatures

fr. 1581

"Li Brance de Renart Ke Jakemars Giellee, de Lisle,

traita," ou Roman de Renart le nouvel, commencant par

"Ki le bien set, dire le doit S'il ne le dist, por lui le doit me-

troie envis..."

Vellum. 13th century. (Anc. 76073 0.) Miniatures on folios

2v, 4, 6v, 8v, 14, 17, 19, 19v, 23, 25v, 29v, 34, 36, 38, 40v,

43v, 47, 50v, 52v, 57.

2v: 2 miniatures: Scribe at desk; group of animals.

4: Noble the lion and his court.

6v: Renart and Ysengrin in battle.

8v:

14:

17:

19:

19v:

23:

25v:

29v:

34:

36:

38:

40v:

43v:

47:

50v:

52v:

Storming of castle by animals; siege of Maupertuis.

Another attack on castle.

Another battle scene.

Historiated initial: Fox inside letter.

Historiated initial: Animal inside letter.

A peasant beats Tibert the cat.

Animals before castle.

Renart sails to visit Proserpine.

Renart dispatches a letter.

Attack at sea.

Woman and strange animal.

Storming of tower.

Storming of tower.

Renart and Noble fight.

Banquet of animals.

Wheel of Fortune.

tc-T

't

S A;ru :

NX tt 41t40t rlu-t,l tAtn M ;r

89 FrVmqaiX 1 ft.29 V1 ' 1fltWm*tfir j* trif t' .,

* 6 Ra tonw? Se tu seiitblI 'l,aV' nc-ri 'il'

1hi,lii~lijl'i:ii]tuiittIulIfI981 Fr~gais 1581 fol. 29v ?. *;a,

FIGURE. Renart Sails to See Queen Proserpine.Paris, Bibliotheque

Nationale, fr. 1581,fol. 29v.

43







fr. 12584

ManuscriptI of the edition of Ernest Martin. 14th cen-

tury.Parchment. 157 folios. 2 columns. 278x195 ml. Bound

in red moroccoleather. (From the libraries of Sedan and the

Duc de LaValliere- Suppl. fr. 98, 14).Miniatures on folios 1, Iv, 2, 3, 4, 4v, 6v, 7, 10, lOv, 12v,

14v, 15v, 16, 18v, 19, 20v, 22, 22v, 23, 24, 24v, 25, 25v, 26,

26v, 28, 36v, 37v, 39v, 44v, 45, 52, 57, 61, 65, 72, 102v, 114,125, 139v, 143v, 147v, 149v.

1: 2 miniatures:Animals before castle;andVirgin andChild.

Iv: Small smudgedminiature.

2: Renart andYsengrin.3: 4 animals.

4: 2 miniatures:Birds in a cart; three animals around a

candelabra.

4v: Groupof animals.

6v: Armedpeasants.7: King talks to animals.

10: Animals in tower.

lOv: Mounted animalsbefore castle.

12v: Rough marginaldecoration.

14v: 2 miniatures:Attackof castle by animals;banquetscene.

15v: Attackof castle.

16: 2 miniaturesof animals lying in beds.

18v: 2 horses pulling cart.

19: Renart in a tree.

20v: Peasant.

22: 3 animalsobserve nakedman abedin a tower.

22v: Similar.

23: 2 miniatures:group of peasants;Renart andYsen-

grin in bed.

24: 3 miniaturesshowing Renart in bed.

24v: Animal plays an instrument.25: Similar.

25v: Renart at banquet.26: 3 miniatures:Playingof instruments.

28: Monk talks to Renart and Ysengrin.36v: Animals on a pilgrimage.37v: 3 animals in a tree.

39v: Series:Renart drinks at well; anotherwith Renart

in well.

44v: Tree.

45: Marginal drawings.52: Tibert the cat.

57: Animals ring bells.

61: Chanteclerandothers.65: Birdbeside a windmill.

72: Miniatures:Fight between Renart andYsengrinshown in differentstances.

102v: Peasantdrives horse-drawncart.

114: Renartpaddlesboat.

125: Animals beforeKing Noble, the Lion.

139v: Birdin nest.

143v: Renart andYsengrin, mounted, fighting.147v: Battle among animals.

NOTES

1. See the studiesof L. Foulet, Le Roman de Renart, Paris, Champion,1914 and of G. Cohen, Paris, 1930; alsoJ. G. Roberts, The MSS. and

LinguisticConditions of the Thirteenth Century Poem Roman de

Renart le Nouvel (diss.Harvard),Cambridge,1935.

2. The Roman de Renart has been publishedin variouseditions: D.-M.

Meon, Paris, 1826, 4 vols.; E. Martin, 1882-87, 3 vols., and a mod-

ern French edition by P. Paris, Paris, 1861. See also Le Roman de

Renatt (First Branch) ed. M. Roques, Paris, 1948, and R. Bossuat,Le Roman de Renart Paris, 1957, for further information. Some re-

productionsof miniatures are foundin A.-M.

Schmidt,Le Roman

de Renavt, Paris, 1963.

3. The manuscripts at the Bibliotheque Nationale in Paris, datingfrom the thirteenth and fourteenth centuries, are: fr. 371 (13th cen-

tury, 189 folios); fr. 1579 (13th c., 152 folios, incomplete, one minia-

ture); fr. 1580 (14th c., miniatures); fr. 1581 (13th c., miniatures);fr. 1588 (13th c.); fr. 12583 (14th c., 48 folios - Ms. O of the edi-

tion by E. Martin); fr. 12584 (14th c., 157 folios, rtumerousminia-

tures); fr. 20043 (13th c., 147 folios); n.a. 5237 (folios 11-13, frag-ments, 13th c., a collection of pieces, different branches); fr. 369-

370 (14th c., made from a copy at the NationalbibliothekVienna);fr. 368 (a collection, incomplete, 14th c.); fr. 1630 (14th c., minia-

tures); fr. 1446 (a mutilated collection, historiated letters, 13th and

14th centuries); fr. 25545 (collection, 14th c., 166 folios); n.a. 10035

(formerly no. 242 in the libraryof Lord Ashburnham, 13th c., in-

complete, 54 folios). MSS. of the Roman de Renart (some showingminiatures) are also extant in other libraries: for example, Paris,

Arsenal, no. 3334, and no. 3355; Paris, the Libraryof S. A. R. le duc

d'Aumale;Chantilly, Musee Conde, Ms. 472; Oxford, Bodleian Lib-

rary, Douce 360; London,British Museum, Add. 15229; Cheltenham,

Libraryof the late Sir Thomas Phillips, no. 3634; Turin, Royal Lib-

rary, misc. 151; Vatican, cod. Regin. 1699. Incomplete copies are

found at Rome, BibliotecaCasanatase, B III 18; Berlin, Staatsbiblio-

thek (2 folios); Brussels, Bibliotheque Royale (1 folio); Oxford,Bodleian Library,Canon, Ital. XLVII (an Italianized text); Udine,BibliotecaComunale, no. XIII (also Italianized); St. Omer, Biblio-

theque(2 folios). See E. Martin, op cit.,vol. I, Preface.

4. Animal scenes such as that of Renart in a cart being pulled by a

rooster,are found in the sculptureof French churches, for instance

at the entrance to the Churchof Saint-Ursin in Bourges. See R. Bos-

suat, Le Moyen Age Paris, 1955, pp. 112-22. Similar scenes are de-

picted in churches of Spain and England. One can also discoverpaintings of the goupil in castles in various countries. For this art

in England, see K. Varty, Reynard the Fox, A Study of the Fox in

MedievalEnglishArt, Leicester,1967.

5. It is to be rememberedthat the figure of Renart became so popularthat the word for fox goupil (of Latin origin) was replaced by re-

nard.

6. The true sources of the epic are the ancient fables of Phaedrus,as

well as such medieval satires as the Echasis captivi (tenth century),and the Ysengrimus of Nivard (1148). See L. Sudre, Les Sourcesdu

Roman de Renartt, Paris, 1893. See also Lilian M. C. Randall, "Ex-

empla as a Source of Gothic Marginal Illumination," Art Bulletin,XXXIX (1957), pp. 97-107, and Florence McCulloch, "The Funeral

of Renart the Fox in a Walters Book of Hours,"Journal of the Wal-

ters Art Gallery,XXV-XXVI (1962-63), p. 9ff.

149v: Battle among animals.

44





Gathercole Illustrations of the 'Roman de Renart' Manuscripts BN Fr 1581 and BN Fr 12584

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