![]() ![]() Illuminated initials, 3- to 1-line, gold, with globular serifs, edged thickly in black, against irregular red and blue grounds, also edged in black, with white floral filigree or heraldic birds, in white flowers touched in with orange. Historiated initials, 5-line (letters without ascenders or descenders) to 13-line, red and/or blue, with geometric motifs in paler shades of red and blue, white, with touches of orange, against gold grounds, edged in black, with long dragon and floral serifs, as above, against cusped gold grounds figures in same style as miniatures, against gold grounds. Small miniatures, 5- to 6-line, 1/2 text column, often with a 2-line initial inserted in upper right corner, otherwise as above, with border decoration on a smaller scale and unattached to miniature. The borders are populated with magnificent grotesques and marginalia in the same style as the miniatures, many of them of a narrative or satirical character some of these incorporate coats of arms. Borders on folios with large miniatures of a variety and inventiveness that defy strict classification: gold, red, and blue bands, edged in black, also running between, below and/or above text columns, terminating in dragons, dragon or human heads, groteques or, most commonly, floral spirals, some with frets, blue and red with white highlights and orange and green dots, against gold, blue and/or maroon cusped grounds, often with pinwheel-like projections. Large miniatures, 12- to 11-lines, one column, framed and usually divided into two registers by thin bands, gold, red and/or blue with white highlights, edged in black, sometimes with arched canopies, often with architectural elements protruding (a few frames composed of thicker bands) figures in black pen against burnished gold (occasionally with painted gold diaperwork), blue or black grounds chief colors: light blue, dark blue, grey, light brown, white, maroon, with some orange, green and gold. Miniatures and historiated initials by at least two artists, the scale and quality of whose work distinguish the manuscript from contemporary and most fourteenth-century Arthurian manuscripts. ![]() The decoration of this lavishly illuminated manuscript consists of seventy-seven large column miniatures, fifty-one smaller miniatures, and thirty-six historiated initials. Script: Written in elegant gothic textura by one scribe, with a few interlinear corrections in later hands (14th and 15th centuries). ![]() This is an ongoing digitization project new images will be added as they become available.Manuscript on parchment of 1) Le livre de Lancelot du Lac, part III. Over 9,000 black and white photographic prints History of the CollectionĬarl Van Vechten donated a significant portion of his literary archive, many books from his personal library, a complete set of his photographic negatives and many thousands of prints, paintings and works of art, and other documents and objects from his personal collections to the Yale Collection of American Literature over several decades he is the founder of the James Weldon Johnson Memorial Collection of African American Arts and Letters. Van Vechten’s most compelling photographs document the photographer’s artistic sensibility while demonstrating his significant talent for portraiture. Van Vechten’s portraits have become more than just well-loved images Van Vechten has helped to define the ways his subjects will be remembered, the way they will enter history and the popular imagination. His diverse subjects give a sense of both Carl Van Vechten’s interests and his considerable role in defining the cultural landscape of the twentieth century among his many sitters one finds the leading lights of the Harlem Renaissance, the premier actors and writers of the American stage, the world’s greatest opera stars and ballerinas, the most important and influential writers of the day, among many others. As a promoter of literary talent and a critic of dance, theater, and opera, Carl Van Vechten was as interested in the cultural margin as he was in the day’s most acclaimed and successful people. Beginning in 1932, in the studio in his New York City apartment, Van Vechten photographed many of the most famous and influential figures of his day as well as up-and-comers and artistic outliers. In the artistic and intellectual communities of his day, Van Vechten truly covered the waterfront. During his career as a photographer, Carl Van Vechten’s subjects, many of whom were his friends and social acquaintances, included dancers, actors, writers, artists, activists, singers, costumiers, photographers, social critics, educators, journalists, and aesthetes. ![]()
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