2 – Tironian abbreviation for ‘et’ (detail of Fig. Such is suggested, among other things, by the shape of Tironian “et”, which features a firm and long horizontal top that starts far left from centre (Fig. 1) was clearly produced by a scribe trained in Southern France. This copy of William of Conches’ Dragmaticon philosophiae (Fig. A similar feeling produces a sense of the country or region where the scribe was trained – and where he, we presume, produced the book. I have blogged about the peculiar process of “sensing” how old a manuscript is (read it here). The shape of medieval letters transmits two important pieces of information: the scribe’s whereabouts and “whenabouts”. As you start reading the first page, certain book-historical data starts to flow. The most “in your face” clue about the individuals who produced the manuscript is provided by the script – the handwriting of a medieval scribe. 1 – Opening page of British Library, Sloane MS 2424 (fol. Moreover, the opening page often provides the first inkling of the purpose for which the manuscript was made. Unique clues can be found on a manuscript’s first page, clues about the artisans that produced the object and the individuals who owned it over the centuries. As the squeaky wooden board falls open, various questions arise: In what script will the book be written? What layout did the scribe choose? What will the decoration look like?I love the opening page of the medieval book not just because it embodies the start of a new exploration, but also because it reveals the “whole being” of the book. How will the story start? Where is it set? Who is the main character? For the historian of the medieval book the thrill is the same, albeit for different reasons. In modern times the term illumination denotes the illustration and decoration of early manuscripts in general, whether or not with gold.For a reader there are few things more exciting than opening a new book and exposing its first page. The two functions sometimes overlapped, particularly when drolleries and other irrelevancies began to populate initials and borders, and even in medieval times the distinction was often blurred. In medieval times, when the art was at its height, specialization within scriptoria or workshops called for differentiation between those who “historiated” (i.e., illustrated texts by relevant paintings) and those who “illuminated” (i.e., supplied the decorative work that embellished initial capital letters and often spilled into margins and borders and that almost invariably introduced gold in either leaf or powdered form). The term illumination originally denoted the embellishment of the text of handwritten books with gold or, more rarely, silver, giving the impression that the page had been literally illuminated. SpaceNext50 Britannica presents SpaceNext50, From the race to the Moon to space stewardship, we explore a wide range of subjects that feed our curiosity about space!Īmong the earliest surviving forms of manuscript painting are the papyrus rolls of the ancient Egyptian Book of the Dead, the scrolls of.Learn about the major environmental problems facing our planet and what can be done about them!
#MEDIEVAL MANUSCRIPTS INITIAL PAGE BEFORE 1000 AD HOW TO#
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