Illustration: Fragment of a Greek manuscript of the Eusebian Canons, c6th century.
Manuscript pages have always been both a rich source of original decorative work, but have also been used extensively as inspiration for later design work, right up to and including the nineteenth century. Much of the decorative work for religious manuscripts, which consisted of the bulk of manuscript production right up until the invention of the printing press, could be found in the many borders and frameworks surrounding originally hand drawn calligraphy. These borders and frames changed over periods with earlier eras obviously being more classically inspired while true medieval manuscript decorative work was much more of a cultural mixture with elements from Islam, Byzantium and indeed localised indigenous cultures of Europe.
The four examples that illustrate this article are perhaps some of the earliest in the genre. All four illustrations are deemed to originate from the sixth century and are Greek in origin, although this can be misleading as the entire eastern Mediterranean and Balkans spoke and wrote in Greek up until and even after the Islamic invasions, therefore it is unclear as to where exactly these manuscript pages were originally produced.
Illustration: Fragment of a Greek manuscript of the Eusebian Canons, c6th century.
Although all four pages have survived from the sixth century, they are only portions of their original size and have been cut down for various reasons, one of which, as far at least three examples are concerned, in order to fit into a smaller book of Greek Gospels that was produced in 1189. It was relatively standard to cut up and reuse any number of worked pieces whether they be manuscripts or indeed textiles, particularly tapestries and carpets. This was not seen as vandalism but more a case of the recycling of existing products so as not to waste or discard, which was seen as a largely pointless and sometimes even criminal or at least immoral exercise, perhaps something we could ponder in our own staggeringly wasteful contemporary world.
The pattern work in the four examples shown in this article are both vibrant and colourful. However, these illustrations were taken from an 1833 publication, therefore the colour distribution and proximity to the original is debateable. However, it was noted at the time that the original backgrounds were of gold leaf laid on to vellum, with the decorative work being produced in variations of reds, blues and greens. Therefore, it could perhaps have been much more a case of the illustrator giving a guided example of what the pages may well have looked like when new, rather than antiqued with age.
Illustration: Fragment of a Greek manuscript of the Eusebian Canons, c6th century.
The pages themselves and the books they were originally intended for were definitely meant as a status symbol as the workmanship was so high and skilful and could well have been intended for a head of state, either inside or outside the Byzantine Empire. Using gold or silver as a background for the calligraphy and decorative pattern work of manuscripts was a particular standard used within high status manuscripts both secular and religious within the later Roman Empire. However, it was a particular speciality of the Eastern portion of the Empire, so much so that it was often assumed at the time and after, that this particular style was limited to Greek work.
Later medieval borders and frames which were a little more complex and floral based than these sixth century examples, were used by a range of nineteenth century artists and designers as starting points for decorative and pattern effects. William Morris was well known as both a collector of medieval manuscripts and a designer who used a range of borders and frameworks for inspiration regarding at least a percentage of his textile work.
Illustration: Fragment of a Greek manuscript of the Eusebian Canons, c6th century.
Although these examples are definitely placed within an Eastern Mediterranean styling, elements of at least some of the pattern work, particularly those shown on some of the pillars and arches sepsrating the script as seen on the last two examples, clearly show early indications of much of the floral based later medieval work. It can therefore be at least conceivably assumed that many of the devices on these early manuscripts would have been endlessly copied over the generations while at the same time being embellished with additions from local populations as well as personal detailing, however slight and small scale. All these elements would have added to the decorative vocabulary over the centuries, so that even though these particular examples are anchored within the Greek sphere of the Eastern Mediterranean and therefore a part of the Byzantine experience, they are also perhaps some of the foundation stones of the later European medieval phase of the decorative arts. These in turn would have fed the English Arts & Crafts movement through William Morris, amongst others.
These page examples give a fascinating insight into pattern work that crossed the range between the classical and early medieval worlds. They give examples of motifs and decorative ideas that were to both disappear and then reappear on seemingly endless cycles of decoration, ornament and pattern. Admittedly, many of the decorative cycles of Europe had little if any direct contact with these sixth century examples and could well have used inspiration from a much wider vocabulary, both in era and geography than can be seen here. However, this does not negate the effect that generations of decorators and pattern makers who spent countless hours producing borders and frameworks for manuscripts across Europe, had on the eventual shape, style and direction of European decorative art.
Further reading links:
Greek Manuscripts at Princeton, Sixth to Nineteenth Century: A Descriptive Catalogue (Publications of the Department of Art and Archaeology, Princ)
The Glory of the Page: Medieval & Renaissance Illuminated Manuscripts from Glasgow University Library (Harvey Miller Publication)
A selection of medieval illuminated manuscripts & single leaves (Catalog)
THE HEBREW BIBLE IN MEDIEVAL ILLUMINATED MANUSCRIPTS
Illuminated Manuscripts: Medieval Hunting Scenes ("The Hunting Book" by Gaston Phoebus)
The Splendor of the Word: medieval and Renaissance Illuminated Manuscripts at the New York Public Library (Studies in Medieval and Early Renaissance Art History)
Illuminated and Decorated Medieval Manuscripts in the University Library, Utrecht: An Illustrated Catalogue
The Christmas Story in Medieval and Renaissance Illuminated Manuscripts.
Important Western Medieval Illuminated Manuscripts & Illuminated Leaves (Catalog one)
Gilding the Lily: a Hundred Medieval and Illuminated Manuscripts in the Lilly Library
Medieval hunting scenes ("The hunting book") (Illuminated manuscripts)
The Illuminated Manuscripts of Medieval Spain - 1996 publication
Late Medieval and Renaissance Illuminated Manuscripts: 1350-1522, In the Houghton Library
