Hi, how are you? Good? I certainly hope so. Having spent four days peering out the front room window at my neighbor, Mr. Scribbs, I decided to do something more useful. So, compelled by forces too complex for you to understand, I would like to share with you humble and limited examples of illuminated manuscripts from the Gothic Era. Of the numerous ancient illuminated books spread throughout the world, Gothic manuscripts are probably the most intricate and decorated. Simply taking a brief look at Illustrations from the Old Testament should be sufficient evidence of the intricacy associated with Gothic artwork (see Figure 1). One author I came across said that in Gothic illustrations the viewer would discover " a thousand whimsical diversions."1 Nice words, huh? That same author claims that through the study of ancient illuminated manuscripts we can all benefit by having a better understanding of the evolution of European painting.2 But that is not important right now.
Dave, illuminated manuscripts are so wonderful that I have chosen to include with this letter a drawing of my own interpretation of Gothic illustration. Its structure and composition are almost entirely derivative, but much of the content is updated to create a very strange and peculiar "Mike-meets-Gothic-type-thingy". And, Dave, you are in the drawing wearing your favorite sunglasses! However, while it will be exciting for me to describe my drawing for you, we must first touch on other matters and then I will give you a fresh and exhilarating executive summary of my drawing. I will begin by explaining how illuminated manuscripts were made, who made them, who owned them, and why. Then I will need to explain exactly what my drawing is derived from, and then, finally, we will discuss the contents of my "updated" Gothic drawing.
Dave, It was during the Gothic period, between about 1150 and 1350, that illuminated manuscripts became increasingly popular with not only religious folks, but also the "avid lay upper class society."3 Before the Gothic era decorated books were made by and for people who lived in monasteries. For a long time the books were made for God, to create more appealing alters in churches. Around the end of the Middle Ages "art" began to evolve into what we would call "art", decorated books were not only devoted to the cult of God, but also to the "service of profane woks as well."4 It was during the Gothic period that this idea can first be applied accurately.
Dave, it is important to realize that illuminated manuscripts were books, people looked at them and turned the pages. That is why the illustration in these books are often called miniatures. The pages were often made of polished calf skin, or vellum, which feels like a "velvety suede" or a "silken smoothness".5 That's more than can be said of all those stupid astrology books you read.
It was during the Gothic period that the artisans responsible for illuminated manuscripts were usually laymen, not monks. It was at this time that a person could spend his entire life working on these books, either doing the illustrations or taking care of the writing. Before the Gothic period there was not a large enough demand to allow a person to have as his main job illumination luxurious books.6 Together, these people, often having a specific job which contributed to the whole of a book, created these manuscripts in their workshops, or guild ateliers, which is an amazing word that I still don't know how to pronounce even after looking it up in the dictionary fifty-one times.
Dave, I felt that a brief history of Gothic illuminated manuscripts was relevant because it is with this information that I approached my drawing. But that was only part of my approach. You must understand that during the Gothic period and thereafter, illuminated manuscripts, as I said earlier, were not only made for church dwellers, but were often commissioned by princes and nobles, the upper class types.7 Taking this into consideration, I found it necessary to pretend that I had a dual nature when I was drawing my picture. So I became a prince who commissioned myself, the artisan, working in a 20th century gothic guild atelier, to create a very weird drawing derived from 13th century illuminated manuscripts for you, Dave Guthried. So from now on you must refer to me as Prince Michael James Loftus the Artisan, or, more simply, "Your Nobleness".
Dave, an illustration's place in a luxurious book often varied considerably. Often there were full-page miniatures that told a story entirely with the use of pictures, perhaps a biblical story. Then there was the more traditional use of script and illustration on a single page (see figure 2). I used for my inspiration the full-page illustration which is not a lengthy narrative, but rather an illustration dedicated to one main character surrounded by smaller figures, symbols, and decorations (see figure 3). It is Christ Enthroned, which depicts Jesus in Heaven after the Ascension. There are hundreds upon hundreds of illustrations depicting this scene. I chose this one because it gives you a clear idea of the basis of my drawing
Now Dave, I will try to make sense of my "Mike-meets-Gothic" drawing. First of all, it's pretty bad. I am always hard on myself when it comes to discussing my art work, but that is not important right now, sorry. The drawing may at first look like a stained glass window, but that it is not. The black lines surrounding the central figure were an attempt to give this drawing a more updated look like my own drawings and paintings. Besides, much of the information I have come across concerning Gothic illuminated manuscripts says that Gothic illustrations were derived from the beautiful stained glass windows of that time, or vice versa.
You may have noticed that in my drawing and in figure 3 the central figure seems to sort of float in space. I read that this is a sort of compositional or decorative function which reached its full development in the Gothic period.8 I'm not sure what "full development" means but it sounds important. As for the chair that also floats with the central figure I used as my inspiration two unrelated drawings (see figure 4). Although the chairs in these pictures do not seem to float I was attracted to the abstract nature they have which gives them a kind of and updated quality.
Yellow or gold backgrounds were very popular in Gothic illustration - they gave the subject in an illustration a sort of "transcendental spiritual sphere" in which that subject or figure could exist.9 This is why most of the background in my drawing is yellow, but is a dirty yellow because this drawing is "updated".
As for the central figure itself, it is Jesus Christ enthroned in Heaven. He is holding a book containing information on Malcom X in the first part, and in the second part is a map of how to get to Planet X. But that stuff is not accessible to you, Dave, nor should it be. He has a "smiley-face" because of all the controversy surrounding Jesus Christ: did he exist, did he die and come back, was he God, was he a she, or she a he? I figured a stupid smiley-face would be appropriate.
The circles and designs surrounding the central figure are derived from many different illustrations, one of which might get the point across quite clearly (see figure 5). The figure in the upper right hand corner is you, Dave. I know you are not mauve, but you need to be. Another attempt to update my Gothic drawing is the simple clothing not unlike the figures wear in my own artwork and a very flat-like nature, like my artwork and some Gothic artwork. You also have angel wings because I thought that I would try to make you look as goofy as possible, another comment on contemporary artwork. I also gave you a halo to make you Gothic-like.
The figure in the upper left corner is me. Instead of a halo behind my head, I have an anvil to symbolize the burden which life has and always will be for myself, ha-ha.
A Gothic-derived drawing wouldn't be Gothic without grotesques or monsters. That's what those stupid looking things under Jesus' feet are supposed to be - monsters updated as cartoons.
Dave, I hope I have successfully given you and idea of what Gothic
illuminated manuscripts are and what they meant. I hope that
you are happy with my drawing, I believe it will provide for you
pleasure and delight for the rest of your life. See you in the
hospital.
Figure 1, Illustration From the Old Testament. ca. 1250, Paris SOURCE: Walters Art Gallery, Illuminated Books of the Middle Ages and Renaissance (Baltimore: Trustees of the Walters Art Gallery, 1949) Fig. 46
Figure 2. New Testament Scenes, Gothic, French. SOURCE: Davis Robb, The Art of Illuminated Manuscript. (New York: A.S. Barnes and Company, 1973) p223
Figure 3. Christ Enthroned, from The Psalter of Robert of Lindsay, Gothic, French SOURCE: David Robb, The Art of Illuminated Manuscripts. (New York: A.S. Barnes and Company, 1973) p.222
Figure 4. The Nativity; The Evangelist Matthew. 13th c., French SOURCE: L.M.J. Delaissé, Medieval Miniatures. (New York : Harry N. Abrams, No Date) p. 46
Figure 5. St. John. 2nd quarter of 12th c., French. SOURCE: Jean Porcher, Medieval French Miniatures.(New York: Harry N. Abram, Inc. No Date) plate XXXIV.
1 Francois Avril, Manuscript Painting at the Court of France. (New York: George Braziller, 1978) p. xii.
2 Avril, p. xii. If you read this, wow, please send me some email with the subject, "Nothing to do".
3 L.M.J. Delaissé, Medieval Miniatures. (New York: Harry N. Abrams, Inc, No Date) p. 12.
4 Delaissé, p. 12.
5 Avril, p. xi.
6 Delaissé, p. 12.
7 David Robb, The Art of Illuminated Manuscripts. (New York: A.S. Barnes and Company, 1973) p. 211.
8 Hanns Swarzenski, Early Medieval Illumination. (New York: B.J. Batsford LTD, 1951) p. 18.
9 Swarzenski, p. 18.
Avril, Francois. Manuscript Painting at the Court of France. New York: George Braziller, 1978.
Delaissé, L.M.J. Medieval Miniatures. New York: Harry N. Abrams, Inc. no date.
Porcher, Jean. Medieval French Miniatures. New York: Harry N. Abrams, Inc., no date.
Robb, David. The Art of the Illuminated Manuscript. New York: A.S. Barnes and Company, 1973.
Swarzenski, Hanns. Early Medieval Illumination. New York: B.J. Batsford LTD, 1951.
Walters Art Gallery. Illuminated Books. Baltimore, Maryland: Trustees of the Walters Art Galler, 1949.
