Illuminated illustrations of Froissart; Selected from the ms. in the Bibliothèque royale, Paris, and from other sources — Key Ideas to Explore

The Plates as Historical Narrative, Not Mere Specimens

The catalog subject 'Illumination of books and manuscripts -- Specimens' implies a focus on artistic technique or manuscript production. But Humphreys uses each plate as a springboard to recount the event it illustrates. For example, Plate XXII, 'Beheading of Silvester Budes,' is described with a full paragraph on Budes' capture, escape, and execution 'at the instigation of the Cardinal of Amiens.' The illumination is said to show 'the headsman performing his office with a two-handed sword, in the presence of the Pope and Cardinal.' This is not a specimen description—it is a miniature history lesson. Similarly, Plate XXI, 'The Funeral of Jehan de Lyon,' includes details about the 'White-hoods' association and the suspicion of poisoning. The images serve as prompts for storytelling, not as objects of formal analysis.

Humphreys' Voice: Moral Inference and Editorializing

Humphreys does not merely transcribe Froissart; he adds his own judgments. Of the arrest of Sir Bernabo Visconti (Plate XX), he writes that 'the cotemporary opinion respecting events of this description may be inferred from the circumstance that Galeas Visconti, becoming thus duke of Milan, was enabled to marry his daughter to the then most powerful prince in Europe.' This is a pointed comment on political cynicism, not a neutral summary. Elsewhere, he speculates on causes—Jehan de Lyon's 'subsequent disgrace, he makes one of the principal causes' of the Ghent revolt—and notes that 'from the swelling of his body and other symptoms, it is supposed he was poisoned.' These inferences go beyond the illuminations themselves, revealing Humphreys as an active interpreter of Froissart's text.

The Material Book: Borders, Compression, and the 'Exact Copy'

Humphreys occasionally remarks on the physical adaptation of the manuscript images. In Plate XXIII, 'The Duke of Burgundy Entering Chartres,' he notes that 'the background, and some unimportant features, have been slightly compressed, to accommodate the subject to the size of our work; in other respects, the Plate is an exact copy of the original.' This admission of alteration—while claiming fidelity—highlights the tension between reproduction and interpretation. The plate is described as 'surrounded by a rich border,' forming 'the frontispiece to a manuscript of the Chronicles of Froissart, which are unfortunately incomplete.' Such details remind the reader that the volume is a 19th-century selection, not a neutral window onto a medieval artifact.

Readers should approach this volume as a 19th-century antiquarian's curated edition, not as a facsimile or art catalogue. Humphreys' commentary, while informative, reflects Victorian tastes for moral narrative and historical anecdote. To understand the illuminations themselves, one would need to consult the original manuscripts or modern art-historical studies. This edition is best used as a companion to Froissart's text, with an awareness that the images and notes are filtered through Humphreys' editorial lens.