![]() Texts concerning healing were frequently illustrated as an aid to comprehension in ANTIQUITY, as evidenced by works such as the Johnson PAPYRUS of c. The Masters of the Gold Scrolls are a group of Flemish artists so called because of their predilection for incorporating scroll work into their miniatures. Among fifteenth-century artists, the Master of Guillebert de Mets is named after a SCRIBE with whom he worked on a copy of Boccaccio's Decameron, and the Boucicaut Master is named after the Maréchal de Boucicaut, the PATRON of one of his most important manuscripts. In some cases the name of the master is known (for example, the thirteenth-century Parisian illuminator Master Honoré), but the majority of masters are anonymous and are often identified by key examples of their work or by distinctive features of their style. Master ILLUMINATORS frequently attracted a following and employed others (perhaps to supply BORDERS, INITIALS, or minor decorative components, or to assist in painting MINIATURES and major decorative components). ![]() The mass was attended daily by those in religious orders, the clergy, and, with varying frequency, by members of the laity.įrequently employed in names of convenience used to identify anonymous artists, the word also denotes an artist whose work is considered of importance and often of particularly high quality. ![]() The texts for the performance of the mass, which include practices and formulae added over the centuries, were first contained in the SACRAMENTARY and then in the MISSAL. The term stems from the dismissal at the end of the celebration, Ite, missa est ('the dismissal is here', or 'Go, is dismissed'). It centres on the Eucharist, the celebration of Christ's sacrifice, which derived from his actions at the Last Supper and the agape, or love feast, of the early Church. The contents of a martyrology are arranged according to the SANCTORALE of the liturgical year.Īlong with the DIVINE OFFICE, the mass forms the basis of Christian LITURGY. Fully developed BORDER decoration, especially that of the fifteenth century, is considered a separate genre or component of the decorative scheme.Ī book, sometimes called a passionale, containing narrative readings on the lives and martyrdoms of the saints, to be read in the DIVINE OFFICE at the canonical hour of prime. Marginalia include GLOSSES, annotations, and diagrams. Such features can form part of the original program of work, but they also can be of a secondary or even extraneous nature. The Latin word for 'things in the margin', marginalia refers to writing or decoration in the margins of a manuscript. Diagrammatic world maps, such as the T maps of Isidore of Seville, which depicted the three known continents as a T contained in a circle, were also produced during the Middle Ages. In the later Middle Ages, thanks to developments in navigation and chart making, more detailed coastlines were grafted on to mappae mundi. ![]() They functioned as visual encyclopaedias of world knowledge, incorporating material from biblical history and texts such as the Marvels of the East (concerning the mythical inhabitants of the East). During the GOTHIC period, illuminated mappae mundi were produced for inclusion in books and as altarpieces (such as the Hereford Mappa Mundi). Mappae mundi are known to have been produced during ANTIQUITY, but the earliest surviving example is in an ANGLO-SAXON book of the early eleventh century. The word manuscript, literally 'handwritten', has come to be used to describe a book written by hand. It offers a detailed account of one cultural site in relation to its scribal and artistic connections with other ecclesiastical and secular scriptoria in the broader North Atlantic region.A mannered style is one that appears self-conscious and somewhat artificial. It examines not only one but several medieval cultures in relation to similar domestic artistic monuments and relevant historical evidence: Helgafell in Iceland, East Anglia in England, and Bergen in Norway. By conducting cross-disciplinary research that combines methodologies and sources from the fields of Art History, Old Norse-Icelandic Manuscript Studies and Nordic History, this study presents a comprehensive and international approach that respects both the historical setting of the manuscript production and the illuminated products themselves. 1340–1400), the Augustinian monastery of Helgafell rose to become the most important centre of illuminated manuscript production in western Iceland. This book examines a cultural revolution that took place in the Scandinavian artistic landscape during the medieval period.
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