A History of Graphic Design - Chapter 3 - A Symbiotic Relationship - Codices and Manuscript Books

06/05/2019 A History of Graphic Design: Chapter 3 - A Symbiotic Relationship : Codices and Manuscript Books
Chapter 3 A Symbiotic Relationship : Codices and Manuscript Books
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Table of
Contents
Introduction
A page from Lindisfarne Gospels, circa 715 AD. The Lindisfarne Gospels are attributed to be the work of a monk named Eadfrith of Lindisfarne,
who later became Bishop of Lindisfarne and died in 721. (3) It is believed the gospels were produced in honour of Cuthbert of Lindisfarne. These
incorporates highly decorated illustrations in a detached form, and were originally encased in a fine leather binding covered with jewels and metals
made by Billfrith the Anchorite in the 8th century. However, during the Viking raids on Lindisfarne the original cover was lost, and a replacement
made in 1852.(4)
Throughout their histories a symbiotic relationship has existed between the book and graphic design. The modern
form of the book which appeared around the second century AD is called the codex. The codex of Middle Ages, were
manuscript written on either papyrus or parchment, vellum, made from animal skins, and sewn together into a modern
Prelude - In the
Beginning: - A book format. The writing surface of the early illustrated codices were parchments . Gradually in Europe and the
History of Middle East, parchments replaced papyrus for production of the codex and remained the preferred media in Europe for
Writing
the next 800 years when the mass production of paper gradually replaced them. The ancient graphic designers worked
in the European monasteries, creating harmonious and balanced layouts for textual materials and illustrations that
were to based on a sophisticated grid system designed to facilitate a spiritual communication of creed.

Paper which was invented in China around 105 AD, was at first prepared from bark and hemp. These were not quite
Chapter 1 - Birth suitable for drawing and decoration. Although, paper produced by the Chinese technology was of a high standard. This
of Graphic technology was transferred to Japan around 610 AD, and then to the Arab world via Samarkand in Central Asia. In
guity-novin.blogspot.com/2010/02/history-of-graphic-design-books.html 1/34
Design --From America, the Aztec and Mayan civilizations also produced a more primitive bark paper from an unknown date.
Cro-Magnon Art
to Egypt
In Europe paper was introduced by Arab traders of Spain. Italy was the first European country that produced paper
around 1276 AD, and more than two and half centuries later England began to produce it in 1495. The primary reason
for this slow pace was the low quality of these papers which were unsuited for graphic design of European religious
Chapter2: The
manuscripts.1 Among these early European manuscripts are the Bibles that have been created in the monasteries of
Medium is the
Message; A Ireland, Scotland, and England. Many of graphic decorations in these books have been influenced by the Arabesque
Philosophical style of Muslim manuscripts that employed mainly geometrical and abstract designs for decorating their holy books and
Underpinng of
Visusl their mosques.
Communication

Medieval styles of the HibernoSaxon in Ireland and England the most famous examples of which are Irish illustrated
Chapter 3 - A
Symbiotic manuscripts like the Book of Durrow (c.650680) and the Book of Kells (c.800), were influenced by the decorative style
Relationship: of the Coptic manuscripts of Egypt, which afterwards spread in Kildare, Clonmacnois, Clonfert, and Monasterboice in
Codices and Ireland, Iona in Scotland and Lindisfarne off the coast of Northumbria in England in the seventh and eighth
Manuscript Books
centuries. In their visual grammar numerous decorative embellishments, of either abstract or representational art
were used in conjunction with historiated letters, Celtic crosses, trumpet ornaments, rhombuses, pictures of birds and
animals, to create an attractive layout.
Chapter 4 - The
Islamic
Calligraphy The prefaces to each chapter, were called carpet pages, which were a composition of intricate set of geometric or
Celtic interlace designs, that allowed artists some degrees of freedom to express his individuality. Over the next few
centuries these manuscripts style were followed by the Carolingian, Ottonian and Byzantine styles, and culminated by
Chapter 5 -
a number of elegant Romanesque illuminated manuscripts (c.10001150), such as the St Albans Psalter, the Bible of St
Calligraphy in
East Asia Benigne, the Egbert Psalter, the Winchester Bible and the Moralia Manuscript.

Chapter 6 - Later on, artists like Jean Pucelle produced the finest Gothic illuminated manuscripts (11501350), including The
Cartography and
Designing of Belleville Breviary (132326, Bibliotheque Nationale, Paris) and The Hours of Jeanne d'Evreux (132428, The Cloisters,
Maps Metropolitan Museum of Art), as well as other works such as: the Psalter of St Louis, the Bible Moralisee, the
Minnesanger Manuscript, the Amesbury Psalter, and Queen Mary's Psalter. They were followed, during the era of
International Gothic illuminations, by masterpieces such as the Brussels Hours, by Jacquemart de Hesdin (c.1355
Chapter 7 - 1414); Les Tres Riches Heures du Duc de Berry (1413, Musee Conde, Chantilly) by the Limbourg Brothers (fl.1390
Playing Cards
1416); and works by the great French artist Jean Fouquet (142081)

Chapter 8 - Tarot
Cards and
Mithraism

Chapter 9 - The
Byzantine Art
Chapter 10 - The
Art of Minature
Chapter 11 -
Woodblock Prints
of China and
Japan
Chapter 12 -
Graphic Design in
Ceramics
Chapter 13 -
Native American
Pottery
Chapter 14 - The
Mayan, Aztecs,
and Incas' Art
Chapter 15 -
African Art
h
Chapter 16 -
Minimalism
Chapter 17 -
Communications:
from Speech to
Pictogram and
Heraldic Signs
Chapter 18 -
Logotypes and
Branding
Chapter 19 - The
Viennese Method
Chapter 20 -
Pictograms in
Olympics
Chapter 21 -
Astronomical,
Statistical and
Scienti c
Chapter 22 -
Pioneers of the
modern industrial
design, The
Bauhaus school, The Court School of Charlemagne (also known as the Ada School) produced the earliest manuscripts, including the Ada Gospels. The Ada Gospels
Le Corbusier and is a late eighth century or early ninth century Carolingian Gospel Book. The manuscript contains a dedication to Charlemagne's sister Ada, whence
The American it gets its name.The Court School manuscripts were ornate, elegant, dramatic, and evocative of 6th century ivories and mosaics from Ravenna, Italy.
Streamline Style.

Chapter 23 -
Ancient Rock In the early 9th century Archbishop Ebo of Rheims, at Hautvillers (near Rheims), assembled artists and transformed
Reliefs Carolingian art to something which evoked a revival of Roman classicism. However, it still kept its characteristics of
basically linear presentation, with no concern for volume and spatial relationships. The style was reminiscent of the
Merovingian and HibernoSaxon traditions known as the art of the Migration Period . The Gospels were painted with
Chapter 24 - energetic, bright and vivid brush strokes, evoking an inspiration and energy unknown in classical Mediterranean forms.
Emergence of the
Modern Print (5)

Chapter 25 -
Pioneers of the
Art Nouveau,
Chromolithograp
hy and the
emergence of the
modern poster
and cigar box
labels
Chapter 26 - The
US Pioneers of
The Book of Kells is the most famous, and one of the finest, of a group of manuscripts in what is known as the Insular style, produced from the
Posters
late 6th through the early 9th centuries in the British monasteries (6). The graphic decorations are all high quality and often very complex. In one
decoration, which occupies a oneinch square piece of a page, there are 158 complex interlaces of white ribbon with a black border on either side.
Chapter 27 -
Gustav Klimt, and Such designs are scattered throughout the text with decorated initials and small figures of animals and humans often
the Vienna twisted and tied into complicated knots and many of them serve to fill spaces left at the end of lines. Many significant
Secession
texts, such as the Pater Noster have decorated initials. No earlier surviving manuscript has this massive amount of
decoration.

Chapter 28 -
Poster Art as
Social
Commentary
Chapter 29 -
Propaganda
Posters
Chapter 30 -
Posters and the
Cult of
Personality
Chapter 31 - The
German
Jugendstil and
Plakatstil
Movements
Chapter 32 -
Pioneers of
Advertisement
Posters and
Newspaper The Book of Durrow, a 7thcentury illuminated manuscript made either at Durrow Abbey in Ireland, or in Northumbria in Northern England has a
Layout complex graphic design. There is a sense of space in the layout of all its pages. Open vellum balances intensely decorated areas. Animal interlace of
very high quality appears on some folios . Other motifs include spirals, triskeles, ribbon plaits and circular knots in the carpet pages and borders
around the Evangelists.
Chapter 33 - Pop
Art
The first letter of the text is enlarged and decorated, with the following letters surrounded by dots.
The monks who endowed the Book of Durrow with their calligraphic art and decorative designwork can be regarded as
Chapter 34-
Graphic being among the earliest Irish artists of the medieval period. The Gospel manuscript itself exemplifies the style known
Designers in the as HibernoSaxon or Ultimate La Tene, which was widely practised across the British Isles and Ireland. (7) We discuss
Fashion Industry
the layout of the manuscripts in chapter 55.

Chapter 35 -
Gra ti and
Street Art
Chapter 36 - Art
of Posters for
Films - the Cuban
School
Chapter 37 - the
Polish School and
the Polish Art of
Opera, Film and
Circus Posters
Chapter 38 - Saul
Bass, and the Art
of Film Title
Sequence & Film
Poster
Chapter 39 - A
History of Film
Title Sequence
Commentary on the Apocalypse, Adam and Eve, Original Sin. This commentary was popular during the Middle Ages and survives in over 30
manuscripts (usually called Beatus) from the 10th through the 13th century, published in 776 by Beatus of Liebana (730 798, Spanish monk and
theologian). Royal Library, El Escorial, Spain.

Chapter 40; A
history of The surviving European illuminated manuscripts, particularly those of Ireland and Italy that are created by mostly
Caricatures, and monastic scribes of late antiquity, with their decorated initials, borders and miniatures constitute the inception of the
Political Cartoons
modern graphic design. Scriptoria were workshops devoted to the handlettered copying of manuscripts. A
scriptorium was most often an extension of a library for the professional scribes to copy manuscripts. The scribes were
working under the direction of an armarius or a scrittori, who acted as an art director. He was director of a monastic
scriptorium, who provided the scribes with their materials and ensured the quality of the process. Decorations and
illuminations were added by other resident artists.

h A
Chapter 41. A
History of the
Comic Strips and
the Underground
Comix
Chapter 42; The

Swiss Grid System
-- and the Dutch
Total Grid
Chapter 43:
Graphic Design
and the
Postmodern
Epoch
Chapter 44; The

Italian Futurist
Visual Design
Chapter 45;
Dadaism; The The Holkham Bible Picture Book. The creation of the animals. The Creator among his animals. There are seven kinds of trees, with the vine
meeting point of emerging from God's halo.The animals include a lion, elephant, and unicorn. The birds are carefully studied; some are shown flying, some like the
all contradictions owl perch on trees, and others by the water. There are two fishes, apparently pike. England; C. 13201330. The British Library, London, Great
Britain

Illuminated manuscripts are classified according to their historic periods and types, such as
Chapter 46: A Insular script: a script characterized by thick initial strokes and heavy shading developed from half uncial

history of the under the influence of uncial by Irish scribes about the 5th and 6th centuries a.d. and used in England
American Movie
Posters until the Norman conquest and in Ireland with modifications to the present day.
Chapter 47:
Artists and
Creators of
American Movie
Posters
Chapter 48 :
Graphic design in
the Latin
America, Part I;
Colombia, Peru,
Venezuela &
Mexico
Chapter 49 :
Graphic design in
the Latin
America, Part II;
Cuba, Argentina,
Brazil & Chile
Chapter 50:The
Art Body Painting
Chapter 51: A
History of
Matchboxes
Chapter 52: A
History of
Eastern
European
Matchboxes
Chapter 53: From

French School to
French Touch: A
history of Graphic Cubierta del libro del biccherna de Siena (1343) The Metropolitan Museum of Art New York
Design in France

Chapter 54: A
history of
Typeface
Chapter 55:
Design for Book
Covers and Dust
Jackets
Chapter 56; A
visual history of
letterheads and
billheads
Chapter 57: The

Portugese School
of Graphic
Design Codex Aureus of St. Emmeram, Munich, Bayerische Staatsbibliothek, Clm 14000
Chapter 58 ;
Modern
Newspaper &
Magazine
Layouts
Chapter 59:
Presidential
Election Camaign
Posters
h
Chapter 60:
Posters in Social
Protests
Chapter 61 : A
History of Wine
Labels
Chapter 62;
Modern Graphic
Design in Japan
Chapter 63:
Posters of the
Russian Civil War
of 1917-1921
Codex Aureus of St. Emmeram, Munich, Bayerische Staatsbibliothek,
Chapter 64; A
History of
Magazine Covers
Chapter 65: User

Interface Design:
Skeuomorphic
and Flat design
versus Good
Design!
Chapter 66:
Bézier Curves for
digital
Typography
Chapter 67:
Cover Design of
European and
Latin American
Magazines
Eastern Orthodox icon of All Saints, c. 1700. Christ is enthroned in heaven surrounded by the ranks of angels and saints. At the bottom is Paradise
with the "Bosom of Abraham"
Chapter 68: Is
Graphic Design
Art?
Chapter 69;
Appropriation,
Plagiarism and
Code of Ethics
Chapter 70;
Posters of the
Spanish Civil War
Chapter 71; A
History of Magic
and Posters of
Magic
Chapter 72: A
History of
Records Covers
The Cover of Carolingian Gospel Codex Aureus of Sankt Emmeram. Made in ca. 870 at the Palace of Holy Roman Emperor Charles the Bald.
Emperor Charles the Bald donated it to Arnulf of Carinthia who donated it to the Sankt Emmeram Abbey.
Chapter 73 :
Traditional
Graphic Design
versus Digital
Graphic Design
Capter 74:
Photographers
and Graphic
Design
Chapter 75: A
History of
Jewellery Design
Chapter 76;
Graphic Design
for Textile
Codex Aureus Gnesnensis Chrystus umywa stopy Piotra fragment
Chapter 77: The
designer as
'author’
Chapter 78;
Navajo Indians'
d
sand painting
Chapter 79, A
History of Color,
Color Wheel, and
Psychological
Impact of Color
Chapter 80, State

Plates Project
Chapter 81: Living

in a graphic
universe: the
earth houses of
Gurunsi people
Chapter 82,
Graphic Design
and Layout of
eBooks in the Christine de Pisan (Italia1364, Francia 1430)
Smart Reading
Devices of Future

Chapter 83 -
History of
modern package
design
Chapter 84: The

San Francisco
School -
Psychedelic
Revolution
Chapter 85:
Graphic Design in
the Lost
Civilization of
Etruscan
Codex Aureus Gnesnensis Chrystus umywa stopy
Chapter 86: A
History of
German
Expressionist
Movie Posters
and Afterward.
Chapter 87: Art in

Alchemy: Visual
Communication
of Symbols
Chapter 88:Visual
Communication in
Mysterious and
Majestic Bayeux
Tapestry
Chapter 89 : A
History of Travel
Posters
Chapter 90: The

Intertwining of
History and
Posters in Latvia
Chapter 91: Visual

Communications
in Branding of
Airlines
Chapter 92: A
history of Paisley
or Boteh Jegheh
Design
Chapter 93: Codex Aureus Gnesnensis św. Mateusz fragment

Posters
commemorating

9.11

Chapter 94: A
History of Judaic
Art and
Manuscripts
chapter 95: a Merovingian script: is the writing of the preCarolingian hands of France that were derived from Latin
brief history of
royal decorations, cursive script. Luxeuil, in Burgundy, was a particularly important centre in the development of a
military badges Merovingian cursive style during the 7th and 8th centuries. The style of script that developed in northern
and lapel pins
France at the monastery of Corbie, a daughter house of Luxeuil, is especially noteworthy for the influence
of halfuncial and uncial. Merovingian writing is interesting to paleographers because of the part it had in
About Guity shaping the blackletter script that was prevalent in the Middle Ages. Like Visigothic script, the
Novin Merovingian hands inherited the dominant vertical rhythm of the Latin cursive script of the ancient
Guity Novin, is a Romans. Angularity as a prevailing tendency and an effect of lateral crowding, especially in the first lines
painter and of a Merovingian manuscript, led to the use of the term picket fence style by some 20thcentury scholars
graphic designer, of calligraphy.
who has founded
the
Transpressionism.
A movement in
painting that
demands from its
viewers to
participate in the
creation of art
through the
conduit of their
common human
memories. For
further
information
please see:
guitynovin.com
and
transpressionism.c
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Folio 144 of the Lectionary of Luxeuil, manuscript Lat. 9427, at the National Library of France, written in the Luxeuil type.
The folio's content consists of Acts 5:17-25.
The illuminations, miniatures and historiated initials represent a high point of late Merovingian book art and the script represents
an excellent example of early Carolingian minuscule. It is, as Bischoff states: “A demonstration of what richness in initial forms and
motifs a virtuoso and imaginatively inspired lateeighthcentury miniaturist could employ...”

This classic leaf from the Sacramentaire de Gellone (Gellone Sacramentary) shows the crucified Christ attended by two angels. The
angels are singing the sanctus (directly above the image in red) and the cross forms an elaborate historiated T, the beginning of Te
igitur, the eucharistic prayer which asks for Jesus’ blessing of the offering. So the image integrates with the text and visually
separates the prayers. A masterful design.

The Roman scripts of the fourth century evolved over the next several hundred years into many different
regional styles, e.g.: Roman cursive minuscule became Insular Majuscule in Ireland and England, or
Merovingian and Luxeuil minuscules in France, or Lombardic and Beneventan minuscules in Southern
Italy, or Visigothic minuscule in Spain, or Germanic minuscule in Germany, etc. The point is that by the
eight century the situation was a mess5 and this, not surprisingly, proved rather problematic for
Charlemagne’s administration of his Frankish empire. To rectify this situation Charlemagne, in his 789
Admonitio Generalis, set new standards for copying texts, including the adoption of a new more uniform
and more legible script to replace the various, and often nearly illegible, regional styles. This script,
Carolingian (or Caroline) minuscule, was based on the Merovingian and Germanic scripts and the Roman
halfuncials and featured an uncial d, a modern a and g, and clubbed ascenders.

Carolingian manuscripts: These manuscripts were mainly created by clerics in a few workshops around the
Carolingian Empire. Each of these workshops practiced its own style that developed based on the artists
and influences of that particular location and time. As the earliest producer of Carolingian manuscripts,
the Court School of Charlemagne initiated a revival of Roman classicism, yet still maintained Migration
Period art (Merovingian and Insular) traditions in their linear presentation, with no concern for volume
and spatial relationships. The Utrecht Psalter was perhaps the most important of all Carolingian
manuscripts, because of its innovative and naturalistic figurine line drawings, which were to become the
most influential innovation of Carolingian art on later periods.
Carolingian. Manuscript from St. Gall. Book of Matthew. c.800
Lorsch Gospels 778–820. Charlemagne's Court School.

Sv. Marek Kodex Aureus, Lorsch

The interior of a Lorsch Gospels facsimile

David & Goliath Carolingian miniature folio158v

Ottonian manuscripts: The finest achievements of Ottonian illumination are connnected with the
patronage of Egbert, Archbishop of Trier (97793), and the Imperial court. The origin of this interrelated
series of illuminated manuscripts has long been connected with the Imperial monastery of Reichenau,
believed to have been the seat of the chancellery of the Emperors, but it has been argued more recently
that most of the manuscripts were produced at Trier. What is quite clear is that the scriptorium worked
both for Egbert and for the Emperors Otto II (97383), Otto III (9961002), and even on until the reign of
Henry II (100224), and that it should be seen first and foremost as an Imperial scriptorium. One of the
manuscripts of this closely interrelated group of masterpieces of book illustration a gospel lectionary
which sets out the readings from the gospels throughout the liturgical year, known as the Egbert Codex.
The Art of the Book Ottonian manuscripts, Germany, 10th and 11th centuries
Illuminated Manuscript, Book of Hours, St. George, Walters Manuscript W.168, fol. 217v
This fine illuminated Book of Hours was produced in two stages in the second and third quarters of the fifteenth century. The manuscript contains
eleven fullpage miniatures and twenty historiated initials. The first stage of production includes a section attributed to the Masters of Zweder van
Culemborg and the calendar (fols. 3r14v, 52v211v), while additional prayers illustrated in the style of the workshop of Willem Vrelant were added
later in the fifteenth century (fols. 16r50v, 213r223r), presumably when the book was bound in its present binding. The Hours of the Virgin is for
the Use of Rome. The Use of the Office of the Dead is unidentified, but the calendar is for the Use of Utrecht. The two separate parts of the
manuscript were bound together in Flanders. The sections of W.168 attributed to the Masters of Zweder van Culemborg have been compared to
Utrecht, Utrecht University Ms. 1037; Cambridge, Fitzwilliam Museum James Ms. 141; the second hand in New York, Pierpont Morgan Library Ms.
M.87; Stockholm, Royal Library A 226, and Philadelphia, Free Library Lewis Ms. 88.
13th Century The Morgan Crusader Bible Morgan Crusader Bible Pierpont Morgan Library. Manuscript. M.638.[facsimile] Die Kreuzritterbibel =
The Morgan Crusader Bible = La Bible des croisades. Luzern : Faksimile Verlag ; New York : Pierpont Morgan Library, c1998c1999. BS 715.5 C7 1998
Special Colllections Vault
The Morgan Crusader Bible was originally a Picture Bible without text created for and likely commissioned by Louis IX, the crusader king of France
(12261270). It presented Old Testament history with an emphasis on holy war and kingship. Sometime after the death of Louis IX, unknown
scribes added Latin texts to the margins of the manuscript. There are also more modern inscriptions added including Persian and JudeoPersian.
Six painters participated in the illumination of the Gothic Crusader Bible. Their miniatures are not only different in style but also in terms of
colouring. A very clear difference is discernible in the rich use of gold. The original binding was lost during the centuries. However, the Bodleian
Library in Oxford still possesses a manuscript which King Louis IX commissioned around the same time as the Crusader Bible and which still is in its
original Gothic de luxe leather binding. That binding was used as a model for this fine art facsimile edition.
15th Century Belles Heures of Jean, Duke of Berry Les Grand Heures de Jean de Frane Les Grandes heures de Jean de France, duc de Berry,
Bibliothèque nationale, Paris. Paris, Draeger frères, Vilo, 1971. ND 3363 B5 G7 Special Collections Oversize
This is larger than any of the Duke’s other Book of Hours and was probably illuminated mainly by the PseudoJacquemart. John of Valois (1340
1416) was the third son of King John II of France and Bonne of Luxemburg; amongst his siblings were Charles V, King of France, Louis I, King of
Naples and Philip II (Philip the Bold), Duke of Burgundy. His several titles included Duke of Berry and Auvergne and Count of Poitiers and
Montpensier. He was a notable patron who commissioned among other works, several Book of Hours. The Petites Heures (Bibliothèque Nationale,
ms. lat. 18.014) is believed to have been executed before 1388, Belles Heures (finished 1408), Les Grandes Heures finished around 1409, and the
Très Riches Heures, considered by many to be the most beautiful and now in Brussels (Bibliothèque Royale de Belgique, ms. 1106061) was
painted for the Duke under the supervision of Jacquemart de Hesdin. All are important tools for studying manuscript painting of the Court of
France of the 14th century. For his most personal Book of Hours, the Belles Heures, the Duke of Berry engaged the most famous book painters at
this time, the Limbourg brothers Pol, Herman and Jehanequin. All the 172 miniatures of the Limbourg brothers have a vivacity and colorfulness
that secure for them a place in the history of illumination. Every miniature and every page of the text of the Belles Heures of Jean Duke of Berry is
surrounded by decorative filigree scrollwork with up to 500 gold glowing ivy leaves. But even this sumptuous decoration is excelled by the playfully
arranged luminous elements on the prime pages introducing the Office of the Virgin and the Office of the Dead. This luxurious decoration, which is
extraordinarily exuberant even for a Book of Hours from the ducal library, achieves perfection in the use of countless ornamented initials that
extend over one or several lines and are painted in red, blue and glowing gold the colours of the ducal crest. The combination of gold leaf and
shell gold in the miniatures creates permanently glowing and glittering effects.

Romanesque manuscripts:There are more illuminated manuscripts extant from the Romanesque period
than from all earlier periods. It presented viewers with an energetic art which flourished in England, and
migrated across the channel to France. Examples include,Gospels of SaintBertin by an English painter at
SaintBertin, near BoulognesurMer on the Channel coast, at the end of the tenth century." The human
narrative style is matched by the sprightly drawing, the delicate and transparent colors, and the rippling
drapery folds. Citeaux: The Romanesque manuscript style appeared in numerous forms, another
possibility appearing in a highly imaginative illumination from the Moralia in Job of Saint Gregory, painted
at the onset of the twelfth century of the Burgundia monastery of Citeaux. The Bible of Bury Saint
Edmunds: Figures, border, ornament, architecture, and landscape, even the text, are treated equally in
brilliant color, resulting in total master of surface design, and The Bayeux tapestry: an embroidery done on
"eight bolts of natural colored linen with only two different stitches of wool; in tapestry, the design is
woven along with the fabric.
The Doubt of St. Thomas. St. Albans Psalter, 12th Century
Mary Magdalene reports the resurrection of Christ to the apostles

Psalm 24
Psalm 118
Nativity
The ‘Christina’ initial, psalm 105
The psalms were probably the best known piece of literature in the middle ages. They were used as a primer for teaching children to read; the
entire psalter was recited once a week in sequence, as part of the monastic opus dei. Selected verses formed the basis for prayers, particularly for
people who lacked the resources to follow the full monastic routine. Such a collection of sentences from the psalms was given to the semiliterate
hermit Godric of Finchale c.1100 (Godric, c.9).
Gothic manuscripts: Apparently, for a period of 40 years during the fourth century a Gothic Bishop,
Wulfila, prepared a translation of almost all the Bible into the Gothic language. In order to accomplish this
task he had had to invent letters. None of the original manuscripts has survived and the lion’s share of
those texts we have nowadays is apparently from the sixth century. The best preserved manuscript is the
socalled Codex Argenteus – the ‘Silver Book.’ In the great debate concerning the nature of God, which
had flared up in the early Church, the Goths happened to be Arians. As it turned out, they were on the
loosing side and as such, were destined to history’s dustbin. In practice, it meant that nobody studied or
copied their writings and either by intentional destroying or simply by neglect, very little of their heritage
has survived. The main reason why anybody would be interested in what was left extant from their legacy
is its linguistic value; Gothic is the oldest Germanic language of which we have written evidence.

The 11thcentury Tyniec Sacramentary was written with gold on a purple background. National Library of Poland, Warsaw.
God as architect of the world. A scene from The Bible Moralisee c.1220, Bibliotheque Nationale, Paris. Note the influence of Byzantine
The Fool with Two Demons, Master of the Ingeborg Psalter (French, active about 1195 about 1210),
An enthroned man wearing a fool's cap illustrates the opening verse of Psalm 52"The fool says in his heart 'There is no God.'" The scroll he holds
proclaims this heresy: Non e[st] Deu[s] (There is no God). Two mischievous demons incite him to this thought, while an angel above attempts to
warn the fool against such a notion.

Jewish Folk Art Manuscript, 17th century, Megillat Esther, the biblical Book Esther read during the Purim festival. Queen Esther gives birth to King
Cyrus, one of the many local additions to the original. JudeoPersian epic, written 1322 by a Jewish poet from Shiraz. Library of the Jewish
Theological Seminary, New York, USA.

A family celebrating the feast of Passover: Breaking the Matzah bread (unleavened bread). Vellum manuscript from the Barcelona Haggadah.
Catalonia; 14th century. The British Library, London, Great Britain.


Duel (fencing) of knights. Illustration of "Theuerdank", an epic tale by Emperor Maximilian I (14591519), in which he tells how he wooed and
wed his wife Marie de Bourgogne. Augsburg, 1517Library, Dillingen, Germany
Scene from the Battle of Crecy, 1346. Fierce fighting between soldiers and knights in armour during the Battle of Crecy, Picardie,France. From "Les
Chroniques de France" ,The British Library, London, Great Britain


The Book of Kells, Ireland, 8 Century.

\\

\

The Book of Lindisfarne, England. Circa 78 century


The Book of Durrow, Ireland. 7th century.


The St.Albans Psalter, England. 12th century


Codex. Illuminated manuscript. Facsimile. Book of chess. Alfonso X


Go to the next Chapter: Chapter 4 The Islamic Calligraphy

Footnotes:
1. See: A Companion to the History of the Book,edited by Simon Eliot and Jonathan Rose, 2007, Blackwell Publishing,
eISBN: 9781405127653

2. See: Larousse

3. See: Lindisfarne Gospels British Library.

4. See: The Lindisfarne Gospels: society, spirituality and the scribe
By Michelle P. Brown, University of Toronto Press, 2003, ISBN o8020 8597o

5. see: A History of Art Vol 2 by G. Carotti, Beryl De Zoete, Publisher, E.P. Dutton, New York , 1909

6. Henry, Françoise (1974). The Book of Kells: Reproductions from the Manuscript in Trinity College, Dublin. New
York: Alfred A Knopf. ISBN 039449475X.

7. The Book of Durrow: A Medieval Masterpiece at Trinity College Dublin, Roberts Rinehart Publishers 1996, ISBN
13: 9781570980534

This work is licensed under a Creative Commons AttributionNo Derivative Works 3.0 Unported License.

Posted by Guity Novin
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Unknown April 20, 2018 at 9:40 AM
thank you for your work:)
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Chapter 42; The

Chapter 44; The

Chapter 46: A Insular script: a script characterized by thick initial strokes and heavy shading developed from half uncial

Chapter 53: From

Chapter 57: The

Chapter 65: User

Chapter 80, State

Chapter 81: Living

Chapter 84: The

Chapter 87: Art in

Chapter 90: The

Chapter 91: Visual

Chapter 93: Codex Aureus Gnesnensis św. Mateusz fragment

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06/05/2019 A History of Graphic Design: Chapter 3 - A Symbiotic Relationship : Codices and Manuscript Books

Chapter 42; The

Chapter 44; The

Chapter 46: A Insular script: a script characterized by thick initial strokes and heavy shading developed from half uncial

Chapter 53: From

Chapter 57: The

Chapter 65: User

Chapter 80, State

Chapter 81: Living

Chapter 84: The

Chapter 87: Art in

Chapter 90: The

Chapter 91: Visual

Chapter 93: Codex Aureus Gnesnensis ­ św. Mateusz ­ fragment

Enter your comment...

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Licensed under CC 2.0. Attribute Guity Novin, 2016. Powered by Blogger.

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Chapter 93: Codex Aureus Gnesnensis św. Mateusz fragment