xliv THE MASTER OF GAME

upper table at once marks the princely master, even without noticing the fact that of all persons
assembled he is the only one whose head is covered, his black cap, probably of fur, being adorned
in front by a jewel, somewhat smaller in size than the one he wears round his neck. The man on
his left with a peaked beard has a scarlet hood of somewhat unusual size, and a pink surcoat. The
man on the other side has a pinkish mauve coat and a green hood. All the dishes on the prince’s
table are of gold, and the bearer who is about to place another gold dish on the table is clad in a
gown of scarlet, a fact which shows that not only hunt-servants wore dress of that hue. The
earnest discussion in which the prince is evidently engaged turns, there is little doubt, upon the
stag’s fumets which the limerer has just placed on the table, they having been carried hither in his
horn, which he is still holding in his left hand. His green coat and blue hood contrast somewhat
with his naked thighs. Of the other eight men four are clad in green coats, two in scarlet, and two
in pink garments. The two flagons standing in the niche at the spring are of gold, and as such are
reserved for the prince’s use, for the rest of the company are taking their liquor out of wooden
pitchers. The shape of the small cask with a handle whereby to carry it, which stands at the right
corner of the lowest table, is precisely the same as the so-called dzedevers that are still in use in
remoter valleys in the Alps. The trappings of the three horses confined in a wattle enclosure
are of the usual bright scarlet or emerald green tints. The absence of eating implements, except
two knives, is further emphasised by the fate of the fowl that is being rent asunder with his
hands by one of the men at the middle table. This was, of course, in keeping with medizval customs,
the one of displaying the stag’s droppings on the tablecloth being the least civilised incidents of a
fifteenth-century hunt breakfast. As we see two such accumulations on the tablecloth it is evident
that the point of the discussion turns upon the merits of the two respective stags, each of the
successful harbourers claiming, we may presume, that his beast was surely the better of the two,
the final decision as to which one was to be hunted, resting, of course, with the princely master.
The hunting sword hanging up in a tree behind the master shows that the master took his ease
while enjoying his meal.

PratE XXXV. The two horsemen have scarlet and pink gowns, the leader’s cap being also
pink. The limerer’s coat is blue with a scarlet hood, the latter being also the colour of the gowns
of two of the three men behind him, the man in the centre of the group being clad in a pink coat.

PiatE XXXVI. This is also a highly interesting picture, for it shows us how the stag was
broken up or undone. The principal personage, whose high rank is not only indicated by his size
and his gorgeous dress, is busily instructing his apprentices in all the minutiz of this important
ceremony, to which of old so much importance was attached. His gown, which is very much
shorter than the houppelandes we have previously noticed, is of scarlet cloth or velvet, and
adorned with rich designs in gold embroidery. The great chain in which blue jewels, which are
probably meant to represent sapphires, predominate, and the broad silver-studded baldrick denote
his princely rank. His Master of Game, or other high official, standing at the other extremity of
the stag, is clad in a pink coat and green hood. He is demonstrating to the knife-wielding
apprentice how the right front leg of the stag is to be detached at the knee, for presentation to the
lord. At his side, clad in green, is a huntsman who is blowing the ‘‘assize,” which, as our royal
author tells us, was the horn signal that “ belongeth to the hart slain with strength,” the presence
of the pack in the foreground indicating that the great hart was killed in that manner. The
horseman on the left side is clad in a pink coat, and green is the colour of the dress of the two
youthful attendants behind the prince, as is also that of the apprentice in front of the latter. The
trappings of the horses on the left are as usual emerald green, those on the horses on the right side
scarlet. The sack which the sumpter mule bears probably contains the bread used for the cwrée when
it was mixed with the stag’s blood, and thus served to the ravenous hounds.

Pirate XXXVII. In this picture of the curée we see the prince directing the ceremony of
rewarding the hounds. His pink Aouppelande, cap with a blue ostrich feather, and much-bejewelled
neck chain denote his rank at the first glance. The youth at his right, garbed in a scarlet gown
with green lappels and a gold chain round his neck, is probably meant to represent a young noble ;

 

 

 

 

   

xlv

THE MINIATURES OF MS. 616

enine¢ the pt ince whose Cc ap S da do wit two b 0 trich lumes one
b h 1s ai rned 1 h super S Pp ’
man ’

i iddle of the fifteenth
white. This fashion came into use in France about ae ae
ae re He ly miniature in our Codex where this novel tasnio ne
ey co ee ‘nted, as do also the parti-coloure
>

as is also the

, .
5 to determine he pe od when these pictures were pal :
Ow 19 > oO I of the picture we observe the
In the ] Clgeuls h hand corne €

hich the other hounds had no
s head is clad in a pink
y reserved “ daintie

y of the men.
worn by so ma ;
C y of “ presenting the antlers’ to the limer, ar onour tO W
ceremon

: : A
The man behind the scarlet-coated chace-chien holding the stag
aim. e me

a i hung certain special
in hi d the “fork ” upon which were g et
oan ae tongue, the nuttes, and the flankards, which appertaineth to

The three horses have respectively green, black and scarlet

cl
gown, an
morselles,” such as ;
the King or to the chiefe personage.

i . . ith
oe XXXVIII. Again is the robe in which the leading horseman 1s clad of scarlet wi
PLATE ;

h mbroider go. Ge He wears £ Ss laced Pp e side d go d p *

rich € y 1 br own egging: u at th id an | spurs J he
behind him wears a blue surcoat and pink hose. The man Cat rying a hare has a pin

an k

; : t and pink hose.
em The attendant in front of him has a green coa Pp

upper garment and purple hose.

i 5 i are green.
ee ok ae eee which shows how the bow and crossbow men are posted at
LATE ; ’

ge,  “Wlaertir
’s surcoat is green, as are also the coats or hoods of the archer
their stands, the horseman s s g

wever, are pink or scarlet. ee
Be i. XXXX : Here the men are again dressed in green coats, with iad ee ae
a | i his picture as well as trom
i d pink) hose. From this p !
and parti-coloured (green an ee
at oe hat the men using cross-bows carried their cavquozs or quive
XXXIX. it would appear tha : e é oe
i i 1 - rs had theirs on the leit.
eee a6 a ee ted at either end of the net, the left one has a mauve, the
iS .
LATE XXXXI. Of the two men se re
f ink gown and blue cap The men holding the bell-rope are clad in a scarle
p! £ °

Hest, i bells are
, olours when snaring hares. The seven

a blue gown—very effective but hardly wees

i tal. (See Appendix: Snares. is

: “Pua ers an absence of inconspicuous colours is betrayed in this picture, Oe

Cee pink gown, blue hood and blue hose, while the other watcher is clad in
gown,

i ked out ina :
De etic It surprises one almost that the artist allowed the hares

a scarlet hood, blue gown and pink hose.
to run about in their natural coats! (See Appendix: F are.)

Prare XX XXIII. It manifests a similar love for garish colours ; heehee
coat, green hood, blue hose and black cap, and his horse’s trappings are ee and go - : ae

da blue coat, while the

i i e bz | has a scarlet cap and a :
firing the crossbow in the background

at wee The presence of the scarlet and blue on the painters
flowers in the corn. (See Appendix : Arms.)
of a greyish brown tint, and the

the horseman wears a pink

in front wears a scarlet gown and blue hood.
pallet accounts probably also for the poppies and cornfi
Prats XXXXIV. The cloak over the make-believe horse is
man’s coat and hose are green. (See Appendix : Snares.)
Prats XXXXV. Both the men in the cart and on horseback wear green dresses,
the harness of the horse is scarlet; possibly the artist believed that the stags which aa cart was 4
beguile would evince the same partiality for bright colours that his readers probably possessed +

(See Appendix : Snares.)

but some of