Visual Structures

While the formats of Figures 74 and 75 have already been discussed, other features of their visual structures deserve comment. As a whole, the illustrations offer paradigms or models of the body politic arranged in a hierarchical sequence. Following established conventions, the top zone of Figure 74 corresponds to high or positive values; the lower register, to contrasting negative spiritual, social, and political ones. When, as in Figure 75, a middle zone is added, the basic antithesis embedded in the two-register structure threatens the paradigmatic definition of the body politic.

The settings of both Figures 74 and 75 offer simplified memory structures in which the reader could place in an ordered sequence concepts emphasized in the text. As noted above, however, extratextual inscriptions reinforce or correct textual sequence and order. In both miniatures architectural elements repeated and combined within an internal enframement imply containment within the embracing and limited physical space signifying the cité . The repeated gold arcades of the six compartments of Figure 74 emphasize the common space inhabited by the six groups.^[30] But the internal frames that divide each compartment create an impression of a separate existence for each group. Like the poor, middle class, and rich in the illustrations of Book IV (Figs. 64 and 65), the six groups of Figure 74 are defined in terms of social and economic status. But the setting repeated from the Book IV programs is not entirely appropriate for that of Book VII. The earlier pairs foster a parallelism among groups placed in the same left-to-right order in the upper and lower registers that is not applicable to those in Figures 74 and 75. Moreover, the miniatures of Book IV confer an honorific value to the central compartment as an embodiment of the mean that in Figures 74 and 75 is not appropriate for the occupants of this location. Finally, the simplified setting of Figure 74 does not in itself communicate the notion of the ideal state. In contrast, the expanded architectural features of Figure 75 that recall a similar element of the frontispieces (Figs. 46–49) convey the model aspect of the visual paradigm. Most prominent are the gold pinnacles of the upper frame capping the arcades repeated in each register.

Unlike the groups in Figure 74, those in Figure 75 are no longer separated by internal frames. The effect of this change is to emphasize the unity, rather than the division, among groups. To tie these groups together the Master of the Coronation Book inserts a linking element in the center of each register. In the top zone a sword bridges the gap between the gent d'armes and the gent de conseil ; in the middle one a crozier fulfills a similar function; and in the bottom register, the liripipe , or dangling hood, of a merchant and a stony ridge tie that group to the gent de mestier . A further linking device is the glance that at least one member of the group on the left casts toward the right-hand group.

In Figure 74 the Master of Jean de Sy varies the positions of each of his six groups. All occupy a narrow, stagelike ground plane against which they are silhouetted in contrasting red and blue tones that alternate with rose, gray, and green

ones. The scale of the figures is kept proportionate to the height of the compartment. Especially in the lower register they gain individuality because of the space left between them and the way they interact. In the upper register two frontal groups on left and right flank the central gent de conseil , subdivided into three standing and three sitting figures who face each other. Below, the scheme is inverted: the central group of the gent de mestier stands in frontal positions, while the groups on either side turn toward each other. By these devices, as well as varied hand gestures that convey communication among group members, the Master of Jean de Sy avoids a strictly diagrammatic lineup.

As in Figure 74, the three groups of citizens in Figure 75 tend to be greater in number than the noncitizens. In fact, the greater dimensions of the full-page illustration permit the inclusion of more figures per group. On all three levels the proportion of figures to space make them dominate the picture field. The heavy modeling of their sharply outlined grisaille figures accentuates their corporeality. Placed on a narrow green ground plane, they stand out against the alternating red-blue-red backgrounds. Accents of gold pick out identifying attributes of the citizen groups. The composition of Figure 75 also clearly contrasts the tightly knit groups of the three citizen classes and the more loosely strung out noncitizens. The former cluster together to perform their essential political functions. Although the latter also communicate with one another, only their work defines their function. Despite his dry style, the Master of the Coronation Book conveys the notion of the six classes as united groups rather than as separate individuals.