Created using the same materials and techniques as other illuminations, they were clearly original to the manuscripts but themed less similar to the particular works they inhabit than to marginalia themes found throughout manuscripts, primarily those of the thirteenth and fourteenth centuries. Sometimes relevant to the content, marginalia are just as often playful and whimsical manifestations of imagination with no connection to the subject matter of the serious works they accompany. Illustration in the margin of Petrus Peregrinus' Tractatus de Magnete (England, 14th century)'Unpredictable, topical, and often irreverent, like the New Yorker cartoons of today, marginalia must have been a source of great delight for medieval readers,' says Margot McIlwain Nishimura in her book Images in the Margins. See the 26 miniature illustrations from Arnold of Villanova's Regimen Sanitatis ad Regem Aragonum in the Reynolds-Finley Library for examples of the art of illumination. These illustrators were also trained in the preparation of gold leaf and the concoction of paint from minerals, plants, animals and binding mediums (Walther & Wolf, p. But some were copied from pattern books or the work of respected illustrators. They usually created preliminary artistic designs that were recreated on the text using reproduction methods such as an early form of tracing paper. Whereas the names of scribes were often recorded, the illuminators' almost never were.Ī plate, a wine-glass, and a fish on a dish, upon a table laid with a cloth, from Arnold of Villanova's manuscriptIlluminators were skilled artists, but the process was very technical as well. Nevertheless, in the pre-printing age, the knowledge conveyed through the scribe's text was the essential part of the book. 21), despite the beauty and intricacy of their art and the value it added to a manuscript. It is interesting that extant receipts from book production indicate they were paid considerably less than scribes (Walther & Wolf, p. By the late Middle Ages, illuminations were no longer created by the scribe as seen in earlier medieval works, but instead, specially trained artists known as illuminators or miniaturists.

However, the term has come to refer to any illustrated work of the period. Illustration of two women from the Arnold of Villanova manuscriptThe term illumination originally referred to medieval book illustrations using gold and silver, which would illuminate the often religious subjects of the paintings. New paper production methods created in Italy in the late fourteenth century dropped the price of paper, setting the conditions for its preference at the arrival of printing in 1450. Finally, the manuscripts in the collection from the later fifteenth and sixteenth centuries are on paper. The Rhazes manuscript, copied in the early 1400s from a 1388 translation, is composed of both paper and parchment, an example of the transition period between the two mediums.

All three of the fourteenth-century manuscripts in the Reynolds-Finley Library are on vellum. Though parchment can be made from a variety of animal skins, calfskin, also known as vellum, provided the best quality medium for medieval manuscripts and was still preferred by many for high end early printed books during the Renaissance. Parchment, or stretched animal skin, was used more frequently than paper in manuscript production until the fifteenth century. This illustration of three people seated at dinner comes from Arnold of Villanova's treatise on winemaking (Italy, 14th century), which is on vellum.As Raymond Clemens and Timothy Graham explain in their Introduction to Manuscript Studies, 'Parchment is literally the substrate upon which virtually all knowledge of the Middle Ages has been transmitted to us' (p.

Illuminated manuscript illustrations