Illuminated manuscript

Lore & Background

Parchment was used from at least the 2nd century BCE onward, and vellum, made from stretched calf skin, was sometimes linked by legend to King Eumenes II of Pergamum, though its true origin is unknown and predates him. Pages were normally bound into codices, though the older scroll format was sometimes used, and a very few illuminated fragments survive on papyrus.

Reader's Guide

Illuminated manuscripts are among the most common items to survive from the Middle Ages, with many thousands surviving. They are the best surviving specimens of medieval painting and the best preserved; for many areas and time periods, they are the only surviving examples of painting. The introduction of printing rapidly led to the decline of illumination, though illuminated manuscripts continued to be produced in the early 16th century but in much smaller numbers, mostly for the very wealthy. Art historians classify illuminated manuscripts into historic periods including Late Antique, Insular, Carolingian, Ottonian, Romanesque, Gothic, and Renaissance. The Book of Kells is the most widely recognized illuminated manuscript in the Anglosphere. The Gothic period saw an increase in production of illuminated books, including secular works such as chronicles and literature. Wealthy patrons could have personal prayer books made, often as richly illuminated books of hours, such as the Très Riches Heures du Duc de Berry.

Did You Know?

• The Codex Gigas in Sweden is famously heavy, weighing approximately 75 kg, and folklore sometimes claims it takes three librarians to lift it.
• Very early printed books left spaces for rubrics, miniature illustrations, and illuminated initials to be added later by hand.

The Name, the Pigment, and a Global Tradition

The word miniature traces back to the Latin verb miniare, meaning to color with minium, a red lead pigment. In the earliest codices, simple illustrations were either miniated or delineated using that particular pigment, giving the whole practice its name. Over time, the small physical scale of these medieval pictures created an etymological tangle with the notion of minuteness, and the term eventually broadened to describe small paintings more generally, including portrait miniatures. Those later works, however, grew directly out of the same manuscript-decoration tradition and initially employed similar techniques. Beyond the Western, Byzantine, and Armenian streams, a distinct Asian group of traditions developed from manuscript book decoration into single-sheet small paintings kept in albums. These include Arabic miniatures and their Persian, Mughal, Ottoman, and other Indian offshoots. Notably, these Asian works tend to be more illustrative in character, and unlike their Western watercolor counterparts, the album sheets themselves are also called miniatures.

Classical Foundations and the Layering Technique

The colored miniatures cut from the 5th-century Ambrosian Iliad reveal considerable variety in drawing quality, yet many instances of fine, classically minded figure work persist. The Vergilius Vaticanus, dating to the early 5th century, offers an even clearer window into method: its miniatures are in better condition and larger scale, suggesting they were direct copies from an older series. The technique involved painting the entire background first, then layering larger figures over it, then superimposing smaller foreground details. To approximate perspective, artists arranged horizontal zones with smaller figures placed higher on the page. Throughout these early works, opaque body color was universally employed.

The Byzantine Turn Toward Convention and Gold

The Byzantine school marked a decisive departure from the naturalistic presentation inherited from classical predecessors. Under the increasing restraint of ecclesiastical authority, the art grew progressively stereotyped and conventional. Flesh tones shifted toward swarthy hues, limbs were elongated and emaciated, and the gait of figures stiffened. Browns, blue-greys, and neutral tints became favored. A technical innovation emerged here that would later become standard practice among Italian miniaturists: applying true skin tones over a base layer of olive, green, or another dark pigment. Landscape, such as it was, quickly became entirely conventional, establishing the precedent for the striking lack of genuine naturalistic depiction that characterizes medieval miniatures broadly. Yet this ascetic treatment coexisted with an Oriental sense of splendour. The coloring in Byzantine manuscripts often displays great brilliancy, and gold is employed lavishly. It is in these Byzantine miniatures that the bright gold backgrounds first appear, a feature that would later proliferate across every western school of painting.

Byzantine Legacy in Medieval Italian Manuscripts

The influence of Byzantine art on medieval Italian painting is unmistakable, visible even in the early church mosaics at Ravenna and Venice. Yet the early Middle Ages offer few clear landmarks for tracing this connection continuously; it is only when the 12th century emerges, with its frescoes and miniatures still bearing the Byzantine imprint, that the unbroken thread can be confirmed. In Italian manuscripts of the normal type, the Byzantine influence remains very manifest throughout the 13th and 14th centuries. The old system of painting flesh tints over olive green or a similar pigment—leaving that dark ground exposed along the lines of the features to produce a swarthy complexion—continued in modified form well into the 15th century. Italian artists also tended to use more opaque pigments than their northern counterparts and placed greater reliance on color. The Italian miniature passed through stages parallel to those in England, France, and the Low Countries, a parallelism made possible by the well-established intercommunication among European countries.