3. Carlovingian Illunsination.—When Charle magne became emperor of the West (800 A.D.) illumination was rapidly revived. The Celtic style provided to this new school its interlace 'ments; Byzantine art was drawn upon for flit painting of the human figure. Gold was used profusely in letters as well as illustrations. Large initials were almost the rule. Orna mentation was luxurious. Miniatures repre sented historical characters, symbolical themes, the arts, signs of the zodiac, virtues, vices, etc. Notwithstanding the gorgeous effect of purple vellum, a dazzling abundance of gold, and a brilliance of decoration, the Carlovingian illumi nated manuscripts show a tendency to coarse ness of workmanship and clumsiness of figure painting. This tendency is in part offset by the purer style of the Celtic influence. The best examples of early Carlovingian illumination are: the
said to have been illumi nated by Godescalc for Charlemagne in 787 A.D., whose text is in gold letters on a purple ground, and whose every page is illustrated with a dif ferent decorative scheme; another (Evangel iary) of Charlemagne, at Vienna; the
of Theodulf,) bishop of Orleans, at Paris and Le Puy; the
written for Drogon, son of Charlemagne and bishop of Metz; the
4. Gothic Illumination.— The 10th to the 12th centuries show a decadence of Frankish illumination. After the Gospels' (11th century) miniatures become more coarse and clumsy, colors are dull. Toward the end of the 12th century, a renascence of illumination is visible in both Germany and France. Gold is now laid on in leaf, and not in liquid: bur nishing makes the illumination most brilliant. The old illuminators were monks; now lay men take up the art. The initials are smaller, but more artistic; they often contain miniatures of illustration or interpretation of the Biblical text. Hundreds of miniatures beautify the
Bibles' of the 13th century, or inter pret the (Sermon Bibles' of the period. Gothic features are introduced,— gables, pinnacles, rose and quatrefoil decorations. The human figure is painted with realism; 13th century costumes are preserved to us in an accuracy of coloring. During the 14th century, there is a departure from conventional foliage, and a reproduction of garlands and flowers from nature. And with the flowers are intermingled peasants, birds, animals, butterflies, etc.,— all true to life. The
Middleton, Manuscripts in Classical and Mediaeval (1892) ; Bradley, (A Dictionary of Miniaturists, Illumination, Calligraphers and Copyists' (1887) ; Lecoy de la Marche, manuscrits et la miniature' (Paris 1887) ; Labitte, manuscrits et l'art de les (1893) ; Mar tin, peintres de manuscrits et la miniature en France) (Paris 1910).