Illustration
Though it is rare as an example of an illuminated cartulary, the LFM is not the only example from the twelfth century, nor even from Spain. In fact, there exist four Spanish exemplars from the first half of the century: the Libro de los testamentos of the cathedral of Oviedo, Tumbo A from Santiago de Compostela, the Libro de las estampas of León, and the Becerro antiguo of the monastery of Leire. French examples exist from the same time period as the LFM: from Vierzon (c.1150), Mont-Saint-Michel (c.1160), and Marchiennes (c.1195).
Kosto has identified two styles and thus two hands at work in the miniatures of the LFM, one conservative and local, the other expert and international. Joan Ainaud dated the painting to the first quarter of the thirteenth century (after the completion of the text), but it was probably planned from the start.
The LFM preserves 79 images, though there were once more. Many of the images are connected with specific charters in the cartulary and depict various specific actions of feudal politics. They are among the earliest depictions of the act of homage (hominium), of the placing of a vassals hands between those of his lord. Oaths and pledges are depicted by raised right hands and agreements by hand-holding. The Treaty of Zaragoza (1170) is depicted by Alfonso II and his Castilian counterpart, Alfonso VIII, as sitting on two thrones, holding hands. All these images reinforced the royal conception of power and the subordination of vassals.
The first two images of the cartulary, however, are counter the hierarchical spirit of the rest. In the first, Alfonso and Ramon, seated at equal levels, with a scribe at work in the background, gesture towards a pile of charters. The charters are the centre of attention. The king is depicted as working (administering his realm). In the second, the king and the queen, Sancha of Castile, are surrounded by a circular array of seven pairs of noblewomen engaged in conversation. The king and queen, too, appear engaged in conversation. The image is probably a depiction of the court and its culture, which was a home to many troubadours.
Read more about this topic: Liber Feudorum Maior, Contents
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