If the illuminated MSS. of the Middle Ages are carefully studied, the importance of the initial letter as a starting-point for the growth of the decoration cannot possibly escape one’s notice. The rough sketches shown in [Figs. 23 and 24] trace the development in this direction through the various centuries. These are given simply to indicate the way in which the initial letter was used in the different periods. The student is strongly advised to study the subject for himself. If he cannot examine the details from the actual MSS., there are plenty of excellent reproductions published which will enable him to study them at his leisure. It is, however, practically essential that, even if he cannot spend much time over them, he should make a point of at least seeing some of the actual work of the mediæval artists.
In the famous Book of Kells the initial letter is used to great advantage. It will well repay the student to study carefully some good reproductions of the pages of this wonderful MS. It shows what can be done with fine decoration based on lettering. Quite a number of pages are taken up with the words Liber generationis Christi, while one page is entirely devoted to the sacred monogram X P I.
Fig. 23.
In [Fig. 23] an example is shown in (a) from the famous Lindisfarne Gospels, now in the British Museum (Cotton MS., Nero D. IV.). This beautiful MS. is written in fine, half-uncial characters, the decoration being of the kind known as Hiberno-Saxon, or Anglo-Celtic. A note at the end of this MS. states that it was written by Eadfrith, Bishop of the Church of Lindisfarne. It was finished about the year 700. It has a most interesting history, which is much too detailed to describe here. It should, however, be carefully studied from the standpoint now being considered, viz., the initial letter. The page represented by this rough sketch is the opening page of the Gospel of St. Matthew. Of course this very rough suggestion can convey no idea of the beauty of the original, but it gives one some notion of the way in which the monogram X P I has been used as a basis for the decoration.
Perhaps it would be as well for the student to study, for the present, some of the MSS. of the best periods from this standpoint alone. He should note exactly how the letters are placed and the manner in which they are used. For the time being he should not concern himself so much with the details of the decoration. This may follow later, after he has become more familiar with the subject.
The page shown in (b) is from a Psalter probably written at Winchester in the latter part of the tenth century (Harley MS. 2904). It is the commencement of Psalm ci. This is also in the British Museum, as also are all the examples illustrated here. It is quite different to that of the Lindisfarne Gospels, although possibly some Celtic influence may be noted.
The next one (c) is also from a Psalter (Arundel MS. 60). This is a further development of the same school as the last, and was probably written at New Minster, Winchester, about 1060. It is interesting to observe how the D is linked up with the border.
The initial B, illustrated by (d), is from a twelfth-century Psalter of Westminster Abbey (Royal MS. 2 A. XXII.). Very large initials were very common during this period. This letter is filled with foliage, animals, etc., and also shows scenes from the life of David. The initial B at the commencement of the Psalms was a favourite subject with the illuminator at this time. He generally introduced the subject of David slaying Goliath also.
A common feature of the thirteenth-century illumination was the use of large decorated examples of the initial I, of which an instance is given in (e). These were filled with miniatures and foliage and were extremely decorative in character. This one is from a French Gospel Lectionary (Add. MS. 17341), and is filled with scenes from the Life of Christ.