Journal articles: '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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Bruce, Scott G. "Caroline Macé and Jost Gippert, The Multilingual Physiologus: Studies in the Oldest Greek Recension and its Translations. Turnhout: Brepols, 2021, 661 pp." Mediaevistik 35, no. 1 (January 1, 2022): 434–36. http://dx.doi.org/10.3726/med.2022.01.86.

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Abstract Scholars of the European Middle Ages are well acquainted with bestiaries. These compendia of pithy stories about animal lore told in the service of catechetical instruction were especially popular in the twelfth and thirteenth centuries. Manuscripts of them survive in the dozens, many of them with lavish illustrations of the animals, plants, and fantastical beasts described therein. A recent exhibition of medieval bestiaries at Getty Museum in Los Angeles yielded a sumptuous catalogue (Book of Beasts: The Bestiary in the Medieval World, edited by Elizabeth Morrison and published in 2019) that provides an ideal starting point for anyone interested in this fascinating genre and its stunning illuminations. Underlying the success of the bestiary in the medieval Latin tradition is a modest Greek text from late antiquity: the Physiologus. Dating from the second or third century, this collection of forty-eight short and strange animal stories with Christian messages was probably composed in Alexandria. Untitled in the manuscript tradition, it takes its name from the anonymous natural scientist – Physiologus – whose authoritative voice narrates the text. As the volume under review makes clear, the Latin tradition was by far the most successful legacy of the Physiologus, but its reach and influence were surprisingly broad owing to the universal appeal of its charming contents, which is evident in the richness of the vernacular translations derived from the original Greek text.

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Jeep, John M. "Painting the Page in the Age of Print: Central European Manuscript Illumination of the Fifteenth Century, ed. Jeffrey F. Hamburger, Robert Suckale, and Gude Suckale-Redlefsen, trans. David Sánchez Text · Image · Context: Studies in Medieval Manuscript Illumination, 4 Studies and Texts 208. Toronto: Pontifical Institute of Mediaeval Studies, 2018, pp. XXXIII, 329." Mediaevistik 31, no. 1 (January 1, 2018): 450–52. http://dx.doi.org/10.3726/med012018_450.

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Under the somewhat different, certainly intentionally punning title, Unter Druck: Mitteleuropäische Buchmalerei im Zeitalter Gutenbergs / Under Pressure / Printing […] in the Age of Gutenberg, this volume first appeared in German (Lucerne: Quaternio, 2015) to accompany a series of twelve different exhibitions of largely fifteenth-century book illumination across Central Europe. The exhibitions in Germany, Austria, and Switzerland were held, in part overlapping, from September 2015 – March 2017. They were bookended by exhibits in Vienna and Munich (for the latter, see Bilderwelten. Buchmalerei zwischen Mittelalter und Neuzeit. Katalogband zu den Ausstellungen in der Bayerischen Staatsbibliothek vom 13. April 2016 bis 24. Februar 2017, ed. Jeffrey F. Hamburger et al. Buchmalerei des 15. Jahrhunderts in Mitteleuropa, 3 (Lucerne: Quaternio, 2016). For each of ten somewhat smaller exhibitions a catalogue of uniform size and format was produced; they are, according to the publisher, already out of print. The three editors of the more comprehensive collection, Painting the Page, penned contributions that complement Eberhard König’s study, “Colour for the Black Art,” which traces <?page nr="451"?>the development of ornamentation to the Gutenberg and following printed Bibles. Early printed Bibles, in Latin or in the vernacular, tended only to provide space for initial and marginal, as opposed to full page illumination. These admittedly limited artistic accomplishments often allow for more precise localization of incunabula than other available resources. At the same time, differences and even misunderstandings – such as failure to follow instructions to the illuminator – on occasion lead to fruitful cultural analysis. Finally, printed copies that were never adorned were sometimes in the past thought to be superior, untouched, as it were, by the artistry of the ‘old’ manuscript world. König argues that the study of early printed books, and especially the illuminations they contain, should be celebrated not only as ancillary scholarship, but also as a discipline in its own right.

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Deshman (†), Robert. "The Galba Psalter: pictures, texts and context in an early medieval prayerbook." Anglo-Saxon England 26 (December 1997): 109–38. http://dx.doi.org/10.1017/s0263675100002131.

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The ‘Galba Psalter’ (London, British Library, Cotton Galba A. xviii) is a pocket-sized (128 × 88 mm.), early-ninth-century Carolingian book, perhaps made in the region of Liège, that was originally decorated with only ornamental initials. By the early tenth century the manuscript had reached England, where an Anglo-Saxon scriptorium added two prefatory quires (1r–19v) containing a metrical calendar illuminated with zodiac signs, KL monograms and single figures (pls. IX–X), and five full-page pictures. Two miniatures of Christ and the saints on 2v and 21r (pls. X–XI) preface the calendar and a series of prayers respectively, and three New Testament pictures marked the customary threefold division of the Psalms. Facing Ps. I was a miniature of the Nativity (pl. XII), now detached from the manuscript and inserted into an unrelated book (Oxford, Bodleian Library, Rawlinson B. 484, 85r). The Ascension on 120v (pl. XIII) prefaces Ps. CI. A third picture before Ps. LI has been lost, but almost certainly it represented the Crucifixion. The placement of an image of this theme between the Nativity and the Ascension would have been appropriate from a narrative standpoint, and some later Anglo-Saxon and Irish psalters preface this psalm with a full-page picture of the Crucifixion. Obits for King Alfred (d. 899) and his consort Ealhswith (d. 902) provide a terminus post quem for the calendar and the coeval illumination. The Insular minuscule script of the calendar indicates a West Saxon origin during the first decade of the tenth century. On the grounds of the Psalter's style and later provenance, the additions were very likely made at Winchester.

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Popova, Galina. "“Libros de privilegios” from the Castilian Towns of 13—14th Centuries." ISTORIYA 13, no. 11 (121) (2022): 0. http://dx.doi.org/10.18254/s207987840023283-0.

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Modern medieval studies consider the “Libros de Privilegios” as an important and very informative source for the history of medieval municipal administration and the town chanceries. These manuscripts, being essentially cartularies, constitute a special group of legal texts originating from the city. The features of their codicology, paleography and illumination make it possible to study the development of document management practices in cities. The article compares the “Libros de Privilegios” from four towns of the Kingdom of Castile — Toledo, Seville, Murcia and Lorca. Ordered by concejos to municipal scribes, they testify to a common vector of development of municipal government in different towns, regardless of the time of their inclusion in the Kingdom of Castile. The books of privileges considered in the article were compiled in the period from the last quarter 13th century until the end of the 30s of the 14th century, although the Fuero of Toledo taken as a basis in them was formed and was issued in the form of a charter in the first quarter of the 13th century. After the consejos received from the king the Fuero of Toledo in the version of 1222 as a fundamental document regulating local legal life, they later either independently selected documents for inclusion in their «Libros de Privilegios» (Toledo, Seville, Murcia), or determined a sample for copying (Lorca).

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Farmer, Thomas. "Christopher de Hamel, The Medieval World at Our Fingertips: Manuscript Illuminations from the Collection of Sandra Hindman. London: Harvey Miller Publishers, 2018, 264 pp., 270 color illus." Mediaevistik 31, no. 1 (January 1, 2018): 453–54. http://dx.doi.org/10.3726/med012018_453.

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Sandra Hindman has enjoyed a distinguished career as an art historian: She taught at Northwestern University (1984–2002), published numerous books and articles, served on the Board of Trustees of the Newberry Library (2003–14), and founded the gallery Les Enluminures, which purchases medieval manuscripts and miniatures. To honor her scholarship, from January 27 to May 28, 2018, the Art Institute of Chicago mounted an exhibition of thirty manuscript miniatures from Hindman’s personal collection, seven of which she had donated to the Art Institute. The Medieval World at Our Fingertips is the catalogue accompanying this exhibition, and it is a delightful tribute to Hindman’s career.

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Dubois, Anne. "Margaret Goehring , Space, Place and Ornament. The Function of Landscape in Medieval Manuscript Illumination , Turnhout, Brepols, 2013 ; 1 vol., 196 p. ( Palaeography, Manuscript Studies & Book History ). ISBN : 978-2-503-52977-6. Prix : € 105,00." Le Moyen Age Tome CXXI, no. 2 (November 12, 2015): XXX. http://dx.doi.org/10.3917/rma.212.0445zd.

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Berman, Constance Hoffman. "Diane J. Reilly, The Cistercian Reform and the Art of the Book in Twelfth-Century France. Knowledge Communities. Amsterdam: Amsterdam University Press, 2018, 230; 16 color plates." Mediaevistik 32, no. 1 (January 1, 2020): 397–99. http://dx.doi.org/10.3726/med.2019.01.83.

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This volume contributes to our understanding of the liturgical and mental world of the early Cistercian monks and to the oral and aural community associated <?page nr="398"?>with early Cîteaux. Its title may be a misnomer for it is not about “Reform” per se or really about the art of the book (in the sense used by most specialists on the medieval book), but about the early liturgical practices at the new monastery that came to be called Cîteaux and about illustrations or illuminations of a limited number of manuscript volumes produced at Citeaux and preserved in the Dijon municipal library.

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Carver, M. O. H. "V. Contemporary Artefacts Illustrated in Late Saxon Manuscripts." Archaeologia 108 (1986): 117–45. http://dx.doi.org/10.1017/s0261340900011735.

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How far do the pictures in early medieval manuscripts reflect contemporary life? Are the busy and attractive figures which populate many Carolingian or Late Saxon illuminations reflections of their painters and their patrons, or are they ghostly survivors of the Roman Empire, fossilized in a scribal convention? For some archaeologists, of course, the question of authenticity has never arisen, the contemporary relevance of pictures being cheerfully assumed; but it has to be stated at the outset that the odds are generally set against such optimism. That early painted books were usually copied from other painted books is clear from a continuity of image, picturecycle or design, all having roots in the Late Antique period. Thus drawing from life, or even abstract invention, where it occurred, will not be obvious and is probably only detectable at all by a process of elimination

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Maizuls, Mikhail. "Escaping frames in the medieval book illumination." CASUS. The individual and unique in history 15 (2020): 115–56. http://dx.doi.org/10.32608/2306-0638-2020-15-115-156.

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Darwish, Mahmoud Ahmed. "Two Armenian Bibles with Arabic Influences of miniature painting (Gregor Tatevatsi 1346-1410)." International Journal for Innovation Education and Research 4, no. 8 (August 31, 2016): 72–100. http://dx.doi.org/10.31686/ijier.vol4.iss8.578.

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About a century ago, Armenian illuminated manuscripts attracted the attention of scholars and lovers of art. Since that time intensive studies of medieval Armenian art had been conducted a unique historical panorama of the art of illumination, embracing more than thirteen centuries has been given.The heritage of a number of miniature schools and their outstanding representatives has been studied; the significance of medieval Armenian painting in the history of world art has been revealed. Although, most of them illuminated, many have not yet been published. Among the best examples of medieval Armenian illumination are those of the following two manuscripts, where the researcher published (28 miniatures) from the Gospel of folios paper in Matenadaran of Mashtots, for the first time: 13th, dated (1297) and (1378), the miniatures were executed by Grigor Tatevatsi and his pupil in (1378), and15th, dated in the end of 14th century and beginning of 15th century, the scribe is Grigor Tatevatsi and the anonymous painter of Syuniq. The research deals two Armenian bibles with Arab Influences by Grigor Tatevatsi (1346–1410), it begins with an introduction for Armenia with a focus on Syuniq which produced the two manuscripts, and includes three sections:1st. Study of Armenian miniatures with a focus on Grigor Tatevatsi school, where the proportion of miniature paintings, his pupil or anonymous painter of Syuniq.2nd. Analytical study.3ed. The influences of the Arabic miniature painting.

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Grigoryan, Hermine, Márcia Vieira, Paula Nabais, Rita Araújo, Maria J. Melo, Marta Manso, Maria Adelaide Miranda, and Jorge Rodrigues. "Exceptional Illuminated Manuscripts at the Gulbenkian Museum: The Colors of a Bible and Three Gospels Produced in the Armenian Diaspora." Heritage 6, no. 3 (March 18, 2023): 3211–31. http://dx.doi.org/10.3390/heritage6030170.

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The illuminated manuscripts at the Gulbenkian Museum were produced in the 17th century, in scriptoria of the Armenian diaspora. In this work, we selected analytical methods that can be used in situ to study the colors of the illuminations. Scientific analysis based on fiber-optics reflectance spectroscopy in the visible and Raman spectroscopy has shown the use of a medieval palette based on inorganic pigments such as lapis lazuli, minium, vermilion, orpiment, indigo, two different greens (vergaut and malachite), lead white and carbon black. More importantly, in this context, it showed that the very important reds and pinks are possibly based on carminic acid. The painting technique is, however, different, as are the ways of painting the faces, hands, and vestments. The range of colors in the Bible and the three Gospel Books, enhanced by lapis lazuli blue and organic reds and pinks, demonstrates a desire to create exceptional illuminated manuscripts.

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Cornelius, Ian, and Kathy Young. "Medieval Manuscripts at Loyola University Chicago." Manuscript Studies: A Journal of the Schoenberg Institute for Manuscript Studies 8, no. 2 (September 2023): 387–98. http://dx.doi.org/10.1353/mns.2023.a916138.

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Abstract: This article provides a summary overview of the collection of pre-1600 western European manuscripts in Loyola University Chicago Archives & Special Collections. The collection presently comprises four manuscript codices, at least thirty-eight fragments, and four documents. The codices are a thirteenth-century book of hours from German-speaking lands; a fifteenth-century Dutch prayer book; a preacher's compilation written probably in southern Germany in the 1440s; and two fifteenth-century Italian humanist booklets, bound together since the nineteenth century, transmitting Donatus's commentary on the Eunuchus (incomplete) and an anthology of theological excerpts, respectively. The fragments consist of thirteen leaves from books dismembered by modern booksellers (most are from fifteenth-century books of hours) and a larger number of binding fragments, all but two of which remain in situ. These represent the remains of ten manuscript books: four Latin liturgical books, two texts of Roman civil law, one large-format thirteenth-century Italian Bible, one thirteenth-century copy of Ptolemy's Almagest in the translation of Gerard of Cremona, one late fourteenth-century copy of the Ockhamist Tractatus de principiis theologiae , and one fifteenth-century Dutch book of hours in the translation of Geert Grote. Many of these materials have remained unidentified until now.

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Greenia, George D. "The Bigger the Book: On Oversize Medieval Manuscripts." Revue belge de philologie et d'histoire 83, no. 3 (2005): 723–45. http://dx.doi.org/10.3406/rbph.2005.4940.

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Classen, Albrecht. "The Book of Kells - The Wonders of Early Medieval Christian Manuscript Illuminations Within a Pagan World." Mediaevistik 32, no. 1 (January 1, 2020): 55–69. http://dx.doi.org/10.3726/med.2019.01.02.

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For a long time now, we have been misled by the general notion that the fall of the Roman Empire at the end of the fifth century brought about a devastating decline of culture and civilization. The Germanic peoples were allegedly barbaric, and what they created upon the ruins of their predecessors could have been nothing but primitive and little sophisticated. Research has, of course, confirmed already in a variety of approaches and many specialized studies that the situation on the ground was very different,1 but it seems rather difficult to deconstruct this mythical notion even today, as much as it needs to be corrected and extensively qualified. Recently, Deborah Deliyannis, Hendrik Dey, and Paolo Squatriti have published a volume treating an intriguing selection of fifty objects that could represent the early Middle Ages, each one of them proving by itself that the arts and technology to produce those objects continued to be extraordinarily sophisticated and impressive, and this well beyond the Roman period and well before the rise of the Gothic era.2 Those objects include ceremonial regalia, mosaic pavements, medallions, coins, stirrups, buildings, fibula, tunics, oil lamps, ships, and castles. The quality and aesthetic appeal of all of them is stunning, but they make up, of course, only a selection and do not reveal the more common conditions of the ordinary people.

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Reynolds, Melissa. "“Here Is a Good Boke to Lerne”: Practical Books, the Coming of the Press, and the Search for Knowledge, ca. 1400–1560." Journal of British Studies 58, no. 2 (April 2019): 259–88. http://dx.doi.org/10.1017/jbr.2018.182.

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AbstractThis article compares the circulation and reception of useful knowledge—from medical and craft recipes to prognostications and agricultural treatises—in late medieval English manuscripts and early printed practical books. It first surveys the contents and composition of eighty-eight fifteenth-century vernacular practical manuscripts identified in significant collections in the United States and United Kingdom. Close analysis of four of these late medieval practical miscellanies reveals that their compilers saw these manuscripts as repositories for the collection of an established body of useful knowledge. The article then traces the transmission of these medieval practical texts in early printed books. As the pressures of a commercial book market gradually transformed how these practical texts were presented, readers became conditioned to discover “new” knowledge in the pages of printed books. The introduction to England of the “book of secrets” in 1558 encouraged readers to hunt for “secrets” in unpublished medieval manuscripts, ensuring that these century-old sources would remain important sites for useful knowledge well into the early modern era.

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Gasbarri, Giovanni. "A Fountain of Fire: Idolatry, Alterity, and Ethnicity in Byzantine Book Illumination." Arts 12, no. 2 (April 17, 2023): 82. http://dx.doi.org/10.3390/arts12020082.

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This article examines the visual representation of pagan idols in Byzantine book illumination and investigates how such images were employed to convey a sense of geographical or ethnic distance. The main focus of this study is a group of illuminated manuscripts containing two of the most popular texts in the Byzantine world: Barlaam and Ioasaph and the Alexander Romance. These manuscripts include numerous representations of statuary that Byzantine readers would have easily recognized as being associated with the religious practices and superstitions of distant and foreign populations, thereby reinforcing their own self-identification with “civilized” characters. Through a comparative analysis of manuscripts such as Athon. Iviron 463 (Barlaam and Ioasaph) and Venice, Istituto Ellenico cod. 5 (Alexander Romance), this article explores the variety of iconographic solutions adopted by Byzantine artists to enhance the “ethnographic” function of idol images. A close examination of these solutions sheds new light on how visual narratives contributed to the construction of notions of identity, otherness, and ethnicity in Byzantium.

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Fulton, Helen. "Sir John Prise and His Books: Manuscript Culture in the March of Wales." Welsh History Review / Cylchgrawn Hanes Cymru 31, no. 1 (June 1, 2022): 55–78. http://dx.doi.org/10.16922/whr.31.1.3.

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Sir John Prise (1501/2–55) was a Welsh lawyer and book collector who was one of the royal commissioners responsible for closing down the monasteries at the Dissolution of the 1530s. Operating mainly in the March of Wales, Prise was able to save around 100 medieval manuscripts which would otherwise have been destroyed. As a Welsh speaker, Prise was keenly interested in medieval Welsh writing and some of the most famous medieval Welsh manuscripts passed through his hands. He was particularly interested in the British history of Geoffrey of Monmouth and in his Latin prose treatise, Historiae Britannicae Defensio, published in 1573 after his death, Prise put forward a spirited defence of the 'British history' related by Geoffrey, based almost entirely on his reading of manuscripts that he owned. This article examines the significance of Sir John Prise, his writing and his book collection in relation to the transmission of medieval texts into the Tudor age.

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Roux, Tom-Loup. "La mise en représentation du «bon gouvernement» : le programme iconographique du Livre juratoire d’Agen (fin XIIIe siècle)." Annales du Midi : revue archéologique, historique et philologique de la France méridionale 131, no. 307 (2019): 307–35. http://dx.doi.org/10.3406/anami.2019.8998.

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The Livre juratoire (“oath book”) contains the writing of the customs of Agen, that is to say the city’s urban liberties and franchises which were put in writing at the end of the 13th century. Through the 93 sheets of medieval parchment, one discovers the system of administration of the city, which confirms a balance of power between the count and the twelve consuls in the exercise of political prerogatives. Illuminations in the Livre juratoire occupy a very important place in this manuscript. Of its 57 articles, 51 are illuminated with a historiated initial or a miniature. Each of these images depicts the subject matter developed in the chapter it accompanies, according to the information conveyed by the text. From this point on, it would seem that the image maintains a semiological relationship with the text, which is indispensable to the construction of a general political discourse on consular “good government”.

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Esteban-Segura, Laura. "Treharne, Elaine. 2021. Perceptions of Medieval Manuscripts: The Phenomenal Book. Oxford: Oxford University Press. Pp. xiv + 248. ISBN 9780192843814." SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 28, no. 1 (July 31, 2023): 153–56. http://dx.doi.org/10.17811/selim.28.2023.153-156.

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Rippl, Gabriele, and Ursula Lenker. "Book Histories in the Digital Age: Challenges, Promises, Achievements." Anglia 139, no. 1 (March 4, 2021): 1–5. http://dx.doi.org/10.1515/ang-2021-0001.

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Abstract This special issue of Anglia addresses the wide-ranging transformations digitization has created in the field of book history. Several decades after the birth of Digital Humanities, the contributors to this special issue take stock of the challenges, promises and achievements of digital editing and cataloguing of medieval manuscripts. In addition, the articles discuss and assess the potential of computational methods, of big data and algorithms, of text mining techniques, stylometrics, multi-dimensional scaling and clustering, together with navigational tools such as scatterplots and dendrograms. The objects of investigation are both medieval manuscripts and newly digitized œuvres of modern writers such as Samuel Beckett, intermedial formats such as Alan Moore’s graphic novels and the online publication of a short story by Kristen Roupenian.

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Bair, Lynda E. "The Art and Science of Medieval Manuscripts." Journal of Interdisciplinary Studies 5, no. 1 (1993): 25–44. http://dx.doi.org/10.5840/jis199351/23.

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The University of Paris could lay claim to being the center of scholarship and theology in thirteenth-century Europe. Around this center, a community of craftsmen gathered to fulfill many needs of the University population. One of these needs was for a portable pocket Bible. This essay explores a preeminent craft associated with the University of Paris, that of the manuscript workshop. Exemplar leaves are examined with respect to the production steps of the Parisian pocket Bible. Conclusions reached concern the planned book layout and artist involvement in its production, including a reconstruction of such technical challenges as ruling the leaves, gathering systems, and epistle length.

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Bair, Lynda E. "The Art and Science of Medieval Manuscripts." Journal of Interdisciplinary Studies 5, no. 1 (1993): 25–44. http://dx.doi.org/10.5840/jis199351/23.

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The University of Paris could lay claim to being the center of scholarship and theology in thirteenth-century Europe. Around this center, a community of craftsmen gathered to fulfill many needs of the University population. One of these needs was for a portable pocket Bible. This essay explores a preeminent craft associated with the University of Paris, that of the manuscript workshop. Exemplar leaves are examined with respect to the production steps of the Parisian pocket Bible. Conclusions reached concern the planned book layout and artist involvement in its production, including a reconstruction of such technical challenges as ruling the leaves, gathering systems, and epistle length.

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Bruce, Scott G. "Dieter Blume, Mechthild Haffner, and Wolfgang Metzger, eds., Sternbilder des Mittelalters: Der gemalte Himmel zwischen Wissenschaft und Phantasie, Band I: 800–1200, 2 vols. Berlin: Akademie Verlag, 2012, pp. 1055, 1005 b/w ill. + 77 color ill.; and Sternbilder des Mittelalters und der Renaissance: Der gemalte Himmel zwischen Wissenschaft und Phantasie. Vol. II: 1200–1500, 3 vols. Berlin and Boston: Walter De Gruyter, 2016, pp. 1662, 1259 b/w ill., 135 color ill." Mediaevistik 31, no. 1 (January 1, 2018): 328. http://dx.doi.org/10.3726/med012018_328.

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Like the Greeks and the Romans before them, medieval monks were keen observers of the night sky and, in particular, the movement and disposition of constellations and “wandering stars,” as they called the planets. In an age untainted by the profound light pollution that today prevents most modern viewers from discerning all but the brightest stars due to the luminous fog produced by artificial light, medieval people had a clear view of the billions of celestial bodies that make up the spiral galaxy that the ancients called the Milky Way (galaxias kuklos or via lactea). Medieval star-gazers appropriated from their Roman predecessors the forms of the constellations, which they depicted in vivid paintings in manuscripts containing astronomical treatises and other works. In the volumes under review, Dieter Blume, Mechthild Haffner, and Wolfgang Metzger have done an immense service for scholars of medieval science and manuscript illumination by compiling these two multi-volume catalogues of astronomical imagery from medieval sources. Each set of volumes begins with an historical survey of developments in the science of astronomy throughout the Middle Ages (the first set covering 800–1200 C.E, the second set 1200–1500 C.E.), followed by a register of dozens of manuscripts containing paintings of the constellations and then hundreds of high-quality reproductions of these illuminations, many of them in color.

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Bosch, Sebastian, and Andreas Janke. "Manuscript Illumination in 19th-century Italy. Material Analysis of Two Partial Copies from the Squarcialupi Codex." Open Information Science 5, no. 1 (January 1, 2021): 63–88. http://dx.doi.org/10.1515/opis-2021-0006.

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Abstract The illuminations in two Italian manuscripts are still a mystery today. Both manuscripts were based fully or partly on the Florentine Squarcialupi Codex (Florence, Biblioteca Medicea Laurenziana, Med. Pal. 87) dating from around 1410/15. With the help of a multi-analytical, non-destructive approach employing mobile instrumentation (XRF spectroscopy, visible reflectance spectroscopy and infrared reflectography), we examined the manuscripts Toronto, Thomas Fisher Rare Book Library, MSS 09700 and Düsseldorf, Kunstpalast, Inv. K 1925-67 for the first time with regard to their production processes. The identification of modern pigments allows them to be contextualized in illumination practices of the 19th century. Manuals of that time provide a wealth of information on specific illumination practices and the availability of writing and painting materials, which correlates with the actual artefacts.

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Pludra-Żuk, Paulina. "Manuscript waste in reconstructing book collections of medieval Elbląg." Fragmentology 4 (December 16, 2021): 55–77. http://dx.doi.org/10.24446/g5uh.

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Medieval manuscript collections on the territory of Teutonic Prussia have been particularly affected by numerous unfortunate events in modern history, such as Polish-Swedish wars and the turmoil after World War II. Still, the attempts to reconstruct the local collections may shed new light on the intellectual history of this historical region. To this date this kind of research was based mostly on the preserved manuscripts with Prussian origin or provenance, that is to say produced or used on the territory of Prussia, currently held in Polish or foreign libraries and on the evidence on the lost volumes derived from archival inventories. The article, taking as an example the history of collections of the city of Elbląg, discusses the potential of systematic studies of parchment waste used in bindings of manuscripts and printed books for reconstructing the intellectual landscape of the territory in question. It systematizes different types of provenance evidence that links the parchment waste to the territory of Teutonic Prussia by an analysis of content, script, musical notation, bindings and other material evidence.

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Ganina, Natalija. "OCULUS MEMORIAE. NIGEL F. PALMER AND HIS CONTRIBUTION TO SCIENCE." Lomonosov Journal of Philology, no. 3, 2024 (June 17, 2024): 136–47. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-03-10.

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The article discusses the contribution of Nigel F. Palmer (1946–2022) to the development of historical German studies and the history of the book. Nigel Palmer, M. A., D. Phil., FBA, was an outstanding philologist, specialist in Medieval German and history of the book. He was Professor of Medieval German Literature and Language at St Edmund Hall, Oxford, Dr. honoris causa of the University of Bern, editor-in-chief of the journals Oxford German Studies (from 1990 to 2016) and Medium Aevum (Oxford from 1990 to 2022), a member of the International Editorial Board of the Lomonosov Philology Journal (Series 9. Philology from 1990 to 2022). His research interests centred on the literary and manuscript tradition of the German Middle Ages, with a focus on religious literature and the history of the book. His works had a significant influence on the development of Medieval German studies at the present stage. Nigel Palmer was the author of many discoveries of medieval manuscripts. His efforts to clarify the origin of individual manuscripts and to reconstruct significant collections of medieval monastic libraries played an important role in the development of science. Nigel Palmer’s research on German medieval manuscripts and incunabula in Russian collections (the Russian State Library, the Russian National Library, the Library of the Academy of Sciences, the Lomonosov Moscow State University Scientific Library, the “Museums of the Town of Yuryevets”) is of great scientific importance. The article reviews the main stages of Nigel Palmer’s academic biography and offers an overview of his most important publications, including Russian translations of his articles.

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Daniels, Rhiannon, Siân Echard, and Stephen Partridge. "The Book Unbound: Editing and Reading Medieval Manuscripts and Texts." Modern Language Review 101, no. 2 (April 1, 2006): 500. http://dx.doi.org/10.2307/20466798.

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Kinch, Ashby. "The Book Unbound: Editing and Reading Medieval Manuscripts and Texts." Journal of English and Germanic Philology 106, no. 3 (July 1, 2007): 383–86. http://dx.doi.org/10.2307/27712669.

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Wilson, Rachel A. "Perceptions of Medieval Manuscripts: The Phenomenal Book by Elaine Treharne." Comitatus: A Journal of Medieval and Renaissance Studies 53, no. 1 (2022): 279–82. http://dx.doi.org/10.1353/cjm.2022.0029.

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Drimmer, Sonja. "Perceptions of Medieval Manuscripts: The Phenomenal Book by Elaine Treharne." Manuscript Studies: A Journal of the Schoenberg Institute for Manuscript Studies 8, no. 1 (March 2023): 147–51. http://dx.doi.org/10.1353/mns.2023.0008.

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Biemans, Jos A. A. M., and Translation Anna E. C. Simoni. "The seventeenth-century Antwerp book collector Peeter Oris: new discoveries and new questions." Quaerendo 18, no. 4 (1988): 243–77. http://dx.doi.org/10.1163/157006988x00015.

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AbstractThe Antwerp art dealer Peeter Oris (c. 1582-c. 1647) owned at least eight medieval manuscripts and nine or ten printed books, including five, possibly seven incunabula. They were probably all Dutch books-with perhaps one exception. The fact that these manuscripts and printed books come from Oris's collection is almost always to be seen in ownership and other annotations in his own hand. One

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Wieland, Gernot R. "The glossed manuscript: classbook or library book?" Anglo-Saxon England 14 (December 1985): 153–73. http://dx.doi.org/10.1017/s0263675100001320.

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In a recent article, Michael Lapidge has cautioned the scholarly world not to assume too readily that any glossed medieval manuscript was necessarily used in the schoolroom. Identical glosses, he points out, often appear in several manuscripts, forcing us to conclude that glosses were either copied along with the text or from a commentary. The glosses naturally show greater variety than the texts because the scribe could at will omit them, change them, or add to them. Nonetheless, the fact that the same glosses appear in several manuscripts indicates that they were not the spontaneous reactions of a teacher or student.

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Eckhardt, Joshua. "A Book Historiography of the English Poetry Miscellany." Huntington Library Quarterly 85, no. 4 (December 2022): 559–78. http://dx.doi.org/10.1353/hlq.2022.a920282.

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abstract: Whereas book history focuses on original sources, book historiography zooms out to bring book histories themselves into view. Like other forms of historiography, it analyzes the writing of history and therefore the labor of historians—in this case, the work of the literary and book historians who have written of the poetry miscellanies of fourteenth-to seventeenth-century England. The article traces scholars' retrospective application of the word "miscellany" to these books of poems. It surveys them in the order in which historians have called them miscellanies. This order might seem backward, because scholars generally imposed the word on printed books before manuscripts, and on early modern manuscripts before medieval manuscripts. At the beginning and the center of this renaming process was Tottel's so-called miscellany, Songes and Sonettes .

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Hauwaerts, Evelien. "Nieuw bibliothekenproject mmmonk ontsluit monastieke manuscripten via iiif." Queeste 27, no. 2 (January 1, 2020): 180–85. http://dx.doi.org/10.5117/que2020.2.005.hauw.

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Abstract Mmmonk stands for Medieval monastic manuscripts – open – network – knowledge. It is a collaborative project between Bruges Public Library, Ghent University Library, the Major Seminary Ten Duinen in Bruges and the Diocese of Ghent. The project has been awarded grants from the Flemish Government (Department of Culture, Youth and Media). The project aims to provide digital access to the c. 760 extant medieval manuscripts of the abbeys of Ten Duinen, Ter Doest, Saint Peter’s and Saint Bavo’s. The images and metadata of the manuscripts will be gathered and presented on the mmmonk platform in a sustainable and open manner using the International Image Interoperability Framework (iiif). The platform will gather existing knowledge, present educational content, and encourage further research on the monastic manuscripts. mmmonk will contribute to the development and implementation of iiif for complex book materials.

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Stone, Zachary E. "A Descriptive Catalogue of Eight Medieval Manuscripts from Wadham College, Oxford." Library 21, no. 4 (December 2020): 445–76. http://dx.doi.org/10.1093/library/21.4.445.

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Abstract Ranging from an eleventh-century Gospel Book to a fifteenth-century copy of John Gower's Confessio Amantis, the medieval manuscripts of Wadham College merit more extensive consideration than they have hitherto received. This article seeks to enable and encourage the continued investigation of Wadham College's manuscript collection by providing preliminary descriptions for eight manuscripts lacking modern descriptions (MSS 1, 2, 5, 9, 11, 12, 13, and 10.19).

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Welch, Anna. "The Dangers of Desire: Medieval Franciscans as Book Owners." Emotions: History, Culture, Society 7, no. 1 (June 23, 2023): 30–51. http://dx.doi.org/10.1163/2208522x-02010186.

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Abstract The Order of the Friars Minor faced a dilemma from the outset: their Rule of life, written by their founder St Francis of Assisi, included a strict adherence to the ideal of absolute poverty (that is, living without property, even property held in common), and yet it was impossible to fulfil their pastoral activities in the community without at least one type of property – liturgical books. In both the earlier (1209/10–1221) and later (1223) Rules, St Francis discussed the ownership of books, but not their production. Surviving manuscripts and archival records alert us to the fact that friars did produce their own liturgical books and act as the scribes and illuminators of books made for others. As both producers and owners of illuminated manuscripts, the friars engaged in a careful navigation of the relationship between beauty (permissible as an expression of invisible divine beauty, as defined by Hugh of St Victor) and luxury. It was all too easy (as the Franciscan Durand of Champagne bemoaned) for friars to desire ‘beautiful … and … curiously illuminated [books, rather] than true and well corrected ones’. This essay explores the ways in which friars negotiated the issues of poverty, beauty and luxury, and how they expressed and satisfied their desire for books, drawing on examples from the library of the Sacro Convento in Assisi.

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Goodall, John A. "Heraldry in the Decoration of English Medieval Manuscripts." Antiquaries Journal 77 (March 1997): 179–220. http://dx.doi.org/10.1017/s0003581500075193.

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The use of heraldic decoration in medieval books has been somewhat neglected, only a few have been the subject of detailed studies and some of these are less than satisfactory. The Tickhill Psalter group had the advantage of having been the first to use the medieval rolls for comparanda, although the importance of the background decoration and line fillers as part of the overall pattern was not realised, accordingly a re-examination of all of these books is desirable. Unfortunately the book also gave renewed currency to the erroneous identification of the heraldry in the so-called Grey–FitzPayne hours at Cambridge which has long been regarded as closely dated to 1308 and hence a key manuscript for the chronology of the early fourteenth century books.

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Nash, Penelope. "Illuminated manuscripts and incucabula in Cambridge: A catalogue of western book illumination in the Fitzwilliam museum and the Cambridge colleges, part five: Illuminated incunabula, volume one: Books printed in Italy [Book Review]." Journal of the Australian Early Medieval Association 15 (November 1, 2019): 127–29. http://dx.doi.org/10.35253/jaema.2019.1.6.

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Review(s) of: Illuminated manuscripts and incucabula in Cambridge: A catalogue of western book illumination in the Fitzwilliam museum and the Cambridge colleges, part five: Illuminated incunabula, volume one: Books printed in Italy, by Andriolo, Azzura Elena and Reynolds, Suzanne, (London and Turnhout: Harvey Miller, 2017) hardcover, 288 pages, RRP 149 pounds/Euro175; ISBN: 9781909400856.

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Watson, Nicholas. "The Book Unbound: Editing and Reading Medieval Manuscripts and Texts (review)." University of Toronto Quarterly 75, no. 1 (2006): 238–39. http://dx.doi.org/10.1353/utq.2006.0231.

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Manzari, Francesca. "From Icons of Evil to Features of Princely Pleasure: Mongols in Fourteenth-Century Italian Illuminated Manuscripts." Ming Qing Yanjiu 22, no. 2 (March 12, 2019): 191–214. http://dx.doi.org/10.1163/24684791-12340029.

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AbstractThe representation of Mongols in Late-Medieval Italian illuminated manuscripts undergoes a transformation in the fourteenth century. In literature connected to the Crusades and in historical writings they are usually portrayed as symbols of Evil or of the Deadly Vices. In other instances, nonetheless, they seem to lose this significant iconic value and to turn into an exotic component for the amusement of princely patrons. It is certainly not by chance that illuminations comprising Mongols were produced in the cities most strongly tied to the East by trading routes and commercial interests, like Venice and Genoa. The appearance of Mongols within more widespread iconographies, both sacred and secular, and their metamorphosis as exotic decorations are connected to manuscript illumination at the Angevin court in Naples. This contribution re-evaluates both types of instances, with the purpose of achieving a survey of these types of representation in Italian gothic illuminated manuscripts.

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

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