Illuminated Manuscripts, Lit Up by the Colour Blue

What is an Illuminated Manuscript?

Miniature of mass with Christ and instruments of crucifixion and border design. New York Public Library

An ‘Illuminated Manuscript’ is the name given to a highly decorated handwritten book.  The term can be used to describe a huge range of written works, of both religious and secular subject matter.  Religious manuscripts most frequently include choir books, bibles, books of hours (Christian prayer books) and missals.  Whilst secular manuscripts include works of classical literature, illuminated addresses and patents of nobility (a legal document that confirms noble status).

Originating in medieval monasteries in the West, illuminated manuscripts were predominantly produced between 1100 and 1600.  During the first couple of hundred years, the monks creating the manuscripts would use bright and bold imagery to accompany liturgical text in the form of extensively embellished borders, elaborate capital letters and more illustrative designs and drawings – such as depictions of biblical stories and moral bestiary (bestiary references a collection of descriptions and images of animals, real and imaginary, that often include a moral lesson).

These were intended to capture their viewers’ attention and encourage reflection and devotion. They provided choral lyrics, instruction on religious festivities and reminders regarding times to pray.

As time went on, manuscripts began to be commissioned by individual patrons for personal collections and private worship. This led to the diversification of those producing them and artists and workshops in Italy and France steadily became known as the Masters of the Manuscript.

“The Leopard” from the 13th-century bestiary known as the “Rochester Bestiary”

The catalyst for the decline in the production of handmade manuscripts was the invention of the printing press in circa 1440.  This allowed for the mass production of literary work and, therefore, led to the decrease in demand for handwritten books. Nethertheless, this displacement did not totally eradicate the creation of the manuscript and they were still desired and made.

In the 18th century the act of ‘breaking’ manuscripts came into practice and, along with wealthy private collectors, many institutions such as The Fitzwilliam Museum in Cambridge, The British Library and The Victoria and Albert Museum (to name just a few) acquired outstanding collections of these historically and artistically important pieces of craftsmanship.

The Materials of the Manuscripts 

Detail from the 12th century Aberdeen Bestiary, University of Aberdeen Library

When it comes to the materials used to create the artwork found in illuminated manuscripts, the clue is within the name. The medieval and renaissance artists behind the illustrations were interested in achieving the highest levels of luminosity, texture and intense saturation that they could in their work.

They did so by using the richest and most vibrant colour palettes; gold leaf, silver, purples and blues being amongst some of the most crucial. A range of natural and synthetic pigments, combined with different mixers and binders, were used and the artisan would often choose highly contrasting colour combinations, such as  ultramarine and vermillion red, in order to achieve the vividity they required.

Many early manuscript illuminations were drawn onto vellum (animal skin) and then finally laid over with a glue and chalk ground called bole, so the gold and silver leaf would stick.

The craftsmen (and women, as recent research suggests) behind the illuminated manuscripts are exemplary masters of colour and technique. For which we should be grateful, given so many of the remaining manuscripts are still very nearly in the same condition as the day they were made.  Would illustrations created today last several centuries?

Illuminations in Blue

Detailed Initial from Book of Hours (Use of Metz)

As we have previously mentioned, amongst other institutions, The British Library holds one of the most extensive and easily accessible collections of medieval manuscripts. We highly encourage you to explore the hundreds they have digitised here.

Within this magnificent collection, we are spoilt for choice when looking for examples of blue in illuminated illustrations. As discussed in our exploration into materials, the colour blue was used frequently in all of its captivating boldness. We are lucky to be able to see the best of blue pigments, such as turquoise azurite and ultramarine, used in a number of works held by The British library.

Amongst the collection, some of The British Library’s’ highlights include the Sherbourne Missal, within which illustrations (in unbelievable condition) depict the Virgin Mary in vivid blue as well as brilliant blue borders, accentuated by gold leaf.

Another wonderful highlight of the collection is a late 12th to early 13th century bestiary. Where we can see fantastic and fantastical drawings of animals depicted, often presented against a rich blue background, which demonstrate incredible medieval zoological interpretation, as they assist in the telling of Christian moral stories.

Inspired by Illuminated Manuscripts

Blue Ferns, Cylinder Matches

With the world of technology turning faster and faster, the days of illuminated manuscripts seem so much further away.  Yet, it remains possible to emulate their beauty and brightness in our daily lives, through our home and garden designs.  Nature, artistry and colour remains a powerful union, and as a colour company with a passion for the arts, we relish these historical creations*.

The bold and gentle mix of colours and illustrations within these masterful manuscripts perhaps also serves to illustrate that, through the centuries, the thread of creative expression has remained a fundamental and constant aspect of human nature, within an ever changing world that shifts and turns around each generation.