Artworks

This manuscript tells the epic tale of the legendary hero Alexander the Great, whose life became a shining symbol of military genius and the unstoppable urge for adventure. From glorious battles against giants and fantastic monsters to an encounter with Calistidra, the Queen of the Amazons, this tale has captivated countless generations of listeners since the late antiquity. 

Of the 15 surviving copies of the Alexander Romance in prose, only four manuscripts of this second version are known, and this magnificent codex stands as one of the most valuable testimonies of storytelling known to mankind. Our manuscript belongs to what is known as the second version of the text, of which only three other manuscripts are known (preserved in the British Library, the Bibliothèque Royale in Brussels, and the Staatsbibliothek in Berlin). This version, dating from after 1252, is characterised by the addition of Daniel’s prophecy in the episode of Alexander in Jerusalem and a second prologue dedicated to the history of Macedonia. The four manuscripts of this version are remarkably similar, all produced between 1290 and 1310 in northern France and richly illuminated. The Roman d’Alexandre recounts the extraordinary life of Alexander the Great, from his mythical birth in the ancient city of Pella to his mysterious death in the city of Babylon, encompassing his legendary campaigns across Persia and India against his two great rivals, the kings Darius and Porus.

Each miniature, a masterpiece of imagination and detail, transports the viewer to wondrous scenes, such as battles with fierce giants, fire-breathing dragons, and the fearsome three-horned creature known as the Odontotyrannus. The illuminator, a true visionary, has captured Alexander's adventures with playful creativity - including a scene showing Alexander himself in a dive into the mysterious depths of the ocean: The painting shows the king seated inside a glass barrel, equipped with two suspensions holding a flickering flame, as he descends into the water. In the upper section of the miniature, two of the king’s companions sit in a sailing boat, lowering Alexander into the sea with two large chains attached to the sides of the glass barrel. Marine fauna surrounds this astonishing early submarine: a multitude of diverse fish, including a smiling ray, are vividly brought to life by the illuminator. A giant whale dominates much of the seabed, while the ocean floor is populated by creatures and figures drawn from the text. These include two naked men, one of whom is eating a small fish, and a dog-like creature strolling among fruit-bearing trees. 

The artist responsible for the paintings in this truly marvellous manuscript has not yet been identified, though his distinctive treatment of animals and vividly rendered architecture is comparable to a group of manuscripts of the Trésor by Brunetto Latini. Further stylistic comparisons by Alison Stones include a group of manuscripts associated with the cities of Reims and Thérouanne, providing us with a relatively narrow geographical framework for the production of our manuscript. The patron of this copy remains unknown, however, the consistent use of black and gold heraldry on Alexander’s shield - sable an eagle or - could be a clue.