Medieval Manuscript of Art

A manuscript of art is an object that has been hand-crafted, illustrated and gilded. Unlike the mass-produced books of our day each one is unique. A medieval book, if fully illuminated, was not only a work of art but also a record of the events and ideas of the time that produced it. As the technology of the printing press swept Europe the manuscript began to give way to its replacement, the printed book.

Manuscripts were created from a variety of materials including animal skin, gold leaf and various types of binders and pigments. The process of creating a manuscript is complex and requires a high degree of skill. Each manuscript passes through the hands of a parchment maker, a scribe and a number of decorators and illuminators. The result is a manuscript that may contain text and images, or only the text and simple decoration.

Many manuscripts were illustrated with the intention of enhancing their decorative qualities. This was particularly true of the insular manuscripts, which were written on thin pieces of vellum and decorated with abstract linear patterns and zoomorphic forms adapted from Anglo-Saxon metalwork. Other decorative elements were used to highlight certain passages of text, and for the opening pages of gospels and other important texts. These included ornamented borders enclosing full page illustrations; ornate initials used to start the beginning of bibles and other books; and carpet pages, which were whole sheets filled with decorative patterns and designs.

The illumination of manuscripts became more and more elaborate as the centuries progressed. This development was partly driven by the desire to create books that were more attractive to the eye, and thus to attract the attention of readers. In addition, the increasing availability of paints and dyes made it possible to produce colours that were not available in earlier times. This increased variety of colours enabled artists to produce works that reflected a greater range of cultural influences.

In the later Middle Ages, illumination tended to reflect both religious and secular themes. This pluralism was especially true of the Mughal period in India, where Jain, Hindu and Muslim patrons and artists produced manuscripts with themes drawn from a wide range of cultural sources.

Until the advent of the printing press, manuscripts were precious objects that were treasured and guarded in libraries of Popes, Dukes and Kings. They were the ultimate expression of a high level of craftsmanship and a dedication to textual literacy and spiritual devotion. The development of the printed book, however, brought an end to this golden era of books.

The use of gold in manuscripts was a mark of wealth and prestige. Gold was added to manuscripts to embellish the work, and also to demonstrate the wealth of the patron who commissioned it. As the price of gold progressively declined and the addition of gold to manuscripts became less of an indicator of status, its value as a symbol diminished. However, this did not signal the end of the magnificent production of illuminated manuscripts.