Border Structures in Arthurian Manuscript BNF, fr. 95 as an Expression of the Artist’s mente propria

Abstract

The paper analyses the stylistic and compositional characteristics of borders in a manuscript consisting of the first two romances of the Lancelot-Graal Cycle (Estoire del saint Graal, Merlin with Suite Vulgate) and two non-Arthurian texts (Le Roman de sept sages, Pénitence Adam). Two different types of borders are present, and in the article they are named type A and type B. They were employed with regard to the position of the miniature in the page: where the miniature appears in the left column, type A was used, and where it appears in the right column, type B was employed. The borders of type A embrace the text from three sides: the vertical border runs along the left column, and both horizontal ones spread over the space of both textual columns. In the case of type B, the vertical border runs along the right side of the right column, that is between the two columns, but closer to the right one; on the top and bottom, horizontal borders spring from the centre to both sides (over both columns). Certain compositions make it possible to assume that the main illuminator or the planner of the overall appearance of the manuscript was actively present also as far as the borders are concerned. Other details – e.g. gold background when two figures form contact with their bodies, and the lack of such a background, when they do not touch or touch only with their weapons – may testify to a personal intervention of the practising artist, and this may be characterized as a stylistic trait revealing his mente propria.