Illuminated Manuscripts. John William Bradley

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Illuminated Manuscripts - John William Bradley

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       Table of Contents

       CHAPTER I

       Table of Contents

      What is meant by art?—The art faculty—How artists may be compared—The aim of illumination—Distinction between illumination and miniature—Definition of illumination—The first miniature painter—Origin of the term “miniature”—Ovid's allusion to his little book

       CHAPTER II

       Table of Contents

      Difference between vellum and parchment—Names of different preparations—The kinds of vellum most prized for illuminated books—The “parcheminerie” of the Abbey of Cluny—Origin of the term “parchment”—Papyrus

       CHAPTER III

       Table of Contents

      Its different styles—Origin of Western alphabets—Various forms of letters—Capitals, uncials, etc.—Texts used in Western Europe—Forms of ancient writings—The roll, or volume—The codex—Tablets—Diptychs, etc.—The square book—How different sizes of books were produced

       CHAPTER IV

       Table of Contents

      The first miniature painter—The Vatican Vergils—Methods of painting—Origin of Christian art—The Vienna Genesis—The Dioscorides—The Byzantine Revival

       CHAPTER V

       Table of Contents

      The rebuilding of the city of Byzantium the beginning of Byzantine art—Justinian's fondness for building and splendour—Description of Paul the Silentiary—Sumptuous garments—The Gospel-book of Hormisdas—Characteristics of Byzantine work—Comparative scarcity of examples—Rigidity of Byzantine rules of art—Periods of Byzantine art—Examples—Monotony and lifelessness of the style

       CHAPTER VI

       Table of Contents

      Early liturgical books reflect the ecclesiastical art of their time—This feature a continuous characteristic of illumination down to the latest times—Elements of Celtic ornament—Gospels of St. Chad—Durham Gospels—Contrast of Celtic and Byzantine—St. Columba—Book of Kells—Details of its decoration

       CHAPTER VII

       Table of Contents

      The Iona Gospels—Contrast with Roman and Byzantine—Details—Treatment of animal forms—Colour schemes—The Gospel-book of St. Columbanus—That of Mael Brith Mac Durnan—The Lindisfarne Gospels—Cumdachs—Other book-shrines

       CHAPTER VIII

       Table of Contents

      Visigothic—Merovingian—Lombardic—Extinction of classic art—Splendid reign of Dagobert—St. Eloy of Noyon—The Library of Laon—Natural History of Isidore of Seville—Elements of contemporary art—Details of ornament—Symbolism—Luxeuil and Monte Cassino—Sacramentary of Gellone—“Prudentius”—“Orosius”—Value of the Sacramentary of Gellone

       CHAPTER IX

       Table of Contents

      The initial and initial paragraph the main object of decoration in Celtic illumination—Study of the letter L as an example—The I of “In principio” and the B of “Beatus Vir”

       CHAPTER X

       Table of Contents

      Transition from Iona to Lindisfarne—Influence of Frankish art—The “Opus Anglicum”—The Winchester school and its characteristics—Whence obtained—Method of painting—Examples—Where found and described

       CHAPTER XI

       Table of Contents

      Why so-called—Works to be consulted—The Library of St. Gall—Rise and progress of Carolingian art—Account of various MSS.—Feature of the style—Gospels of St. Sernin—The Ada-Codex—Centres of production—Other

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