ILLUMINATION IN THE FIFTEENTH CENTURY AND LATER
In the early part of the fifteenth century the work of the French School was undoubtedly superior to that of the English. The ivy-leaf decoration of the fourteenth century was developed into an elaborate decorative scheme. The gold and diaper backgrounds began to be dispensed with and natural scenery was substituted. In fact miniature painting became more and more naturalistic in treatment, and the same tendency is noticeable in the decoration, which, although often most elaborate and highly finished, is not to be compared with the earlier work.
In this century, Flemish illumination, which during the thirteenth and fourteenth centuries was very similar in style to the French and English MSS., developed into a most distinctive style specially notable for its fine, delicate drawing. An illuminated MS. in the British Museum, “Mandeville’s Travels” (Add. MS. 24189), is an example of this style. It contains twenty-seven miniatures, without text, illustrating Sir John Mandeville’s travels. These are drawn with a pen on vellum that has been tinted a soft pale green. They have been shaded in black and white with a brush, and colour is used for flesh tints, foliage, etc., and gold is also used for crowns, nimbi, etc.
In Flemish illumination of the latter part of the fifteenth century miniature painting became highly developed, becoming more realistic. The decoration became debased, becoming eventually merely a frame of gold or colour upon which were painted realistic representations of flowers, fruit, insects, etc. These were often beautifully painted, and the miniatures also show great skill from a technical standpoint, but lacking generally the fine feeling that characterises the work of the earlier periods.
This later style is represented by a number of MSS. in the British Museum. One only is mentioned here, although this is but one of many. The “Hours of the Virgin” (Egerton MS. 1147).
The Breviary of John, Duke of Burgundy (Harley MS. 2897), and the “Book of Hours” of John, Duke of Bedford (Add. MS. 18850), are two famous MSS. of the French School at this period, now in the British Museum.
“The Missal of William Melrith, Alderman of London” (Arundel MS. 109), is an example of English illumination of the first half of this century.
In Italy, as was the case in regard to writing, the illuminators in the early part of this century seem to have gone back to the period of the eleventh and twelfth centuries for models. A familiar type of decoration is formed of twining vine-tendrils, generally in white on coloured grounds. Another type that was in use a great deal was a delicate style of decoration composed of a conventional treatment of flowers, foliage, etc., studded with a large number of raised gold spots brilliantly burnished, outlined and rayed. In course of time these styles became much more elaborated with medallions, vases, candelabra, portrait busts, realistic renderings of gems, and Renaissance figures.
Some examples of late Italian work in the British Museum are as follows:—St. Augustine’s “Commentary on the Psalms” (Add. MS. 14799); “Luiz, de Bello Macedonico,” etc. (Harley MS. 3694); “Book of Hours,” of Bona Sforza, Duchess of Milan (Add. MS. 34294).
When the art of printing from type was first practised, this did not at once stop the production of illuminated MSS. The large number of MSS. that were produced after this date shows quite plainly that, except in the commoner class of books, the MS. book still occupied the most prominent place. Professional illuminators were still employed by people in high positions, and some very costly and elaborate volumes were produced. Many of the early printed volumes were printed with spaces left for initials, miniatures, etc., to be filled in by the illuminator. However, in course of time this art gradually fell into disuse.