Illuminated manuscripts in classical and mediaeval times, their art and their technique

by J. H. Middleton

Isolated pictures.The evidence derived from these two sources leads to the conclusion that as a rule the illuminations in classical manuscripts were treated as separate pictures, each surrounded with a simple painted frame, and not closely linked to the text in the characteristic mediaeval fashion. The mediaeval method, by often introducing miniature paintings within the boundary of large initial letters, and by surrounding the page with borders of foliage which grow out of the chief initials of the text, makes the decoration an essential part of the whole and creates a close union between the literary and the ornamental parts of the book, Mediaeval method.which is very unlike the usual ancient system of having a plainly written text with isolated miniature paintings introduced at intervals throughout the pages of the book.

Iliad of the 4th century.

Iliad of the 4th century.Manuscript of the Iliad at Milan; of all existing Greek or Latin manuscripts none gives a better notion of the style of illuminations used in manuscripts of the best Graeco-Roman period than the fragments of Homer's Iliad which are preserved in the Biblioteca Ambrogiana in Milan.

These fragments consist of fifty-eight miniature paintings, which have been cut out of a folio manuscript on vellum of Homer's Iliad, dating probably from the latter part of the fourth century A.D. The mutilator of this codex seems only to have cared to preserve the pictures, and the only portion of the text which still exists is about eight hundred not consecutive lines which happen to be written on the backs of the paintings. Great additional interest is given to this priceless fragment by the fact that the miniatures are much older in style than the date of the manuscript itself, and have evidently been copied from a much earlier Greek original.

Older Greek style.

Older Greek style.And more than that; these paintings take one back further still; their rhythmical composition, the dignity of their motives, the simplicity of the planes, and the general largeness of style which is specially noticeable in some of the miniatures representing fighting armies of gods and heroes, all suggest that we have here a record, weakened and debased though it may be, of some grand series of mural decorations on a large scale, dating possibly from the best period of Greek art.

Hellenic models.

Hellenic models.As is naturally the case with copies of noble designs executed at a period of extreme decadence these paintings are very unequal in style, combining feebleness of touch and coarseness of detail with great spirit in the action of the figures and great dignity in the compositions, which have numerous figures crowded without confusion of line, thus suggesting large scale though the paintings are actually miniatures only five or six inches long. The treatment of gods and heroes, especially Zeus, Apollo, Achilles and others, has much that recalls fine Hellenic models. And some of the personifications, such as Night and the river Scamander, possess a gracefulness of pose and beauty of form which was far beyond the conception of any fourth century artist.

It should, however, be observed that a fine Hellenic origin is not suggested by all the fifty-eight pictures from this Iliad. Some of them are obviously of later and inferior style, with weak scattered compositions, very unlike the nobility and decorative completeness of the best among the miniatures.

Scheme of colour.