Illuminated Manuscripts

Everything concerning the original manuscript, including essays on the language, the style, the artists, the miniatures.

The Rothschild Canticles: An Illuminated Mystery

November 15, 2024December 5, 2024Giovanni Scorcioni

What do the Holy Trinity, the Desert Fathers, and a terrified man fleeing from a giant snail have in common? Surprisingly, they are all masterfully depicted within the curious yet captivating manuscript known as the Rothschild Canticles. But what connects this peculiar imagery, along with several other profane illustrations found in the margins, to the sacred themes of the text and its full-page theological illuminations? Continue reading, and join us in unraveling the mystery.

From Carolingian Roots to Ottonian Mastery: The Artistic Journey of the Gero Codex

August 24, 2024August 14, 2024Elizabeth Teviotdale

It is a truism of medieval art history that virtually all Ottonian art betrays the influence of Carolingian art, and this is demonstrated above all in the art of manuscript illumination. The Gero Codex is a remarkable witness to how an Ottonian painter received the Carolingian heritage so valued by the painters of his age.

Three Bi-Lingual Illuminated Apocalypse Manuscripts

August 3, 2023August 7, 2023Elizabeth Teviotdale

Explore with Liz Teviotdale the mesmerizing world of three closely related illuminated Apocalypse manuscripts from 14th century England. Uniting the Latin with an Anglo-Norman translation, commentary, and striking imagery, these manuscripts offer a captivating glimpse into Saint John’s apocalyptic visions.

Learning about Making Manuscripts with a Cistercian Prayer Book

February 1, 2023February 1, 2023Elizabeth Teviotdale

Why does the facsimile of the Herrenalb Prayer Book offer a precious insight into the ancient and fascinating art of crafting medieval codices? Let’s find out with Liz Teviotdale.

A Fascinating Glimpse into Roman Life and Dress

January 26, 2022January 24, 2023Elizabeth Teviotdale

The miniatures of the Vatican Terence (ca. 825, Aachen), even if painted centuries after the performances portrayed, provide an insight into both late Roman art and the conventions of ancient drama and society. Let’s meet the Masks of the Roman Stage!