![]() ![]() History The 63rd page of the Book of Hours (Use of Utrecht), c. Indeed, for many areas and time periods, they are the only surviving examples of painting. They are also the best surviving specimens of medieval painting, and the best preserved. They are among the most common items to survive from the Middle Ages many thousands survive. ![]() Illuminated manuscripts continued to be produced in the early 16th century but in much smaller numbers, mostly for the very wealthy. The introduction of printing rapidly led to the decline of illumination. Drawings in the margins (known as marginalia) would also allow scribes to add their own notes, diagrams, translations, and even comic flourishes. Very early printed books left spaces for red text, known as rubrics, miniature illustrations and illuminated initials, all of which would have been added later by hand. Paper manuscripts appeared during the Late Middle Ages. Books ranged in size from ones smaller than a modern paperback, such as the pocket gospel, to very large ones such as choirbooks for choirs to sing from, and "Atlantic" bibles, requiring more than one person to lift them. A very few illuminated fragments also survive on papyrus. These pages were then bound into books, called codices (singular: codex). Most medieval manuscripts, illuminated or not, were written on parchment or vellum. While Islamic manuscripts can also be called illuminated and use essentially the same techniques, comparable Far Eastern and Mesoamerican works are described as painted. The majority of extant manuscripts are from the Middle Ages, although many survive from the Renaissance, along with a very limited number from late antiquity. Examples include the Codex Argenteus and the Rossano Gospels, both of which are from the 6th century. The earliest extant illuminated manuscripts come from the Kingdom of the Ostrogoths and the Eastern Roman Empire and date from between 400 and 600 CE. Often used in the Roman Catholic Church for prayers, liturgical services and psalms, the practice continued into secular texts from the 13th century onward and typically include proclamations, enrolled bills, laws, charters, inventories and deeds. Sharpe, John, and Kimberly van Kampen (eds.), 'The Bible as Book: The Manuscripts Tradition', (London, 1998).Various examples of pages from illuminated manuscriptsĪn illuminated manuscript is a formally prepared document where the text is decorated with flourishes such as borders and miniature illustrations. 'Gothic Manuscripts 1285-1385, A Survey of Manuscripts Illuminated in the British Isles' 5, (London, 1986). 'The “Colker Catalogue”' in Hermathena: a Trinity College Dublin Review, number 194, (Summer, 2013), pp. 'The Cambridge History of the Bible, Volume 2: The West from the Fathers to the Reformation', (Cambridge, 1969). 'Treasures of the Library: Trinity College Dublin', (Dublin, 1986). 'A History of Illuminated Manuscripts', (London, 1986).įox, Peter (ed.). ![]() 'Michael of Belluno and His Speculum Conscientie: The Unique Manuscript Recently Discovered' in Medievalia et Humanistica, Ser. 'Michael of Belluno on the production of books and documents' in International Review of Manuscript Studies, volume LVI, 2002, 2 'Trinity College Dublin: Supplement One: Descriptive Catalogue of the Mediaeval and Renaissance Latin Manuscripts', (Dublin, 2001) 'Trinity College Dublin Library: Descriptive Catalogue of the Medieval and Renaissance Latin Manuscripts', (Dublin, 1991) 'A classical handbook from medieval England' in International Review of Manuscript Studies, Volume XLIII, (1989), 2 ![]() 'Understanding Illuminated Manuscripts: A Guide to Technical Terms', (London, 1994).Ĭleaver, Laura, and Helen Conrad O’Brien, 'Latin Psalter Manuscripts in Trinity College Dublin and the Chester Beatty Library', (Dublin, 2015).Ĭolker, Marvin L. Reilly (eds.), 'The Practice of the Bible in the Middle Ages: Production, Reception, and Performance in Western Christianity', (New York, 2011).īrown, Michelle P. With special thanks to the M&ARL team, Estelle Gittins, Aisling Lockhart, Jane Maxwell, Ellen O'Flaherty, Felicity O'Mahony, Caoimhe Ní Ghormáin, Dáire Rooney, Martine Gleeson and Linda Montgomery, for their assistance and support.īoynton, Susan, and Diane J. Photography by Gill Whelan, Digital Resources and Imaging Services. This exhibition was curated by Leanne Harrington (M&ARL), with technical support provided by Greg Sheaf. ![]()
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