CHAPTER X

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.