Art in the Archives Part 1: Illuminated manuscripts

Illuminated manuscripts can be found in library and archival collections across the globe. The most richly decorated examples are amongst the most visually stunning and breath-taking works of art in the world. The term ‘illuminated manuscript’ is commonly used to refer to bound volumes, but can encompass any handwritten manuscript which incorporates hand-drawn or painted illustrations. Examples of illustrations can range from simple textual flourishes to full page paintings, and the most highly decorated examples even include gold leaf!

The earliest known illuminated manuscripts date from c.400-600 CE, but the majority of surviving examples date from the Middle Ages. Two famous examples are the Lindisfarne Gospels and the Book of Kells, both of which are copies of the New Testament Gospels. However, many different texts, initially mostly religious pieces, have been considered worthy of illumination. These include bibles, choir books and prayer books, known as Books of Hours. Illumination was reserved for those texts considered to be most spiritually valuable, thus making them stand out from other writings. 

Before the rise of secular book production, most illuminated manuscripts were produced by monks working in monasteries. Monks were amongst the most literate individuals in society. They worked in rooms known as scriptoria, and when we read accounts of these places they appear as hives of quiet and dedicated activity. The pages of manuscripts were made from vellum, a very fine and very expensive material, which was made from the laborious processing and treatment of animal skin. The writing of the text was a highly skilled task, requiring a high degree of literacy and accurate attention to detail. Illumination was a lengthy and delicate task, requiring years of practice to do well, and was only undertaken by the most skilled illustrators. Some incredibly special and treasured volumes would also be given jewelled bindings, as was the case for the Lindisfarne Gospels. 

The time, skill and costs involved in producing an illuminated manuscript, conferred on them a significant monetary value. For these reasons, illuminated manuscripts can help us to understand the values prized by the societies that created them. They can also help us to understand questions of cultural power, political authority and wealth in those societies. 

As the number of secular scribes increased so too did the use of illustrative flourishes on non-religious texts, important documents such as Letters Patent and Royal Charters might be given decorative initials. Early printed books also left space for illustrations to be added later by hand. However, as printing boomed, illumination declined. Very few illuminated books were being produced by the 16th century and only then for the extremely wealthy who were the only ones still able to afford them. 

Sadly, there are no illuminated manuscripts as grand as the Book of Kells lurking in the strongrooms at Hull History Centre. However, we do have one thing that can be considered a ‘proper’ illuminated manuscript…

Detail from Logica Brevis by Paulus Nicolettus, early 15th cent. [U DP144/1]

It is an early 15th century book by Paulus Nicolettus, and is titled ‘Logica Brevis’. This particular copy was purchased by the University of Hull in 1933, but the reasons for the purchase are unclear. It is quite a small book, written in Latin in a gothic hand and was most likely produced in Italy. Thanks to rough notes written in the volume, we can identify two of the previous owners; one was a James de Ricardis of the Order of Preachers (the Dominicans); the other was the Convent of San Giacomo in Soncino, Lombardy. A Brother Anthony de Vulpis is identified in the volume as the scribe, or the person who physically wrote the words onto the pages. The illumination is fairly simple and limited in extent, which is perhaps a result of the volume’s status as a book of logic, rather than a religious text. However, the presence of any illumination in such a volume suggests the author or the work was highly significant at the time the volume was created. This suggestion seems to be confirmed by reference to the author of the text as ‘the most famous master of the sacred page’. To learn more about the life of the author of U DP144, Paulus Nicolettus, see our collection catalogue at: http://catalogue.hullhistorycentre.org.uk/files/u-dp144.pdf 

The practice of illustrating individual letters (known as historiated initials) in a manuscript was applied to important secular documents recording the exercise of power by a monarch. We have several examples of this at Hull History Centre. 

Earlier examples include quite elaborate, single coloured designs, such as this Letters Patent dated 1536, which depicts Henry VIII and includes a Tudor Rose detail:

Henry VIII detail from Letters Patent, 1536 [U DDCA2/29/119]

Tudor Rose detail from Letters Patent, 1536 [U DDCA2/29/119]

Another fine Tudor example is found in Letters Patent dated 1535, granting to Sir Marmaduke Constable various manors and estates in Yorkshire. Again, the initial contains a portrait of Henry VIII sitting on his throne in full regalia, but this one has been enhanced with gold paint and includes a fleur de lis, perhaps a reference to Henry VIII’s claim to be King of France: 

Henry VII detail from Letters Patent, 1535 [U DDEV/50/11]

Fleur de lis detail from Letters Patent, 1535 [U DDEV/50/11]

It is also possible to find illumination of more simple documents, such as land deeds. Perhaps individual scribes got bored at producing the volumes of land deeds required to manage large Early Modern landed estates.

The following is a very simple example, showing an illuminated letter 'T' to start the words 'This indenture...', found in a deed dated 1636:

Bargain and sale, 1636 [ref. U DDFF/1/33]

Whilst this more elaborate example is found in an exemplification relating to the Manor of Ebberston:

Exemplification of Writs of Entry and Letters of Attorney in Recovery from Sir Richard Etherington, [ref. U DDHO/52/5]

Gradually, as the need for documentation to prove ownership of lands and other rights increased, the incidence of illumination of such documents decreased. Later examples of scribal flourishes are very muted in comparison to earlier examples. Elaborate illumination eventually disappears for all but the truly rare or politically significant documents, such as Royal Charters.

I hope you’ve enjoyed learning about our small selection of illuminated manuscripts. Watch out for Part 2 of our Art in the Archives blog, due in March!

Verity, Archives Assistant (Hull University Archives)