Chapter 2 gives a brief overview of Hebrew book illumination practices and the relationship of illuminations to textual structure. Shalev-Eyniâs previously published work explores aspects of âillustration as interpretationâ (p. Pre-order Today! Living Off Vicious Evils. Limited Time Only, first 100 orders will recieve an exclusive Aqualeo poster! Qualifications for membership in the Illuminati as fifty-five experiences of ESP, five hundred fifty-five demonstrations ofPK, one out-of-book experience, and 2,31. Conservatives say it is dangerous. To give any group too much polit-ical power. Liberals say it is dangerous to give any group too much economic power. In spite of the title, the book is not a traditional survey of medieval manuscript illumination in which one would expect to see the canon reviewed, reaffirmed, and represented according to date, school, and text type. Such a book would treat figural miniatures as independent panel paintings, divorced from their texts. Image processing. Thus, the focus of the book is on the integrated microscope system, with foundations in optical theory but extensions into electronic imaging. Accordingly, the cover shows the conjugate field and aperture planes of the light microscope under the title âFundamentals of Light Microscopy and Electronic Imaging.â.
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From best-selling and award-winning author Kevin Brockmeier: a new novel of stunning artistry and imagination about the wounds we bear and the light that radiates from us all.
What if our pain was the most beautiful thing about us? In the aftermath of a fatal car accident, a private journal of love notes written by a husband to his wife passes into the keeping of a hospital..more
Published February 1st 2011 by Pantheon
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After you install it, youâll need to activate it within 30 days. Office 2007All of your Office 2007 apps will continue to function. Microsoft office enterprise 2007 reinstall. Install Office 2007.Insert your Office 2007 CD into the drive. However, you could expose yourself to serious and potentially harmful security risks. Upgrade to a newer version of Office so you can stay up to date with all the latest features, patches, and security updates.You can still install Office 2007 from a CD or by downloading it.
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Rating details
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Feb 24, 2011VegasGal rated it it was ok
I don't think I've ever been so engrossed in a book like this one, and enjoyed it so much (even recommended it) but then suddenly half way through the story something happened and I got the literary rug pulled out from under me. How can something go from an 'awesome wow' to a fizzled bunch of yuck?
Since I happen to be a person who suffers from chronic pain, I found the main premise of this story to not only be intriguing but personally touching - It's about pain suddenly giving off light in ever..more
Sometimes a good book is hard to read. Sometimes a hard book is good to read. Sometimes, a book is as good as it is bad. The Illumination was mostly the latter. Feb 08, 2011Judy rated it it was amazing
'The Illumination' is a phenomenon that suddenly occurs across the world, where physical aches and pains light up for all to see, and suffering becomes visible. The book follows 6 protagonists in a story hand-off that is spectacularly evenly divided and yet totally unsatisfying. Initially, we find ourselves in the company of a data analys..more
Shelves: 21st-century-fiction
Readers of my reviews may have noticed that I am attracted to the whimsical, the magical, the fantastic, in novels. Kevin Brockmeier surprised and startled me with his first novel, A Brief History of the Dead. I wondered how he would do that again in his second. The Illumination is another work of sheer imagination laid over the gritty reality of modern life. Brockmeier uses the device of an object which passes through the hands of six characters, in this case a book of love quotes. It is a jou..more ![]()
Aug 06, 2011Jane rated it it was amazing
I loved this book. It's a series of linked stories held together by the phenomenon of the 'illumination' and by a journal of daily love notes from a husband to his wife. The Illumination causes pain to appear as an emanation of light from the part of the body where the pain occurs. Each of the characters experiences this phenomenon in some way, and each connects in some way or other with the character whose story follows theirs. But this connection is ephemeral, it's really the book that is the..more
I am conflicted about giving this book a star rating, because it was so unremarkable. Neither great nor bad, and yet the obligatory 3 stars makes it seem like I had an opinion.
I'm about as tired of linked stories as I am of precocious child narrators. This book has both. The links in The Illumination are extremely tenuous, to the point that it feels like the journal that follows all six had to be inserted just to give us a vague sense of continuity. Similarly, the illumination itself (injuries..more
This novel asks the question, 'What if our pain is the most beautiful thing about us?' It's a compelling question, and the premise of the novel--that anywhere and anytime a person experiences pain it becomes illuminated so that everyone can see it--is ripe with potential. The common tie between characters in the novel, in addition to their pain,--Patricia's journal in which she records the messages that her husband leaves for her on the refrigerator every morning to reveal one new thing that he..more
Mar 27, 2012Helen Dunn rated it really liked it
I can't explain why, but I love Kevin Brockmeier's writing. It's sad and beautiful and oddly soothing.
The story is strange - about a world where pain glows with light - and his characters are all troubled and riddled with pain. Their stories are loosely intertwined in a way that reminded me that the world is smaller than we think. I wish I knew what happened to all these people after the book ended.
Wrote a developmental edit letter as my final project for Advanced Editing class.. This is the beginning of that letter:
Since the structure of your book necessitates an edit that focuses heavily on the characters, I would be fascinated to know in which order you conceived of the characters and wrote the chapters. Which came first, the journal or the characters? Your writing is always based in an extremely unique concept, and yet you manage to see past that fantastical premise to the real human..more
The world had changed in the wake of the Illumination. No one could disguise his pain anymore. You could hardly step out in public without noticing the white blaze of someoneâs impacted heel showing through her slingbacks; and over there, hailing a taxi, a woman with shimmering pressure marks where her pants cut into her gut; and behind her, beneath the awning of the flower shop, a man lit all over in a glory of leukemia.
*** An interesting thing happens when reading Kevin Brockmeierâs The Illumin..more
Jan 14, 2013Melanie Lamaga rated it it was amazing
The Illumination is a literary novel with only one fantastic element, but itâs a doozy: one day, inexplicably, the bodily pain of each and every human being on earth begins to manifest as a white light. Everything from a headache to leukemia shines out of the body like a beacon for all to see.
The story follows a sequence of people who come into possession of a journal of love notes, transcribed by a woman named Patricia, from the notes her husband left her on the fridge every day of their marria..more
When I first read the back of the book I was very intrigued and interested, however as I read the book I became less and less enthralled in the story. This book is written
very simply and there isn't much depth to any of the characters. I didn't feel a connection with any of the characters and I think this is partly because this book follows the story line of several different people. I also didn't feel as though this book had a purpose or a point to make to the readers. One of the main aspect..more
Kenneth Brockmeier is so frustrating. His eye for detail is arresting, and I found myself constantly on the brink of tears during the first half of the book because it just seemed so true and real. His writing is gorgeous. But he can't seem to structure a novel; the entire concept of this one seems better suited to a short story (light pours from wounds!) than multiple chapters. He simply runs out of ways to say the one thing he wants to say. The links between the short story-like chapters are b..more
Aug 30, 2015Jill rated it liked it · review of another edition
An almost meditative read. Stylistically beautiful, but gently -- not strikingly gorgeous, but flowing and constantly so. The stories are disjointed and occasionally convenient, but: so is life, and this book is big on life snapshots. Deus ex machina gets a bad rap -- but we've all experienced it, in some capacity, in our lives. To exclude that kind of experience completely would be disingenuous, unrealistic.
The undercurrent of pain-as-light was so cool, but not dealt with in as much depth as I..more ![]()
Recommends it for: people interested in realistic fantasy, creative fiction
I really enjoyed the topic of this book more than anything else.the idea is that somehow our wounds-be them cuts, bruises, or cancerous tumors radiate light..some feel it's beautiful and some try to disguise it. The novel explores a few different perspectives of people finding out then living with this oddity, which is what becomes termed 'The Illumination' itself. We meet a photographer, an author, a young boy who refuses to speak, an evangelist, and a homeless bookseller as well as all of th..more
I actually finished this book several hours ago but Iâve spent the subsequent time with my head in my hands, trying to figure out the rating it deserves.
Iâll start with the good points: this book was emotionally devastating on a level I was entirely unprepared for. The story is composed of several different characters (whose point of view each make up a âchapterâ) and how they all interconnect thanks to a single item: a journal full of love notes written from a husband to his wife. Each charact..more
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Feb 28, 2011Holly rated it it was ok
Before page 65 I was already growing impatient with the premise: I didn't require any more extended descriptions of light pouring from wounds. I also found the writing/story a little sentimental, romantic, cheap, and obvious. Brockmeier's earlier novel A Brief History of the Dead, had an intriguing premise, but there the reader projected the inevitable conclusion the concept requires/contains (a Bardo-like city where the dead carry on their lives until all the humans on Earth who remember them a..more
Oct 20, 2013Matthew Turner rated it liked it
This book had two fascinating central ideas: (a) the concept of hidden pain becoming visible; and (b) the power of something precious passing from one person to another. Apr 11, 2012Elizabeth rated it really liked it
So the first chapter of âThe Illuminationâ had me hooked⦠I couldnât wait to see how things unraveled. But now that Iâve reached the end, Iâm left with an overwhelming sense of disillusionment⦠forgive the pun. My disappointments are threefold: (1) Despite the intriguing framing, I was bored of these same two ideas being recycled..more
Recommends it for: people who want to know who the cutters among us are
What a beautifully written and affecting book. I can't help but think that if you liked it or not, you would ponder a lot of ideas that are brought up within it. When wounds start displaying themselves through light some media pundit coins it the 'Illumination'. We're talking any wound from lung cancer to a stubbed toe, sometimes the light might radiate and other times it might sparkle. Now that we can view all of each others physical frailties so clearly a number of things come up. What is the..more
Sep 15, 2017Wendy Wakeman rated it really liked it · review of another edition
I put this book down on page 5 in a huff because I disliked the way the author used the word 'genuflect.' Sometime maybe I'll get around to writing an essay about that word, its use, and misuse, because I have a lot of feelings surrounding it that need to get out. Luckily, I'm lazy. The next book on my list was upstairs, and I wanted to sit outside on the porch and read, so I took it up again.
I love so much about this book. I love the two strangenesses that form its purpose: pain becomes visible..more
I read this weird and beautiful book about 3 years ago, but never entered it in here. It came up as a suggestion. This wonât be everyoneâs thing, but if itâs yours, it will stick with you. The Illumination attempts to answer the question: âIf everyone can see everyone elseâs pain, will we learn to become more compassionate or selectively blind?â
This book breaks the rules. The thread character through the whole narrative is a diary. The storyline is neither linear nor logical but the author masterfully makes it work. This is a rare read I was not skimming through details and segments. Highly recommend.
May 11, 2011Irisjade rated it liked it
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Jul 29, 2012Amanda rated it it was ok
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Apr 20, 2012Christina Tang-Bernas rated it really liked it
The premise of this novel is that all our wounds, our pain, our diseases are illuminated with light. So, walking down the street, we can see all the people around us and their afflictions. There is no hiding it. Does this make us have more compassion? More understanding, perhaps? Do we become beautiful through our pain and suffering? These are questions this novel asks and it plays out through a series of characters and their viewpoints, who are all connected by one book full of love notes that..more
Jan 20, 2012Paul rated it liked it
Prayer For Illumination Methodist
This was an odd one and I have mixed feelings, I want to give it 3.5 stars. The idea is a good one; one day, very suddenly everyones pain is illuminated; shines in the form of light. Cuts and bruises, cancer, arthritis etc all shine from peoples bodies.
The story revolves around a journal put together by a wife whose husband left her a note on the fridge every day. These notes started 'I love the way you..' The notes have been pasted in a journal. This journal travels between six people, each..more
Jun 07, 2011Lexie rated it liked it
What a premise: Every person and creature on the planet lights up -- with pain. Whatever the wound, it's set ablaze. No more hiding our pain .. and every living thing is illumined to some degree. What happens when we perceive pain as light ..?
Quotes: She had known days of happiness and beauty, rare moments of motionless wonder, but trying to relive them after they had vanished was like looking out the window at night from a partially lit room: no matter how interesting the view, there was alwa..more
The descriptions have a certain uniqueness that captivate and allow the reader to empathize with every detail. The main character in the novel is relatable and harbors the same amount of curiosity as the reader making each moment mysterious and intriguing.
The sociological aspects of the phenomena known simply as âThe Illuminationâ are what make this book particularly interesting. Can you be better close to someone by knowing and seeing where their pain exist? Seeing the smoker and seeing his il..more
This is the first book I've read by Kevin Brockmeier so I wasn't sure what to expect. His writing is beautiful. He paints characters in a rich way. The book is a collection of six short stories involving two common threads: (1) a phenomenon where a part of the body experiencing pain glows. Everyone can see it; nothing private about one's pain. (2) a diary from a husband to his wife extolling all the big and small things he loves about her.
Each of the six characters are in some sort of physical/e..more
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Born and raised in Little Rock, Arkansas, Brockmeier received his MFA from the Iowa Writer's Workshop in 1997. His stories have been featured in The New Yorker, McSweeny's, Crazyhorse, and The Georgia Review. He is the recipient of an O. Henry Award, the Nelson Algren Award, and a National Endowment of the Arts grant.
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âSometimes they rose up inside her, these moments of fierce happiness, kindling out of their own substance like a spark igniting a mound of grass. It was a joy to be alive, a strange and savage joy, and she stood there in the warmth and destruction of it knowing it could not last.â
âOccasionally, in the stillness of a taxi or an airplane, she would catalog the pleasures she had lost. Cigarettes. Chewing gum. Strong mint toothpaste. Any food with hard edges or sharp corners that could pierce or abrade the inside of her mouth: potato chips, croutons, crunchy peanut butter. Any food that was more than infinitesimally, protozoically, spicy or tangy or salty or acidic: pesto or Worcestershire sauce, wasabi or anchovies, tomato juice or movie-theater popcorn. Certain pamphlets and magazines whose paper carried a caustic wafting chemical scent she could taste as she turned the pages. Perfume. Incense. Library books. Long hours of easy conversation. The ability to lick an envelope without worrying that the glue had irritated her mouth. The knowledge that if she heard a song she liked, she could sing along to it in all her dreadful jubilant tunelessness. The faith that if she bit her tongue, she would soon feel better rather than worse.â More quotesâ¦
(Redirected from Illumination (manuscript))
Various examples of pages from illuminated manuscripts
An illuminated manuscript is a manuscript in which the text is supplemented with such decoration as initials, borders (marginalia) and miniature illustrations. In the strictest definition, the term refers only to manuscripts decorated with either gold or silver; but in both common usage and modern scholarship, the term refers to any decorated or illustrated manuscript from Western traditions. Comparable Far Eastern and Mesoamerican works are described as painted. Islamic manuscripts may be referred to as illuminated, illustrated or painted, though using essentially the same techniques as Western works.
The earliest extant substantive illuminated manuscripts are from the period 400 to 600, produced in the Kingdom of the Ostrogoths and the Eastern Roman Empire. Their significance lies not only in their inherent artistic and historical value, but also in the maintenance of a link of literacy offered by non-illuminated texts. Had it not been for the monastic scribes of Late Antiquity, most literature of Greece and Rome would have perished. As it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians. Illumination of manuscripts, as a way of aggrandizing ancient documents, aided their preservation and informative value in an era when new ruling classes were no longer literate, at least in the language used in the manuscripts.
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. The majority are of a religious nature. Especially from the 13th century onward, an increasing number of secular texts were illuminated. Most illuminated manuscripts were created as codices, which had superseded scrolls. A very few illuminated fragments survive on papyrus, which does not last nearly as long as parchment. Most medieval manuscripts, illuminated or not, were written on parchment (most commonly of calf, sheep, or goat skin), but most manuscripts important enough to illuminate were written on the best quality of parchment, called vellum.
Beginning in the Late Middle Ages, manuscripts began to be produced on paper.[1] Very early printed books were sometimes produced with spaces left for rubrics and miniatures, or were given illuminated initials, or decorations in the margin, but the introduction of printing rapidly led to the decline of illumination. Illuminated manuscripts continued to be produced in the early 16th century but in much smaller numbers, mostly for the very wealthy. They are among the most common items to survive from the Middle Ages; many thousands survive. They are also the best surviving specimens of medieval painting, and the best preserved. Indeed, for many areas and time periods, they are the only surviving examples of painting.
History[edit]
The 63th page of the Book of Hours (Use of Utrecht), circa 1460-1465, ink, tempera, and gold on vellum, binding: brown Morocco over original wooden boards, overall: 5.9 x 11.6 cm, Cleveland Museum of Art (Cleveland, Ohio, USA)
Art historians classify illuminated manuscripts into their historic periods and types, including (but not limited to) Late Antique, Insular, Carolingian manuscripts, Ottonian manuscripts, Romanesque manuscripts, Gothic manuscripts, and Renaissance manuscripts. There are a few examples from later periods. The type of book most often heavily and richly illuminated, sometimes known as a 'display book', varied between periods. In the first millennium, these were most likely to be Gospel Books, such as the Lindisfarne Gospels and the Book of Kells. The Romanesque period saw the creation of many large illuminated complete Bibles â one in Sweden requires three librarians to lift it. Many Psalters were also heavily illuminated in both this and the Gothic period. Single cards or posters of vellum, leather or paper were in wider circulation with short stories or legends on them about the lives of saints, chivalry knights or other mythological figures, even criminal, social or miraculous occurrences; popular events much freely used by story tellers and itinerant actors to support their plays. Finally, the Book of Hours, very commonly the personal devotional book of a wealthy layperson, was often richly illuminated in the Gothic period. Many were illuminated with miniatures, decorated initials and floral borders. Paper was rare and most Books of Hours were composed of sheets of parchment made from skins of animals, usually sheep or goats. Other books, both liturgical and not, continued to be illuminated at all periods.
The Byzantine world produced manuscripts in its own style, versions of which spread to other Orthodox and Eastern Christian areas. The Muslim World and in particular the Iberian Peninsula, with their traditions of literacy uninterrupted by the Middle Ages, were instrumental in delivering ancient classic works to the growing intellectual circles and universities of Western Europe all through the 12th century, as books were produced there in large numbers and on paper for the first time in Europe, and with them full treatises on the sciences, especially astrology and medicine where illumination was required to have profuse and accurate representations with the text.
The Gothic period, which generally saw an increase in the production of these artifacts, also saw more secular works such as chronicles and works of literature illuminated. Wealthy people began to build up personal libraries; Philip the Bold probably had the largest personal library of his time in the mid-15th century, is estimated to have had about 600 illuminated manuscripts, whilst a number of his friends and relations had several dozen.
Illuminated manuscripts housed in the 16th-century Ethiopian Orthodox church of Ura Kidane Mehret, Zege Peninsula, Lake Tana, Ethiopia
Up to the 12th century, most manuscripts were produced in monasteries in order to add to the library or after receiving a commission from a wealthy patron. Larger monasteries often contained separate areas for the monks who specialized in the production of manuscripts called a scriptorium. Within the walls of a scriptorium were individualized areas where a monk could sit and work on a manuscript without being disturbed by his fellow brethren. If no scriptorium was available, then âseparate little rooms were assigned to book copying; they were situated in such a way that each scribe had to himself a window open to the cloister walk.â[2]
By the 14th century, the cloisters of monks writing in the scriptorium had almost fully given way to commercial urban scriptoria, especially in Paris, Rome and the Netherlands.[3] While the process of creating an illuminated manuscript did not change, the move from monasteries to commercial settings was a radical step. Demand for manuscripts grew to an extent that Monastic libraries began to employ secular scribes and illuminators.[4] These individuals often lived close to the monastery and, in instances, dressed as monks whenever they entered the monastery, but were allowed to leave at the end of the day. In reality, illuminators were often well known and acclaimed and many of their identities have survived.[5]
First, the manuscript was âsent to the rubricator, who added (in red or other colors) the titles, headlines, the initials of chapters and sections, the notes and so on; and then â if the book was to be illustrated â it was sent to the illuminator.â[2] In the case of manuscripts that were sold commercially, the writing would âundoubtedly have been discussed initially between the patron and the scribe (or the scribeâs agent,) but by the time that the written gathering were sent off to the illuminator there was no longer any scope for innovation.â[6]
Techniques[edit]
The author of a manuscript at his writing desk. 14th Century
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Illumination was a complex and frequently costly process. It was usually reserved for special books: an altar Bible, for example. Wealthy people often had richly illuminated 'books of hours' made, which set down prayers appropriate for various times in the liturgical day.
In the early Middle Ages, most books were produced in monasteries, whether for their own use, for presentation, or for a commission. However, commercial scriptoria grew up in large cities, especially Paris, and in Italy and the Netherlands, and by the late 14th century there was a significant industry producing manuscripts, including agents who would take long-distance commissions, with details of the heraldry of the buyer and the saints of personal interest to him (for the calendar of a Book of hours). By the end of the period, many of the painters were women, perhaps especially in Paris.
Text[edit]
The text was usually written before the manuscripts were illuminated. Sheets of parchment or vellum were cut down to the appropriate size. After the general layout of the page was planned (including the initial capitals and borders), the page was lightly ruled with a pointed stick, and the scribe went to work with ink-pot and either sharpened quill feather or reed pen. The script depended on local customs and tastes. The sturdy Roman letters of the early Middle Ages gradually gave way to scripts such as Uncial and half-Uncial, especially in the British Isles, where distinctive scripts such as insular majuscule and insular minuscule developed. Stocky, richly textured blackletter was first seen around the 13th century and was particularly popular in the later Middle Ages.
Prior to the days of such careful planning, âA typical black-letter page of these Gothic years would show a page in which the lettering was cramped and crowded into a format dominated by huge ornamented capitals that descended from uncial forms or by illustrations.â[7] To prevent such poorly made manuscripts and illuminations from occurring a script was typically supplied first, âand blank spaces were left for the decoration. This pre-supposes very careful planning by the scribe even before he put pen to parchment.â If the scribe and the illuminator were separate labors the planning period allowed for adequate space to be given to each individual.
The process of illumination[edit]
A common process of manuscripts illumination from the creation of the quire to the binding
ILLUMINATION EXECUTION
I. Graphite powder dots create the outline II. Silverpoint drawings are sketched III. Illustration is retraced with ink IV. The surface is prepared for the application of gold leaf V. Gold leaf is laid down VI. Gold leaf is burnished to make it glossy and reflective VII. Decorative impressions are made to adhere the leaf VIII. Base colors are applied IX. Darker tones are used to give volume X. Further details are drawn XI. Lighter colors are used to add particulars XII. Ink borders are traced to finalize the illumination
A 13th-century manuscript illumination, the earliest known depiction of Thomas Becket's assassination
The following steps outline the detailed labor involved to create the illuminations of one page of a manuscript:
The illumination and decoration was normally planned at the inception of the work, and space reserved for it. However, the text was usually written before illumination began. In the Early Medieval period the text and illumination were often done by the same people, normally monks, but by the High Middle Ages the roles were typically separated, except for routine initials and flourishes, and by at least the 14th century there were secular workshops producing manuscripts, and by the beginning of the 15th century these were producing most of the best work, and were commissioned even by monasteries. When the text was complete, the illustrator set to work. Complex designs were planned out beforehand, probably on wax tablets, the sketch pad of the era. The design was then traced or drawn onto the vellum (possibly with the aid of pinpricks or other markings, as in the case of the Lindisfarne Gospels). Many incomplete manuscripts survive from most periods, giving us a good idea of working methods.
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At all times, most manuscripts did not have images in them. In the early Middle Ages, manuscripts tend to either be display books with very full illumination, or manuscripts for study with at most a few decorated initials and flourishes. By the Romanesque period many more manuscripts had decorated or historiated initials, and manuscripts essentially for study often contained some images, often not in color. This trend intensified in the Gothic period, when most manuscripts had at least decorative flourishes in places, and a much larger proportion had images of some sort. Display books of the Gothic period in particular had very elaborate decorated borders of foliate patterns, often with small drolleries. A Gothic page might contain several areas and types of decoration: a miniature in a frame, a historiated initial beginning a passage of text, and a border with drolleries. Often different artists worked on the different parts of the decoration.
Paints[edit]
While the use of gold is by far one of the most captivating features of illuminated manuscripts, the bold use of varying colors provided multiple layers of dimension to the illumination. From a religious perspective, 'the diverse colors wherewith the book is illustrated, not unworthily represent the multiple grace of heavenly wisdom.'[2]
The medieval artist's palette was broad; a partial list of pigments is given below. In addition, unlikely-sounding substances such as urine and earwax were used to prepare pigments.[9]
Gilding[edit]
The 11th-century Tyniec Sacramentary was written with gold on a purple background. National Library of Poland, Warsaw.
A manuscript is not considered illuminated unless one or many illuminations contained gold foil or was brushed with gold specks, a process known as burnishing. The inclusion of gold alludes to many different possibilities for the text. If the text is of religious nature the gold is a sign of exalting the text. In the early centuries of Christianity, âGospel manuscripts were sometimes written entirely in gold.â[10] Aside from adding flashy decoration to the text, scribes during the time considered themselves to be praising God with their use of gold. Windows 7 iso for vmware download. In one particular instance, âThe life of Christ executed on gold backgrounds with much greater richness in the midst of innumerable scenes of the chase, tourneys, games and grotesque subjects.â[11] Furthermore, gold was used if a patron who had commissioned a book to be written wished to display the vastness of his riches. Eventually, the addition of gold to manuscripts became so frequent, âthat its value as a barometer of status with the manuscript was degraded.â[12] During this time period the price of gold had become so cheap that its inclusion in an illuminated manuscript accounted for only a tenth of the cost of production.[13] By adding richness and depth to the manuscript, the use of gold in illuminations created pieces of art that are still valued today.
The application of gold leaf or dust to an illumination is a very detailed process that only the most skilled illuminators can undertake and successfully achieve. The first detail an illuminator considered when dealing with gold was whether to use gold leaf or specks of gold that could be applied with a brush. When working with gold leaf the pieces would be hammered and thinned until they were âthinner than the thinnest paper.â[13] The use of this type of leaf allowed for numerous areas of the text to be outlined in gold. There were several ways of applying gold to an illumination one of the most popular included mixing the gold with stagâs glue and then âpour it into water and dissolve it with your finger.â[14] Once the gold was soft and malleable in the water it was ready to be applied to the page. Illuminators had to be very careful when applying gold leaf to the manuscript. Gold leaf is able to 'adhere to any pigment which had already been laid, ruining the design, and secondly the action of burnishing it is vigorous and runs the risk of smudging any painting already around it.'
Patrons of illumination[edit]
Monasteries produced manuscripts for their own use; heavily illuminated ones tended to be reserved for liturgical use in the early period, while the monastery library held plainer texts. In the early period manuscripts were often commissioned by rulers for their own personal use or as diplomatic gifts, and many old manuscripts continued to be given in this way, even into the Early Modern period. Especially after the book of hours became popular, wealthy individuals commissioned works as a sign of status within the community, sometimes including donor portraits or heraldry: 'In a scene from the New Testament, Christ would be shown larger than an apostle, who would be bigger than a mere bystander in the picture, while the humble donor of the painting or the artist himself might appear as a tiny figure in the corner.'[15][16] The calendar was also personalized, recording the feast days of local or family saints. By the end of the Middle Ages many manuscripts were produced for distribution through a network of agents, and blank spaces might be reserved for the appropriate heraldry to be added locally by the buyer.
Displaying the amazing detail and richness of a text, the addition of illumination was never an afterthought. The inclusion of illumination is twofold, it added value to the work, but more importantly it provides pictures for the illiterate members of society to 'make the reading seem more vivid and perhaps more credible.â[17]
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