A BRIEF SKETCH OF THE HISTORY OF ILLUMINATION
(_continued_)
(2) _From the Twelfth Century to its Decline_
ILLUMINATION IN THE TWELFTH CENTURY
A great change is noticeable in the illuminated work of the twelfth
century, one of the most important being the development of initial
decoration and the use of raised and burnished gold, and especially the
miniatures, which were often introduced within the initial letters. The
art of illumination gained considerably during this century, of which
the second half is notable for the number of richly-illuminated Bibles
of large size that were produced.
In England during this century there is a great difference between the
work produced and that of the preceding century. Probably a number of
things may be instanced as having caused this. There is hardly a doubt
but that the Norman Conquest may have had a great deal to do with
the introduction of Continental ideas. It is also possible that the
Crusades may have been responsible for a better knowledge concerning
the Byzantine and Eastern Schools.
The framing borders to the miniatures, etc., are somewhat different to
the loose entwined borders of the Winchester School, being generally
simple rectangular bands, either displaying a simple pattern or else
practically plain and severe. It is in initial-ornament that the
greatest development is noticeable.
In the latter part of the century some very beautiful initials filled
with conventional foliage with human, animal, and grotesque forms
entwined were produced. Both in miniature painting and also in outline
drawing a very definite style was formed.
The Psalter of Westminster Abbey (Royal MS. 2 A. XXII.) is a good
example of the miniature painting of this period, while the famous
Guthlac Roll (Harley Roll Y. 6) affords a good example of the outline
drawing of this period.
THIRTEENTH-CENTURY ILLUMINATION
In the thirteenth century the style of decoration was more refined.
Some of the most beautiful work in the whole history of illumination
was produced in this century. Numerous examples abound, and these
deserve very careful study. The ornamental border, which had
practically disappeared in the twelfth century, gradually re-developed
during this century; first in the form of a growth from the initial
letter, it developed into a foliated border upon which small animals,
birds, and quaint little figures were placed.
Some of the French MSS. of this period are particularly beautiful.
Bibles are numerous, being often quite small in size. Some of these
MSS. appear to be as perfect as if they had just been completed, the
gold being still brilliant and the colours still retaining their
freshness. All the MSS. of this period seem to follow a general scheme
of decoration. For example, the opening page of Genesis is one of the
most elaborate, being taken up with a series of miniatures representing
the days of Creation; the Jesse tree was also represented at the
opening of the Gospels.
In the latter half of this century diaper backgrounds were used a great
deal in the miniatures, and in some cases burnished gold was used with
patterns indented upon it.
A typical example of a thirteenth-century Bible is shown in the Bible
of Robert de Bello, who was Abbot of St. Augustine’s, Canterbury,
1224-1253. This MS. is in the British Museum (Burney MS. 3). It is
written in a minute hand and illuminated with figure initials and
partial borders. The initial I of Genesis is quite characteristic of
thirteenth-century work.
Another MS. in the British Museum, a Bible History, moralized, in Latin
(Add. MS. 18719), is a good example of the outline drawing at the end
of this century. This is a MS. of the French School.
Another fine French MS., of about 1300, also in the British Museum,
is that of the Somme le Roi (Add. MS. 28162), which, with its bright
colours and burnished gold, is a good example of the best French work
of this period.
There are, of course, many other MSS. that might be detailed, these
instanced here being merely typical of the general style of work
produced in this century.
ILLUMINATION IN THE FOURTEENTH CENTURY
The illumination of the fourteenth century was a development of the
work of the preceding century. Nature was copied more, and natural
foliage treated in a conventional manner was largely used. The oak, the
hawthorn, the ivy, and various other natural growths were frequently
employed. Especially was this the case with the ivy, which in the
French MSS. was used a great deal. The use of very large initials was
not so usual, but while the initials decreased in size the technique
improved. This tendency towards naturalism developed more and more
as the century advanced. These natural forms, however, were still
considered as decoration and were not mere naturalistic renderings.
Miniature painting was also developed in this century; indeed, the art
of illumination is generally considered to have reached its highest
point of development in this century. Certainly some of the most
beautiful and richly-decorated MSS. are of this period.
There is a fine example of English work of the early fourteenth century
in the British Museum in the MS. known as Queen Mary’s Psalter (Royal
MS. 2 B. VII.). This MS. is very interesting, as it not only has the
usual richly-illuminated pages, but also a large number of lightly
tinted outline drawings.
A beautiful example of French miniature work of the early part of this
century is shown in an Apocalypse, also in the British Museum (Royal
MS. 19 B. XV.). The miniatures in this MS. are drawn in outline and
slightly tinted, on grounds of dark blue and red.
Another fine French MS. in the British Museum is an Epistle in French
by Philippe de Maizières, Celestin of Paris, to Richard II. of England,
advocating peace and friendship between him and Charles VI. of France,
1395-1396. This affords a good example both of miniature work and
ivy-leaf decoration.
Some initials that have been cut from a large Missal (Add. MSS. 29704,
29705) show the development of rich decoration in England towards the
end of the fourteenth century.
ILLUMINATION IN THE FIFTEENTH CENTURY AND LATER
In the early part of the fifteenth century the work of the French
School was undoubtedly superior to that of the English. The ivy-leaf
decoration of the fourteenth century was developed into an elaborate
decorative scheme. The gold and diaper backgrounds began to be
dispensed with and natural scenery was substituted. In fact miniature
painting became more and more naturalistic in treatment, and the same
tendency is noticeable in the decoration, which, although often most
elaborate and highly finished, is not to be compared with the earlier
work.
In this century, Flemish illumination, which during the thirteenth
and fourteenth centuries was very similar in style to the French and
English MSS., developed into a most distinctive style specially notable
for its fine, delicate drawing. An illuminated MS. in the British
Museum, “Mandeville’s Travels” (Add. MS. 24189), is an example of this
style. It contains twenty-seven miniatures, without text, illustrating
Sir John Mandeville’s travels. These are drawn with a pen on vellum
that has been tinted a soft pale green. They have been shaded in black
and white with a brush, and colour is used for flesh tints, foliage,
etc., and gold is also used for crowns, nimbi, etc.
In Flemish illumination of the latter part of the fifteenth century
miniature painting became highly developed, becoming more realistic.
The decoration became debased, becoming eventually merely a frame of
gold or colour upon which were painted realistic representations of
flowers, fruit, insects, etc. These were often beautifully painted, and
the miniatures also show great skill from a technical standpoint, but
lacking generally the fine feeling that characterises the work of the
earlier periods.
This later style is represented by a number of MSS. in the British
Museum. One only is mentioned here, although this is but one of many.
The “Hours of the Virgin” (Egerton MS. 1147).
The Breviary of John, Duke of Burgundy (Harley MS. 2897), and the “Book
of Hours” of John, Duke of Bedford (Add. MS. 18850), are two famous
MSS. of the French School at this period, now in the British Museum.
“The Missal of William Melrith, Alderman of London” (Arundel MS. 109),
is an example of English illumination of the first half of this century.
In Italy, as was the case in regard to writing, the illuminators in
the early part of this century seem to have gone back to the period
of the eleventh and twelfth centuries for models. A familiar type of
decoration is formed of twining vine-tendrils, generally in white
on coloured grounds. Another type that was in use a great deal was
a delicate style of decoration composed of a conventional treatment
of flowers, foliage, etc., studded with a large number of raised
gold spots brilliantly burnished, outlined and rayed. In course
of time these styles became much more elaborated with medallions,
vases, candelabra, portrait busts, realistic renderings of gems, and
Renaissance figures.
Some examples of late Italian work in the British Museum are as
follows:--St. Augustine’s “Commentary on the Psalms” (Add. MS. 14799);
“Luiz, de Bello Macedonico,” etc. (Harley MS. 3694); “Book of Hours,”
of Bona Sforza, Duchess of Milan (Add. MS. 34294).
When the art of printing from type was first practised, this did not
at once stop the production of illuminated MSS. The large number of
MSS. that were produced after this date shows quite plainly that,
except in the commoner class of books, the MS. book still occupied the
most prominent place. Professional illuminators were still employed by
people in high positions, and some very costly and elaborate volumes
were produced. Many of the early printed volumes were printed with
spaces left for initials, miniatures, etc., to be filled in by the
illuminator. However, in course of time this art gradually fell into
disuse.
This brief summary of the history of this art is necessarily
incomplete; it has not been possible to deal thoroughly with this
subject here. It is hoped, however, that the student will continue the
study of the historical side of illumination, and that this little
sketch will serve as an introduction to further study.
[Illustration: Early 14th Century.
FLEMISH INITIALS.]
[Illustration: Late 13th Century.
FLEMISH INITIALS.]