Lansdowne MS 782

Contents:

Chanson d'Aspremont, part of the second of three chansons de geste of the Charlemagne cycle from the late 12th century, narrating Charlemagne's early expedition across the Alps to Aspremont in Italy to retake land in Calabria from the Saracen king, Agolant. The text here is imperfect, consisting of verses 209-514 (about 4700 lines). One quire is lacking between ff. 25 and 26, so that lines 402-482 are missing. f. 1r-v is a fragment containing 40 lines. See Mandach, Chanson d'Aspremont (1975), pp. 27-28 for details of the contents.

Decoration:

45 pen drawings and fragments of 2 more, mostly two columns wide, with a wash of green, and often red, or sometimes yellow and/or blue. Small initials in red or green.

The subjects of the images are:

f. 3v: An archbishop brings a message from King Salomon to Charlemagne, who is seated in a pavilion holding a lance;

f. 4r: A battle between two knights, probably Girard de Fraite and Eaumont;

f. 4v: Charlemagne and Girard de Fraite (de Vienne) embrace, Girart retrieves Charlemagne's hat which had fallen, and their followers are reconciled;

f. 6r: A battle between knights, probably Balan against Flavant and the advance guard of Charlemagne's army;

f. 7r: A battle between the French and Saracen armies at the foot of Aspremont;

f. 7v: Charlemagne riding in full armour, followed by Girard;

f. 8r: Eaumont cuts of the head of Anquetin le Normand, who is defending Charlemagne;

f. 8v: Girart attacks the Saracens, Maragon and Aprohant;

f. 9r: A battle with lances;

f. 10r: A mounted archer is speared and falls off of his horse, with a king on the left holding a sword;

f. 10v: Godefroi on horseback holding a lance brings a message of reinforcements to Charlemagne;

f. 11r: Eaumont piercing the shield of Naimon of Bavaria with his lance;

f. 11v: Ogier kills Gorhant with his spear, knocking him to the ground;

f. 12r: Charlemagne finds Eaumont drinking from a spring;

f. 12v: Watched by Charlemagne, Roland splits the skull of Agolant's son, Eaumont and captures the sword, Durendal;

f. 14r: King Agolant and King Abilant are playing chess in Reggio, when Maragon and Aprohant arrive to announce the news of Eaumont's defeat and death;

f. 16r: Kings Urien and Mandekin address Agolant and his court;

f. 16v: The messengers Maragon and Aprohant are put to death by Agolant;

f. 17r: Returning soldiers tell Agolant of their defeat;

f. 18v: The baptism of Balan in a tub by Pope Milon with 4 archbishops present;

f. 19r: Balan warns Charlemagne and the Pope of an attack by a flotilla of boats coming from Reggio;

f. 19v: The Pope and four archbishops bring a message to Girard who is seated with his barons, washing his hands before a meal;

f. 20r: Charlemagne takes Girard by the hand;

f. 21r: Four heralds on horseback announce Charlemagne and Girard's orders that all the young attendants will fight in the forthcoming battle;

f. 21v: Estout and Berenger tell Roland the news and he goes to see Charlemagne, who is with the Duke of Naimes, Ogier le Danois and Flovent;

f. 22r: Naimon and Ogier kneel before Charlemagne to ask him to knight his nephew, Roland;

f. 22v: Charlemagne embraces Roland;

f. 23r: Charlemagne knights the young men and gives them swords;

f. 23v: The barons bring 300 swords to Charlemagne; he buckles the sword Durendal onto Roland's belt, while Naimon and Ogier buckle on his spurs;

f. 25r: The Pope says Mass, attended by an archbishop, a bishop, Charlemagne and Roland (incomplete, with only his hand included);

ff. 26v-27: A great battle between the armies of Charlemagne and Agolant;

f. 28r: Urien gives a message to Agolant;

f. 29r: Agolant surrounded by the Saracen kings;

f. 29v: Kings Mandaquin, Malandient and Urien advising Agolant;

f. 30r: A battle;

ff. 31v-32r: Agolant's army is routed by Charlemagne's army;

f. 34r: The Saracen army is defeated;

f. 34v-35r: Charlemagne's army set up camp, while Agolant's soldiers retreat;

f. 35v: A battle;

f. 37r: Claron brings a message to Girard, who is dining;

f. 37v: Claron delivers Agolant's queen and her women from the tower in Reggio.

According to Hunt, 'The Tristan Ilustrations', (1987), this is one of only three mid-13th-century English manuscripts with secular romance illustrations (the other two are Add MS 11619, 8 Tristan illustrations and Cambridge, Trinity College 0.9.34, Roman de Toute Chevalerie). The style of the miniatures is similar to works produced in Matthew Paris's workshop at St Albans (see Mandach, Chanson d'Aspremont (1975), pp. 30-31).