Manuscript in Medieval Art - Essay Example

Manuscript in Medieval art Medieval manuscripts were not coffee-table books. Embedded in the Neoplatonic tradition, aesthetic responses were intimately associated with metaphysics in the Middle Ages, and the pulchritudo οf the created world was conceived as a reflection οf divine beauty in living matter. If the lay elite adopted and adapted this metaphysical discourse, it was because such idealism minimized the mercantile value οf art objects while promoting their uniqueness, their aura, that sacred radiance that, Walter Benjamin has argued, disappeared only with the rise οf mechanical means οf reproduction.[23] Consistent with a long medieval tradition, contemporary sources praised the opulence οf the materials or the technical appropriateness οf the finished product in terms οf "good" images, something that pleased the eye οf the beholder as well as the Creator.[24] In his impressive two-part volume Lilian Randall (1997) describes eighty-four codices and eighty-two unbound items produced in the medieval southern Netherlands, approximately equivalent to modern-day Belgium. It follows her equally impressive coverage οf manuscripts from France (vol. I, 1989; vol. II, in 2 parts, 1992); between them they cover about two-thirds οf the Western manuscripts at the Walters. The first thing to say to anyone who does not know the previous catalogues is that the descriptions are extremely detailed: for example, the description οf the Beaupre Antiphonary (cat. nos 219A-D) fills more than thirty pages. Catalogues οf medieval manuscripts might be said to fall into two broad types: on the one hand there are those that aim to provide readers with just enough information to help them decide whether they ought to consult the original in person; and on the other hand, there are those that provide so much information that the reader either does not have to consult the original, or can be confident that it is indeed worth the cost and effort οf a visit to examine the original. Randalls catalogues lie squarely in the second camp. Like many collections οf manuscripts (as opposed to libraries) formed during the last century or so, the Walters manuscripts were acquired largely for their decoration, and it is therefore appropriate that Randall provides perhaps the most detailed descriptions οf decoration to be found in any catalogue. But her descriptions are not aimed only at the art historian: equal care is given to all the features that one would hope to find covered in a catalogue οf undecorated manuscripts, such as the identification οf every individual textual item, codicological minutiae, and the description οf modern bindings and marks οf ownership. As in the previous volumes, the manuscripts are described in chronological order, each with a running number and a general heading, with each entry arranged under six headings: Text, Decoration, Textblock, Binding, History, and Bibliography; most οf these have subheadings: Textblock, for example, is divided into Parchment and endleaves, Page layout, Collation and foliation, Script and punctuation, Text divisions, and Musical notation. The layout and design is good: the information is clearly structured using a variety οf typographic means to help the reader navigate through the long descriptions. The text is amply illustrated by almost 60 color reproductions and zoo black and white ones, all οf high quality, including about 50 that specifically illustrate secondary decoration, script, or bindings. There is a general index; indexes οf iconography and incipits; and other useful apparatus including concordances between the Walterss shelfmarks, numbers assigned in de Riccis Census, Faye and Bonds 3upplement, and the running numbers in the present catalogue. All in all, Randalls catalogues set a standard that most other institutions will be hard-pressed to match. Life is so confusing and complex; everything always seems to be so complicated. But how do some express emotions and the complexity οf life? Well, many would consider writing, acting, dancing, singing, or even drawing as avenues οf expression. Some have developed their talents and used them to express themselves artistically while the majority οf people have not. Some people are introverted and do not understand or refuse to discuss personal emotions much less express them artistically. Some are extroverted but incapable οf expressing the true depth οf their souls. Artistic talents are gifts that allow one to express emotion. Art provides an avenue οf multiple expressions because it can be perceived differently than the artist intended, based on the background οf the spectator. The peoples οf the world have drawn or created all kinds οf art for centuries! Art has always been available for viewers to relate to. The greatest thing about art is the most simplistic masterpiece in the artists mind could be the answer to anothers question. Art can be a story, it can record history, it can express an artists pain, sorrow, joy, love, anger, beliefs, or point οf view and art comes in variety οf forms. From pre-historic drawings on walls οf caves, the Egyptian pyramids, and the medieval era, art has evolved into what it is today. Medieval art was not just paintings; it included stained glass, mosaics, tapestries, calligraphy, and sculptures. Generally, the stained glass and tapestries portrayed scenes from real life οf the times. Artists emotions were usually not reflected in the work, only his skill. Many οf the artists were religious and attempted to create pieces "as a way οf serving God." (Howarth) These religious paintings were used not only in churches and wealthy homes for decoration but also in religious ceremonies and services. Considering the immensity οf many οf these pieces, there were not many solo artists, they worked in teams and often did not provide any identity on their pieces (Howarth). Medieval art stylistically evolved into many divisions. The first division was considered the Romanesque although it is not "Roman in spirit ... its forms are οf Roman origin" (Janson). The art οf the eleventh and twelfth centuries flourished due to King Charlemagnes wish to combine Roman and Christian art. Roman art allowed a more "natural-looking style" that created an individual and realistic piece while Christian art was primarily a frozen scene (Beckett). Charlemagne instructed his painters to "tell stories with pictures" which created more interest in artistic talents (Janson). After his reign, the combination οf the Roman and Christian art continued, allowing more and more painters to express themselves and display their work in churches and houses in the forms οf murals throughout the country. Many οf the Romanesque paintings were rich in color and texture and their sculptures and carvings were sharp and distinctive with grave detail. (Binski 598-600) Over time, the Romanesque period evolved into what is known as Gothic art. (Saul) Gothic Art developed in France in 1150 A.D. but soon spread its new methods and ideas to the rest οf the western world. A type οf glass made was the Canterbury glass which was influenced by the stained glass and consisted οf various colors (Janson). Although the Canterbury glass was the newest contribution to the arts, "painting, tapestry, metalwork, glasswork, and manuscript illumination" were also major works οf this period (Blackford). Book publication became a major demand among universities and churches for devotional use and many artists were asked to illustrate them with appropriate scenes and religious symbols. As in the Romanesque period, many οf the pieces created were based on religion (Jones). In contrast, many non-religious paintings and sculptures depicted actual and mythical animals and their characteristics (Saul). The growth οf cities contributed to the increase οf gothic artists who took it upon themselves to individualize their pieces. Specific characteristics were used in different regions, primarily in France and the rest οf Europe. Many οf the churches were not only decorated with pieces οf art but mosaics were created and used as "thrones, candlesticks, and the twisted columns οf cloisters" (Columbia). Monks became artists when asked to create the scribes, or the book itself. At this time the artistry οf calligraphy developed and flourished. Not only was calligraphy tedious and an intricate task, but it was also physically demanding. New inks and writing utensils were produced to meet the need. Pens were usually made οf bird feathers or οf metal and were dipped into an ink pot to be capable οf writing. Paper was unknown to Medieval Europe so parchment was used in replacement. Parchment was made οf animal hides that was carefully cut away and scraped before it was ready for use. A stylus was a metal pen that did not need ink; it was used for writing in soft wax (Howarth). One οf the most famous artists οf the Gothic era was Simone Martini. He was taught by the great Duccio and was "greatly influenced by the art οf the Angevin court" which was elegant and distinctive (Beckett). Many οf his paintings have elegant physical characteristics and could easily be described as "dazzlingly beautiful" as could many οf the pieces in this period (Saul). Martini portrayed the reality οf life with scenes οf irony and injustice into his magnificent works. Simone Martini was considered an amazing artist by his peers, but so too was Giotto, another student οf Duccio. Art was considered a "craft, a mechanical art" to many but Giotto changed that (Bellosi). He created the paintings with one feeling in mind and dwelled on that theme. Giottos creatures were given expressions and when one looks at it, one immediately grasps the mood. Yes, οf course his paintings could be perceived differently depending on the viewer and his/her complexities, but individuals "become part οf the scene" (Janson). Romanesque and Gothic art told stories in different ways but Giotto combined both techniques and created a feeling and emotion to the whole piece οf work. Giotto created it as if it were a scene from a play ready for an audience. For centuries art has been used as an escape from reality or for an understanding οf the events surrounding. The Last Supper symbolizes all οf Christianity and the promise οf the Lords return. Betrayal and devotion are displayed in the Crucifixion and the Kiss οf Judas. Many artists illustrated the saints or scenes from the Bible on walls and ceilings οf area cathedrals and sanctuaries to remind fellow followers οf His promise and love. One can easily relate to the Mona Lisas calm and inscrutable facial expression. Giottos ability to express emotions upon the face οf his subjects created an even more profound artistic style, like that οf the Mona Lisa. As the years passed, leaders, like Giotto and Martini, took the concepts οf before and added other concepts which created the art οf their day. These became the foundation οf future art. Medieval artists used various tools, e.g. brushes, sponges, cloth, oils, pigments, etc., available at the time to create pieces and murals, primarily on plaster and wooden walls. But as more and more artists developed; they modified Giottos, Martinis, and Duccios techniques and tools to fit their particular skills and visions. (Cahn 200-207) Because οf the works and patterns established by medieval artists, newer artists experimented with the products οf technological improvement in cutting tools, chisels, paint applicators, and paint canvasses. These advances allowed artists to sculpt and paint more quickly with less chance οf error. Artists not only experimented with tools to make things easier but also concentrated on brush strokes, paint consistencies, and textures that would add dimension to paintings. Chemical enhancements also allowed oils to give paints longevity. Paintings were always displayed on walls or ceilings but soon after the medieval era moved to canvas while sculptors became more life like. Throughout history people have attempted to portray emotions. Art has achieved the goal in a variety οf ways. Whether it is to calm one self or to simply display emotion, art is another point οf view in society. Everything else has a beginning and an end, but art will live on forever. Works Cited Binski, Paul. (1991) Medieval and Renaissance Manuscripts in the Walters Art Gallery, 1: France, 875-1420 (Book). Speculum, Jul91, Vol. 66 Issue 3, p598-600 Cahn, Walter (2002) Medieval and Renaissance Manuscripts in the Walters Art Gallery.. Speculum, 2002, Vol. 77 Issue 1, p200-207 Randall, Lilian M. C. (1997) Belgium, 1250-1530, parts 1-2 (Baltimore, Md: Johns Hopkins University Press in association with the Walters Art Gallery) 366 pp. Read More