Once I was a clever boy learning the arts of Oxford... is a quotation from the verses written by Bishop Richard Fleming (c.1385-1431) for his tomb in Lincoln Cathedral. Fleming, the founder of Lincoln College in Oxford, is the subject of my research for a D. Phil., and, like me, a son of the West Riding. I have remarked in the past that I have a deeply meaningful on-going relationship with a dead fifteenth century bishop... it was Fleming who, in effect, enabled me to come to Oxford and to learn its arts, and for that I am immensely grateful.

Saturday 31 October 2015

Hell Hounds

The BBC News website, no doubt with Halloween in mind, has a report under the title of  The terrifying story of the 'hell hound, and saying that tales of ferocious dogs have been the stuff of myth for centuries, but how have accounts of these mythical beasts spread so far and wide?

The answer is, apparently to be found at their report, which can be seen at

Now is it a shaggy dog story? Woof or grrrrr.....?

Barker on Agincourt

I marked the anniversary last weekend of the battle of Agincourt by reading right through Juliet Barker's Agincourt


Image: Amazon

In my post some months ago on Prof. Anne Curry's book on the battle I described Juliet Barker's book as being more popular. That it perhaps is, but not in any slighting sense. It does perhaps set the battle and the society that existed at the time in a way that is perhaps a little more approachable to the non-specialist reader.

Although I would have some quibbles about points Juliet Barker makes, especially on church matters, her book is splendid - very readable and full of details, one that self-consciously looks at individuals and how they prepared for the campaign, such as the Earl Marshal equipping himself with armour, but not always from the same supplier, and it is a gripping read, which touches on those emotions Agincourt still evokes in the English, a point to which I referred in a recent post.

For anyone wanting to know about the battle or the wider campaign, or the military society of the time this is, perhaps, the book to read. When first published it was the fourth best selling history book of the year ( which also tells you something about the continuing fascination with the battle) and richly deserved its success.

It is quite a page turner, gives one plenty to think about - such as firing off ten arrows inside a minute to be able to qualify as an archer - and catches the sheer emotion of the success against the odds of King Henry V and his men in 1415.

St Quentin

John Dillon posted as follows on the Medieval Religion discussion group; I have added occasional notes in [ ]

Quintinus of Vermand (Quintin, Quentin; d. late 3d cent., supposedly) is the martyr of today's Saint-Quentin (Aisne) in Picardy. His cult there is already recorded by St. Gregory of Tours in the sixth century.

The earliest of his many legendary Passiones (BHL 6999-7012) is commonly dated to the eighth century. According to this account, Quintinus, the son of a senator, was a Christian inhabitant of Rome who had traveled to northern Gaul as a missionary. During a persecution under Maximianus he was arrested on the orders of a Roman official named Rictiovarus or Rictius Varus (the villain of numerous Passiones from northern Francia) and was cruelly tortured in various ways: of these, the one most frequently depicted in the later Middle Ages was having iron nails and iron stakes driven into his body. Quintinus' sufferings ended when he was decapitated at Augusta Viromanduorum, a Roman-period predecessor of Saint-Quentin thought to underlie the modern city's outlying canton of Vermand. His body was then secretly deposited in the river Somme, where it remained incorrupt for about fifty-five years until its miraculous discovery by a Roman matron named Eusebia. Thus far BHL 6999.

Other accounts relate the translation of Quintinus' remains over a century later to a basilica where their location came in time to be forgotten and their subsequent rediscovery by St. Eligius in the seventh century. One may read about the latter finding in Jo Ann McNamara's English-language translation of Dado of Rouen's Life of St. Eligius (scroll down to II, 6):
Excursus: one thing that Dado does not tell us is how St. Eligius (Éloi) advised Dagobert I on matters pertaining to the king's wardrobe (or perhaps he did tell us but it's in one of the lacunae). For that, one has to go to the song "Le bon roi Dagobert":
An illustrated, French-language summary of Quintinus' legend is here (better views of the illuminations are linked to in "images", below):

Some period-pertinent images of St. Quintinus of Vermand (the suffix differentiates him from St. Quintinus of Meaux):

a) as depicted in a late eleventh or early twelfth-century copy of a Vita et miracula s. Quintini (Saint-Quentin, Bibliothèque Guy de Maupassant; ms. Église Saint-Quentin 1):
1) leaving Rome with eleven companions (p. 9):
Detail view (Q. and companions):
2) preaching in Amiens (p. 20):


3) administering baptisms (p. 23):


4) undergoing arrest (p. 36):

5) taken in chains to Augusta Viromanduorum, where he is brought before Rictiovarus (p. 38):


6) undergoing torture; liberated by an angel (pp. 41-42??):


7) undergoing further torture (p. 43):


8) praying to God; suffering decapitation (pp. 44-45):

Detail view (Q. praying):

b) as depicted (martyrdom) in a late thirteenth-century copy of French origin of the Legenda aurea (San Marino, CA, Huntington Library, ms. HM 3027, fol. 149r; upper image):

c) as depicted (martyrdom) in the late thirteenth-century Livre d'images de Madame Marie (c. 1285-1290; Paris, BnF, ms. Nouvelle acquisition française 16251, fol. 82v):

d) as depicted (at left; at centre, St. Michael the Archangel; at right, St. Romanus of Rouen) in an earlier fourteenth-century glass window (w. 309; before 1325) in the cathédrale Saint-Pierre in Beauvais:


e) as depicted (martyrdom) in an earlier fourteenth-century copy of the Legenda aurea in its French-language version by Jean de Vignay (c. 1326-1350; Paris, BnF, ms. Français 185, fol. 266r):

f) as depicted (three scenes) in an earlier fourteenth-century copy of books 9-16 of Vincent of Beauvais' Speculum historiale in its French-language version by Jean de Vignay (c. 1335; Paris, BnF, ms. Arsenal 5080):
1) leaving Rome with fellow missionaries (fol. 268v):
2) martyrdom (fol. 269r):
3) his body discovered by Eusebia (fol. 269v):

g) as depicted (martyrdom) in a late fourteenth- or early fifteenth-century copy of the Legenda aurea (Rennes, Bibliothèque de Rennes Métropole, ms. 266, fol. 300r):

h) as depicted (left-hand column; martyrdom) in the early fifteenth-century Hours of René of Anjou (c. 1405-1410; London, BL, Egerton MS 1070, fol. 103v; image zoomable):

i) as depicted (martyrdom) in the earlier fifteenth-century Hours of Jacques Cauchon and Jeanne Bohais (c. 1440), one of the items in the Arcana Collection announced for sale at an auction at Christie's on 7. July 2010:


j) as depicted (at right, martyrdom; at left, St. Sebastian) by André Robin and workshop in a mid-fifteenth-century glass window (w. 115; 1450s) in the north transept of the cathédrale Saint-Maurice in Angers:


k) as depicted (at left, martyrdom; at right, his body discovered by Eusebia) in a later fifteenth-century copy from Bruges of the Legenda aurea in its French-language version by Jean de Vignay followed by the Festes nouvelles attributed to Jean Golein (c. 1460-1470; Mâcon, Médiathèque municipale, ms. 3, fol. 11v):


l) as depicted (martyrdom) in a later fifteenth-century copy of Vincent of Beauvais' Speculum historiale in its French-language version by Jean de Vignay (1463; Paris, BnF, ms. Français 51, fol. 87r):


m) as depicted on three painted panels of a late fifteenth-century winged altarpiece (ca. 1480-1500) in the kostol sv. Vavrinca in Revúca (Banská Bystrica Region), Slovakia:
1) appearing before Rictiovarus:


[ I suspect that originally St Quentin's armour was done insilver leaf whuich has flaked away, leaving the brown undercoat - Clever Boy]
2) being stripped and then flogged:


3) his funeral:


[Note the seed pearls decorating the mitres -Clever Boy ]

n) as depicted (martyrdom) in the Suffrages of a late fifteenth-century book of hours from the southern Netherlands (Mons?; ca. 1490-1500; Baltimore, The Walters Art Museum, Walters ms. W.431, fol. 111r):

o) as depicted (martyrdom) in the Suffrages of an early sixteenth-century book of hours from the southern Netherlands (Cambrai?; c. 1500-1510; Den Haag, KB, ms. 76 F 20, fol. 176v):

p) as depicted (martyrdom) in the Suffrages of another early sixteenth-century book of hours from the southern Netherlands (ca. 1500-1510; Den Haag, KB, ms. 133 E 14, fol. 60r):

q) as depicted (martyrdom) by Jacopo Pontormo on an early sixteenth-century canvas processional banner (1517) in the Pinacoteca comunale of Sansepolcro (AR) in Tuscany:

 Jacopo Pontormo 043.jpg

Friday 30 October 2015

Stand off on London Bridge

Today is the 590th anniversary of the stand off on London Bridge which averted the outbreak of more serious conflict in the capital and perhaps elsewhere.

A decade after Agincourt and little over three years after the death of King Henry V the Council ruling England for the child King Henry VI was split between factions centred around the King's younger uncle and Protector - a position that remained undefined, and hence a source of tension - Humphrey Duke of Gloucester and his uncle, and the King's great-uncle, Henry Beaufort, Bishop of Winchester and later to become Cardinal.

Humphrey Duke of Gloucester


Duke Humphrey sponsored by St Alban before the Blessed Sacrament and Christ as the Man of Sorrows circa 1430-40


Duke Humphrey favoured a belligerent policy in France in pursuit of the English campaign, and had managed to bitterly offend the main English ally, the Duke of Burgundy by his marriage to Jacqueline, Countess of Hainault, Holland and Zeeland. To do so the couple had sought an annulment of her marriage to the Duke of Brabant, couisin to the Duke of Burgundy who hoped to eventually secure her territories - as indeed he did manage to in the end. Humphreye was not trusted by many of his colleagues on the Council, and they had successfully resisted his claim in 1422 to exercise wider powers in England during the absence in France of the Regent, his elder brother, John Duke of Bedford.

Bishop Henry Beaufort

Kunstjistorisches Musuem, Vienna

The Bishop of Winchester was again serving as Chancellor of the realm, and as a man of exceptional wealth was a key figure in funding loans to the Crown for the French war. An ambitious as well as an able man he had been forced by King Henry V to decline the offer of a Cardinal's hat in 1418-19.

Gloucester had returned in April from his inglorious military efforts on behalf of his wife in the Low Countries, and increasinglt polarised opinion in the government. Bishop Beaufort as  Chancellor appointed Sir Richard Wydeville (grandfather of the Queen of King Edward IV) as Constable of the Tower of London and ordered him to forbid access to others, including the Duke of Gloucester. With tension rising the Bishop now brought in Lancashire and Cheshire archers to his manor at Southwark facing London across the Thames. Beaufort later claimed that this was because he feared an attempt by Gloucester to seize the young King who was living at Eltham

At 8 or 9 in the morning of October 30th the Bishop's men morning attacked the bridge gate, and followed up " with shot and other means of warre." On the north bank Gloucester appealed to the Londoners - it was the day of the election of the new Mayor - and with whom he enjoyed a good relationship. The Londoners swarmed to repel any move by the Bishop's men into the City.

Peace was preserved by shuttle diplomacy across London Bridge carried out by the Archbishop of Canterbury, Henry Chichele, who had presumably come in from Lambeth, and the Infante Dom Pedro, Duke of Coimbra. A cousin of Duke Humphrey and nephew of the Bishop he was in London whilst travelling round Europe and the Near East. There is an online life of him at Peter, Duke of Coimbra, and his life is in some ways not dissimilar to that of Humphrey in many ways, in their interests, career and fate as protectors or regents for their nephews.

Archbishop Henry Chichele
Tomb effigy in Canterbury Cathedral


File:Peter of Coimbra (St. Vincent Panels).jpg

Pedro, Duke of Coimbra

Portrait believed to be of Infante Pedro, first Duke of Coimbra. Detail from the fifth panel of the polyptych Adoration of Saint Vincent, attributed to Portuguese Renaissance painter Nuno Gonçalves, composed c.1470 (possibly as early as 1450s). Originally found at the monastery of São Vicente de Fora, now held by the National Museum of Ancient Art in Lisbon, Portugal.


Their shuttle diplomacy required eight journeys across the bridge, but  peace was maintained.

London Bridge and Southwark byVissher circa 1600


A reconstruction of London Bridge circa 1450



A reconstruction by W.S.Brewer showing Southwark, showing Winchester House on the lower left, St Mary Overy Priory - now the Anglican cathedral - and London Bridge about 1500


The bridge was finally rebuilt in 1831, but the  remains of Winchester House or Palace can still be seen on the Souk Bank, clos eto what is now the Annglican cathedral in Soutwark

The remains of the hall of Winchester House today

Image: Wikipedia

The following day, October 31st, Beaufort wrote to the Regent Bedford in France, urging his return, as follows:

"as you desire the welfare of the king our sovereign lord and of his realms of England and of France, and your own weal and ours also, haste you hither; for by my troth if you tarry , we shall put this land at risk of a battle. Such a brother you have here. God make him a good man. For your wisdom knows well that the prosperity of France stands in the welfare of England "


 John, Duke of Bedford

Image: Wikimedia

On December 20th the Regent arrived with his wife at Sandwich, and during the next months which included the meeting of Parliament at Leicester, a part of the Lancastrian patrimony and away from the tensions of London, brokered a deal whereby Beaufort gave up the Chancery, but did receive early in 1427 his long-desired Cardinal's hat from the hands of the Regent in Calais. Gloucester may have removed the Chancellor but got little else, save a further grievance against his uncle, that of becoming a Cardinal whilst still based in England.

Wednesday 28 October 2015

St Simon and St Jude

Today is the feast of the Apostles SS Simon and Jude and John Dillon has again posted a selection of images of them on the Medieval Religion discussion group:

Simon (Simon the Zealot; Simon Cananaeus; in Greek, Symeon) and Jude (Jude Thaddaeus, Jude of James) occur next to each other in lists of the Twelve Apostles (Mt 10:3, 4; Mk 3:18; Lk 6:15; Acts 1:13). Contrary to what was thought in the Middle Ages, it is not certain that the apostle Jude was the author of the Epistle that bears his hardly unique name. The reported places and manners of these saints' deaths vary enormously. According to Eusebius of Caesarea, Simon was crucified in very advanced years by order of Atticus, a Roman governor of Palestine under Trajan. He and Jude share a legendary, originally late antique Passio (BHL 7749-7750a) that calls Simon _Simon Chananaeus_ and Jude _Iudas Zelotes_ and that has them evangelizing in what would appear to be Parthia, coming into conflict with magi there, and finally suffering martyrdom on 28. October. Or perhaps they died in Armenia, where they are traditionally considered that nation's apostles along with St. Bartholomew and where Jude (as Thaddaeus) and Bartholomew are commemorated jointly on 28. November. In many Byzantine-rite churches Simon is celebrated on 10. May and Jude is celebrated on 19. June.

Some period-pertinent images of Simon (S.) and/or Jude (J.), apostles:

a) Simon and Jude as depicted (J. at centre; S. at right; at left, St. Bartholomew) in the later fifth-century mosaic ceiling (between 451 and 475) of the Neonian Baptistery / Orthodox Baptistery in Ravenna:


b) Simon and Jude as depicted (S. at far left; J. just above him on the arch soffit) in the very late fifth- or early sixth-century mosaics of the Cappella Arcivescovile (a.k.a. Cappella di Sant'Andrea) in Ravenna:


c) Simon and Jude as depicted in the earlier sixth-century mosaics (betw. 527 and 548) of the triumphal arch in the basilica di San Vitale in Ravenna :

 http://www.kornbluthphoto.com/images/VitaleChancelArch1.jpg [photograph courtesy of Genevra Kornbluth]



d) Simon and Jude as depicted in the earlier sixth-century mosaics (carefully restored, 1890-1900) of the triumphal arch in the Basilica Eufrasiana in Poreč:

St Simon (at far left) 

St Jude (at far right)

e) Simon as depicted in a tenth-century fresco of the Grotta dei Santi in Pignataro Maggiore (CE; near Calvi Risorta) in northern Campania:

f) Simon as depicted in relief (at right; at left, St. Bartholomew) on a later tenth-century ivory reliquary casket (between c. 951 and 1000) of probable Constantinopolitan in the Metropolitan Museum of Art, New York:

g) Simon (right-hand leaf, at center) and J. (at right; at left, the Emperor Henry III [d. 1056]) as depicted in the mid-eleventh-century Emperor's Bible or Codex Caesareus Upsaliensis, formerly at Echternach (Uppsala, Universitetsbibliotek, cod. C 93, fol. 4r):


h) Simon and Jude as portrayed on later eleventh-century coins from Frisia and from the imperial mint in Goslar:

i) Simon (at left; at right, St. James) as depicted in the eleventh- or twelfth-century frescoes of the Eski Gümüş monastery near Gümüşler in the Turkish province of Niğde:


j) Simon (lower register at left) as depicted in the mid-twelfth-century apse mosaics (completed in 1148) of the basilica cattedrale della Trasfigurazione in Cefalù:


Detail view:

k) Simon (at left; at right, St. Bartholomew) as depicted in the mid-twelfth-century mosaics (between 1146 and 1151) of the chiesa di Santa Maria dell'Ammiraglio (a.k.a. chiesa della Martorana) in Palermo:


l) Simon and Jude as portrayed in high relief by Gruamonte at different locations in his sculpture of Christ, the apostles, and flanking angels (c. 1167) on the lintel above the central portal on the face of Pistoia's chiesa di San Bartolomeo in Pantano:
Simon (second from left; betw. an angel and St. Matthew): http://tinyurl.com/nrl6ewe
Jude (second from left; betw. St. Andrew and St. James): http://tinyurl.com/qafv6yg

m) Jude (third from left) and Simon (at far right) as portrayed in relief by Anselmo da Campione in his Last Supper panel on the later twelfth-century parapet (pontile; c. 1170-1180) in the cattedrale di San Geminiano in Modena:

n) Simon as depicted in the later twelfth-century Ascension fresco (c. 1176-1200) in the church of St. George in Staraya Ladoga (Leningrad oblast):

o) Jude as depicted in a seemingly later twelfth-century New Testament perhaps from Cyprus or Palestine (c. 1176-1200; Paris, BnF, Ms. Coislin 200, fol. 207r):

p) Simon and Jude (martyrdom; both by the the lance) as depicted in the late twelfth-century Navarre Picture Bible (1197; Amiens, Bibliothèque Louis Aragon, ms. 108, fol. 211r):

q) Simon (at left, with another disciple; at right, undergoing a beating before the seated Atticus) as depicted in the later twelfth- or early thirteenth-century frescoes in the santuario di Maria SS. Regina (a.k.a. Santa Maria d'Anglona) at Tursi (MT) in Basilicata:

r) Simon and Jude as depicted (with scenes from their Passio) in the earlier thirteenth-century window devoted to them (c. 1220-1225) in the basilique cathédrale Notre-Dame in Chartres (for detail views, click on the numbered panels at right):

s) Simon as depicted in the mid-thirteenth-century Touke Psalter from Bruges (c. 1250-1260; Baltimore, Walters Art Museum, Walters ms. W.36, fol. 61v):

t) Simon and Jude as depicted in the later thirteenth-century frescoes of the ceiling of the baptistery of Parma:

u) Simon and Jude as portrayed in silver gilt statuettes on the later thirteenth-century copper gilt châsse of St. Remaclus (completed between 1263 and 1268) in the église Saint-Sébastien in Stavelot:




v) Simon and Jude as portrayed in the late thirteenth-century pier statues in the choir of Köln's Hohe Domkirche Sankt Peter und Maria [ which claims to have some of St Simon's relics ]:

 Photo: © Dombauarchiv Köln

St Simon  

 Photo: © Dombauarchiv Köln

St Jude

w) Simon and Jude as depicted (martyrdom; both by the sword) in a late thirteenth-century copy of French origin of the Legenda aurea (San Marino, CA, Huntington Library, ms. HM 3027, fol. 148r):

x) Simon (at left; martyrdom by crucifixion) and Jude (at right; martyrdom by the sword) as depicted in the late thirteenth-century Livre d'images de Madame Marie (ca. 1285-1290; Paris, BnF, ms. Nouvelle acquisition française 16251, fol. 70r):

y) Simon as depicted in the fourteenth-century apse frescoes of the basilica di Sant'Abbondio in Como:

z) Simon and as Jude depicted by Duccio di Buoninsegna on his early fourteenth-century Maestà (between 1308 and 1311) in the Museo dell'Opera del Duomo in Siena:
Simon: http://www.artflakes.com/de/products/duccio-apostel-simon
Jude: http://www.artflakes.com/de/products/duccio-apostel-thaddaeus

aa) Simon as depicted (lower register, second from left) in separate calendar compositions in the earlier fourteenth-century frescoes (between c.1312 and 1321/1322) of the narthex in the monastery church of the Theotokos at Gračanica in, depending upon one's view of the matter, either the Republic of Kosovo or Serbia's province of Kosovo and Metohija:
Siomon (May calendar; lower register, second from left; crucified):
Detail view:
Jude (June calendar; lower register, at far right; trussed and hanging from a pole):

bb) Simon and Jude as depicted in earlier fourteenth-century panel paintings by the workshop of Simone Martini (c. 1320) in the National Gallery of Art, Washington, DC:


cc) Simon and Jude (martyrdom; both crucified, Jude also pierced by a lance) as depicted under separate days in an earlier fourteenth-century pictorial menologion from Thessaloniki (betw. 1322 and 1340; Oxford, Bodleian Library, MS Gr. th. f. 1, fols. 39r, 44r):
Simon (at left in panel at lower left):
Jude (at left in panel at lower left):

dd) Simon (at left) and Jude (at right) as depicted by Ugolino di Nerio in an earlier fourteenth-century panel painting (?c. 1325-1328; from his dismembered Santa Croce altarpiece) in the National Gallery, London:


Zoomable image:

ee) Simon and Jude (martyrdom; both by the sword) as depicted in an earlier fourteenth-century French-language legendary of Parisian origin with illuminations attributed to the Fauvel Master (c. 1327; Paris, BnF, ms. Français 183, fol. 53r):

ff) Simon and Jude as depicted in an earlier fourteenth-century copy, from the workshop of Richard and Jeanne de Montbaston, of the Legenda aurea in its French-language version by Jean de Vignay (1348; Paris, BnF, ms. Français 241, fol. 286r):

gg) Simon as depicted in the later fourteenth-century frescoes (1360s and 1370s; restored, 1968-1970) in the church of St. Demetrius in Marko's Monastery at Markova Sušica:

hh) Simon (at left) and Jude (at right) as depicted by Lorenzo Salimbeni on the wings of his late fourteenth-century altarpiece of the mystical marriage of St. Catherine of Siena (1400) in the Pinacoteca civica "Padre Pietro Tacchi Venturi" of San Severino Marche:

A closer view (better for some details but not for colour):

ii) Simon and Jude as portrayed in high relief (fifth and sixth from left) on one of the long sides of the late fourteenth- or early fifteenth-century tomb of St. Wendelin in his basilica in Sankt Wendel:

jj) Simon and Jude as depicted on different ranges of the fifteenth-century chancel screen of the church of St. Helen, Ranworth (Norfolk):
Simon (at left; at right, St. Thomas the Apostle):


Jude (at left; at right, St. Matthew the Apostle):


kk) Jude (at left; martyrdom by halberd) and S. (at right; martyrdom by a short sword) as depicted in a fifteenth-century panel painting of Rhineland origin in the Pinacoteca Vaticana:

ll) Simon and Jude (at left and at centre, respectively; at right, St. Margaret of Antioch) as portrayed in an early fifteenth-century (c. 1410) altar frontal in wool, linen, and silk from Strasbourg / Straßburg now in the Museum für Angewandte Kunst, Frankfurt am Main:


mm) Simon (at left) and Jude (at right) as depicted in an earlier fifteenth-century Franciscan breviary (c. 1430; Chambéry, Bibliothèque municipale, ms. 4, fol. 636r):

nn) Simon as depicted in the earlier fifteenth-century Hours of Catherine of Cleves (c. 1440; New York, The Pierpont Morgan Library and Museum, Morgan MS M.917, p. 233):

oo) Jude as depicted in a mid-fifteenth-century Dutch-language history bible (1443; Den Haag, KB, ms. 69 B 10, fol. 187r):

pp) Jude (at left, holding a club) and Simon (at right, holding a saw) as depicted in a later fifteenth-century copy of Jean Mansel's Fleur des histoires (c. 1451-1475; Paris, Bibliothèque Mazarine, ms. 1560, fol. 195v):

qq) Simon and Jude as depicted (overcoming demons in the presence of magi and of the king of Babylon) in a later fifteenth-century copy of Vincent of Beauvais' Speculum historiale in its French-language version by Jean de Vignay (1463; Paris, BnF, ms. Français 50, fol. 335v):

rr) Simon and James as depicted (accused by magi) in an even later fifteenth-century copy (ca. 1480-1490) of Vincent of Beauvais' Speculum historiale in its French-language version by Jean de Vignay (Paris, BnF, ms. Français 245, fol. 148v):

ss) Simon and Jude as depicted by Miguel Ximénez and workshop in adjacent panels of his and Martín Bernad's late fifteenth-century altarpiece of the Holy Cross (completed, 1487) for the parish church of Blesa (Teruel) and now, after dismemberment, mostly in the Museo de Zaragoza:
Simon: (at right; at left, St. Matthew the Apostle):

Jude: (at left; at right, St. Matthias the Apostle):

tt) Simon and Jude as depicted (martyrdom) in hand-coloured woodcuts in the Beloit College copy of Hartmann Schedel's late fifteenth-century Weltchronik (Nuremberg Chronicle; 1493):
Simon (fol. CVIIv; martyrdom by club and by sword): http://tinyurl.com/9vusjwo
Jude (fol. CVIIr; martyrdom by clubs): http://tinyurl.com/997h3ez

uu) Simon (at left, with a saw) and Jude (at right, with a lance) as depicted in the late fifteenth- or early sixteenth-century Master of the Dark Eyes Missal from Utrecht (c. 1500; Baltimore, Walters Art Museum, Walters ms. W.175, fol. 201r):