Book Art

Manuscript Illumination

Fairly self-explanatory, manuscript illumination is the art of decoration of text.  The very strictest definition of the term refers to manuscripts decorated with gold or silver.  However, in both common usage and modern scholarship, the term is now used to refer to any decorated or illustrated manuscript from Western or Islamic traditions.  Works of Mesoamerican and Far Eastern manuscripts are called painted, but both are very similar in execution and practice.

Decoration seen in old manuscripts was most commonly the first letter of the first sentence of a paragraph at the start of a new section or chapter.  These letters were adorned with metallic coloration (actual metal finishes in early texts) to draw the eye and concentration to that portion of the writing.  Rather than a monotonous lettering without breaks, the illumination of letters made the text visually stimulating and easier to read.

The earliest surviving illuminated manuscripts are from the period of A.D. 400 to A.D. 600 and were produced most frequently in Ireland, Italy and Constantinople.  These texts are valued for two important reasons:  First, they have value as art history.  Secondly, they display a link of knowledge and intelligence, since the texts have no other illustration.  Were it not for the monastery scribes of the period, much of the literature of Greece and Rome would have perished.  The value of the patterns and textural illumination made the works far more valuable and useful and, therefore, treasured.

The Middle Ages is the period for which there are the most examples of illustrated manuscripts, but there are a large number from the Renaissance, too.  Most of these extant manuscripts are of a religious nature and were created by what was then the most highly educated group, religious leaders and those in monasteries.  Of these, a large number are on papyrus, but most of the surviving manuscripts are on animal skin.  Commonly, the skin of calf, sheep or goat was used to create what was called vellum, the very best quality parchment (skin).

When paper came into history, very early books were produced with spaces left unprinted.  These spaces were filled with illuminated initials or decorations in the margin.  More and more automation of the printing process became common, making the hand decorating of manuscripts less desirable.  But, prior to the demise of hand illumination, there were numerous well preserved medieval painting examples.  In fact, manuscripts are the best record of painting of that period.

In spite of the fact that original artworks used as manuscript illumination were costly and time consuming, many were created.  Most were reserved for special books for the very rich, for religious teachings, courtly and legal records and academic uses.  There are many classifications for illustrated manuscripts throughout history, and almost all examples in these classifications are heavily ornamental.  During the later periods in which illuminations were used, color started to play a larger part in their creation.  Sources of colors included vermilion and cinnabar for red, turmeric and saffron for yellow, lapis gemstone for blue, lead for white, carbon such as lampblack for black and plant-based compounds or copper for green.

By the 1440’s illumination had been all but eliminated by the printing process.  Manuscripts were quickly replaced by press-made books because they were much more affordable and easily carried.  So, after one thousand years of recording history, manuscript illumination fell from favor.  Antique shops both in the U.S. and abroad collect and make available single sheet examples of illustrated manuscript pages for collectors and museums.

Heaven on Earth:  Manuscript Illuminations from the National Gallery of Art is on view at the National Gallery through August 2.  The exhibition offers the first in-depth look at rare medieval manuscript illuminations, last exhibited in 1975, from 52 single leaves and four bound volumes.

Copyright ARTtalk Vol. 19 No. 7 — May 2009