1.
Miniature (illuminated manuscript)
–
These include Persian miniatures, and their Mughal, Ottoman and other Indian offshoots. This article gives an art historical account of the miniature form, for the techniques involved in production, see illuminated manuscript. The earliest extant miniatures are a series of colored drawings or miniatures cut from the Ambrosian Iliad and they are similar in style and treatment with the pictorial art of the later Roman classical period. Of even greater value from a point of view are the miniatures of the Vatican manuscript of Virgil, known as the Vergilius Vaticanus. They are in a perfect condition and on a larger scale than the Ambrosian fragments. The drawing is quite classical in style, and the idea is conveyed that the miniatures are copies from an older series. The colors are opaque, indeed, in all the miniatures of early manuscripts the employment of body color was universal. The method followed in placing the different scenes on the page is highly instructive of the practice followed, as we may presume, by the artists of the early centuries. Again, for the purpose of securing something like perspective, an arrangement of zones was adopted. It was reserved for the Byzantine school to break away more decidedly from the natural presentment of things, but on comparing the miniatures of the Byzantine school generally with their classical predecessors, one has a sense of having passed from the open air into the cloister. Under the restraint of ecclesiastical domination Byzantine art became more and more stereotyped, the tendency grows to paint the flesh-tints in swarthy hues, to elongate and emaciate the limbs, and to stiffen the gait. Browns, blue-greys and neutral tints are in favor, in the miniatures of Byzantine manuscripts are first seen those backgrounds of bright gold which afterwards appear in such profusion in the productions of every western school of painting. The influence of Byzantine art on that of medieval Italy is obvious, the early mosaics in the churches of Italy, such as those at Ravenna and Venice, also afford examples of the dominating Byzantine influence. In the native schools of illumination of Western Europe, decoration only was the leading motive, the highest qualities of the miniatures of the 10th and 11th century of this school lie in fine outline drawing, which had a lasting influence on the English miniature of the later centuries. But the southern Anglo-Saxon school rather stands apart from the line of development of the western medieval miniature. Under the Carolingian monarchs there developed a school of painting derived from classical models, in this school, which owed its origin to the encouragement of Charlemagne, it is seen that the miniature appears in two forms. Accompanied as it was with profuse decoration in border and initial, on the other hand, there is also the miniature in which there is an attempt at illustration, as, for example, the depicting of scenes from the Bible. Here there is freedom, and we trace the classical style which copies Roman, as distinguished from Byzantine
Miniature (illuminated manuscript)
–
Miniature of the
Trojan Horse, from the
Vergilius Romanus, a manuscript of
Virgil 's
Aeneid, early 5th century.
Miniature (illuminated manuscript)
–
Miniature of
Abraham meeting
angels, from the
Cotton Genesis, 5th–6th century.
Miniature (illuminated manuscript)
–
Miniature of seven physicians from the
Vienna Dioscurides, early 6th century.
Miniature (illuminated manuscript)
–
This lavishly decorated text that opens the
Gospel of John in the
Book of Kells, early 9th century, shows the
Insular style of illumination: decorative and not illustrative.
2.
Christ in Majesty
–
The image develops from Early Christian art, which directly borrowed the formulae of depictions of the enthroned Roman Emperor. John the Baptist, and often other figures, the central group of the Sarcophagus of Junius Bassus of 359 is the earliest example with a clear date. This depiction is known as the Traditio legis, or Christ the lawgiver - the apostles are indeed officials and this depiction tends to merge into one of Christ the teacher, which also derives from classical images of bearded philosophers. Other Imperial depictions of Christ, standing as a general, or seated on a ball representing the world. Christ Triumphant had a future development, usually standing, often with both hands raised high. The Pantocrator figure first became half-length because large versions filled the semi-dome of the apse of many, if not most, a full-length figure would need to be greatly reduced for the head to make maximum impact from a distance. The gesture Christ makes has become one of blessing, but is originally an orators gesture of his right to speak. The Deesis became standard at the centre of the beam in Orthodox churches and the templons successor, the iconostasis. Generally the Pantocrator has no visible throne, but the earlier Deesis does, the Deesis continues to appear in Western art, but not as often or in such an invariable composition as in the East. In the Romanesque period the twenty-four elders of the Apocalypse are often seen, Christ also holds a book and makes the blessing gesture, no doubt under Byzantine influence. In both, Christs head is surrounded by a crossed halo and this development paralleled the movement towards a more realistic depiction of the heavenly court seen in the increasingly popular subjects of the Maestà and the Coronation of the Virgin by Christ. A Christ in Majesty became standard carved in the tympanum of a decorated Gothic church portal, by now surrounded by a large number of much smaller figures around the archivolts. In painting, the Ghent Altarpiece is the culmination of the Gothic image, although a minority of art historians believe that in case it is God the Father, not Christ. A variant figure, or the figure in a different context, of Christ as Judge, became common in Last Judgements. Generally Christ still looks straight forward at the viewer, but has no book, he gestures with his hands to direct the damned downwards
Christ in Majesty
–
Christ in majesty in a
mandorla, surrounded by emblems of the evangelists: ivory plaques on a wooden coffret, Cologne, first half of the 13th century (
Musée de Cluny)
Christ in Majesty
–
Traditio legis, or "transmission of the law," Christ as lawgiver,
mosaic,
Basilica of San Lorenzo, Milan, 4th century, includes a scroll box at Christ's feet.
Christ in Majesty
–
The Deesis mosaic in the
Hagia Sophia in Constantinople
Christ in Majesty
–
Romanesque
illuminated manuscript Gospel Book, c.1220
3.
Aberdeen Bestiary
–
The Aberdeen Bestiary is a 12th-century English illuminated manuscript bestiary that was first listed in 1542 in the inventory of the Old Royal Library at the Palace of Westminster. Information about its origins and patron are circumstantial and it probably comes from the 12th century and was owned by a wealthy ecclesiastical patron of the north or south province. The Aberdeen Bestiary is related to other bestiaries of the Middle Ages such as the Ashmole Bestiary, folio 1 recto, Creation of heaven and earth. Folio 1 verso, Creation of the waters and the firmament, folio 2 recto, Creation of the birds and fishes. Folio 2 verso, Creation of the animals, folio 3 recto, Creation of man. Folio 5 recto, Adam names the animals, david Badke, The Medieval Bestiary, Manuscript, Univ
Aberdeen Bestiary
–
Folio 56 recto of the Aberdeen Bestiary has a
miniature of the
Phoenix
Aberdeen Bestiary
–
Folio 5 recto:
Adam names the
animals.
Aberdeen Bestiary
–
Folio 8 recto:
Tiger (Tigris).
Aberdeen Bestiary
–
Folio 8 verso:
Pard (Pardus).
4.
Book of Hours
–
The book of hours is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated manuscript, Books of hours were usually written in Latin, although there are many entirely or partially written in vernacular European languages, especially Dutch. The English term primer is usually now reserved for books written in English. Tens of thousands of books of hours have survived to the present day, in libraries, the typical book of hours is an abbreviated form of the breviary which contained the Divine Office recited in monasteries. It was developed for lay people who wished to incorporate elements of monasticism into their devotional life, reciting the hours typically centered upon the reading of a number of psalms and other prayers. The Marian prayers Obsecro te and O Intemerata were frequently added, as were devotions for use at Mass, the book of hours has its ultimate origin in the Psalter, which monks and nuns were required to recite. By the 12th century this had developed into the breviary, with cycles of psalms, prayers, hymns, antiphons. Eventually a selection of texts was produced in much shorter volumes, many books of hours were made for women. There is some evidence that they were given as a wedding present from a husband to his bride. Frequently they were passed down through the family, as recorded in wills, the earliest surviving English example was apparently written for a laywoman living in or near Oxford in about 1240. It is smaller than a modern paperback but heavily illuminated with major initials, by the 15th century, there are also examples of servants owning their own Books of Hours. In a court case from 1500, a woman is accused of stealing a domestic servants prayerbook. Very rarely the books included prayers specifically composed for their owners, some include images depicting their owners, and some their coats of arms. These, together with the choice of saints commemorated in the calendar, eamon Duffy explains how these books reflected the person who commissioned them. He claims that the character of these books was often signaled by the inclusion of prayers specially composed or adapted for their owners. Furthermore, he states that as many as half the surviving manuscript Books of Hours have annotations, such additions might amount to no more than the insertion of some regional or personal patron saint in the standardized calendar, but they often include devotional material added by the owner. By at least the 15th century, the Netherlands and Paris workshops were producing books of hours for stock or distribution and these were sometimes with spaces left for the addition of personalized elements such as local feasts or heraldry. The book’s goal was to help his devout patroness to structure her daily life in accordance with the eight canonical hours, Matins to Compline
Book of Hours
–
Book of hours, Paris c. 1410. Miniature of the
Annunciation, with the start of
Matins in the
Little Office, the beginning of the texts after the calendar in the usual arrangement.
Book of Hours
–
Opening from the
Hours of Catherine of Cleves, c. 1440, with Catherine kneeling before the Virgin and Child, surrounded by her family heraldry. Opposite is the start of
Matins in the
Little Office, illustrated by the Annunciation to
Joachim, as the start of a long cycle of the
Life of the Virgin.
Book of Hours
–
Even this level of decoration was more rich than that of most books, though less than the lavish amounts of illumination in luxury books, which are those most often seen reproduced.
Book of Hours
–
A full-page miniature of May, from a calendar cycle by
Simon Bening, early 16th century.
5.
Manuscript
–
A manuscript is any document written by hand or typewritten, as opposed to being mechanically printed or reproduced in some automated way. More recently, it is understood to be a written, typed, or word-processed copy of a work. Before the arrival of printing, all documents and books were manuscripts, manuscripts are not defined by their contents, which may combine writing with mathematical calculations, maps, explanatory figures or illustrations. Manuscripts may be in form, scrolls or in codex format. Illuminated manuscripts are enriched with pictures, border decorations, elaborately embossed initial letters or full-page illustrations. The traditional abbreviations are MS for manuscript and MSS for manuscripts, while the forms MS. ms or ms. for singular, and MSS. mss or mss. for plural are also accepted. The second s is not simply the plural, by an old convention, it doubles the last letter of the abbreviation to express the plural, just as pp. means pages. Before the invention of printing in China or by moveable type in a printing press in Europe. Historically, manuscripts were produced in form of scrolls or books, manuscripts were produced on vellum and other parchment, on papyrus, and on paper. In Russia birch bark documents as old as from the 11th century have survived, in India, the palm leaf manuscript, with a distinctive long rectangular shape, was used from ancient times until the 19th century. Paper spread from China via the Islamic world to Europe by the 14th century, when Greek or Latin works were published, numerous professional copies were made simultaneously by scribes in a scriptorium, each making a single copy from an original that was declaimed aloud. Manuscripts in Tocharian languages, written on leaves, survived in desert burials in the Tarim Basin of Central Asia. Volcanic ash preserved some of the Roman library of the Villa of the Papyri in Herculaneum, ironically, the manuscripts that were being most carefully preserved in the libraries of antiquity are virtually all lost. Originally, all books were in manuscript form, in China, and later other parts of East Asia, woodblock printing was used for books from about the 7th century. The earliest dated example is the Diamond Sutra of 868, in the Islamic world and the West, all books were in manuscript until the introduction of movable type printing in about 1450. Manuscript copying of books continued for a least a century, as printing remained expensive, private or government documents remained hand-written until the invention of the typewriter in the late 19th century. In the Philippines, for example, as early as 900AD, specimen documents were not inscribed by stylus and this type of document was rare compared to the usual leaves and bamboo staves that were inscribed. However, neither the leaves nor paper were as durable as the document in the hot
Manuscript
–
Christ Pantocrator seated in a capital "U" in an
illuminated manuscript from the Badische Landesbibliothek, Germany.
Manuscript
–
10th-century minuscule manuscript of
Thucydides 's
History of the Peloponnesian War
Manuscript
–
Armenian Manuscript
Manuscript
6.
Initial
–
In a written or published work, an initial or drop cap is a letter at the beginning of a word, a chapter, or a paragraph that is larger than the rest of the text. The word is derived from the Latin initialis, which means standing at the beginning, an initial often is several lines in height and in older books or manuscripts, sometimes ornately decorated. In illuminated manuscripts, initials with images inside them, such as illustrated here, are known as historiated initials. They were an invention of the Insular art of the British Isles in the eighth century, Initials containing, typically, plant-form spirals with small figures of animals or humans that do not represent a specific person or scene are known as inhabited initials. Certain important initials, such as the Beatus initial or B of Beatus vir. at the opening of Psalm 1 at the start of a vulgate Latin psalter and these specific initials, in an illuminated manuscript, also were called Initiums. The classical tradition was slow to use letters for initials at all. The radical innovation of insular manuscripts was to make much larger, not indented, and for the letters immediately following the initial also to be larger. Subsequently they became larger still, coloured, and penetrated farther and farther into the rest of the text, the decoration of insular initials, especially large ones, was generally abstract and geometrical, or featured animals in patterns. Historiated initials were an Insular invention, but did not come into their own until the later developments of Ottonian art, Anglo-Saxon art, and the Romanesque style in particular. After this period, in Gothic art large paintings of scenes tended to go in rectangular framed spaces, in the very early history of printing the typesetters would leave blank the necessary space, so that the initials could be added later by a scribe or miniature painter. Later initials were printed using separate blocks in woodcut or metalcut techniques, the initial may sit on the same baseline as the first line of text, at the same margin, as it does here. This is the easiest to typeset on a computer, including in HTML, an example follows, Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat, duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum, alternatively, the initial may be in the left margin, with the text indented, as shown here. In word processors and HTML, this may be implemented using a table with two cells, one for the initial and one for the rest of the text, the difference between this and a true drop cap may be seen when the text extends below the initial. For example, With a drop cap, the initial sits within the margins and runs several lines deep into the paragraph and this keeps the left and top margins of the paragraph flush. In modern computer browsers, this may be achieved with a combination of HTML and CSS by using the float, left, a CSS-only solution alternatively can use the, first-letter pseudo-element. An example of this format is the paragraph, orem ipsum dolor sit amet, consectetur adipisicing elit
Initial
–
A historiated illuminated initial
Initial
–
In principio from the start of the
Gospel of John 9th century
Initial
–
Greek biblical text from
Papyrus 46, of c. 200, with no initials, punctuation, and barely spaces between words
Initial
–
5th century
Codex Alexandrinus with initials in left margin
7.
Marginalia
–
Marginalia are mark made in the margins of a book or other document. They may be scribbles, comments, glosses, critiques, doodles, biblical manuscripts have liturgical notes at the margin, for liturgical use. Numbers of texts divisions are given at the margin, there are some scholia, corrections and other notes usually made later by hand in the margin. As such, they might give clues to an earlier, more widely known context of the extant form of the text than is currently appreciated. The scholia on classical manuscripts are the earliest known form of marginalia, fermats last theorem is the most famous mathematical marginal note. The first recorded use of the word marginalia is in 1819 in Blackwoods Magazine, from 1845 to 1849 Edgar Allan Poe titled some of his reflections and fragmentary material Marginalia. Five volumes of Samuel T. Coleridges marginalia have been published, some famous marginalia were serious works, or drafts thereof, written in margins due to scarcity of paper. Voltaire composed in book margins while in prison, and Sir Walter Raleigh wrote a statement in margins just before his execution. Beginning in the 1990s, attempts have been made to design, Marginalia can add or detract from the value of an association copy of a book, depending on the author of the marginalia and on the book. Marshall, doing research on the future of user interface design, has studied the phenomenon of user annotation of texts and she discovered that in several university departments, students would scour the piles of textbooks at used book dealers for consistently annotated copies. The students had an appreciation for their predecessors distillation of knowledge. American poet, Billy Collins has explored the phenomenon of annotation within his poem titled Marginalia, john Adams Edgar Allan Poe Samuel T. Coleridge David Markson Herman Melville Sylvia Plath Mark Twain David Foster Wallace Pierre de Fermat Oscar Wilde Alston, R. C. Books with Manuscript, A short title catalogue of Books with Manuscript Notes in the British Library, Coleridge, S. T. Marginalia, Ed. George Walley and H. J. Jackson. The Collected works of Samuel Taylor Coleridge 12, Jackson, H. J. Marginalia, Readers writing in Books, New Haven, Yale University Press,2001
Marginalia
–
This piece of Wahrheit und Dichtung by Melchior Kirchhofer has pencil notes that might have been written by Josef Eiselein.
Marginalia
–
The
Glosas Emilianenses are
glosses added to this Latin codex that are considered the oldest surviving phrases written in the
Castilian language.
Marginalia
–
A page from an illuminated manuscript with painted marginalia
Marginalia
–
"Marginalia" by Edgar Allan Poe appeared in The Democratic Review, July, 1846, published by Thomas Prentice Kettell.
8.
Islam
–
Islam is an Abrahamic monotheistic religion which professes that there is only one and incomparable God and that Muhammad is the last messenger of God. It is the worlds second-largest religion and the major religion in the world, with over 1.7 billion followers or 23% of the global population. Islam teaches that God is merciful, all-powerful, and unique, and He has guided mankind through revealed scriptures, natural signs, and a line of prophets sealed by Muhammad. The primary scriptures of Islam are the Quran, viewed by Muslims as the word of God. Muslims believe that Islam is the original, complete and universal version of a faith that was revealed many times before through prophets including Adam, Noah, Abraham, Moses. As for the Quran, Muslims consider it to be the unaltered, certain religious rites and customs are observed by the Muslims in their family and social life, while social responsibilities to parents, relatives, and neighbors have also been defined. Besides, the Quran and the sunnah of Muhammad prescribe a comprehensive body of moral guidelines for Muslims to be followed in their personal, social, political, Islam began in the early 7th century. Originating in Mecca, it spread in the Arabian Peninsula. The expansion of the Muslim world involved various caliphates and empires, traders, most Muslims are of one of two denominations, Sunni or Shia. Islam is the dominant religion in the Middle East, North Africa, sizable Muslim communities are also found in Horn of Africa, Europe, China, Russia, Mainland Southeast Asia, Philippines, Northern Borneo, Caucasus and the Americas. Converts and immigrant communities are found in almost every part of the world, Islam is a verbal noun originating from the triliteral root s-l-m which forms a large class of words mostly relating to concepts of wholeness, submission, safeness and peace. In a religious context it means voluntary submission to God, Islām is the verbal noun of Form IV of the root, and means submission or surrender. Muslim, the word for an adherent of Islam, is the active participle of the verb form. The word sometimes has connotations in its various occurrences in the Quran. In some verses, there is stress on the quality of Islam as a state, Whomsoever God desires to guide. Other verses connect Islām and dīn, Today, I have perfected your religion for you, I have completed My blessing upon you, still others describe Islam as an action of returning to God—more than just a verbal affirmation of faith. In the Hadith of Gabriel, islām is presented as one part of a triad that also includes imān, Islam was historically called Muhammadanism in Anglophone societies. This term has fallen out of use and is said to be offensive because it suggests that a human being rather than God is central to Muslims religion
Islam
–
The
Kaaba, in
Mecca,
Hejaz region, today's
Saudi Arabia, is the
center of Islam.
Muslims from all over the world gather there to
pray in unity.
Islam
–
The dome of the
Carol I Mosque in
Constanța,
Romania, topped by the
Islamic crescent
Islam
–
Medallion showing "
Allah " (
God) in
Hagia Sophia,
Istanbul,
Turkey.
Islam
–
An
angel presenting
Muhammad and his companions with a miniature city. In the
Topkapi Palace Library,
Istanbul.
9.
Kingdom of the Ostrogoths
–
The Ostrogothic Kingdom, officially the Kingdom of Italy, was established by the Ostrogoths in Italy and neighbouring areas from 493 to 553. Under Theoderic, its first king, the Ostrogothic kingdom reached its zenith, most of the social institutions of the late Western Roman Empire were preserved during his rule. Theodoric called himself Gothorum Romanorumque rex, demonstrating his desire to be a leader for both peoples, starting in 535, the Eastern Roman Empire invaded Italy under Justinian I. The Ostrogothic ruler at that time, Witiges, could not defend successfully and was captured when the capital Ravenna fell. The Ostrogoths rallied around a new leader, Totila, and largely managed to reverse the conquest, the last king of the Ostrogothic Kingdom was Teia. The Ostrogoths were the branch of the Goths. They settled and established a state in Dacia, but during the late 4th century. After the collapse of the Hunnic empire in 454, large numbers of Ostrogoths were settled by Emperor Marcian in the Roman province of Pannonia as foederati, but in 460, during the reign of Leo I, because the payment of annual sums had ceased, they ravaged Illyricum. Peace was concluded in 461, whereby the young Theoderic Amal, son of Theodemir of the Amals, was sent as a hostage to Constantinople, where he received a Roman education. The period 477-483 saw a complex three-way struggle among Theoderic the Amal, who had succeeded his father in 474, Theodoric Strabo, in this conflict, alliances shifted regularly, and large parts of the Balkans were devastated by it. In the end, after Strabos death in 481, Zeno came to terms with Theoderic, parts of Moesia and Dacia ripensis were ceded to the Goths, and Theoderic was named magister militum praesentalis and consul for 484. Barely a year later, Theoderic and Zeno fell out, orestes had reneged on the promise of land in Italy for Odoacers troops, a pledge made to ensure their neutrality in his attack on Nepos. Odoacer retained the Roman administrative system, cooperated actively with the Roman Senate and he evicted the Vandals from Sicily in 477, and in 480 he occupied Dalmatia after the murder of Julius Nepos. An agreement was reached between Zeno and Theoderic, stipulating that Theoderic, if victorious, was to rule in Italy as the emperors representative. Theoderic with his people set out from Moesia in the autumn of 488, passed through Dalmatia, the first confrontation with the army of Odoacer was at the river Isonzo on August 28. Odoacer was defeated and withdrew towards Verona, where a month later another battle was fought, resulting in a bloody, Odoacer fled to his capital at Ravenna, while the larger part of his army under Tufa surrendered to the Goths. Theoderic then sent Tufa and his men against Odoacer, but he changed his allegiance again, in 490, Odoacer was thus able to campaign against Theoderic, take Milan and Cremona and besiege the main Gothic base at Ticinum. At that point, however, the Visigoths intervened, the siege of Ticinum was lifted, Odoacer fled again to Ravenna, while the Senate and many Italian cities declared themselves for Theoderic
Kingdom of the Ostrogoths
–
The Palace of Theoderic, as depicted on the walls of St. Apollinare Nuovo. The figures between the columns, representing Theoderic and his court, were removed after the East Roman conquest.
Kingdom of the Ostrogoths
–
The Ostrogothic Kingdom at its greatest extent.
10.
Eastern Roman Empire
–
It survived the fragmentation and fall of the Western Roman Empire in the 5th century AD and continued to exist for an additional thousand years until it fell to the Ottoman Turks in 1453. During most of its existence, the empire was the most powerful economic, cultural, several signal events from the 4th to 6th centuries mark the period of transition during which the Roman Empires Greek East and Latin West divided. Constantine I reorganised the empire, made Constantinople the new capital, under Theodosius I, Christianity became the Empires official state religion and other religious practices were proscribed. Finally, under the reign of Heraclius, the Empires military, the borders of the Empire evolved significantly over its existence, as it went through several cycles of decline and recovery. During the reign of Maurice, the Empires eastern frontier was expanded, in a matter of years the Empire lost its richest provinces, Egypt and Syria, to the Arabs. This battle opened the way for the Turks to settle in Anatolia, the Empire recovered again during the Komnenian restoration, such that by the 12th century Constantinople was the largest and wealthiest European city. Despite the eventual recovery of Constantinople in 1261, the Byzantine Empire remained only one of several small states in the area for the final two centuries of its existence. Its remaining territories were annexed by the Ottomans over the 15th century. The Fall of Constantinople to the Ottoman Empire in 1453 finally ended the Byzantine Empire, the term comes from Byzantium, the name of the city of Constantinople before it became Constantines capital. This older name of the city would rarely be used from this point onward except in historical or poetic contexts. The publication in 1648 of the Byzantine du Louvre, and in 1680 of Du Canges Historia Byzantina further popularised the use of Byzantine among French authors, however, it was not until the mid-19th century that the term came into general use in the Western world. The Byzantine Empire was known to its inhabitants as the Roman Empire, the Empire of the Romans, Romania, the Roman Republic, Graikia, and also as Rhōmais. The inhabitants called themselves Romaioi and Graikoi, and even as late as the 19th century Greeks typically referred to modern Greek as Romaika and Graikika. The authority of the Byzantine emperor as the legitimate Roman emperor was challenged by the coronation of Charlemagne as Imperator Augustus by Pope Leo III in the year 800. No such distinction existed in the Islamic and Slavic worlds, where the Empire was more seen as the continuation of the Roman Empire. In the Islamic world, the Roman Empire was known primarily as Rûm, the Roman army succeeded in conquering many territories covering the entire Mediterranean region and coastal regions in southwestern Europe and north Africa. These territories were home to different cultural groups, both urban populations and rural populations. The West also suffered heavily from the instability of the 3rd century AD
Eastern Roman Empire
–
Tremissis with the image of
Justinian the Great (r. 527–565) (see
Byzantine insignia)
Eastern Roman Empire
–
Byzantine
lamellar armour klivanium (Κλιβάνιον) - a predecessor of Ottoman krug
mirror armour
Eastern Roman Empire
–
The Baptism of Constantine painted by
Raphael 's pupils (1520–1524,
fresco, Vatican City,
Apostolic Palace);
Eusebius of Caesarea records that (as
was common among converts of early Christianity) Constantine delayed receiving
baptism until shortly before his death
Eastern Roman Empire
–
Restored section of the Theodosian Walls.
11.
Monastic
–
Monasticism or monkhood is a religious way of life in which one renounces worldly pursuits to devote oneself fully to spiritual work. Monastic life plays an important role in many Christian churches, especially in the Catholic, similar forms of religious life also exist in other faiths, most notably in Buddhism, but also in Hinduism and Jainism, although the expressions differ considerably. By contrast, in other religions monasticism is criticized and not practiced, as in Islam and Zoroastrianism, or plays a marginal role, males pursuing a monastic life are generally called monks while female monastics are called nuns. Many monks and nuns live in monasteries to stay away from the secular world, the way of addressing monastics differs between the Christian traditions. As a general rule, in Roman Catholicism, monks and nuns are called brother or sister, while in Eastern Orthodoxy, the Sangha or community of ordained Buddhist bhikkhus and original bhikkhunis was founded by Gautama Buddha during his lifetime over 2500 years ago. This communal monastic lifestyle grew out of the lifestyle of earlier sects of wandering ascetics and it was initially fairly eremitic or reclusive in nature. Bhikkhus and bhikkunis were expected to live with a minimum of possessions, lay followers also provided the daily food that bhikkhus required, and provided shelter for bhikkhus when they needed it. After the Parinibbana of the Buddha, the Buddhist monastic order developed into a primarily cenobitic or communal movement. The practice of living communally during the rainy season, prescribed by the Buddha. The number of rules observed varies with the order, Theravada bhikkhus follow around 227 rules, there are a larger number of rules specified for bhikkhunis. The Buddhist monastic order consists of the male bhikkhu assembly and the female bhikkhuni assembly, initially consisting only of males, it grew to include females after the Buddhas stepmother, Mahaprajapati, asked for and received permission to live as an ordained practitioner. Bhikkhus and bhikkhunis are expected to fulfill a variety of roles in the Buddhist community, first and foremost, they are expected to preserve the doctrine and discipline now known as Buddhism. A bhikkhu or Bhikshu, first ordains as a Samanera, novices often ordain at a young age, but generally no younger than eight. Samaneras live according to the Ten Precepts, but are not responsible for living by the set of monastic rules. Higher ordination, conferring the status of a full Bhikkhu, is only to men who are aged 20 or older. Bhikkhunis follow a progression, but are required to live as Samaneras for longer periods of time- typically five years. The disciplinary regulations for bhikkhus and bhikkhunis are intended to create a life that is simple and focused, however, celibacy is a fundamental part of this form of monastic discipline. Monasticism in Christianity, which provides the origins of the monk and monastery
Monastic
–
Trappist monk praying in his
cell.
Monastic
–
Young Buddhist bhikkhus in
Tibet.
Monastic
–
The
Monastery of Saint Anthony in Egypt, built over the tomb of
Saint Anthony, the "Father of Christian Monasticism".
Monastic
–
Coptic monks between 1898 and 1914
12.
Late Antiquity
–
Late antiquity is a periodization used by historians to describe the time of transition from classical antiquity to the Middle Ages in mainland Europe, the Mediterranean world, and the Near East. The development of the periodization has generally been accredited to historian Peter Brown, precise boundaries for the period are a continuing matter of debate, but Brown proposes a period between the 3rd and 8th centuries AD. Generally, it can be thought of as from the end of the Roman Empires Crisis of the Third Century to, in the East, the early Islamic period, following the Muslim conquests in the mid–7th century. In the West the end was earlier, with the start of the Early Medieval period typically placed in the 6th century, beginning with Constantine the Great, Christianity was made legal in the Empire, and a new capital was founded at Constantinople. The resultant cultural fusion of Greco-Roman, Germanic and Christian traditions formed the foundations of the subsequent culture of Europe, the term Spätantike, literally late antiquity, has been used by German-speaking historians since its popularization by Alois Riegl in the early 20th century. Concurrently, some migrating Germanic tribes such as the Ostrogoths and Visigoths saw themselves as perpetuating the Roman tradition, Constantine confirmed the legalization of the religion through the so-called Edict of Milan in 313, jointly issued with his rival in the East, Licinius. Monasticism was not the only new Christian movement to appear in Late Antiquity, notable in this regard is the topic of the Fifty Bibles of Constantine. Within the recently legitimized Christian community of the 4th century, a division could be distinctly seen between the laity and an increasingly celibate male leadership. Celibate and detached, the clergy became an elite equal in prestige to urban notables. The Late Antique period also saw a transformation of the political and social basis of life in. The later Roman Empire was in a sense a network of cities, archaeology now supplements literary sources to document the transformation followed by collapse of cities in the Mediterranean basin. Burials within the urban precincts mark another stage in dissolution of traditional urbanistic discipline, overpowered by the attraction of saintly shrines, in Roman Britain, the typical 4th- and 5th-century layer of black earth within cities seems to be a result of increased gardening in formerly urban spaces. A similar though less marked decline in population occurred later in Constantinople. In Europe there was also a decline in urban populations. As a whole, the period of antiquity was accompanied by an overall population decline in almost all Europe. Long-distance markets disappeared, and there was a reversion to a degree of local production and consumption, rather than webs of commerce. The degree and extent of discontinuity in the cities of the Greek East is a moot subject among historians. In the western Mediterranean, the new cities known to be founded in Europe between the 5th and 8th centuries were the four or five Visigothic victory cities
Late Antiquity
–
The
Barberini ivory, a late
Leonid /
Justinian Byzantine ivory leaf from an imperial
diptych, from an imperial workshop in
Constantinople in the first half of the sixth century (
Louvre Museum)
Late Antiquity
–
Modern statue of
Constantine I at
York, where he was proclaimed
Augustus in 306.
Late Antiquity
–
The Favourites of the Emperor Honorius, 1883:
John William Waterhouse expresses the sense of moral decadence that coloured the 19th-century historical view of the 5th century.
Late Antiquity
–
View west along the Harbour Street towards the Library of Celsus in
Ephesus. The pillars on the left side of the street were part of the
colonnaded walkway apparent in cities of Late Antique
Asia Minor.
13.
Middle Ages
–
In the history of Europe, the Middle Ages or Medieval Period lasted from the 5th to the 15th century. It began with the fall of the Western Roman Empire and merged into the Renaissance, the Middle Ages is the middle period of the three traditional divisions of Western history, classical antiquity, the medieval period, and the modern period. The medieval period is subdivided into the Early, High. Population decline, counterurbanisation, invasion, and movement of peoples, the large-scale movements of the Migration Period, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. In the seventh century, North Africa and the Middle East—once part of the Byzantine Empire—came under the rule of the Umayyad Caliphate, although there were substantial changes in society and political structures, the break with classical antiquity was not complete. The still-sizeable Byzantine Empire survived in the east and remained a major power, the empires law code, the Corpus Juris Civilis or Code of Justinian, was rediscovered in Northern Italy in 1070 and became widely admired later in the Middle Ages. In the West, most kingdoms incorporated the few extant Roman institutions, monasteries were founded as campaigns to Christianise pagan Europe continued. The Franks, under the Carolingian dynasty, briefly established the Carolingian Empire during the later 8th, the Crusades, first preached in 1095, were military attempts by Western European Christians to regain control of the Holy Land from Muslims. Kings became the heads of centralised nation states, reducing crime and violence, intellectual life was marked by scholasticism, a philosophy that emphasised joining faith to reason, and by the founding of universities. Controversy, heresy, and the Western Schism within the Catholic Church paralleled the conflict, civil strife. Cultural and technological developments transformed European society, concluding the Late Middle Ages, the Middle Ages is one of the three major periods in the most enduring scheme for analysing European history, classical civilisation, or Antiquity, the Middle Ages, and the Modern Period. Medieval writers divided history into periods such as the Six Ages or the Four Empires, when referring to their own times, they spoke of them as being modern. In the 1330s, the humanist and poet Petrarch referred to pre-Christian times as antiqua, leonardo Bruni was the first historian to use tripartite periodisation in his History of the Florentine People. Bruni and later argued that Italy had recovered since Petrarchs time. The Middle Ages first appears in Latin in 1469 as media tempestas or middle season, in early usage, there were many variants, including medium aevum, or middle age, first recorded in 1604, and media saecula, or middle ages, first recorded in 1625. The alternative term medieval derives from medium aevum, tripartite periodisation became standard after the German 17th-century historian Christoph Cellarius divided history into three periods, Ancient, Medieval, and Modern. The most commonly given starting point for the Middle Ages is 476, for Europe as a whole,1500 is often considered to be the end of the Middle Ages, but there is no universally agreed upon end date. English historians often use the Battle of Bosworth Field in 1485 to mark the end of the period
Middle Ages
–
The
Cross of Mathilde, a
crux gemmata made for
Mathilde, Abbess of Essen (973–1011), who is shown kneeling before the Virgin and Child in the
enamel plaque. The body of Christ is slightly later. Probably made in
Cologne or
Essen, the cross demonstrates several medieval techniques:
cast figurative sculpture,
filigree, enamelling, gem polishing and setting, and the reuse of Classical
cameos and
engraved gems.
Middle Ages
–
A late Roman statue
depicting the four Tetrarchs, now in
Venice
Middle Ages
–
Coin of
Theodoric
Middle Ages
–
Mosaic showing
Justinian with
the bishop of
Ravenna, bodyguards, and courtiers
14.
Renaissance
–
The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
Renaissance
–
David, by
Michelangelo (
Accademia di Belle Arti,
Florence) is a masterpiece of Renaissance and world art.
Renaissance
–
Renaissance
Renaissance
–
Leonardo da Vinci 's
Vitruvian Man (c. 1490) shows clearly the effect writers of Antiquity had on Renaissance thinkers. Based on the specifications in
Vitruvius '
De architectura (1st century BC), Leonardo tried to draw the perfectly proportioned man.
Renaissance
–
Portrait of a young woman (c. 1480-85) (
Simonetta Vespucci) by
Sandro Botticelli
15.
Codex
–
A codex is a book constructed of a number of sheets of paper, vellum, papyrus, or similar materials, with hand-written contents. The book is bound by stacking the pages and fixing one edge. Some codices are continuously folded like a concertina, the alternative to paged codex format for a long document is the continuous scroll. Examples of folded codices include the Maya codices, sometimes people use the term for a book-style format, including modern printed books but excluding folded books. The Romans developed the form from wooden writing tablets, the codexs gradual replacement of the scroll—the dominant book form in the ancient world—has been called the most important advance in book making before the invention of printing. The codex transformed the shape of the book itself, and offered a form that lasted for centuries, the spread of the codex is often associated with the rise of Christianity, which adopted the format for use with the Bible early on. In fact, any combination of codices and scrolls with papyrus and parchment is technically feasible, the codex began to replace the scroll almost as soon as it was invented. In Egypt, by the century, the codex outnumbered the scroll by ten to one based on surviving examples. By the sixth century, the scroll had almost vanished as a medium for literature, technically, even modern paperbacks are codices, but publishers and scholars reserve the term for manuscript books produced from Late antiquity until the Middle Ages. The scholarly study of manuscripts from the point of view of the bookbinding craft is called codicology. The study of ancient documents in general is called paleography, the Romans used precursors made of reusable wax-covered tablets of wood for taking notes and other informal writings. Two ancient polyptychs, a pentatych and octotych, excavated at Herculaneum used a connecting system that presages later sewing on of thongs or cords. Julius Caesar may have been the first Roman to reduce scrolls to pages in the form of a note-book. At the turn of the 1st century AD, a kind of folded parchment notebook called pugillares membranei in Latin became commonly used for writing in the Roman Empire, theodore Cressy Skeat theorized that this form of notebook was invented in Rome and then spread rapidly to the Near East. Codices are described in works by the Classical Latin poet. He wrote a series of five couplets meant to accompany gifts of literature that Romans exchanged during the festival of Saturnalia. ”Early codices of parchment or papyrus appear to have widely used as personal notebooks. The parchment notebook pages were commonly washed or scraped for re-use and consequently, writings in a codex were often considered informal, as early as the early 2nd century, there is evidence that a codex—usually of papyrus—was the preferred format among Christians. In the library of the Villa of the Papyri, Herculaneum, however, in the Nag Hammadi library, hidden about AD390, all texts are codices
Codex
–
The
Codex Gigas, 13th century, Bohemia.
Codex
–
Codices largely replaced scrolls similar to this.
Codex
–
Reproduced Roman-style
wax tablet, from which the codex evolved
Codex
–
Early medieval bookcase containing about ten codices depicted in the
Codex Amiatinus (ca. 700)
16.
Scroll
–
A scroll, also known as a roll, is a roll of papyrus, parchment, or paper containing writing. The scroll is usually unrolled so that one page is exposed at a time, for writing or reading, with the remaining pages rolled up to the left and right of the visible page. It is unrolled side to side, and the text is written in lines from the top to the bottom of the page. Depending on the language, the letters may be left to right, right to left. Some scrolls are simply rolled up pages, others may have wooden rollers on each end, scrolls were the first form of editable record keeping texts, used in Eastern Mediterranean ancient Egyptian civilizations. Parchment scroll used by Israelites after Sinai was the first use of scrolls in the recording of literature before the codex or bound book with pages was invented by the Latins in the 1st century AD. Scrolls were more highly regarded than codices until well into Roman times where they were written in single latitudinal column. The ink used in writing scrolls had to adhere to a surface that was rolled and unrolled, even so, ink would slowly flake off of scrolls. Shorter pieces of parchment or paper are called rolls or rotuli, historians of the classical period tend to use roll instead of scroll. A distinction that sometimes applies is that the lines of writing in rotuli run across the width of the rather than along the length. Rolls may be wider than most scrolls, up to perhaps 60 cm or two feet wide, Rolls were often stored together in a special cupboard on shelves. A special Chinese form of book, called the whirlwind book, consists of several pieces of paper bound at the top with bamboo. In Scotland, the term scrow was used from about the 13th to the 17th centuries for scroll, writing, there existed an office of Clerk of the Scrow meaning the Clerk of the Rolls or Clerk of the Register. The scroll was replaced by the codex, a process which started almost as soon as the codex was invented. Unfortunately, scrolls were usually discarded after their contents were transferred to a codex, most scrolls uncovered by archaeologists are found in trash middens and burial sites. The oldest complete Torah scroll was discovered in May 2013 by Professor Mauro Perani. It was stored in a library in Bolonia, Italy. It had been mislabeled in 1889 as dating from the 17th century, carbon testing dates the prayer book to the year 840, which is 300 to 400 years earlier than the previously oldest known Torah scrolls from the 12th and 13th centuries
Scroll
–
The Joshua Roll,
Vatican Library. An
illuminatedscroll, probably of the 10th century, created in the Byzantine empire.
Scroll
–
Scroll of the
Book of Esther,
Seville,
Spain.
Scroll
–
Ingredients used in making ink for Hebrew scrolls today.
17.
Papyrus
–
The word papyrus /pəˈpaɪrəs/ refers to a thick precursor to modern paper made from the pith of the papyrus plant, Cyperus papyrus. Papyrus can also refer to a document written on sheets of papyrus joined together side by side and rolled up into a scroll, the plural for such documents is papyri. Papyrus is first known to have used in ancient Egypt. It was also used throughout the Mediterranean region and in Kingdom of Kush, the Ancient Egyptians used papyrus as a writing material, as well as employing it commonly in the construction of other artifacts such as reed boats, mats, rope, sandals, and baskets. Papyrus was first manufactured in Egypt as far back as the fourth millennium BCE, the earliest archaeological evidence of papyrus was excavated in 2012 and 2013 at Wadi al-Jarf, an ancient Egyptian harbor located on the Red Sea coast. The papyrus rolls describe the last years of building the Great Pyramid of Giza, in the first centuries BCE and CE, papyrus scrolls gained a rival as a writing surface in the form of parchment, which was prepared from animal skins. Sheets of parchment were folded to form quires from which book-form codices were fashioned, early Christian writers soon adopted the codex form, and in the Græco-Roman world, it became common to cut sheets from papyrus rolls to form codices. Codices were an improvement on the scroll, as the papyrus was not pliable enough to fold without cracking. Papyrus had the advantage of being cheap and easy to produce. Unless the papyrus was of quality, the writing surface was irregular. Its last appearance in the Merovingian chancery is with a document of 692, the latest certain dates for the use of papyrus are 1057 for a papal decree, under Pope Victor II, and 1087 for an Arabic document. Its use in Egypt continued until it was replaced by more inexpensive paper introduced by Arabs who originally learned of it from the Chinese, by the 12th century, parchment and paper were in use in the Byzantine Empire, but papyrus was still an option. Papyrus was made in several qualities and prices, pliny the Elder and Isidore of Seville described six variations of papyrus which were sold in the Roman market of the day. These were graded by quality based on how fine, firm, white, grades ranged from the superfine Augustan, which was produced in sheets of 13 digits wide, to the least expensive and most coarse, measuring six digits wide. Materials deemed unusable for writing or less than six digits were considered commercial quality and were pasted edge to edge to be used only for wrapping, until the middle of the 19th century, only some isolated documents written on papyrus were known. They did not contain literary works, the first modern discovery of papyri rolls was made at Herculaneum in 1752. Until then, the papyri known had been a few surviving from medieval times. The English word papyrus derives, via Latin, from Greek πάπυρος, Greek has a second word for it, βύβλος
Papyrus
–
Papyrus (P. BM EA 10591 recto column IX, beginning of lines 13-17)
Papyrus
–
An official letter on a papyrus of the
third century B.C.
Papyrus
–
A section of the Egyptian
Book of the Dead written on papyrus
Papyrus
–
Bill of sale for a donkey, papyrus; 19.3 by 7.2 cm, MS Gr SM2223, Houghton Library, Harvard University
18.
Vellum
–
Vellum is prepared animal skin or membrane used as a material for writing on. Vellum is prepared for writing or printing on, to produce single pages, scrolls, vellum is generally smooth and durable, although there are great variations depending on preparation and the quality of the skin. The manufacture involves the cleaning, bleaching, stretching on a frame, to create tension, scraping is alternated with wetting and drying. A final finish may be achieved by abrading the surface with pumice, modern paper vellum is a quite different synthetic material, used for a variety of purposes, including plans, technical drawings, and blueprints. In Europe, from Roman times, the vellum was used for the best quality of prepared skin, regardless of the animal from which the hide was obtained, calf, sheep. Although the term derives from the French for calf, animal vellum can include hide from virtually any other mammal. The best quality, uterine vellum, was said to be made from the skins of stillborn or unborn animals, there has long been, however, much blurring of the boundaries between these terms. In 1519, William Horman could write in his Vulgaria, That stouffe that we wrytte upon, modern scholars and custodians increasingly use only the safe if confusing term membrane. In the usage of modern practitioners of the crafts of writing, illuminating, lettering. Vellum is a translucent material produced from the skin, often split, the skin is washed with water and lime, but not together. It is then soaked in lime for several days to soften, once clear, the two sides of the skin are distinct, the side facing inside the animal and the hair side. The inside body side of the skin is usually the lighter, the hair follicles may be visible on the outer side, together with any scarring, made while the animal was alive. The membrane can also show the pattern of the animals vein network called the veining of the sheet, any remaining hair is removed and the skin is dried by attaching it to a frame. The skin is attached at points around the circumference with cords, to prevent tearing, the maker then uses a crescent shaped knife, to clean off any remaining hairs. Once the skin is dry, it is thoroughly cleaned and processed into sheets. The number of extracted from the piece of skin depends on the size of the skin. For example, the average calfskin can provide three and half sheets of writing material. This can be doubled when it is folded into two conjoint leaves, also known as a bifolium, historians have found evidence of manuscripts where the scribe wrote down the medieval instructions now followed by modern membrane makers
Vellum
–
The
Magna Carta written in Latin on vellum, held at the
British Library
Vellum
–
A vellum
deed dated 1638, with pendent
seal attached.
Vellum
–
A
portolan chart (map) by Jacobo Russo (Giacomo Russo) of Messina (1533)
Vellum
–
A Volume Of Treatises On Natural Science, Philosophy, And Mathematics (1300) Ink on vellum.
19.
Parchment
–
Parchment is a writing material made from specially prepared untanned skins of animals—primarily sheep, calves, and goats. It has been used as a medium for over two millennia. Vellum is a finer quality parchment made from the skins of kids, lambs and it may be called animal membrane by libraries and museums that wish to avoid distinguishing between parchment and the more restricted term vellum. Today the term parchment is often used in non-technical contexts to refer to any animal skin, particularly goat, sheep or cow, that has been scraped or dried under tension. Vellum in theory refers exclusively to calfskin, and is used to denote a quality of material. The term parchment originally referred only to the skin of sheep and, occasionally, the word parchment evolved from the name of the city of Pergamon which was a thriving center of parchment production during the Hellenistic period. This account, originated in the writings of Pliny the Elder, is dubious because parchment had been in use in Anatolia, in the 2nd century BC a great library was set up in Pergamon that rivaled the famous Library of Alexandria. Writing on prepared animal skins had a history, however. H. Ibscher, and preserved in the Cairo Museum, a roll of the Twelfth Dynasty now in Berlin, the text now in the British Museum. Though the Assyrians and the Babylonians impressed their cuneiform on clay tablets, early Islamic texts are also found on parchment. In the later Middle Ages, especially the 15th century, parchment was largely replaced by paper for most uses except luxury manuscripts, new techniques in paper milling allowed it to be much cheaper than parchment, it was still made of textile rags and of very high quality. With the advent of printing in the fifteenth century, the demands of printers far exceeded the supply of animal skins for parchment. Although most copies of the Gutenberg Bible are on paper, some were printed on parchment,12 of the 48 surviving copies, in 1490, Johannes Trithemius preferred the older methods, because handwriting placed on parchment will be able to endure a thousand years. But how long will printing last, which is dependent on paper and it lasts for two hundred years that is a long time. In fact high quality paper from this period has survived 500 years or more very well, the heyday of parchment use was during the medieval period, but there has been a growing revival of its use among artists since the late 20th century. Although parchment never stopped being used it had ceased to be a choice for artists supports by the end of 15th century Renaissance. This was partly due to its expense and partly due to its working properties. When the water in paint media touches parchments surface, the collagen melts slightly, forming a bed for the paint
Parchment
–
Central European (Northern) type of finished parchment made of
goatskin stretched on a wooden frame
Parchment
–
Latin
Grant written on fine parchment or
vellum with
seal dated 1329
Parchment
–
A 1385 copy of the
Sachsenspiegel, a German legal code, written on parchment with straps and clasps on the binding
Parchment
–
A Sefer
Torah, the traditional form of the
Hebrew Bible, is a scroll of parchment.
20.
Calfskin
–
Calfskin or calf leather is a leather or membrane produced from the hide of a calf, or juvenile domestic cattle. Calfskin is particularly valuable because of its softness, and fine grain and it is commonly used for high-quality clothing, shoes, wallets and similar products, as well as traditional leather bookbindings. In these contexts, just calf is commonly used, fine calfskin is one of the skins used for vellum and parchment manuscripts. In Spanish, the word is novillo, referring to leather from animals less than three years old, chickenskin, despite its name, is a form of calfskin made using the skin of unborn calves. In fashion, soft finished calfskin is sometimes described as veau velours, goldbeaters skin, made from the intestine of a calf Sheepskin
Calfskin
–
Calfskin leather dyed black
Calfskin
–
Calfskin parchment page from an 11th-century book
Calfskin
–
Types
21.
Rubric
–
A rubric is a word or section of text that is traditionally written or printed in red ink for emphasis. The word derives from the Latin, rubrica, meaning red ochre or red chalk, rubric can also mean the red ink or paint used to make rubrics, or the pigment used to make it. Although red was most often used, other colours came into use from the late Middle Ages onwards, various figurative senses of the word have been extended from its original sense. Usually these senses are used within the set phrase under rubric, for example, under this rubric, or under the rubric of Y. Instructions for a priest explaining what he must do during a liturgy were also rubricated in missals and the liturgical books. From this, rubric has a denotation of an instruction in a text. This is the oldest recorded definition in English, found in 1375, less formally, rubrics may refer to any liturgical action customarily performed, whether or not pursuant to a written instruction. The history, status, and authority of the content of rubrics are significant, in the past, some theologians distinguished between rubrics they considered of Divine origin and those merely of human origin. Rubrics were probably originally verbal, and then written in separate volumes, the earliest extant liturgical books do not contain them, but from references in texts of the first millennium it appears that written versions existed. Full rubrics regarding matters such as vesture, appearance of the altar, timing of specific liturgies, in modern liturgical books, e. g. Red is also used to distinguish words spoken by the celebrant. Other versions of the Bible have since adopted the popular practice, code of Rubrics Rubrication Scriptorium Rubrics of the Anglican Low Mass Very full set of rubrics, perversely, the words to be spoken are here shown in red, and the rubrics in black. Catholic Order of Mass Rubrics showing who speaks are in red, Kelmscott Press Examples of Kelmscott Press pages showing use of red accents. So this then is the preachment entitled Chicago tongue A flip book presentation of the Roycroft Press edition c,1913, illustrating use of rubrics in the Arts and Crafts tradition
Rubric
–
Dominican Missal, c. 1240, with rubrics in red (Historical Museum of
Lausanne)
Rubric
–
Rubrics in an illuminated
gradual of ca. 1500
22.
History of miniature (illuminated manuscript)
–
These include Persian miniatures, and their Mughal, Ottoman and other Indian offshoots. This article gives an art historical account of the miniature form, for the techniques involved in production, see illuminated manuscript. The earliest extant miniatures are a series of colored drawings or miniatures cut from the Ambrosian Iliad and they are similar in style and treatment with the pictorial art of the later Roman classical period. Of even greater value from a point of view are the miniatures of the Vatican manuscript of Virgil, known as the Vergilius Vaticanus. They are in a perfect condition and on a larger scale than the Ambrosian fragments. The drawing is quite classical in style, and the idea is conveyed that the miniatures are copies from an older series. The colors are opaque, indeed, in all the miniatures of early manuscripts the employment of body color was universal. The method followed in placing the different scenes on the page is highly instructive of the practice followed, as we may presume, by the artists of the early centuries. Again, for the purpose of securing something like perspective, an arrangement of zones was adopted. It was reserved for the Byzantine school to break away more decidedly from the natural presentment of things, but on comparing the miniatures of the Byzantine school generally with their classical predecessors, one has a sense of having passed from the open air into the cloister. Under the restraint of ecclesiastical domination Byzantine art became more and more stereotyped, the tendency grows to paint the flesh-tints in swarthy hues, to elongate and emaciate the limbs, and to stiffen the gait. Browns, blue-greys and neutral tints are in favor, in the miniatures of Byzantine manuscripts are first seen those backgrounds of bright gold which afterwards appear in such profusion in the productions of every western school of painting. The influence of Byzantine art on that of medieval Italy is obvious, the early mosaics in the churches of Italy, such as those at Ravenna and Venice, also afford examples of the dominating Byzantine influence. In the native schools of illumination of Western Europe, decoration only was the leading motive, the highest qualities of the miniatures of the 10th and 11th century of this school lie in fine outline drawing, which had a lasting influence on the English miniature of the later centuries. But the southern Anglo-Saxon school rather stands apart from the line of development of the western medieval miniature. Under the Carolingian monarchs there developed a school of painting derived from classical models, in this school, which owed its origin to the encouragement of Charlemagne, it is seen that the miniature appears in two forms. Accompanied as it was with profuse decoration in border and initial, on the other hand, there is also the miniature in which there is an attempt at illustration, as, for example, the depicting of scenes from the Bible. Here there is freedom, and we trace the classical style which copies Roman, as distinguished from Byzantine
History of miniature (illuminated manuscript)
–
Miniature of the
Trojan Horse, from the
Vergilius Romanus, a manuscript of
Virgil 's
Aeneid, early 5th century.
History of miniature (illuminated manuscript)
–
Miniature of
Abraham meeting
angels, from the
Cotton Genesis, 5th–6th century.
History of miniature (illuminated manuscript)
–
Miniature of seven physicians from the
Vienna Dioscurides, early 6th century.
History of miniature (illuminated manuscript)
–
This lavishly decorated text that opens the
Gospel of John in the
Book of Kells, early 9th century, shows the
Insular style of illumination: decorative and not illustrative.
23.
Insular art
–
Insular art, also known as Hiberno-Saxon art, is the style of art produced in the post-Roman history of Ireland and Britain. The term derives from insula, the Latin term for island, in this period Britain, most Insular art originates from the Irish monastic movement or metalwork for the secular elite, and the period begins around 600 with the combining Celtic and Anglo-Saxon styles. One major distinctive feature is interlace decoration, applied to decorating new types of objects mostly copied from the Mediterranean world, above all the codex or book. The finest period of the style was brought to an end by the disruption to monastic centres and these are presumed to have interrupted work on the Book of Kells, and no later Gospel books are as heavily or finely illuminated as the masterpieces of the 8th century. In England the style merged into Anglo-Saxon art around 900, whilst in Ireland the style continued until the 12th century, the influence of insular art affected all subsequent European medieval art, especially in the decorative elements of Romanesque and Gothic manuscripts. Surviving examples of Insular art are mainly illuminated manuscripts, metalwork and carvings in stone, surfaces are highly decorated with intricate patterning, with no attempt to give an impression of depth, volume or recession. The best examples include the Book of Kells, Lindisfarne Gospels, Book of Durrow, brooches such as the Tara Brooch, carpet pages are a characteristic feature of Insular manuscripts, although historiated initials, canon tables and figurative miniatures, especially Evangelist portraits, are also common. The term was derived from its use for Insular script, first cited by the OED in 1908, the Insular style is most famous for its highly dense, intricate and imaginative decoration, which takes elements from several earlier styles. From the Iron Age came the style called late Celtic art or Ultimate La Tène, there is no attempt to represent depth in manuscript painting, with all the emphasis on a brilliantly patterned surface. The origins of the format of the carpet page have often been related to Roman floor mosaics, Coptic carpets and manuscript paintings. Across all the society was effectively entirely rural, buildings were rudimentary. Especially in Ireland, clerical and secular elites were very closely linked. Ireland was divided into numerous, generally small kingdoms, while in Britain there was a number of generally larger kingdoms. The elites of all the peoples had long traditions of metalwork of the finest quality. The Insular style arises from the meeting of their two styles, Celtic and Anglo-Saxon animal style, in a Christian context, and with awareness of Late Antique style. This was especially so in their application to the book, which was a new type of object for both traditions, as well as to metalwork, the role of the Kingdom of Northumbria in the formation of the new style appears to have been pivotal. The Irish monastery at Iona was established by Saint Columba in 563, christianity discouraged the burial of grave goods so that, at least from the Anglo-Saxons, we have a larger number of pre-Christian survivals than those from later periods. The majority of examples survive from the Christian period have been found in archaeological contexts that suggest they were rapidly hidden
Insular art
–
This page (folio 292r) of the
Book of Kells contains the lavishly decorated text that opens the
Gospel of John.
Insular art
–
David from the
Durham Cassiodorus, early 8th century,?Jarrow.
Insular art
–
One of hundreds of small initials from the Book of Kells
Insular art
–
Early Anglo-Saxon shoulder-clasps from
Sutton Hoo, early 7th century. Gold, garnet, and
millefiori glass.
24.
Carolingian art
–
The Carolingian era is part of the period in Medieval art sometimes called the Pre-Romanesque. After a rather chaotic interval following the Carolingian period, the new Ottonian dynasty revived Imperial art from about 950, building on and further developing Carolingian style in Ottonian art. He wished to establish himself as the heir to the rulers of the past, to emulate and symbolically link the artistic achievements of Early Christian. But it was more than a desire to revive ancient Roman culture. During Charlemagnes reign the Byzantine Iconoclasm controversy was dividing the Byzantine Empire, Charlemagne supported the Western churchs consistent refusal to follow iconoclasm, the Libri Carolini sets out the position of his court circle, no doubt under his direction. With no inhibitions from a memory of Mediterranean pagan idolatry, Charlemagne introduced the first Christian monumental religious sculpture. With the end of Carolingian rule around 900, high quality artistic production greatly declined for three generations in the Empire. By the later 10th century with the Cluny reform movement, New Pre-Romanesque styles appeared in Germany with the Ottonian art of the next stable dynasty, in England with late Anglo-Saxon art, after the threat from the Vikings was removed, and in Spain. The most numerous surviving works of the Carolingian renaissance are illuminated manuscripts, narrative images and especially cycles are rarer, but many exist, mostly of the Old Testament, especially Genesis – New Testament scenes are more often found on the ivory reliefs on the covers. A few of the grandest imperial manuscripts were written on purple parchment, the Utrecht Psalter, stands alone as a very heavily illustrated library version of the Psalms done in pen and wash, and almost certainly copied from a much earlier manuscript. Other liturgical works were produced in luxury manuscripts, such as sacramentaries. Teaching books such as theological, historical, literary and scientific works from ancient authors were copied and generally only illustrated in ink, if at all. The Chronography of 354 was a Late Roman manuscript that apparently was copied in the Carolingian period, the surviving manuscripts have been assigned, and often reassigned, to workshops by scholars, and the controversies attending this process have largely died down. These are the centres, but others exist, characterized by the works of art produced there. The Court School manuscripts were ornate and ostentatious, and reminiscent of 6th-century ivories and mosaics from Ravenna, in the early 9th-century Archbishop Ebo of Rheims, at Hautvillers, assembled artists and transformed Carolingian art to something entirely new. The Gospel book of Ebbo was painted with swift, fresh and vibrant brush strokes, evoking an inspiration, another style developed at the monastery of St Martin of Tours, in which large Bibles were illustrated based on Late Antique bible illustrations. Three large Touronian Bibles were created, the last, and best, example was made about 845/846 for Charles the Bald, called the Vivian Bible. The Tours School was cut short by the invasion of the Normans in 853, the diocese of Metz was another center of Carolingian art
Carolingian art
–
Lorsch Gospels 778–820. Charlemagne's Court School.
Carolingian art
–
Ivory plaque, probably from a book cover,
Reims late 9th century, with two scenes from the life of
Saint Remy and the Baptism of
Clovis
Carolingian art
–
Drogo Sacramentary, c. 850: a
historiated initial 'C' contains the
Ascension of Christ. The text is in gold ink.
Carolingian art
–
Saint Mark from the
Ebbo Gospels
25.
Ottonian art
–
Ottonian art is a style in pre-romanesque German art, covering also some works from the Low Countries, northern Italy and eastern France. With Ottonian architecture, it is a key component of the Ottonian Renaissance, however, the style neither began nor ended to neatly coincide with the rule of the dynasty. It emerged some decades into their rule and persisted past the Ottonian emperors into the reigns of the early Salian dynasty, which lacks an artistic style label of its own. In the traditional scheme of art history, Ottonian art follows Carolingian art and precedes Romanesque art, after the decline of the Carolingian Empire, the Holy Roman Empire was re-established under the Saxon Ottonian dynasty. From this emerged a renewed faith in the idea of Empire and it was in this atmosphere that masterpieces were created that fused the traditions from which Ottonian artists derived their inspiration, models of Late Antique, Carolingian, and Byzantine origin. However much of it was designed for display to a wider public and this goal was accomplished in various ways. However, if there were actual Greek artists working in Germany in the period, Ottonian monasteries produced most if not all of the most magnificent medieval illuminated manuscripts. They were an art form of the time, and monasteries received direct sponsorship from emperors and bishops. The range of heavily illuminated texts was very restricted to the main liturgical books. In contrast to manuscripts of other periods, it is often possible to say with certainty who commissioned or received a manuscript. This is the first stylistic group of the traditional Reichenau school, the two other major manuscripts of the group are the sacramentaries named for Hornbach and Petershausen. In the group of four presentation miniatures in the described above we can almost follow. The movement away from the expansive Carolingian idiom to the sharply defined Ottonian one. C. R. Dodwell was one of a number of dissident voices here, believing the works to have produced at Lorsch. Due to their quality, the manuscripts of Reichenau were in 2003 added to the UNESCO Memory of the World International Register. The most important Reichenau school manuscripts are agreed to fall into three groups, all named after scribes whose names are recorded in their books. The Eburnant group covered above was followed by the Ruodprecht group named after the scribe of the Egbert Psalter and this gestural dumb-show soon to be conventionalized as a visual language throughout medieval Europe. The group introduced the background of gold to Western illumination
Ottonian art
–
The
Essen cross with large enamels with gems and large
senkschmelz enamels, c. 1000
Ottonian art
–
Stucco relief on the
ciborium at
Civate.
Ottonian art
–
"Roma", "Gallia", "Germania" and "Sclavinia" pay homage to Otto III, from the Munich
Gospels of Otto III, one of the "Liuthar group"
Ottonian art
–
Otto II, by the
Gregory Master
26.
Romanesque art
–
Romanesque art is the art of Europe from approximately 1000 AD to the rise of the Gothic style in the 13th century, or later, depending on region. The preceding period is known as the Pre-Romanesque period, Romanesque art was also greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the decoration of the Insular art of the British Isles. From these elements was forged a highly innovative and coherent style, outside Romanesque architecture, the art of the period was characterised by a very vigorous style in both sculpture and painting. In illuminated manuscripts, for which the most lavishly decorated manuscripts of the period were mostly bibles or psalters, more originality is seen, as new scenes needed to be depicted. The same applied to the capitals of columns, never more exciting than in this period, colours, which can be seen as bright in the 21st century only in stained glass and well-preserved manuscripts, tended to be very striking, and mostly primary. Stained glass became widely used, although survivals are sadly few, monasteries continued to be extremely important, especially those of the expansionist new orders of the period, the Cistercian, Cluniac, and Carthusian, which spread across Europe. No Romanesque royal palace has really survived, the lay artist was becoming a valued figure – Nicholas of Verdun seems to have been known across the continent. Most masons and goldsmiths were now lay, and lay painters such as Master Hugo seem to have been in the majority, at least of those doing the best work, the iconography of their church work was no doubt arrived at in consultation with clerical advisors. Metalwork, including decoration in enamel, became very sophisticated, many spectacular shrines made to hold relics have survived, of which the best known is the Shrine of the Three Kings at Cologne Cathedral by Nicholas of Verdun and others. The Stavelot Triptych and Reliquary of St. Maurus are other examples of Mosan enamelwork, large reliquaries and altar frontals were built around a wooden frame, but smaller caskets were all metal and enamel. A few secular pieces, such as cases, jewellery and clasps have survived. The bronze Gloucester candlestick and the font of 1108–17 now in Liège are superb examples, very different in style. The former is highly intricate and energetic, drawing on manuscript painting, while the font shows the Mosan style at its most classical and majestic. The bronze doors, a column and other fittings at Hildesheim Cathedral, the Gniezno Doors. The aquamanile, a container for water to wash with, appears to have introduced to Europe in the 11th century. Artisans often gave the pieces fantastic zoomorphic forms, surviving examples are mostly in brass, many wax impressions from impressive seals survive on charters and documents, although Romanesque coins are generally not of great aesthetic interest. Like many pieces it was partly coloured. The Lewis chessmen are well-preserved examples of small ivories, of many pieces or fragments remain from croziers, plaques, pectoral crosses
Romanesque art
–
Carving from
Maria Laach Abbey, in the
Eifel,
Rhineland.
Romanesque art
–
The "Morgan Leaf", detached from the
Winchester Bible of 1160−75. Scenes from the life of
David.
Romanesque art
–
Master of Pedret, The Virgin and Child in Majesty and the Adoration of the Magi,
apse fresco from Tredòs,
Val d'Aran,
Catalonia, c. 1100, now at
The Cloisters in
New York.
Romanesque art
–
Stavelot Triptych,
Mosan, Belgium, c. 1156–58. 48×66 cm with wings open,
Morgan Library, New York
27.
Gothic art
–
Gothic art was a style of medieval art that developed in Northern France out of Romanesque art in the 12th century AD, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, and much of Southern and Central Europe, in the late 14th century, the sophisticated court style of International Gothic developed, which continued to evolve until the late 15th century. In many areas, especially Germany, Late Gothic art continued well into the 16th century, primary media in the Gothic period included sculpture, panel painting, stained glass, fresco and illuminated manuscripts. The earliest Gothic art was monumental sculpture, on the walls of Cathedrals, Christian art was often typological in nature, showing the stories of the New Testament and the Old Testament side by side. Increased literacy and a body of secular vernacular literature encouraged the representation of secular themes in art. Gothic art emerged in Île-de-France, France, in the early 12th century at the Abbey Church of St Denis built by Abbot Suger, monastic orders, especially the Cistercians and the Carthusians, were important builders who disseminated the style and developed distinctive variants of it across Europe. Gothic art was often typological in nature, reflecting a belief that the events of the Old Testament pre-figured those of the New, Old and New Testament scenes were shown side by side in works like the Speculum Humanae Salvationis, and the decoration of churches. The Gothic period coincided with a resurgence in Marian devotion. Images of the Virgin Mary developed from the Byzantine hieratic types, through the Coronation of the Virgin, to human and initimate types. Artists like Giotto, Fra Angelico and Pietro Lorenzetti in Italy, and Early Netherlandish painting, brought realism, Western artists, and their patrons, became much more confident in innovative iconography, and much more originality is seen, although copied formulae were still used by most artists. Even in Last Judgements Christ was now usually shown exposing his chest to show the wounds of his Passion, the word Gothic for art was initially used as a synonym for Barbaric, and was therefore used pejoratively. Its critics saw this type of Medieval art as unrefined and too remote from the aesthetic proportions, Renaissance authors believed that the Sack of Rome by the Gothic tribes in 410 had triggered the demise of the Classical world and all the values they held dear. Gothic art was criticized by French authors such as Boileau, La Bruyère, Rousseau, before becoming a recognized form of art. Molière would famously comment on Gothic, The besotted taste of Gothic monuments, These odious monsters of ignorant centuries, in its beginning, Gothic art was initially called French work, thus attesting the priority of France in the creation of this style. Painting in a style that can be called Gothic did not appear until about 1200, or nearly 50 years after the origins of Gothic architecture and sculpture. Then figures become more animated in pose and facial expression, tend to be smaller in relation to the background of scenes, and are arranged more freely in the pictorial space, where there is room. This transition occurs first in England and France around 1200, in Germany around 1220, painting during the Gothic period was practiced in four primary media, frescos, panel paintings, manuscript illumination and stained glass. Frescoes continued to be used as the pictorial narrative craft on church walls in southern Europe as a continuation of early Christian
Gothic art
–
The Western (Royal) Portal at
Chartres Cathedral (ca. 1145). These architectural statues are the earliest Gothic sculptures and were a revolution in style and the model for a generation of sculptors.
Gothic art
–
Later Gothic depiction of the
Adoration of the Magi from
Strasbourg Cathedral.
Gothic art
–
Gothic sculpture, late 15th century,
Amiens Cathedral.
Gothic art
–
14th Century
International Gothic Mary Magdalene in St. John Cathedral in
Toruń.
28.
Renaissance art
–
Renaissance art, with Renaissance Humanist philosophy, spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. Renaissance art marks the transition of Europe from the period to the Early Modern age. In many parts of Europe, Early Renaissance art was created in parallel with Late Medieval art, the following list presents a summary, dealt with more fully in the main articles that are cited above. Classical texts, lost to European scholars for centuries, became available and these included Philosophy, Prose, Poetry, Drama, Science, a thesis on the Arts and Early Christian Theology. Simultaneously, Europe gained access to advanced mathematics which had its provenance in the works of Islamic scholars, the advent of movable type printing in the 15th century meant that ideas could be disseminated easily, and an increasing number of books were written for a broad public. The establishment of the Medici Bank and the subsequent trade it generated brought unprecedented wealth to a single Italian city, cosimo de Medici set a new standard for patronage of the arts, not associated with the church or monarchy. Humanist philosophy meant that mans relationship with humanity, the universe, a revived interest in the Classics brought about the first archaeological study of Roman remains by the architect Brunelleschi and sculptor Donatello. A similar heritage of artistic achievement occurred in Venice through the talented Bellini family, their influential inlaw Mantegna, Giorgione, Titian, the publication of two treatises by Leone Battista Alberti, De Pitura,1435, and De re aedificatoria,1452. Their masterpieces are the pulpits of the Baptistery and Cathedral of Pisa, the painters of the Low Countries at this period included Jan van Eyck, his brother Hubert van Eyck, Robert Campin, Hans Memling, Rogier van der Weyden and Hugo van der Goes. Their painting developed independently of Early Italian Renaissance painting, and without the influence of a deliberate, the style of painting grew directly out of the Medieval arts of tempera painting, stained glass and book illumination. The media used was oil paint, which had long been utilised for painting leather ceremonial shields and accoutrements, because it was flexible, the earliest Netherlandish oil paintings are meticulous and detailed like tempera paintings. The material lent itself to the depiction of variations and texture. The Netherlandish painters did not approach the creation of a picture through a framework of linear perspective and they maintained a Medieval view of hierarchical proportion and religious symbolism, while delighting in a realistic treatment of material elements, both natural and man-made. Jan van Eyck, with his brother Hubert painted The Altarpiece of the Mystical Lamb and it is probable that Antonello da Messina became familiar with Van Eycks work, while in Naples or Sicily. His studies of perspective are thought to have influenced the painter Masaccio, the contemporary of Donatello, Masaccio, was the painterly descendant of Giotto, furthering the trend towards solidity of form and naturalism of face and gesture that he had begun a century earlier. Masaccios developments were carried forward in the paintings of Fra Angelico, the treatment of the elements of perspective and light in painting was of particular concern to 15th-century Florentine painters. Uccello was so obsessed with trying to achieve an appearance of perspective that, according to Vasari and his solutions can be seen in his masterpiece, the Battle of San Romano. In Naples, the painter Antonello da Messina began using oil paints for portraits and religious paintings at a date that preceded other Italian painters and he carried this technique north and influenced the painters of Venice
Renaissance art
–
Titian,
Sacred and Profane Love, c. 1513 – 1514
Renaissance art
–
Giotto,
Lamentation, Cappella degli Scrovegni.
Renaissance art
–
Rogier van der Weyden,
The Descent from the Cross (c. 1435), oil on oak panel, 220 cm × 262 cm (87 in × 103 in).
Museo del Prado, Madrid
Renaissance art
–
Donatello,
David (1440s?) Museo Nazionale del Bargello.
29.
Gospel Book
–
The Gospel Book, Evangelion, or Book of the Gospels is a codex or bound volume containing one or more of the four Gospels of the Christian New Testament — normally all four. Liturgical use in churches of a distinct Gospel book remains normal, often compulsory, in Eastern Christianity, protestant churches normally just use a complete Bible. In the early Middle Ages, the production of copies of the Bible in its entirety was rare, individual books or collections of books were produced for specific purposes. From the 4th century Gospel Books were produced for use, as well as private study. The Codex Washingtonianus is an example of a book containing only the four gospels, in Greek. By the 7th century particular gospel texts were allocated to days in the liturgical calendar, in the East they remained a significant subject for illumination until the arrival of printing. The Evangelist portrait was a feature of their decoration. Most of the masterpieces of both Insular and Ottonian illumination are Gospel Books, and there are very many Byzantine and Carolingian examples, but most Gospel Books were never illuminated at all, or only with decorated initials and other touches. They often contained, in addition to the text of the Gospels themselves, supporting texts including Canon Tables, summaries, glossaries, however, use of the Book of the Gospels is not mandatory, and the gospel readings are also included in the standard Lectionary. The Book of the Gospels, if used, is brought to the altar in the entrance procession, when carried in procession, the Book of the Gospels is held slightly elevated, though not over the head. It is particularly proper for the deacon to carry the Book of the Gospels in procession, when there is no deacon, the Book may be carried by a lector. Upon reaching the altar, the deacon or lector bows in veneration of the altar, then places the Book upon the altar, where it remains until the Alleluia. During the singing of the Alleluia, the deacon, or in his absence, if incense is used, the Book of the Gospels is censed by the deacon before the reading or chanting. An altar server or acolyte will swing the censer slowly during the reading or chanting, if the Rite of Dismissal of catechumens is celebrated, the Book of the Gospels is carried in procession in front of the catechumens as they leave the church. Following this several publishers have produced gospel books for use in the Episcopal Church, afterward, it may be returned to the altar or placed on a side table or a stand. Among Eastern Orthodox and Eastern Catholics the Gospel Book is very important liturgically and it is considered to be an icon of Christ, and is venerated in the same manner as an icon. The Gospel Book contains the readings that are used at Matins, the Divine Liturgy, Molebens, occasionally it will contain pre-arranged texts of the more complex composite readings, such as the Twelve Gospels read at Matins on Good Friday. Traditionally, the Orthodox will never cover the Gospel Book in leather—the skin of a dead animal—because the words of Christ are considered to be life-giving, animal skins are also reminiscent of the Fall of Man, when God fashioned garments of skin for Adam and Eve after their disobedience
Gospel Book
–
The
Book of Kells, c. 800, showing the lavishly decorated text that opens the
Gospel of John.
Gospel Book
–
Folio 72 verso of the
Codex Aureus of Lorsch.
Christ in Majesty
Gospel Book
–
2008
Midnight Mass at The Cathedral of Saint Peter the Apostle in
Jackson, MS
Gospel Book
–
The Gospel Book at
St. Mary's Episcopal Church.
30.
Lindisfarne Gospels
–
The manuscript is one of the finest works in the unique style of Hiberno-Saxon or Insular art, combining Mediterranean, Anglo-Saxon and Celtic elements. The Lindisfarne Gospels are presumed to be the work of a monk named Eadfrith, current scholarship indicates a date around 715, and it is believed they were produced in honour of St. Cuthbert. During the Viking raids on Lindisfarne this jewelled cover was lost, the text is written in insular script, and is the best documented and most complete insular manuscript of the period. In the 10th century an Old English translation of the Gospels was made and this is the oldest extant translation of the Gospels into the English language. Cottons library came to the British Museum in the 18th century, Lindisfarne, also known as Holy Island, is located off the coast of Northumberland in northern England. In around 635 AD, the Irish missionary Aidan founded the Lindisfarne monastery on “a small outcrop of land” on Lindisfarne, King Oswald of Northumbria sent Aidan from Iona to preach to and baptize the pagan Anglo-Saxons, following the conversion to Christianity of the Northumbrian monarchy in 627. By Aidan’s death in 651, the Christian faith was becoming well-established in the area. In the tenth century, about 250 years after the production of the book, Aldred, in his colophon he recorded the names of the four men who produced the Lindisfarne Gospels. Some scholars have argued that Eadfrith and Ethelwald did not produce the manuscript, however, Janet Backhouse argues for the validity of the statement by pointing out that, there is no reason to doubt statement because he was recording a well established tradition. Eadfrith and Ethelwald were both bishops at the monastery of Lindisfarne where the manuscript was produced, as Alan Thacker notes, the Lindisfarne Gospels are undoubtedly the work of a single hand, and Eadfrith remains regarded as the scribe and painter of the Lindisfarne Gospels. According to Aldred’s colophon, the Lindisfarne Gospels were made in honor of God and Saint Cuthbert, scholars think that the manuscript was written sometime between Cuthbert’s death in 687 and Eadfrith’s death in 721. Due to increasingly slack religious practice in Lindisfarne, Cuthbert was sent to Lindisfarne as a way to reform the religious community, in Lindisfarne Cuthbert began to take on a solitary lifestyle, eventually moving to Inner Farne Island where he built a hermitage. Cuthbert agreed to become bishop at the request of King Ecgfrith in 684, Cuthbert died on 20 March 687, and was buried in Lindisfarne. As a venerated saint his tomb attracted many pilgrims to Lindisfarne, the Lindisfarne Gospels is a Christian manuscript, containing the gospels of Matthew, Luke, Mark, and John and the life and teachings of Jesus Christ. The manuscript was used for purposes to promote and celebrate the Christian religion. The Lindisfarne Gospels manuscript was produced in a scriptorium in the monastery of Lindisfarne, the pages of the Lindisfarne gospels are vellum, made from the skins of sheep or calves and evidence from the manuscript reveals that the vellum used for the Gospels was made from calfskin. The text of the manuscript is written “in a dense, dark brown ink, often almost black, which contains particles of carbon from soot or lamp black”. The pens used for the manuscript could have cut from either quills or reeds
Lindisfarne Gospels
–
Folio 27r from the Lindisfarne Gospels contains the incipit from the
Gospel of Matthew.
Lindisfarne Gospels
–
John the Evangelist
Lindisfarne Gospels
–
"Chi-Rho" monogram at the start of the Gospel of Matthew
Lindisfarne Gospels
–
Gospel of Luke
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Herbermann, Charles, ed. (1913). "Illuminated Manuscripts". Catholic Encyclopedia. New York: Robert Appleton Company.
Herbermann, Charles, ed. (1913). "
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