How did Medieval artisans create Illuminated Manuscripts? What was their purpose in society?
What is an Illuminated Manuscript?
"Illustrated manuscripts" or "illuminated books," refers to books produced in the Medieval era that were filled with illustrations and texts. In order to produce a manuscript, medieval artisans first had to acquire animal skins. Vellum (calfskin) and Parchment (lambskin) were widely used in the Medieval era. These skins were cleaned, stretched, and cut to the desired measurements. The final stage of the process included lining the page, enabling the writer to produce orderly text. Empty space for illustrations were also set aside, as well as preliminary drawings. Pages were later attached to a cover (usually a leather binding) and closed with a buckle or rope.
Technique
The artists themselves used several tools during the process of illumination, including: compasses, a stylus, knives (used for scratching out mistakes and smoothing down animal skin), graphite (used for preliminary drawings), and various brushes for applying colored inks or paints. The ink or paint was sometimes stored in horns on the artist’s table, enabling him easy access and storage of materials.
Jonathan J.G. Alexander stresses that vellum and parchment was the preferred material for illuminations because it had a "very receptive surface." (Alexander, Jonathan J.G. Medieval Illuminators and Their Methods of Work) Alexander also points out that both were precious materials, and examples of manuscripts containing holes in the animal’s skin are evidence of this. In other words, no piece was laid to waste.
Manuscripts in Late Medieval Art
In the 14th and 15th centuries,"the relationship between manuscripts and monumental paintings increased." Jonathan J.D. Alexander also stresses that panel painting became popular during this time as well (especially in Italy), further enabling illuminators access to a variety of images from different countries. While these images were copied from larger paintings, or cycles of paintings, Alexander believes the illuminators mostly copied the motiffs or style of painting, while not copying the exact image itself. For example, Giotto’s style of painting became popular during this time, and was copied by illuminators. Their work however, could not duplicate his style exactly and lacked certained detail.
Another important change in the 14th and 15th centuries was the position of the illuminator himself. Due to the heavy exchange of monumental paintings, panel paintngs and illustrated books, atisans began to travel to other cities to see works on display, and often kept a "copy book" of famous paintings or other works of art. While many names of illuminators appear in this period, their overall status did not change. Rather, monumental painters were gaining more popularity by the end of the 15th century.
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