Relevant bibliographies by topics / Medieval Illumination of book and manuscripts

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Academic literature on the topic 'Medieval Illumination of book and manuscripts'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Medieval Illumination of book and manuscripts"

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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (January 1, 2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.

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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical treatises to courtly literature. The Museum places late medieval book production squarely in its historical and artistic context. Visitors are not only introduced to the urban culture that provided a fruitful meeting place between artists, craftsmen, and patrons, but also to the broader artistic culture of the late Middle Ages. By presenting the manuscripts in dialogue with other forms of art such as panel paintings and sculpture, the exhibition stresses that artists at times moved between various media (e.g. illumination and painting) and were influenced by iconography in other forms of art.
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Jackson, Cailah. "The Illuminations of Mukhlis ibn ʿAbdallah al-Hindi: Identifying Manuscripts from Late Medieval Konya." Muqarnas Online 36, no. 1 (October 2, 2019): 41–60. http://dx.doi.org/10.1163/22118993-00361p03.

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Abstract The arts of the book of late medieval Rum (Anatolia) constitute a rich resource for Islamic art historians that remains relatively unknown in the wider scholarship. This complex period saw the disintegration of Seljuk rule and the partial absorption of the region into the Ilkhanid realm. Konya (present-day central Turkey), the former Seljuk capital, was hardly isolated from its better-known neighbors and was evidently an active center for the patronage of the arts of the book. This article contributes to ongoing discussions concerning late medieval Islamic manuscripts by discussing illuminations that were produced by Mukhlis ibn ʿAbdallah al-Hindi in thirteenth-century Konya. One of the two named illuminators active in the city, Mukhlis extensively decorated two manuscripts, both in 677h (1278): a small Qurʾan and a monumental copy of Jalal al-Din Rumi’s Mas̱navī. Both are the initial focus of the article. Following an analysis of these manuscripts, the article presents additional material as possible products of Mukhlis’s hand or of Konya generally, demonstrating both the relative visual distinctiveness of Konya illumination and the need to potentially re-examine works previously attributed to Egypt or Persia.
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Vieira, Márcia, Maria João Melo, Paula Nabais, João A. Lopes, Graça Videira Lopes, and Laura Fernández Fernández. "The Colors in Medieval Illuminations through the Magnificent Scriptorium of Alfonso X, the Learned." Heritage 7, no. 1 (January 9, 2024): 272–300. http://dx.doi.org/10.3390/heritage7010014.

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This pioneering work studied the medieval color palette of four manuscripts produced in the scriptorium of Alfonso X, king of the Crown of Castile (r. 1252-84), including the Songs of Holy Mary (Cantigas de Santa Maria, in Rich Codex and Musicians’ Codex), Lapidary (Lapidario), and Book of Games (Libro de los juegos). Scientific analysis based on fiber-optics reflectance spectroscopy in the visible and Raman spectroscopy showed a color palette based on lapis lazuli, indigo, azurite, vermilion, red lead, orpiment, yellow ochre, two different greens (bottle green and vergaut), lead white, carbon-based black, and most importantly, brazilwood pinks, reds, and purples. So, it is now the first reported use of this lake pigment in European medieval manuscript illumination. The painting technique is also discussed. The diversity of colors and techniques, with the presence of lapis lazuli, brazilwood lake pigments, purple, and gold, demonstrates Alfonso X’s desire to produce sumptuous manuscripts.
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Luxford, Julian. "Luxury and locality in a late medieval book of hours from south-west England." Antiquaries Journal 93 (June 6, 2013): 225–47. http://dx.doi.org/10.1017/s0003581512001345.

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This paper describes and analyses a previously unrecorded Sarum book of hours of considerable artistic and textual interest. Seven of its pages have bar-frame borders illuminated in a distinctive and remarkable style. Four of these pages also have initials with figure-subjects, some of which are contextually unusual or unique. There is also an initial with a coat of arms displaying a black engrailed cross on a gold field (the arms of Mohun of Dunster in west Somerset). While the manuscript cannot be linked to a member of the Mohun family, the occurrence of a Somerset toponym in an obit dated 1429 in the calendar and the early addition to the litany of St Urith of Chittlehampton show that it was owned by someone who lived in Somerset or Devon in the early fifteenth century. Indeed, the book may also have been made in this region. Several features of its border illumination are paralleled in the Sherborne Missal (London, British Library, Additional ms 74236), produced in north Dorset or Somerset in the decade c 1398–c 1408. The parallels suggest a relationship (not necessarily direct) between the two manuscripts. Certainly, the book of hours discussed here is closer in style to the missal than it is to manuscripts made in or around London in the same period.
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Paris-Popa, Andreea. "Breaking the Contract between God and the Visual-Literary Fusion: Illuminated Manuscripts, William Blake and the Graphic Novel." American, British and Canadian Studies 30, no. 1 (June 1, 2018): 133–52. http://dx.doi.org/10.2478/abcsj-2018-0008.

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Abstract This essay follows three different stages of the fusion of images and words in the tradition of the book. More specifically, it tackles the transformation undergone by the initially religious combination of visual figures and scriptural texts, exemplified by medieval illuminated manuscripts into the spiritual, non-dogmatic, illuminated books printed and painted by poet-prophet William Blake in a manner that combines mysticism and literature. Eventually, the analysis reaches the secularized genre of the graphic novel that renounces the metaphysical element embedded in the intertwining of the two media. If ninth-century manuscripts such as the Book of Kells were employed solely for divinely inspired renditions of religious texts, William Blake’s late eighteenthcentury illuminated books moved towards an individual, personal literature conveyed via unique pieces of art that asserted the importance of individuality in the process of creation. The modern rendition of the image-text illumination can be said to take the form of the graphic novel with writers such as Will Eisner and Alan Moore overtly expressing their indebtedness to the above-mentioned tradition by paying homage to William Blake in the pages of their graphic novels. However, the fully printed form of this twentieth-century literary genre, along with its separation from the intrinsic spirituality of the visual-literary fusion in order to meet the demands of a disenchanted era, necessarily reconceptualize the notion of illumination.
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Ravenhall, Henry. "Veiled Reading, Reading Veils: Textile Curtains and the Experiences of Medieval French Manuscripts, 1200–1325." Digital Philology: A Journal of Medieval Cultures 12, no. 2 (October 2023): 155–94. http://dx.doi.org/10.1353/dph.2023.a911843.

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Abstract: Building on groundbreaking studies by Christine Sciacca and Morgan Simms Adams, this article addresses an understudied phenomenon of medieval French manuscript culture: the sewing of textile curtains—fabric pieces made of silk, linen, or cotton gauze—above or beside illuminations to protect and veil them. Presenting a corpus of forty-six manuscripts of medieval French texts that once contained curtains, I demonstrate how this practice extended beyond the realm of Latin and devotional books to some of the most popular vernacular illuminated book traditions of the thirteenth and early fourteenth centuries. Through a series of examples, the different performative potentialities of the veil—its affordances—are shown to far exceed its presumed protective function. Indeed, I argue that the textile curtain, operating at the intersection of touch and sight, should be considered an important part of how certain French books were experienced in the Middle Ages.
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Bankov, Mikhail S. "TO THE QUESTION OF SPACE ORGANIZATION OF BOOK ILLUMINATION OF LATE ANTIQUITY AND EARLY MIDDLE AGES (IV – VII CENTURY)." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 29–48. http://dx.doi.org/10.36340/2071-6818-2021-17-4-29-48.

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The article focuses on peculiarities of spatial organization of book miniature paintings of late antique and early medieval manuscripts (IV – VII centuries). The author analyses the problem of conveying illusion of depth in illustration in context of gradual transmission from roll to codex, which took place in antique book culture between the II and the V centuries. By analyzing survived fragments of illuminated rolls author displays characteristic features of their spatial organization and observes influence which had tradition of roll illustration on the development of codex. Nevertheless, precisely the miniatures of the codices that have come down to our time are in focus of the author’s attention. The stages of development of the text page, the peculiarities of interaction of text and images in codices are compared with the principles of space organization in miniatures. The article makes an attempt, relying on the monuments that have survived to our time, to consider the development of spatial constructions in the period of late Antiquity and early Middle Ages as a continuous process of evolution of the language of book painting. The author assumes that the development of spatial constructions in miniature painting does not imply sharp breaks or regression. Each new stage of the evolution arises from the previous one and makes it possible to expand the arsenal of artistic means which are necessary for solving artistic problems of the time. In accordance with this approach, the article concentrates not only on compositions in which a spatial illusion is created, but also miniatures that are in character more plane. As a result, the author reveals the main types of spatial constructions, considering all surviving monuments of miniature painting of that time. For each type of space organization, the author identifies the basic principles and artistic techniques that allow the artist to convey a sense of depth on the plane of page. The author pays special attention to the comparison of illusionistic tendencies in the late antique book miniature and “reverse perspective”, features of which are present in the monuments of the era. The author casts doubt on the need for a sharp contrast between these two approaches to space organization in the monuments of book miniatures of the era. He analyzes the reasons for the appearance of such features of space organization in miniature paintings of late antique and early medieval manuscripts, which are so important for the formation of artistic language of medieval book illumination.
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Hanson, Marta. "From under the elbow to pointing to the palm: Chinese metaphors for learning medicine by the book (fourth–fourteenth centuries)." BJHS Themes 5 (2020): 75–92. http://dx.doi.org/10.1017/bjt.2020.6.

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AbstractThis article focuses on transformations in the main metaphors in ancient to late medieval titles of Chinese medical books used to convey to potential readers their ‘learning-by-the-book’ contents. It finds that in contrast to the European preference for hand metaphors in the genre terms – enchiridions, manuals and handbooks – the Chinese medical archive preserves bodily metaphors within which the hand metaphor appears only rarely in the early medieval period and is then superseded by metaphors that rely on the fingers and palms more than the hands per se. This longue durée survey from roughly the fourth to the fourteenth centuries of the wide-ranging metaphors for ‘handy medical books’ places their historical emergence and transformation within the history of Chinese medical manuscripts and printed texts. Metaphors in medical titles conveyed to potential readers at the time significant textual innovations in how medical knowledge would be presented to them. For later historians, they provide evidence of profound changes in managing an increasingly complex and expanding archive of Chinese medical manuscripts and printed texts. Innovations in textual reorganization intended to facilitate ‘learning by the book’ were often creatively captured in an illuminating range of genre distinctions, descriptors and metaphors.
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Stanford, Charlotte A. "Beyond Words: New Research on Manuscripts in Boston Collections, ed. Jeffrey F. Hamburger, Lisa Fagin Davis, Anne-Marie Eze, Nancy Netzer, and William P. Stoneman. Text, Image, Context: Studies in Medieval Manuscript Illumination, 8. Toronto: Pontifical Institute of Mediaeval Studies, 2021, 361 pp, 291 col. Ill." Mediaevistik 34, no. 1 (January 1, 2021): 274–76. http://dx.doi.org/10.3726/med.2021.01.20.

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This study stems from an exhibition/ conference of the same name, “Beyond Words,” presented in Boston in 2006; however, it goes well beyond the bounds of a conventional exhibition catalog, which was produced at the time to accompany the objects on display. The volume produced here expands these initial parameters to consider additional questions about the manuscripts held in these Boston collections, notably Houghton Library at Harvard University, McMullen Museum of Art at Boston College, and the Isabella Stewart Gardner Museum of Boston. The book is divided into four major sections, devoted respectively to monastic manuscripts (3 essays), courtly culture and patronage (5 essays), princes, patricians, prelates and pontiffs (4 essays), and illuminating history (3 essays) with a coda on manuscripts in the modern era provided by the final essay. As the editors remark in their introduction, the emphasis is Christian and central European; this is due in part to the collection parameters themselves (the above institutions have no Ethiopian or Hebrew manuscripts, for example) and in part by limitations of time and focus (there are a number of Islamic manuscripts in the Boston collections which have not been included here but would be well worth exploring in a separate study of their own). The richness and depth of the sixteen essays here offer insights into many aspects of the late medieval world. The chapter by Patricia Stirnemann on Gilbert de la Porrée traces book collection of the works of a single, theologically problematic author, and offers a valuable case study on the transmission of writings by a scholar charged (though exonerated) with heresy. Brigitte Miriam Bedos-Rezak demonstrates how the charters of the abbey of Sawley preserved in the Houghton library allow us to consider the “medial role” of document writing, and how this practice assisted an English Cistercian monastery to shape its own representation with its neighbors by crafting records of land ownership disputes. Kathryn M. Rudy examines manuscript workshops among nuns in Delft in the fifteenth century, providing a vivid model of book production practices in these devotional contexts.
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Clanchy, Michael. "Images of Ladies with Prayer Books: What do they Signify?" Studies in Church History 38 (2004): 106–22. http://dx.doi.org/10.1017/s042420840001576x.

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Monastic illumination of manuscripts gave to writings a force and prestige which was unprecedented. Throughout the millennium of western monasticism (500-1500 A.D.), the rich founded monasteries so that monks might pray and worship on their behalf. The monks displayed the fruit of their labours to their patrons in their churches and other works of art, particularly in their books. When with growing prosperity from about 1250 onwards the demand for individual prayer reached down to the middle class of knights and burgesses, they began to want wonderworking books of their own. They could not afford to buy a chantry chapel or a jewelled reliquary, but a small illuminated manuscript came within their means as the first step towards the purchase of paradise. Ladies in particular took to reciting the Latin Psalter and treasuring illuminated Books of Hours. In fifteenth-century depictions of the Annunciation, Mary is often shown seated in a sunlit bower with an open Book of Hours on her lap or displayed on a lectern. Likewise she is sometimes depicted with the Child Jesus on her knee, showing him a Book of Hours. The habit of possessing books might never have reached the laity if writing had not been so luxurious and so covetable. Illumination introduced the laity to script through images which could not fail to attract the eye. The children of the prosperous were introduced to the Psalter by their mothers or a priest for the purpose both of learning to read and of beginning formal prayer. To own a Psalter was therefore an act of familial as well as public piety.These words were written twenty years ago, for a conference at the Library of Congress in 1980 on ‘Literacy in historical perspective’. Since then, these themes have been addressed in several lectures and research papers at conferences, and I would stand by the main ideas expressed in that passage. Monks had indeed given extraordinary prestige to books and in particular to the illuminated liturgical book, which is a medieval invention. By the thirteenth century such books were being adapted for lay use and ownership, typically in Books of Hours. However, it is mistaken to say that lay use ‘began’ then, as the aristocracy – particularly in Germany – had been familiar with prayer books for centuries. In the twelfth century, Hildegard of Bingen was said to have learned only the Psalter ‘as is the custom of noble girls’. A Psalter for lay use dating from c.1150, which belonged to Clementia von Zähringen, has been preserved. It contains a full-page portrait of a lady – presumably Clementia herself – at folio 6v between the end of the Calendar and the Beatus page beginning the Psalms. This book has 126 folios in its present state (possibly one folio is missing at the end) and it measures 11 cm X 7 cm, no larger than a woman’s hand. The biography of Marianus Scotus, the eleventh-century Irish hermit who settled at Regensburg, describes how he wrote for poor widows and clerics ‘many little books and many Psalter manuals’ (‘multos libellos multaque manualia psalteria’). The diminutive form ‘libellos’ and the adjective ‘manualia’ emphasise that these manuscripts were small enough to hold in the hand, like Clementia von Zähringen’s book.
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Dissertations / Theses on the topic "Medieval Illumination of book and manuscripts"

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Kitzinger, Beatrice. "Cross and Book: Late-Carolingian Breton Gospel Illumination and the Instrumental Cross." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10183.

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Crosses made in metal, paint, or stone stand at a singular intersection of past, present and future in the early medieval period. The historical cross of Golgotha is the source of such manufactured crosses’ form and power. Most also represent the theology of the Cross through their form and decoration, describing the soteriology of the crucifixion and anticipating its consummation at the end of time. As manufactured crosses recount the past and look forward to the eschaton, they concurrently function in the age of the Church, offering specific, contemporary points of access to all the larger cross-sign represents. In its multivalent identity, the cross’ status as the Church’s central sign reflects the Church’s own temporal position, simultaneously commemorating sacred history, functioning in the present day, and preparing for the Second Coming. Although rarely recognized, the Church-time form of the cross—which I term the “instrumental” cross—is often a discernable component of early medieval cross-objects and images. I argue that we can recognize the instrumental cross among the commemorative and proleptic aspects of the sign because a formal and conceptual language developed to articulate it. In its instrumental form, the cross becomes the sign of the Church in its role as mediator between Christians, Christ and the eschaton, affirming the indispensable place of man-made artwork in that project. The instrumental cross, in turn, signals the instrumentality of the many artworks into which it is incorporated. It plays a particularly important role in manuscripts. In the first half of the dissertation I define a class of visual strategies that communicate the instrumental identity of the cross. I treat works in many media in Chapter 1 and focus on manuscripts in Chapters 2–3. The second half of the dissertation concentrates upon the case studies of four complex, hitherto neglected gospel codices from ninth–tenth century western France. In each, the deep relationship between Church-time cross and gospel book drives a pictorial program that is crafted to define a specific codex as an manufactured instrument, made to integrate its community with the larger project of the Church for which the cross-sign stands.
History of Art and Architecture
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Liles, Linda Kathleen. "Guide to the pilgrim churches at Rome a late 15th century manuscript in Yale University's Beinecke Rare Book and Manuscript Library /." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.

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Hansen, Kelli Bruce. "The Cross of Oviedo in medieval Spanish art /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p1418028.

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Meyer, Linda M. "Discovering the Nuances in the Book of Hours of the Virgin: A Book of Hours in the Toledo Museum of Art (1955.28)." University of Toledo / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1305040445.

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Sheppard, Jennifer M. "The Giffard Bible Bodleian Library MS Laud misc. 752 /." New York : Garland Pub, 1986. http://catalog.hathitrust.org/api/volumes/oclc/11970124.html.

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THOR, WATT KELLY LYNN. "THE ILLUSTRATOR'S HAND: AN INVESTIGATION USING MARGINALIA AND CAPITALS OF THE BOOK OF KELLS TO ILLUMINATE QUESTIONS OF ARTISTIC ATTRIBUTION." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1022596547.

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Naughton, Joan Margaret. "Manuscripts from the Dominican monastery of Saint-Louis de Poissy /." Connect to thesis, 1995. http://eprints.unimelb.edu.au/archive/00000680.

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Cochrane, Laura E. "'Where there is no time' the quadrivium and images of eternity in three eleventh-century Anglo-Saxon manuscripts /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 250 p, 2009. http://proquest.umi.com/pqdweb?did=1818417331&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Rodrigues, Ubirajara Alencar 1966. "O colar perdido da caligrafia." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251132.

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Orientador: Milton Jose de Almeida
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2019-01-04T15:20:10Z (GMT). No. of bitstreams: 1 Rodrigues_UbirajaraAlencar_D.pdf: 41150719 bytes, checksum: dd62e343c9b0c326b696000c59b681f4 (MD5) Previous issue date: 2011
Resumo: Este é um estudo e uma pesquisa sobre imagens em literatura, cinema, letras e textos em manuscritos e miniaturas árabes e persas. O estudo passa pela novela O colar da pomba, de Ibn Hazm, andaluz do século XI, e suas aparições nem sempre claras no filme de Nacer Khemir, O colar perdido da pomba. O estudo aqui apresentado está relacionado ao meu estudo central sobre as letras e a caligrafia árabes, e sobre o modelo de biblioteca árabe medieval, nos séculos 8 e 9, o Bayt ak-Hikma, A casa da sabedoria, como designavam os persas, e depois os árabes.
Abstract: This is a study and a research of images in literature, film, letters and texts in Arabic and Persian manuscripts and miniatures. The study permeates the novel The Ring of the Dove by the Andalusian Ibn Hazm, written about the eleventh century, and how it implicity appears in Nacer Khemir's film, The Dove Lost Necklace. The study presented here relates to my study on the letters and Arabic calligraphy, and a model of medieval Arabic library of the 8th/9th, the Bayt al-Hikma, the House of Wisdom, as denominate by the Persian and the Arabs.
Doutorado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Spyra, Ulrike. "Das "Buch der Natur" Konrads von Megenberg die illustrierten Handschriften und Inkunabeln /." Köln : Böhlau, 2005. http://books.google.com/books?id=LuXaAAAAMAAJ.

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Books on the topic "Medieval Illumination of book and manuscripts"

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Fisher, Celia. The medieval flower book. London: British Library, 2007.

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Fisher, Celia. Flowers in medieval manuscripts. Toronto: University of Toronto Press, 2004.

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Library, British, ed. Flowers in medieval manuscripts. London: British Library, 2004.

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Bologna, Giulia. Illuminated manuscripts: The book before Gutenberg. London: Thames and Hudson, 1988.

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Mentré, Mireille. Illuminated manuscripts of medieval Spain. London: Thames and Hudson, 1996.

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Mentre, Mireille. Illuminated manuscripts of medieval Spain. New York, N.Y: Thames and Hudson, 1996.

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Dr. Jörn Günther Antiquariat (Firm). Recent acquisitions : medieval & renaissance manuscripts. Hamburg: J. Günther, Antiquariat, 1997.

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Dr. Jörn Günther Antiquariat (Firm). Recent acquisitions : medieval & renaissance manuscripts. Hamburg: J. Günther, Antiquariat, 1997.

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Gathercole, Patricia May. Animals in medieval French manuscript illumination. Lewiston, N.Y: E. Mellen Press, 1995.

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Weinstein, Krystyna. The art of medieval manuscripts. San Diego, Calif: Laurel Glen Pub., 1997.

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Book chapters on the topic "Medieval Illumination of book and manuscripts"

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Grebe, Anja. "Book Illumination." In Transforming the Medieval World, 89–101. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.usml-eb.3.4314.

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Wenzel, Siegfried. "Curiosities from a Sermon Book." In The Study of Medieval Manuscripts of England, 349–57. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.asmar-eb.3.4629.

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Teviotdale, Elizabeth C. "Pembroke College 302: Abbreviated Gospel Book or Gospel Lectionary?" In The Study of Medieval Manuscripts of England, 69–99. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.asmar-eb.3.4617.

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Kwakkel, Erik. "3. Late Medieval Text Collections: A Codicological Typology Based on Single-Author Manuscripts." In Author, Reader, Book, edited by Stephen Partridge and Erik Kwakkel, 56–79. Toronto: University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442665743-006.

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Ottaviano, Silvia. "Reading between the Lines of Virgil’s Early Medieval Manuscripts." In The Annotated Book in the Early Middle Ages, 397–426. Turnhout: Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.usml-eb.5.115029.

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Kidd, Peter. "UCLA Rouse MS 32: The Provenance of a Dismembered Italian Book of Hours Illuminated by the Master of the Brussels Initials." In Medieval Manuscripts, Their Makers and Users, 279–91. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.stpmsbh-eb.1.100071.

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Steinová, Evina. "Technical Signs in Early Medieval Manuscripts Copied in Irish Minuscle." In The Annotated Book in the Early Middle Ages, 37–85. Turnhout: Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.usml-eb.5.115017.

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Teeuwen, Mariken. "The Intertwining of Ancient and Late-Antique Authorities in the Margins of Carolingian Manuscripts." In Crafting Knowledge in the Early Medieval Book, 91–113. Turnhout, Belgium: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.pjml-eb.5.133748.

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Marti, Susan. "Double Monasteries in Images? Observations on Book Illumination from Communities in the South‑Western Empire." In Medieval Women: Texts and Contexts, 75–107. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.mwtc-eb.1.102042.

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Rudy, Kathryn M. "1. Feeling One’s Way Through the Book." In Touching Parchment: How Medieval Users Rubbed, Handled, and Kissed Their Manuscripts, 1–28. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0337.01.

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Conference papers on the topic "Medieval Illumination of book and manuscripts"

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Rozhdestvenskaya, Milena. "On the functionality of apocryphal stories in medieval Russian bookishness." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.27.

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The functions of the biblical Slavic-Russian apocrypha in manuscript collections depend on their perception by the ancient Russian scribes and the literary context of the manuscript. Cognitive, interpretative, magical, historical functions are associated with different genre forms, both book and folk. Particularly considered is the «apocryphal riddle» of two brothers from the manuscript of the XVIth century Stockholm Royal Library and manuscripts of the XVIIIth century collections of the Library of the Russian Academy of Sciences (St. Petersburg).
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Melnikov, Ilya A. "Collections of Old Believers Books of the Novgorod eological Seminary and the “Brotherhood of St. Sophia” in the Context of “Internal Mission”." In Лихудовские чтения — 2022. НовГУ им. Ярослава Мудрого, 2023. http://dx.doi.org/10.34680/978-5-89896-832-8/2023.readings.11.

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‰e article introduces the history of the formation of collections of handwritten and old printed books that were kept among the Old Believers, which then were transferred in the libraries of the Novgorod eological Seminary and the missionary Brotherhood of St. Sophia. As in other regions, these collections arose in the second half of the XIX century due to the need to conduct polemics with representatives of the Old Believers and sectarianism, which was an important part of the so-called “internal mission” of the Greek-Russian Church. ey were based on manuscripts con scated in the Old Believers communities of the Novgorod province, as well as from private collections in the course of government persecution of religious dissidents. At present, some of the books have been preserved in the funds of the National Library of Russia, as well as the Novgorod State Museum-Reservation. ese collections, which include manuscripts and early printed books of the XVI–XIX centuries, are an important source base characterizing the book culture of the Old Believers in the Novgorod region, which in many respects was a continuation of the traditions of Medieval Russia.
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