The Decoration of Capital Letters of the 10th Century

Illustration: Capital letter from a Latin Gospel, c10th century.

Although the idea of the word medieval tends to automatically spring to mind when considering ornamented manuscript lettering, there are a number of different variants depending on the culture, geographical location and time period, some of which occur much earlier than the European medieval. As far as Britain and Ireland are concerned, probably two of the most intricate and memorable are those of Celtic and Saxon origin. Both decorative systems are very different and come from different cultural backgrounds with different initial beliefs and lifestyles. However, under Christianity, both Celtic and Saxon cultures although sharing a belief system in common with much of Western and Northern Europe, were still able to identify themselves as wholly unique, which was seen particularly through their art and craftwork.

Illustration: Text font derived from a book of Gospels, c10th century.

English Saxon decorative manuscript work tended to show obvious influences from both Celtic and Norse origin, which perhaps shows influences from both their original homeland and that of their adopted one. The decorative work although relatively complex and involved, also had a tendency to be clear and concise, lending a bold and sturdy nature to the work that was sometimes softened by both lighter floral work as well as the use of softer colours. Many of the inspirational ideas behind the decoration were flora and fauna based, although many of the examples of fauna contained imaginary beasts that although pertaining to biblical references were often firmly routed within the Saxon pagan past.

Illustration: Capital letters and borders from a Psalter, c10th century.

Although the English Saxon period was not as popularly or familiarly studied during the nineteenth century as that of the medieval, largely due to the lack of relative remains compared to the later medieval phases, it was still judged as a relatively interesting decorative era, particularly as regards manuscripts, of which there were some excellent examples remaining. Henry Shaw in his 1853 book entitled The Handbook of Medieval Alphabets and Devices made it clear that although not necessarily an obvious part of the larger subject of medievalism that fuelled the Victorian Gothic Revival, this period still had treasures to both share and inspire. He stated that among 'the Saxons, towards the close of the tenth century, a style of ornament prevailed, which must be considered peculiar to themselves, and which, for boldness, correctness of design, and richness, cannot be surpassed by any works executed on the Continent at the same period.'

Illustration: Capital letter from a copy of the Gospels, c10th century.

Today it is often hard to clearly identify much that is Saxon inspired or that dates from the period. The Norman invasion and occupation of England in 1066 has systematically removed much from the period through either displacement or rebuilding. There are still Saxon churches existing and many of the cathedrals and medieval churches across England occupy the space once held by earlier Saxon buildings. However, it is probably the smaller craftwork particularly that of metalwork and manuscript decoration, rather than the larger architectural achievements of the English Saxons, that will be best remembered and hopefully used for future inspiration.

Illuatration: Capital letter from a copy of the Gospels, c10th century.

All the illustrations produced for this article are English Saxon designs, produced during the tenth century. However, with the second illustration, the lettering itself is derived from the ninth or tenth centuries, while the border framework comes from a much earlier period and is derived from St Cuthbert's Gospels, also known as the Durham Book which was produced between 698 and 721. The reason for the strange composite is the fact that it was taken from an early Victorian publication and was used for easy and interesting observation. However, it does not exist as such in reality.

Further reading links:
Celtic and Anglo-Saxon Art and Ornament (Dover Pictorial Archives)
The Art of Anglo-Saxon England (Boydell Studies in Medieval Art and Architecture)
Anglo-Saxon Art from the Seventh Century to the Norman Conquest
Anglo-Saxon Art, Myth and Material Culture from the 4th to 7th Century: Wayland's Work
MS. Junius 11: The origins of English poetry, a masterpiece of Anglo-Saxon art; Bodleian Library Digital Texts 1 (Bodlein Digital Texts)
The Making of England: Anglo-Saxon Art and Culture Ad 600-900
The Golden Age of Anglo-Saxon Art
The Art of the Anglo-Saxon Goldsmith: Fine Metalwork in Anglo-Saxon England: its Practice and Practitioners (Anglo-Saxon Studies)
Anglo-Saxon art to A.D. 900, (Methuen library reprints)
Anglo-Saxon Art: A New Perspective
Early Anglo-Saxon Art and Archaeology: Being the Rhind Lectures, Delivered in Edinburgh, 1935 (The Rhind Lectures, 1935-36)
Celtic and Anglo-Saxon Art: Geometric Perspectives
The Church in Anglo-Saxon Society
Working with Anglo-Saxon Manuscripts (University of Exeter Press - Exeter Medieval Texts and Studies)
Anglo-Saxon Crafts (Revealing History)
Art of the Anglo Saxon Age

Pattern Work of a Sixth Century Manuscript

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