Tamara Woronowa - Illuminated Manuscripts

15th Century B.C.E.: First illuminated manuscripts of papyrus in Ancient Egypt.

2nd Century: Creation of the codex (bound book). The codex that will not truly supplant the scroll (a roll of parchment or paper) until the 4th century. More hard-wearing, the parchment, elaborated with animal skin, will replace the papyrus.

6th Century: First illuminated manuscripts in the codex of Western monasteries.

6th Century-8th Century: The insular art (of the islands of Ireland and Northumbria) stands out by the creativeness of its Gospel adornements, with designs of plants and mosaics. The Merovingian manuscripts of linear style are modelled on Antiquity and Byzantine art to illustrate prayer books and lectionaries. The main centers of production are the monasteries of Fleury, Tours (Val de Loire), Luxeuil (Burgundy) and Corbie (Picardy).

8th Century: The work of the first British historian, Bede the Venerable (c. 673-735), entitled Historia Ecclesiastica Gentis Anglorum introduced for the first time an historiated initial in a manuscript.

8th Century-10th Century: Carolingian Renaissance: setting of the main principles of the art of illuminated manuscripts. Rationalising the decor (naturalistic figural art), focused on the initial capital and a few miniatures. Enriching of the material: prepared manuscript with purple background, decor of gold and silver (The Purple Gospelbook). The thematic of the codex spreads to profane texts (Bestiary). Flourishing art at the court of Charles the Bald (Sacramentary of Saint-Amand), but in other places as well as the Rhine Valley, Tours, Rheims and Metz.

13th Century: The French illuminated manuscripts set the laws of the Gothic style for the whole Western world. Keen interest on architectural forms, brights colours (blue, red, white), quest for the volume and movement (Psalter, 1218-1242). Creation of full-page miniatures. The ornementation gains margins which become populated with ivy, grotesques and drolleries. The era of monastic fabrication declines with the advent of urban workshops run by laymen.

St Thomas Aquinas Teaching

Summae Theologiae, Thomas Aquinas

Mid-15th century, Parchment, Latin, 30 x 20.5 cm

France (Paris?)

14th Century: Refinement of the silhouettes and elegance of the Parisian School, under the direction of Jean de Pucelle. Flourishing of the illuminated manuscript art in Provence and Catalonia, strongly influenced by oriental taste (Lo Breviari damor). In Italy, the illuminated manuscripts of Bologna are done according to the teaching of Giotto: coloured tints, details and perspective (Story of the Trojan War). Straightness of the Germanic-style figures (Book of Chess). Famous Flemish artists (such as the Limburg Brothers, The Very Rich Hours of the Duke of Berry) are drawn by the enlightened patronage of Charles V, the Dukes of Burgundy, the Dukes of Berry and of the Valois Princes.

15th Century: Immersed in the Hundred Years War, France loses its creative dynamism. The Duchy of Burgundy of Philip the Good welcomes French artists (Simon Marmion, the presumed author of the Chronicles of France of Saint-Bertin) and Flemish artists as well (Universal Chronology). The Italian illumination develops with the spread of humanist books under the patronage of the Sforza and of the Medici (Canzoniere of Petrarch). Creative turmoil at King Renes court, he was a lover of art and humanist principles. Jean Fouquet restores the prestige of French illuminated manuscripts in a Renaissance language (Book of Hours of Etienne Chevalier).

16th Century: Diffusion of the printed book: decline of the manuscript production and the art of illumination. Surviving of the Instructions and Portulans of Venice. Books illustrations gradually gave way to the principles of easel painting.