Monstrous Beauty

The Black Hours.

2011-06-22T10:42:00.000-07:00

This is something I only became aware of a few years ago. During the 15th century in in Burgundy, especially during the time of Philip the Good, there was a trend of making luxury manuscripts on vellum that had been dyed black. Unfortunately, the process of dying the vellum made it brittle and fragile, so these manuscript did not survive in great numbers. There are fewer than twenty surviving manuscripts and only three of them are still bound as codices. The remainder are preserved as single leaves, often pressed in acrylic to protect them. So far as I know, all of the surviving examples are Books of Hours. The Pierpont Morgan Library has one, and this is a two page spread from it. The illumination on the left is of the Descent of the Holy Spirit.

While I'm not a huge fan of Books of Hours, this is certainly striking.

Limoges Enamal Châsse.

2011-06-09T09:58:00.000-07:00

I must confess a certain ignorance when it comes to medieval metalwork and enamels. But here is a pretty thing.

This is Châsse or casket from Limoges, c. 1190-1200. A Châsse was a reliquary shaped sort of like a house with a sloping roof and triangular gabled ends. Limoges was center enamel work at the time. This is Champlevé enamel. Champlevé is created by casting a metal piece with impressions for the area to be enameled. The depressions are then filled with powdered glass. The entire piece is the fired and the glass melts and fuses with the metal.

This is reliquary for St. Thomas Becket. The main body shows his murder while the roof shows his entombment. On the end is a saint, probably Becket himself.

The reliquary is in the Musée de Cluny in Paris.

Image wikipedia.

Apse Painting from Sant Climent de Taüll

2011-01-16T14:59:00.000-08:00

The Valle de Boi in Catalonia, with nine standing Romanesque churches and several ruins in about 85 square miles, has the densest concentration of Romanesque architecture in the world. The largest and best preserved of these churches is Sant Climent de Taüll, consecrated in 1123.

Catalonia in the 12th century was not a prosperous region and the builders of the church could not afford expensive mosaics, so the church was decorated with fresco. These frescoes are amongst the extant Romanesque murals. The apse mosaic is a Christ in Majesty, with Christ seated on the throne of the world. He is flanked by angels and is above medallions bearing the four beasts of the apocalypse. Mozarabic influence is seen in the broad bands of color that form the background.

In 1922 the murals of Sant Climent de Taüll were removed to protect them from theft and are now in the National Art Museum of Catalonia in Barcelona.

Image Credit:
Wikipedia.

Papyrus Style

2010-12-29T10:47:00.000-08:00

Before the invention of the codex, that is, a book made of leaves bound on one side, books were mostly on scrolls, and the predominate material for scrolls was papyrus. Papyrus was a paper like material made from a plant that grew in the Nile Delta. Greeks and Romans used papyrus as well as Egyptians, but because papyrus did not survive well in moist environments, the vast majority of papyrus survive has been found in Egypt. Because a scroll was continually rolled and unrolled, thick pigments would quickly flake off, so papyrus scrolls were not decorated or illustrated in the manner of later manuscripts, with lavish colored decorations. Scientific and mathematical texts required illustration, while illustration was optional for literary texts. Both types of texts did have illustrations though, and in a similar style, called by Kurt Weitzman called the "papyrus style". In the papyrus style, small, quickly drawn, ink illustrations would be inserted into gaps in the text block. The were seldom colored and usually had little if any background or framing.

Few examples of illustrated papyri remain, and thoe only in fragments. One example is the so-called Heracles Papyrus. It consists of two columns of text which have three quick sketches of Heracles fighting the The Nemean lion.

The iconography of the sketches is fairly conventional, compare the second sketch with this roughly contemporary mosaic from Spain.

Not all works on Papyrus were quick, rough sketches. The Charioteer Papyrus (pictured at top) is a fragment containing a finely drawn colored illustration of six chariot charioteers. There is no text on the fragment, so it is not known what work it illustrated. Indeed it cannot be said with certainty is came from a scroll or an codex.

The Papyrus style was carried over into early codices, although it was eventually abandoned because of the new opportunities provided by the new format

Hoccleve, The Regiment of Princes

2010-12-21T13:26:00.000-08:00

This is a presentation miniature from a manuscript of Hoccleve's, The Regiment of Princes (British Library, Arundel 38, Folio 37 recto). Hoccleve wrote The Regiment for Henry V shortly before his accession to the throne as a homily on virtues and vices. The introductory portion of the poem contains reminiscences of London tavern life, and calls on Sir John Oldcastle, "rise up, a manly knight, out of the slough of heresy." (The heresey being Lollardy.) Oldcastle was an old friend of the Henry V, who Henry eventually had executed for treason and who served as the model for Shakespeare's Falstaff. Hoccleve also took work as a scribe and worked with Adam Pinkhurst, who in 2004 was identified as Chaucer's Adam scrivener.

This miniature is often identified as Hoccleve presenting the book to Henry. But the man presenting the book is very well dressed, much more so than would be expected of a scribe, so it may represent John Mowbry, Duke of Norfolk, presenting the book to Henry. Norfolk was an early owner of the manuscript and his coat of arms are in the initial below the miniature. This is the only miniature in the manuscript. Other decoration includes three sided borders and illuminated initials.

Borgund stave Church

2010-12-20T09:12:00.000-08:00

This is the Borgund Stave Church in Borgund, Norway The church was built in the late 12 or early 13th century and is the best preserved medieval stave church. A stave church is a wooden church made with a type of post and beam construction. Almost all surviving stave churches are in Norway. One survives in Sweden and one was moved to what is now Poland. A similar, Anglo-Saxon palisade church survive in England. Although only a few of these churches remain, they were, at one time fairly common throughout northern Europe. Because masonry and other stone work survives better than construction in wood, it easy for modern viewers to loose sight of the reality that much medieval architecture was actually in made of perishable materials.

Image credits, Wikipedia.

Jeremiah, Church of Saint-Pierre, Moissac

2010-12-20T08:52:00.001-08:00

The Church of Saint-Pierre, Moissac was on of the stopping points in southern France on the great pilgrimage road to Santiago de Compostela in northwestern Spain. The church and its cloister host one of the greatest and best preserved collections of Romanesque sculpture in France. Amongst the sculpture is the famous Jeremiah contained within the trumeau (center post) on the south portal. The front of the trumeau has three sets of crossed lions. The lions create a gently scalloped contour along the sides of the trumeau, mirroring the the deeply scalloped jambs on either side of the portal. On the right side of the trumeau, is the sculpture of the prophet Jeremiah. The elongated body and graceful cross-legged posture rises and falls above the over-sized feet to match the scalloping on the front of the trumeau. The hair and beard are stylized plaits formed of groups of incised parallel lines. The stylized drapery clings to the body. The face, unusually well preserved for a sculpture positioned so easily within reach of vandals, is delicate and expressive. The entire effect is not one of portraiture, but instead one of idealized spirituality and reflection.

Image credits:

Detail of head, Emmanuel (epierre) on Flickr.
Portal, Elena Giglia (eg65) on Flickr.
Frontal view and oblique view, tilina25 on Flickr.

Chludov Psalter

2010-12-15T08:06:00.000-08:00

The Chludov Psalter is one of the few surviving 9th century Byzantine manuscripts. The early part of the 9th century was a period of iconoclasm in the Byzantine Empire. The Iconoclasm was a reaction against the use of religious images. During this period many works of art were destroyed. The Chludov Psalter was made either in secret during the Iconoclasm or after the restoration of icon, as a polemic against the Iconoclasm. In this illustration, the act of painting over an icon is paired with the Crucifixion, comparing those who destroyed icons to those who crucified Christ. To the right of the text a soldier offers Jesus a sponge filled with vinegar, while below the iconoclast Patriarch of Constantinople, John the Grammarian is seen painting over an icon of Christ using similar sponge attached to a pole. Even the pot for the the patriarch's paint is similar to the pot holding the vinegar used by the soldier.

Salisbury Cathedral

2010-12-14T07:27:00.001-08:00

Salisbury was my first. I was an ignorant 18 year old, just graduated from high school, spending the summer in Europe. My brother and I were on our way to Stonehenge and when we got to the town of Salisbury and we found that we had missed the bus. The next one wouldn't run for an hour. We noticed a spire looming over the town, and decided to go take a look. Finding a massive cathedral set in the middle of a park, we thought it would be worth exploring. In 1981, you couldn't enter through the main west portal, instead you entered on the west end, but off to the side. As I came in, it all felt very familiar, we were in the sort of vestibule that any Anglican church might have. Then we turned a corner and were in the nave. To this day, the feeling of absolute awe I felt has stayed with me. Only one other time, high in the Rocky Mountains, have I ever been so completely struck. On that trip we saw other cathedrals, Canterbury, Westminster Abbey, and St. Stephen's in Vienna, but, for me, that initial feeling of shock and joy will always belong to Salibury. We didn't catch the next bus either.

Salisbury, is unusual amongst cathedrals in that it was built entirely one building campaign and was happily spared major renovations in later centuries. There were no previous buildings on the site that could have constrained the plans. As a result it was built largely in a single style and has a unity that many cathedrals lack.

Image credits:
First exterior, michaelday_bath on flickr
Second exterior, Stephen McParlin (stephen_dedalus) on flickr
Nave, ajoh198 on flickr

Sutton Hoo Buckle.

2010-12-13T17:02:00.000-08:00

Sutton Hoo was one of the greatest archeological finds in the British history. The grave of a 7th century Anglo-Saxon king, excavated in 1939, contained a literal treasure hoard. One of the most impressive pieces was this large gold belt buckle. The main body of the buckle is an intricate mass interwoven animals, executed in chip carving with black niello highlights. The overall design is symmetrical although the details of interlacing are not. The main plate is hollow and has a hinged back, forming a secret compartment.

Bernward Doors

2010-12-09T21:58:00.001-08:00

The Bernward Doors, dating from 1015, are large bronze doors cast for the Cathedral of St. Mary in Hildesheim Germany, under the direction of Bishop Bernward. Bernward had visited Rome and may have been inspired by the ancient carved wooden doors of the Basilica of Santa Sabina. These doors represented a massive project for the time, being one of the largest cast bronze objects ever made in northern Europe. The left door contains eight scenes from the life of Adam, and the right eight scenes from the life of Christ. The scenes are carefully chosen and matched to emphasize the theological idea that Christ was the new Adam. For example, the Fall is matched with the Crucifixion, by which the fall was redeemed. The "trial" of Adam and Eve by God, is matched with the trial of Christ by Pilate.

The figures are set in a schematic space with a few plants or architectural details representing landscapes. The figures are in high relief, some of the heads lean out and become free of the background. Yet these nods to three dimensional reality for the scenes are undercut by the tendency for details, such as feet to overlap and break out of the surrounding frames.

Image credits:

Full door from Wikipedia.
Details from Sacred Destinations on Flickr.

Carpet Page, Lindisfarne Gospels

2010-12-09T10:21:00.000-08:00

Others may rave about the Chi Rho monogram from the Book of Kells, but for my money, this is the single most impressive piece of illumination from the Middle Ages. This is one of the carpet pages from the Lindisfarne Gospels. It's said that each of the carpet pages in the Lindisfarne Gospels have an intentional error in the knotwork. Good luck finding it.

Lewis Chessmen

2010-12-08T07:11:00.000-08:00

The Lewis chessmen are a group of chess pieces discovered on the Isle of Lewis in 1831. They were carved from walrus ivory and whale teeth in the 12th Century in Norway. There are 78 pieces: 8 kings, 8 queens, 16 bishops, 15 knights, 12 rooks, and 19 pawns, from as many as 5 different sets. The pieces were probably part of the stock of a trader dealing in luxury goods. Some of the pieces bear traces of red pigment, indicating that the two sides were white and red, unlike the modern white and black. Unlike modern chess sets, the rooks are portrayed as soldiers, including four berserks, chewing their shields, while the pawns are small geometric pieces, resembling standing stones.

The collection was split up soon after its discovery. The Museum of Scotland now owns 11 of the pieces, while the British Museum owns the balance. A exhibition of pieces from both the Museum of Scotland and the British Museum, along with related artifacts is currently touring Great Britain. I hope it come to North America.

Image credits:
Berserk Rook, Rook, and Knight, RobRoyAus on Flickr.
All others, Wikimedia Commons

Santa Sabina, exterior

2010-12-08T05:24:00.001-08:00

The Basilica of Santa Sabina is one of the oldest surviving early Christian basilicas. A few other basilicas are older (St Paul's Outside the Walls, St. Peter's, The Lateran) but they have all been substantially rebuilt or modified. Only St. Sabina's exterior remains close to the appearance of an early basilica.

Santa Sabina was built about a century after Constantine legalized Christianity. Although, it was not one of the original churches built under Constantine's patronage, but was built in the same style. The exterior is rather severe, without any external decoration. The clerestory windows above the aisles are filled with selenite rather than glass and allow large amounts of light into the interior. The interior was originally decorated with mosaics, but those are now lost. The original 5th century wooden door, carved with scenes from the Bible still exists.

Santa Sabina now serves as the mother church for the Dominican Order.

Image from Wikipedia.

Crown of Reccesuinth

2010-07-27T18:59:00.000-07:00

This is a votive crown given to the Church by Reccesuinth, King of the Visigoths (649 – 672). It is gold filigree set with sapphires, pearls and other gems and is the best surviving piece of Visigothic metalwork. The letters hanging from the crown spell [R]"ECCESVINTUS REX OFFERET" (King Reccesuinth offers this.) The crown is at the National Archaeological Museum of Spain is Spain except for the "R" pendant from RECCESVINTUS, which is in the Musée de Cluny in Paris.

Images from Wikipedia.

Orion from Leiden Aratea

2010-07-26T10:32:00.000-07:00

Orion the Hunter from the Leiden Aratea. This is one of the great works of the Carolingian Renaissance, which how shows how thoroughly classical art was revived. This is such a close copy of its late antique model that is it was at one time thought to be of late antique provenence itself. Note the use of shading to model Orion's musculature. This had not been done in a realistic way for centuries when this manuscript was made. The text in this manuscript is know as the Aratea is by Germanicus and is based on the Phainomena of Aratus and is an introduction to the constellations. Germanicus is best remembered as the popular adoptive grandson of Augustus and grandfather of Nero. In Graves I, Claudius he was poisoned by Livia and Caligula. The Leiden university library has posted a digital facsimile of the manuscript here.

Leiden Aratea Leiden, Universiteitsbibliotheek, Voss. lat. Q 79, f. 58v.

Back again

2010-07-26T10:28:00.000-07:00

I have had high hopes for this blog, but have been unable to follow through. Right now I don't have the time or energy to write longish articles on a regular basis. I think I might have the time to get up images of single pages of manuscripts or other objects, with very short descriptions on an almost daily basis. This is my goal for now. Think of it as your almost daily medieval art image.

Chi Rho monograms.

2010-03-31T19:47:00.000-07:00

Last night I talked a bit about the Chi Rho monogram in the Stockholm Codex Aureus. It got me thinking about how often these monograms show up in insular gospel books. So I decided to see how may I could find and spent a couple of hours poking around looking for images of them. This is by no means a comprehensive list, but here are the ones I found, in roughly chronological order.

First up is the Book of Durrow, dating to the middle of the 7th century. The Chi is enlarged, the Rho slightly smaller, the whole line is enlarged and set off and colored yellow. It is n0t really known where the manuscript was made, although it was probably made somewhere in Ireland.

Durrow is followed by the Lindisfarne Gospels of about 7o0. This is a quantum leap with the Chi Rho dominating the page. The Chi and the Rho are extensively decorated. All of the text on the page is turned into one large decorative pattern. One of my favorite things about the Lindisfarne Gospels is how the artist would "draw" with the decorative red dots found in so many insular manuscripts. Here he has "written" with them to form the letters of the line following the Chi Rho monogram completely out of the red dots. The Lindisfarne Gospels are known to have been produced on the Island of Lindisfarne off the east coast of Northumberland.

Next up is an unnamed manuscript in the British Library (Royal MS 1 B VII). This is a smaller scale effort, as this is not as sumptuous of a manuscript. The zoomorphic Chi Rho Initial is as about as large as the initials which begins each of the gospels. The scribe started a new column at the Chi Rho initial, as if he were starting a new work, leaving the bottom of the left column blank. (The text in the obviously different script at the bottom of the left hand column is a later addition, a manumission of a slave in Old English.) This manuscript was produced in the first half of the 8th century in Northumbria.

Next is the St. Gall Gospels, now housed in the monastery at St. Gall in Switzerland. This manuscript was produced by monks in Ireland about 750 and brought with them when St. Gall was founded. By this point, Chi is taken over the page, leaving room for only a few words of additional text, which is so stylized and decorated as to be unreadable. (This and Lindisfarne are my two favorites.)

Next up is our friend from last night, the Stockholm Codex Aureus. This is somewhat more restrained, although the text is seen as a decorated pattern with legibility allowed to be lost to aesthetics. This manuscript was produced somewhere in Southumbria, probably Canterbury. The influence of the Roman Church mission at Canterbury probably exerted a restraining influence on the wilder "Celtic" traditions seen in more northern insular manuscripts. This manuscript dates to about 750.

This one needs no introduction. It is, of course, the Chi Rho page from the Book of Kells and easily one of the most famous manuscript images of the middle ages. Exuberance abounds and there is no restraint. (Despite its fame, I still like Lindisfarne better. Does that make me a heretic?)

This is from another unnamed manuscript in the British Library, (Royal MS 1 B VII). In a sense Kells was at once the culmination and last gasp of the Insular tradition. After Kells the Carolingian Renaissance got underway, and the insular style fell out of favor. The truly deluxe manuscripts of the era looked to classical models. Still some manuscripts were made in the Insular style. This manuscript is from about a century after Kells. Although the Chi Rho monogram is present it is more closely related to the zoomorphic initial of the other unnamed British Library manuscript than to the Durrow, Lindisfarne, St. Gall, and Kells.

This is from the the Bodmin Gospels which was made in the 9th or 10th century. This is not a deluxe manuscript, so, although the Chi is emphasized it is not a major piece of illumination.

This is from the Book of Deer, which was made in Scotland in the 10th century. One day I will have to talk more about this manuscript in detail. It is a relatively small scale, somewhat odd manuscript, but is clearly still following the Insular tradition.

This is the Corpus Irish Gospels, now owned by Corpus Christi College, Oxford. It was produced in the twelfth century, almost 500 years after the Book of Durrow. It, along with the next manuscript show the extreme tenacity with which this style had in Ireland. This monogram with its interlace decoration on spiral motifs would be at home in manuscripts centuries older.

My final manuscript is the Gospels of Mael Brigte, which are firmly dated by a colophon to 1138. Although simpler in decoration than the the Corpus Gospels, this manuscript is also done in the insular style, centuries after the style's high point and shows the enduring popularity of the style in Ireland.

Stockholm Codex Aureus

2010-03-30T19:39:00.000-07:00

It's been a long while since I posted anything here, but I'm back, at least for the moment.

This is the Stockholm Codex Aureus (Stockholm, Royal Library, MS A. 135), also known as the Codex Aureus of Canterbury. "Codex Aureus" can be translated as "Golden Book" and refers to the liberal use gold leaf used in the decoration of this manuscript. There are several other manuscripts known as the Codex Aureus as well, so you have to specify which one you are dealing with. Stockholm refers to its current location, while Canterbury refers to where it was probably made.

This is a Gospel Book and contains the Latin text of the four gospels. (I'm not sure what version, but I would bet that it is the mix of Vulgate and Vetus Latina found in other insular gospels). I also don't know what texts, other than the Gospels it contains, although I do know that it has Canon Tables. I would assume that some of the prefatory matter found in other Insular Gospels is present. There are 193 extant folios. Alternating folios have been dyed purple. The text is written in an uncial script in black, white, red, gold and silver inks. There are two surviving evangelist portraits, six decorated canon tables and seven decorated initials.

The portrait of Matthew shown here, is quite different from the highly stylized and abstracted portraits in other Insular manuscripts. Matthew is seated on throne within an arcade with pillars. Curtains hanging from above are wrapped around the pillars. In the tympanum above is his symbol, the winged man. There is little in the way decoration and the composition lacks the elaborate decorated borders found in some of the other insular manuscripts. Although the elements, including Matthew himself, are stylized and flattened the entire composition has a serene monumental quality. In many ways, this can be seen as a precursor to later Anglo-Saxon and Carolingian styles.

The facing text page, however, would be comfortably at home in any of the great Insular manuscripts like Kells or Durrow. The text block and each line of text is contained within a frame. The text lines alternate between a gilded background and golden letters, creating a dazzling effect. The opening initial is an elaborate monogram decorated with interlaced patterns and laid on a background of spiral motifs. As can be seen by the detail below, the draftsmanship is quite high.

That the evangelist portrait faces this page is quite interesting. The initial monogram is of the Greek letters Chi and Rho (XP). This monogram was often used as in place of the word for "Christ". The interesting thing is that, although evangelist portraits were usually placed at the beginning of a gospel, this is not the beginning of the Gospel of Matthew. This is the text which begins at Matthew 1:18. The preceding 17 verses contain a genealogy of Christ, and the actual narrative of Christ's life starts here. In insular manuscripts, the genealogy was often treated almost as a separate work and this "second beginning" was often given its own frontispiece, although this is the only manuscript that I am aware of that moves the evangelist portrait here. The enlarged, decorated Chi Rho monogram at this point in the text is a motif that is limited to insular gospel books.

This manuscript was at Christ Church, Oxford in the 9th century. It was looted by the Vikings, ransomed by Earl Alfred (later King Alfred). At some time in the middle ages it was lost again. It was found by a Swede in 1690 in Spain and purchased for the Swedish Royal Library

Manuscripts on the web: The British Library

2009-04-20T07:49:00.000-07:00

So, I like to go looking around the web for pretty pictures. One type of pretty picture I look for is illuminated manuscript images. One thing that I've found is that several institutions have done a great job digitizing images and making them available. Here are some of the places I've found.

Let's start with the big one. The British Library. The British Library, of course, has one of the best collections in the world. The Bibliotheque Nationale and the Vatican Library are the only close contenders I can think of.

The British Library is fairly generous, there are three ways they make manuscripts available. The big one is their Catalogue of Illuminated manuscripts. Thousands of manuscripts are cataloged here. (Over 1500 from the Harley collection alone.) Each manuscript has a upwards to twenty or so images available. The down side is that they are going methodically through the collections, and they haven't included the Cotton or Additional Manuscript collections yet, and that is where a lot of the really good stuff is.

Equally impressive is their Online Gallery of illuminated manuscripts. This used to be part of their Collect Britain site, and focused on manuscripts made in Britain. Each page is treated as separate work, but you can search by shelfmark. There are plenty of images of little known manuscripts. There are also illuminated manuscript images scattered through some of the other galleries. The Online Galleries also has a Virtual Books section with in depth looks at several important books including a late 17th cent Ethiopian Bible, the "Golf Book, the Luttrell Psalter, the Golden Haggadah, a 15th Century Hebrew Bible from Lisbon, the Sforza Hours, the Sherborne Missal, and the Lindisfarne Gospels. I can't make this feature work due to limitations of my computer and my lack of Geek skills.

A final place to look for images is the Images Online. This is primarily intended as a site to sell high quality images, but their previews are good enough quality for casual browsing. You can find images from many manuscripts not found at the other Brirish Library sites.

Finally for the British Library if you are looking for information on manuscripts, but not images, there is the Manuscript Catalogue. The entries in the catalog range from fairly complete articles, with bibliography to a few words in Latin.

Codex Manesse

2009-04-14T16:54:00.000-07:00

The Codex Manesse (Heidelberg, University Library, Cod. Pal. germ. 848) is a German manuscript, which was produced in Zürich between 1304 and 1340. It is an important literary manuscript, as it is the single most comprehensive source of Middle High German love songs, the songs of the minnesängers. There are 140 poets represented, who range in social status from the Emperor Henry VI to commoners. As important as the manuscript is for literary history, it is best known for its illuminations. There are 137 portraits of poets, many of them shown in full armor with heraldic devices. These illuminations have been widely reproduced, so much so that are almost the stereotype of High Medieval art. The last I was at Barnes and Noble I noticed at three books with cover art drawn from the Codex Manesse. The illustrations have also been widely used as decorative motifs. I have some wooden plaques with reproductions of some of these pages on my walls right now. Here are some of the images.

Emperor Henry VI, Fol. 6r.

Conradin, Duke of Swabia, King of Jerusalem, King of Sicily, Fol 7r.

Henry I, Count of Anhalt (The manuscript calls him Duke in error), Fol 17r.

And, since this is a manuscript of songs, here is recreation of one of the songs.

Durham Cathedral Library, MS A II 10

2008-07-02T13:36:00.000-07:00

First a little bit about the "name" of this manuscript. If you are already familiar with how shelfmarks work, you can skip to the next paragraph. Many manuscripts are famous and have names that are well known outside of the realm of medievalists, the Book of Kells for example. Others are more obscure, but are well known to medievalists, the Quedlinburg Itala or the Vatican Virgil, for example. Others may have names that uniquely identify them, but are not well known to anyone other than a specialist. Most manuscripts don't have names, though, and are identified only by shelfmarks. Shelfmarks are the cataloging labels given to each manuscript by the institution that holds it. Each institution makes its own rules as to how to assign shelfmarks. Some just number them; MS 1, MS 2, etc. Others will sort by their manuscripts into collections, and number each collection. The collections may be sorted by language, or manuscript type, or by donor. Some large institutions might have several different types of collections. In any case, the full shelfmark will identify a manuscript precisely. (Some institutions that only hold a few manuscripts, or perhaps only one, don't use shelfmarks at all.) These shelfmarks are a kind of secret passwords for medievalists. You stand a much better chance of getting an institution to let you look at a manuscript if you know its shelfmark. Some institutions, rather than simply numbering the manuscript, use a more complicated scheme, that gives you the precise location of the manuscript. To do this you must identify the bookcase a manuscript is in, the shelf of the bookcase, and the position of the manuscript on the shelf. This is what Durham Cathedral does. This manuscript is A II 10. This translates to the first bookcase (A), the second shelf (II), and the tenth manuscript (10).

This manuscript is a fragment of an early Insular gospel book. It is usually known only by the its shelfmark because there are at least two other fragmentary Insular gospel books at Durham Cathedral (MSS A II 16, and A II 17). MS A II 17 is sometimes called the "Durham Gospels". Kirsten Ataoguz at Early Medieval Art calls this the "Earlier Durham Gospels" and A II 17 the later Durham Gospels.

This manuscript is earliest in a sequence of magnificently decorated gospel books that stretches to the Book of Kells and beyond. This manuscript dates to the early 7th century and is not much younger than the Cathach of St. Columba. The surviving fragments contain two important pieces of decoration, on facing pages. Folio 3v* (see illustration above) contains the end of the the Gospel of Matthew. The text is in the left hand column, the other column contains a frame shaped like three capital letter "Ds" stacked one on top of the other. Each frame is decorated with a knot work pattern, and each frame has a different pattern. (Dr. Ataoguz suggests having students describe these patterns as an exercise in observation and description. Other than noting that the lower 'D' is decorated with a traditional three strand braid, I would find this very difficult.) The triangular spaces between, above and below the "D" frames are filled with larger, looser triangular knots. Inside the frames are written the explicit** to Matthew, the incipit** to the Gospel of Mark, and the Pater Noster, or Lord's Prayer, in Greek, but written in Latin letters. Facing this page is the opening page to the Gospel of Mark. (see illustration at right.) It starts with a large decorated initial. This initial takes the first three letters of the the opening word "Initium" and fuses them into a large monogram. The monogram is shorter on the right side than it is on the left. Each subsequent letter in the opening word is smaller than the preceding letter. This diminuation of letters was first seen in the Cathach. A manuscript of Jerome at Bobbio from the early 7th century also contains an "INI" monogram that is very similar in form to this monogram (see illustration below). This would suggest a fairly wide spread artistic convention.

This manuscript, fragmentary as it is, is still quite important. It is has the first surviving appearance of the knotwork that would a major motif in later Insular manuscripts. The later Insular gospel books would all use monograms similar to the "INI" monogram used here. It shows the continuation of the strong tradition of the diminuation of letters after an enlarged intitial.

The Bobbio Jerome initial. My apologies for the low quality of the image.

* Most manuscripts were not paginated as modern books are. In modern books, each side of a single leaf is given a new page number. Manuscripts are usually foliated, where each leaf is give a number. The two sides are then termed the "recto" and the "verso". The recto is the "front" side, that is the side that is on the right side of the book when it is opened. The other side, the verso is on the left side of the open book. Individual sides of folios are indicated by giving the folio number and an "r" or "v" for recto or verso.

**The incipit and explicit are the terms for text introducing announcing the beginning (incipit) and end (explicit) of a text. An incipit may read something like, "Here begins the Gospel of our Lord Jesus Christ according to Saint Matthew". For the most part, except for an occasional "The End" at the end of some novels, this practice has died out in modern books.

Bobbio Orosius

2008-06-19T09:59:00.000-07:00

The Bobbio Orosius, from the 7th century, introduces an important motif to insular art, the Carpet Page. This is the oldest surviving carpet page. The design is not similar to the Carpet Pages in the later more famous gospel books (Durrow, Lindisfarne, Kells), but its purpose seem to have been similar; To serve as a sort of internal cover. As Dr. J. Kirsten Ataoguz points out over at Early Medieval Art, the Bobbio Orosius carpet page can be compared, at least in layout to the cover of the Stoneyhurst Gospels. (see below for image.) Like the later gospel books this carpet page faces a decorated initial. (I regret not having an image of the initial, and the poor image of the carpet page here, but it is all that is available on the net.)

The Bobbio Orosius also represents an important movement in the religious and artistic history of Europe. Although the manuscript was produced at a monastery in Italy, it was produced by Irish monks. The monastery in question, Bobbio was founded by St. Columbanus, who was from Ireland. Many important communities on the continent were founded by Irish monks. Many of the important "insular" manuscripts were in fact produced in the scriptoria of these communities. These monasteries were to play a vital role in the religious and artistic life of the next several centuries.

The manuscript itself (Milan, Biblioteca Ambrosiana MS D. 23. Sup.) is a copy of the Chronicon of Orosius. In the seventeenth century it was given to the newly established Ambrosian Library in Milan, where it remains today. Dr. Ataoguz also has a discussion of this manuscript at Early Medieval Art.

The Stonyhurst Gospel Covers

Cathach of St. Columba

2008-06-07T12:56:00.000-07:00

The Cathach of St. Columba is the starting point for Celtic manuscripts. The traditional story is that Columba was lent a psalter by St. Finnian on the condition that he not copy it. Columba nevertheless copied in a single miraculous all-night session. When Finnian discovered the manuscript, he appealed to the local king, who awarded the copy to Finnian. Columba raised his kinsmen which resulted in the Battle of Cúl Dreimhne. Columba went into exile, where he founded Iona, as penance for the men killed in the battle. The Cathach is traditionally identified with Columba's copy. The Cathach, however, has been dated to the 7th century on paleological grounds. Throughout the Middle Ages it was carried into battle as a talisman, a practice from which it gets it name. "Cathach" means "battler" in Irish.

The decoration in the Cathach is limited to the first few letters of each Psalm. This decoration establishes several themes that are explored in great depth in later manuscripts. The first letter of each Psalm is enlarged. In earlier manuscripts initial letters had been enlarged and decorated. Bit the decorations in those manuscripts were used to fill space or were appended to the latter. In the Cathach, the decoration distorts the shape of the letter, so that the letter becomes the decoration. Subsequent letters were drawn into the decoration through the gradual shrinking of the letters. In earlier manuscripts the letters after the first letter were the same size as the he rest of the text. In the Cathach, each subsequent letter is a bit smaller than the preceding letter until the letters reach the size of the bulk of the text. The letters are often decorated with small red dots. These three ideas the distortion of letters for decoration, the dimidation of letters, and the use red dots for decoration are ideas worked out in great detail later.

5th century Coptic manuscript.

2008-06-02T14:03:00.001-07:00

This manuscript represents a bit of a frustration for me. I had read Weitzmann, and some other sources so I thought I had a pretty good idea what were the important manuscripts. Then I checked out Lorenzo Crinelli's, Treasures from Italy's Great Libraries (New York, The Vendome Press, 1997). One of the early manuscripts was this 5th century Coptic Old Testament fragment (Naples, Biblioteca Vittorio Emanuele III, 1 B 18). Illustrated here is Job and his daughters. I wrote an article about it for Wikipedia. It makes me wonder though, how many more very early manuscripts am I missing? Are there other 5th century Coptic manuscripts. What about other eastern manuscripts. I know about Syriac manuscripts (The Rabula Gospels and the Bible in Paris) are there more? I haven't found a text in English on Coptic manuscripts, although there are some in French. It may be worth my while to struggle through them.

All of that aside, so that you won't have go read the Wikipedia article, here are the basics. This is a fragment of 5th century manuscript of the Old Testament written in the Coptic language. The manuscript has only 8 surviving folios and includes the text from the Book of Job and from Proverbs. One folio has a large pen drawing illustrating Job and his daughters with Job pictured as a bearded man wearing a crown and short tunic. His daughters wear tunics with jewels and diadems. The iconography of Job is very different in this manuscript from that in later centuries. Here he is seen as royal figure while in later portrayals he is seen as humbled and sitting on a dung heap.

Medieval Survey bibliography

2008-04-19T21:21:00.000-07:00

I would like to compile a bibliography of medieval art. In part it serves as a wish list, in case I ever win the lottery. This is a start, these works are surveys of the entire Medieval period. The only ones I am familiar with are the Calkins, which I own; the 1st edition of the Snyder, which was my Medieval Art textbook at OU; and the Stokstad which I have seen in the library. I quick look via Google at a few syllabuses for Medieval Art surveys seems to show the Snyder and Stokstad are the two most common textbooks in use. I hope to get my hands on the all of these in the near future. I f I do so, I may repost an annotated version of this.

Benton, Janetta Rebold, Art of the Middle Ages, New York, N.Y. : Thames & Hudson, 2002.

Calkins, Robert G., Monuments of Medieval Art. Ithaca : Cornell University Press, [1985?], c1979.

Focillon, Henri, (trans. Donald King). The Art of the West in the Middle Ages, 2 Volumes. London, New York, Phaidon, 1969.

Kessler, Herbert L, Seeing Medieval Art, Peterborough, Ont. ; Orchard Park, NY : Broadview Press, c2004.

Lacroix, Paul. Arts In the Middle Ages and the Renaissance. New York, F. Ungar Pub. Co. [1964]

Lethaby, William Richard, Medieval Art From the Peace of the Church to the Eve of the Renaissance, 312-1350., London, Duckworth and co., New York, C. Scribner’s sons, 1904.

Luttikhuizen, Henry and Dorothy Verkerk, eds., Snyder's Medieval Art, Second Edition, Upper Saddle River, NJ : Prentice Hall, 2006.

Morey Charles Rufus, Mediaeval Art New York, W. W. Norton & company, inc. [1942]

Reber, Franz von, History of Mediaeval Art, New York, Harper & brothers, 1887.

Sekules, Veronica, Medieval Art, Oxford : Oxford University Press, 2001.

Snyder, James; Medieval Art: Painting, Sculpture, Architecture 4th-14th Century; New York : H.N. Abrams, 1989; Upper Saddle River, NJ : Prentice Hall, 2006.

Stokstad, Marilyn, Medieval Art, 2nd ed., Boulder, Colo. : Westview Press, c2004.

Zarnecki, George, Art of the Medieval World, Architecture, Sculpture, Painting, the Sacred Arts, Englewood Cliffs, N.J. : Prentice-Hall, 1975.

Start

2008-04-10T08:06:00.000-07:00

The preceding post were originally posted at my other blog. Posts made here will show up there (except this one). A lot of stuff that shows up there won't show up there. I will probably revisit all of the objects blogged below.

On this blog, I intend to discuss not only manuscripts, but the whole range of medieval art. I reserve the right to define "medieval" and "art" however the hell I wish. I also hope to be able to point to other resources on medieval art. On the name, Monstrous Beauty, it comes from Bernard of Clairvaux, who when discussing (and denouncing) the Romanesque art that decorated the churches of his day railed against the "beautiful monstrosities and monstrous beauties" he found. I like Romanesque art, and the term "Monstrous Beauty" is indeed a great description of it.

Heracles Papyrus

2008-04-09T17:31:00.001-07:00

Manuscript illumination, in the broadest sense, covers the decoration or illustration of any written text. The practice started with the Egyptians, who would illustrate portions of The Book of the Dead that would be buried with mummies. One can assume that they illustrated other texts, but so few of those survive it is hard to tell. They certainly would have had to have illustrations in geometry texts. The oldest surviving illustrated text is in fact not from The Book of the Dead, but of a play written to celebrate the accession of Pharaoh Senusret I. It dates to about 1980 BC. Surely other illustrated texts existed.

The Greeks seemed to have learned the practice from the Egyptians. It is significant that there is no evidence of the Greeks illustrating texts before the conquests of Alexander. The Greeks used what Kurt Weitzmann called the "papyrus style", which the Egyptians also used. Since the texts were written on scrolls, heavy paint could not be applied, like it can be to flat pages, as the repeated rolling would cause it to flake off. Instead quick pen and ink drawings were inserted into the columns of text. Pictured here is a papyrus fragment known as the Heracles Papyrus (Oxford, Sackler Library, Oxyrhynchus Pap. 2331) . It tells a portion of the tale of the Twelve Labors of Heracles (or Hercules, if you're feeling Roman), specifically that of the Nemean Lion. Three simple drawings of are inserted into the text columns illustrating the story. Perhaps the drawings were inserted to help a reader quickly find his place in the text, or perhaps because people like pictures. This fragment dates to 3rd century AD, and is one of the few fragments from the classical period illustrating a literary text. Because so few fragments survive, it is impossible to tell if scrolls existed with a higher quality of illustration.

The Caligula Troper

2008-04-09T17:29:00.000-07:00

This is a page from the Caligula Troper (British Library, MS Caligula A XIV). A troper is a collection of tropes, which were new music inserted into the chants of the mass for special feast days. This book was intended to be used by a soloist, and was of a small scale. The opulence of the decoration indicate that it was made for an important patron. The tropes included in the manuscript indicate that it may have been made in Winchester or Worcester. It was made in about 1050. This page has an image of the Wise Virgins (Matthew 25:1-13) as an illustration for the mass for Virgin Saints. The Virgins hold the lamps and torches from the parable, along with branches, which may represent the the palms of martyrdom. The Hand of God blesses them from above. The Virgins' robes are abstracted into a geometric pattern and the are placed against a gold background which gives an unworldly, spiritual feel to the illustration.

The manuscript names comes form its position in the Cotton Library. Robert Cotton was a 17th century bibliophile. He kept his manuscripts in case above which were busts of Roman emperors and Ladies. These busts were used to Catalog the manuscripts. This manuscripts shelfmark, Caligula A XIV meant that the manuscript was in the case under the bust Caligula, on the first shelf, and 14th book from the left. When the Cotton Library became one of the foundational collections of the British Library, its shelfmarks were retained.

The Vatican Virgil

2008-04-09T17:28:00.000-07:00

This is a page from the Vatican Virgil (Vatican, Biblioteca Apostolica, Cod. Vat. lat. 3225). This is one of the oldest surviving illuminated manuscripts, dating to about 400. It is one of only three surviving illustrated manuscripts of classical literature from the classical period. In a one sense, this is where manuscript illumination started. The style is similar to the frescoes found at Pompeii and in the Roman catacombs. They are typical of late Roman painting, showing an illusionistic treatment of space and modeling of the human form. There are 77 surviving leaves with 50 illustrations. The manuscript originally probably had about 440 leaves and 280 illustrations.

The Fuller Brooch

2008-04-09T17:27:00.001-07:00

The Fuller Brooch
Originally uploaded by uk - charlie

For a change of pace, I thought I would not do a manuscript today. This is the Fuller Brooch, a piece of 9th century Anglo-Saxon jewelry. It may be the only piece of secular Anglo-Saxon metal work to survive above ground. (All other secular pieces have been found as part of treasure hoards. Some religious pieces survived in churches.) Years ago, when I first started at Wikipedia, I wrote my first article about this brooch. To quote what I said there:

The Fuller Brooch is a large disc made of hammered sheet silver inlaid with black niello and with a diameter of 11.4 cm. Its center roundel is decorated with personifications of the five senses. In the center is Sight with large staring oval eyes, surrounded by the other four senses, each in his own compartment. Taste has a hand in his mouth. Smell's hands are behind his back, and he stands between two tall plants. Touch rubs his hands together. Hearing holds his hand to his ear. This is the earliest known representation of the five senses. In the outer border are human, bird, animal and plant motifs.

Yates Thompson Bede

2008-04-09T17:26:00.001-07:00

Today's manuscript (British Library, Yates Thompson 26) is a twelfth century copy of Bede's prose Life of Cuthbert. (Bede also wrote a verse Life of Cuthbert). This manuscript was produced in northern England in the last quarter of the twelfth century, probably at Durham. It is know to have been at Durham during the later fourteenth century and early fifteenth century. The manuscript has 150 surviving folios with 46 full page miniatures. This miniature shows Cuthbert setting sail with two disciples. All of the illustrations are set before the gold background within the heavy colored frame seen here. This has the effect of emphasizing the otherworldly nature of the scene. This is after all an illustration of a Saint. This is one of my favorite manuscript pages. I particularly love the way the water is piled up in alternating shades of blue into a mound.

The Escorial Beatus

2008-04-09T17:24:00.001-07:00

This is a page from the Escorial Beatus (Escorial, Biblioteca Monasterio, Cod. & II. 5). Beatus of Liébana was an 8th century monk who wrote a commentary on the Book of Revelation. Actually "wrote" is a bit of strong word, as what he actually did was compile a bunch of other writer's comments together. For some reason his Commentary became a very popular book in the 9th and 10th centuries. There are twenty some copies extant, most of which are lavishly illustrated, often with full page miniatures. The Beatus manuscripts are an important part of what is called Mozarabic Art. There existed in the Christian kingdoms of the Iberian peninsula a tradition of manuscript illustration that was unlike anything else be doing anywhere else in Europe. This tradition emphasized flat, stylized forms for the human bodies. The drapery of the clothes was portrayed as abstract patterns that gave little indication of a body beneath. There was a strong, almost garish sense of color with vivid yellows, greens and reds dominating. The iconography was often startlingly original. It seemed almost as if the entire tradition of book illumination had to be invented anew.

This manuscript dates from the 10th century. It has 151 surviving folios with 52 surviving miniatures. It was probably produced at the monastery at San Millán de la Cogolla. It is now in the Escorial.

The Quedlinburg Itala

2008-04-09T17:23:00.001-07:00

This is a page from the Quedlinburg Itala fragment. The Quedlinburg Itala fragment was found in the binding of some books from the town of Quedlinburg. It is the oldest surviving Biblical illustrations and is thought to date to the 5th century. The style of the illustrations are similiar to the those found in late Roman manuscripts, notably the Vatican Virgil. The illustrations are heavily damaged. Beneath the illustrations are instructions to the artists on what to paint, giving insight into the working methods of book production during late antiquity.