By Adrian Wilson, Joyce Lancaster Wilson
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II-22, 23, 24, 25, 26). Some of the scenes differ strongly in their iconography from other Speculum manuscripts, and as a result of the lack of perspective, the Christ child's cradle is floating in the air. There is no suggestion of a manger or shelter of any kind (fig. II-23). The drawings are in the same ink as the text which suggests that they were sketched by the scribe himself. On folio 1 verso is written "Officium de Sancto Johanne de Bridlyntona" in a script very like that of the text. This Johannes was a regular prior of Bridlington in the County of York; he had studied at Oxford and was canonized in 1401.
Previous page page_34 next page > < previous page page_35 next page > Page 35 II-9. c. The Marriage of Adam and Eve. d. The Temptation. Speculum humanæ salvationis, Chapter I. Bayerische Staatsbibliothek, Munich, Clm 146, fol. 4 recto. 21 The miniatures of the Munich copy are framed in pen lines and in some of them the corners and the halos are painted in a terra cotta color, possibly to prepare them for the addition of gold. The only finished painted miniature, of God with a gold halo uniting Adam and Eve (fig.
Speculum humanæ salvationis, Chapter XXIV. Bayerische Staatsbibliothek, Munich, Clm 146, fol. 26 verso. < previous page page_36 next page > < previous page page_37 next page > Page 37 II-11. c. King Codrus Dedicates Himself in Death. d. Eleazar Kills the Elephant and is Crushed. Speculum humanæ salvationis, Chapter XXIV. Bayerische Staatsbibliothek, Munich, Clm 146, fol. 27 recto. < previous page page_37 next page > < previous page page_38 next page > Page 38 II-12. a. The Resurrection. Speculum humanæ salvationis, Chapter XXXII.