Illustrated Manuscripts...




Vergilius Romanus - 5th century.



Manuscript books began to supplant papyrus scrolls in Antiquity. Rare surviving books of the Fourth Century are surprisingly similar in general appearance to works written a millennium later. Until the late Middle Ages, the great majority of western books were written in monasteries by scribes, who enjoyed the highest social status in their communities. As civilization progressed and the demand for books became greater, later works were executed by pupils of the Renaissance "writing master", who taught the craft to apprentices.




Initial Letter L of Genesis - Wenceslas Bible - c.1389



These early books were mostly written on vellum, a fine grade of goat, calf, or sheep skin, an extremely durable substance which generally survives the centuries well. It was an expensive material, however, and the production of a complete Bible, for example, might require years of a scribe's time, and the skins of several hundred animals, thus making books a rare and expensive commodity. The Medieval practice of autumn livestock butchering, to conserve fodder for the winter, is thought to have been the primary source of skins used in the production of books. As natural animal products, old vellum leaves and documents exhibit wide variations in texture, thickness, and tone, and almost all books exhibit a few small natural flaws in the leaves, around which the copyist skilfully worked his text.



King David Kneeling Before God - Bible of Matthias Corvinus - c.1490




The art of paper-making was first utilized by the Chinese, who appear to have discovered the craft as early as the 2nd century B.C. Paper first became available to the rest of the world in the mid- 8th century, as Arab contacts with the Chinese at Samarkand divulged the secrets of its manufacture, from fibrous vegetable matter. Initially flax and linen were the favoured materials in the west; in later years the rarer cotton was also used. The first European centre of paper-making was in Moorish Spain in the 12th century. From there Italy became the first great centre of the paper-making industry, its factories beginning in 1276 and supplying much of Europe's needs as late as the 15th century. In Germany, France, and the Netherlands there also developed thriving paper-making concerns by 1400. Concurrent with the rise of printing in the last half of the 15th century was the supplanting of vellum by paper in the making of books, with the former all but abandoned within a century.




God As Creator - Bible Moralisee - c.1220



The great majority of early books in the Western world are of religious content, as fitting the "Age of Faith". Consequently, most manuscript leaves and books surviving today are Bibles, Psalters, Books of Hours, and Breviaries. Manuscript books stating the name of the copyist and exact year of their production exist, but they are the rare exception rather than the rule, as our modern notions of self and time were irrelevant to the Medieval world view. The works are, generally, attributed by the style of the script and rubrication (ornamentation), which are quite unique to their time and place of origin and can readily be recognized. Thus surviving works can be attributed with authority to the correct city or region, and to their period within a date range of a generation or so. Even after the advent of printing, traditional manuscript books, especially Hours, continued to be produced for several generations, and these are readily discernible from their ancestors of earlier times.



Book of Hours of the Marshal of Boucicaut - c.1405-1408



At the pre-Renaissance period, Bibles and other sacred books were copied by monks in "carols", small cubicles set up in the cloisters of the monasteries and great cathedrals in response to the unprecedented need for copies of books. It is of interest that the monkish copyists traditionally spoke the words aloud as they wrote them. The reading of the Holy text was also considered a form of meditation in which the scribe savoured Divine wisdom directly from his books, which retained the mystical aura of miraculous objects at this period.
In a surviving sermon of a twelfth century English Bishop to the monkish copyists of Durham Cathedral is found this eloquent summation of both the reverent attitude toward illuminated manuscript books and of the materials used in their production:

"You write with the pen of memory on the parchment of pure conscience, scraped by the knife of Divine fear, smoothed by the pumice of heavenly desires, and whitened by the chalk of holy thoughts. The ruler is the Will of God. The split nib is the joint love of God and our neighbour. Coloured inks are heavenly grace. The exemplar is the life of Christ."



Feast of the Assumption of the Virgin Mary - Sherborne Missal - c.1396-1407



The introduction of printing from movable type in 1455 signalled the end of an era. Within a generation virtually all book production was undertaken using the new and vastly more inexpensive technology of the printing press. The explosion of knowledge brought about by this unprecedented dissemination of books immensely benefitted mankind, helping to usher in the freedom of thought and material prosperity that define the modern world.
Paris remained a centre of the production of handwritten religious books until about 1540, due in no small part to the clout of the scribes' guilds. Catholic Spain was the final bastion of the old ways, where Antiphonals would continue to be handwritten by cloistered monks well into the eighteenth century. Many of the now jobless scribes of the 15th century found employment as rubricators of the earliest printed books, adding the traditional hand painted Uncial initial letters and other embellishments to the printed texts.



Intro to Ecclesiastes 1 - 15th Century Illuminated Bible

Transcription:

“Vanity of vanities, all is vanity.”  
What profit has a man from all his labor in which he toils under the sun?
One generation passes away, and another generation comes; but the earth abides forever.
The sun also rises, and the sun goes down, and hastens to the place where it arose.
The wind goes toward the south, and turns around to the north; the wind whirls about continually, and comes again on its circuit.
All the rivers run into the sea,
Yet the sea is not full; to the place from which the rivers come, there they return again.
All things are full of labor; man cannot express it.
The eye is not satisfied with seeing, nor the ear filled with hearing.
That which has been is what will be, that which is done is what will be done, and there is nothing new under the sun."

-- Ecclesiastes 1:1-9



San Jerónimo en la pintura…

Buscando una nueva cabecera para mi blog he encontrado esta fascinante pintura de San Jerónimo en su estudio, repleta de símbolos que evocan el transcurso del tiempo y el devenir de la muerte, mientras el Santo se esfuerza en su traducción de la Biblia al Latín, la famosa Vulgata, labor por la que es fundamentalmente conocido.

Sobre su cabeza, parte de la expresión latina “Vivere Disce, Cogita Mori” (Aprende a vivir, piensa en la muerte)

St. Jerome in his Study - Pieter Coeke van Aest the Elder - 1530


Ha sido muy interesante descubrir que San Jerónimo debe ser el Santo más retratado en la historia de la pintura, por la gran cantidad de obras en las que el es el protagonista.
Aparece en su estudio, escribiendo, en el desierto, con el león, el Ángel, soñando, etc. E incluso algunos autores han repetido el motivo en diferentes obras.

Acompaño una muestra, que no es absoluto exhaustiva, y que describe gráficamente la vida de este ilustre asceta, nacido en Estridón (Dalmacia) hacia el año 340; estudió en Roma y allí fue bautizado. Marchó a Oriente y fue ordenado presbítero. Volvió a Roma y fue secretario del papa Dámaso. Fue en esta época cuando empezó su traducción latina de la Biblia. También promovió la vida monástica. Más tarde, se estableció en Belén, donde escribió gran cantidad de obras, principalmente comentarios de la sagrada Escritura. Murió en Belén el año 420 y fue sepultado en la Iglesia de la Natividad, para ser sus restos posteriormente trasladados a la basílica de Santa María la Mayor, en Roma.

[Link a su biografía]


St. Jerome - Lionello Spada -1610


St. Jerome and the Angel - Simon Vouet - 1625


St Jerome in his Study - Marinus van Reymerswale - 1545


St Jerome in his Study - Marinus van Reymerswale - 1547


St. Jerome in the Wilderness  - Andrea Mantegna - 1450

St. Jerome in the Wilderness  - Hans Memling - 1490

St. Jerome in the Wilderness - Guercino -1650

St. Jerome Reading in Countryside - Giovanni Bellini -  1505


St. Jerome writting - Caravaggio - 1606

St Jerome writting (Valetta) - Caravaggio - 1608

St Jerome in Meditation - Caravaggio - 1605


St. Jerome - Jacopo Bassano -  1556


Saint Jerome reading a letter - Georges de La Tour - 1629

St. Jerome - Georges de La Tour - 1650

St Jerome in his Study - Hendrick van Steenwijck the Younger - 1624

St Jerome in the Desert - Titian - 1575

St. Jerome in his Study - Nicolas Frances - Early 15th century.

St. Jerome in his Study  - Antonello da Messina - 1475

St. Jerome in his Study - Jan van Eyck - 1442

St. Jerome - Jusepe de Ribera - 1637

St. Jerome and the Lion - Van der Weyden - 1450
St. Jerome at Prayer - Hyeronimus Bosch - 1500s.



The Book of Kells


The Book of Kells is a stunningly beautiful manuscript containing the Four Gospels.
The text of the Gospels is largely drawn from the Vulgate, although it also includes several passages drawn from the earlier versions of the Bible known as the Vetus Latina.
It is Ireland's most precious medieval artifact, and is generally considered the finest surviving illuminated manuscript to have been produced in medieval Europe.


Christ Enthroned - Book of Kells


The Book of Kells was probably produced in a monastery on the Isle of Iona, Scotland, to honour Saint Columba in the early 8th century, and continued at the monastery of Kells in Ireland where it was removed after a viking raid in Iona during the 9th century.
Although the question of the exact location of the book's production will probably never be answered conclusively, it is certain that the Book of Kells was produced by Columban monks closely associated with the community at Iona.



Madonna and Child - Book of Kells



It was stolen in the 11th century, at which time its cover was torn off and it was thrown into a ditch. The cover, which most likely included gold and gems, has never been found, and the book suffered some water damage; but otherwise it is extraordinarily well preserved.




Gospel of Matthew opening "Chi-Rho" page - Book of Kells
 


 The Book of Kells was written on vellum (calfskin), which was time-consuming to prepare properly but made for an excellent, smooth writing surface. 680 individual pages, that is 340 folios, have survived, and of them only two lack any form of artistic ornamentation.
In addition to incidental character illuminations, there are entire pages that are primarily decoration, including portrait pages, "carpet" pages and partially decorated pages with only a line or so of text.
 


Gospel of Mark opening page - Book of Kells



The illustrations and ornamentation of the Book of Kells surpass that of other Insular Gospel books in extravagance and complexity.
The decoration combines traditional Christian iconography with the ornate swirling motifs typical of Insular art. Figures of humans, animals and mythical beasts, together with Celtic knots and interlacing patterns in vibrant colours, enliven the manuscript's pages.
Many of these minor decorative elements are imbued with Christian symbolism and so further emphasise the themes of the major illustrations.



Four Evangelists - Book of Kells



As many as ten different colours were used in the illuminations, some of them rare and expensive dyes that had to be imported from the continent.
The workmanship is so fine that some of the details can only be clearly seen with a magnifying glass.




Genealogy of Christ - Book of Kells



In 1541, at the height of the English Reformation, the book was taken by the Roman Catholic Church for safekeeping.
It was returned to Ireland in the 17th century, and Archbishop James Ussher gave it to Trinity College, Dublin, where it resides today.


Eusebian Canon Table - Book of Kells





Ana María Matute...Premio Cervantes

La escritora Ana María Matute, nacida en Barcelona en 1925, recibe hoy, muy merecidamente, el Premio de Literatura en Lengua Castellana Miguel de Cervantes, el mas prestigioso galardón de nuestra literatura.

Para conmemorar el evento quiero publicar una reseña acerca de la que para mi es su obra maestra:
Olvidado Rey Gudú; novela que tuve el placer de leer hace ya algunos años.

 





Olvidado rey Gudú narra la historia del nacimiento y desarrollo del Reino de Olar y de sus protagonistas directos: los reyes primigenios, la Reina Ardid y sus secuaces, y la historia de su hijo el Rey Gudú. Reyes y reinos, magia y fantasía, temática medieval y fantástica detrás de una novela de carácter universal.

Ana María Matute es una de las escritoras de lengua española más importantes del siglo XX. Pertenece a la generación de “los niños de la Guerra Civil”, la generación de los 50, junto con otros escritores españoles como Ignacio Aldecoa, Juan Marsé, Antonio Gamoneda, Rafael Sánchez Ferlosio, etc. Miembro de la Real Academia Española y con un importante palmarés que incluye el Premio Planeta, el Premio Nacional de Literatura, el Premio de la Crítica, el Premio Nadal, y ahora el Premio Cervantes.






Dentro de su variada bibliografía, Olvidado Rey Gudú es una novela especial, al estilo quizás de sus últimas publicaciones; su novela favorita, según confesó la propia autora en una entrevista, porque es una novela que parece que a través de la fantasía se aleja de la temática adulta, pero que en realidad se adentra en la realidad y la madurez de una manera sorprendente gracias a su excelente dominio de las letras y a los recursos que ofrece el género de la literatura de ficción fantástica.






El marco fantástico en el que se desenvuelve la novela no es más que la alegoría que produce el misterio humano. Y de eso habla el libro: de la historia de los hombres y de sus contradicciones, de los sentimientos y del rastro del tiempo, de la desesperada e inútil lucha contra el olvido. Lo más conmovedor del libro son las descripciones físicas que hace de los sentimientos: en Olvidado Rey Gudú la tristeza es una hermosa dama cuya voz tiñe de gris el cielo y las almas, la inocencia es un árbol que siempre renace y deslumbra y aturde a los que ya no pueden verlo, el deseo es una estepa lejana a la vez que cercana y que nunca se conoce, y el olvido es un dolor mezquino anidado en el fondo del corazón de todos los seres humanos.








Si bien es cierto que la novela se podría clasificar dentro del género de la literatura fantástica, rompe de pleno con los esquemas básicos del genero. No es una novela de paisajes idílicos y personajes nobles, pilares fundamentales en este tipo de literatura. Y no hay buenos ni malos; es una novela más allá del bien y del mal. La han situado entre Cien años de soledad (quizás por su envergadura y su tilde generacional) y las obras de Tolkien. Pero poco a casi nada tiene en común con estas dos obras, aunque se acerca mucho más a la obra de García Márquez que a la de Tolkien.  La diferencia fundamental es que la magia en Olvidado Rey Gudú no se usa para recrear mundos posibles, ni para conformar una atmósfera de mundos existentes alejados de la “civilización”. En el libro de Matute, a diferencia de los otros, la magia y el áurea mística representan siempre metáforas de los sentimientos.

 
En definitiva, Olvidado Rey Gudú es una de las grandes obras maestras de la literatura de nuestro tiempo. La puerta a un mundo desconocido y en muchas ocasiones olvidado, un mundo reinado por el tiempo fugaz y los sentimientos eternos, morada irremediable de todos los seres humanos.







"Hace más de mil años, muchos más, en un país remoto rodeado de selvas misteriosas, inhóspitas estepas, caudalosos ríos y picudas montañas, hubo un rey que recibió al nacer el más trágico de los designios: llegaría a ser el mortal más poderoso, nada ni nadie en la Tierra le haría sombra si pasaba los días de su vida sin amar ni llorar jamás…; pero si no se cumplía esta condición,  todo su reino con él a la cabeza se extraviaría para siempre en el Olvido. Gudú es ese rey tocado por la varita del caprichoso destino, bisnieto del Conde Olar, el antepasado que dio nombre al país y lo marcó ya en su origen con la peculiaridad de no poder conocer nunca la paz. Y en verdad, las cuatro generaciones de reyes que se sucedieron en la historia del reino no lograron vencer su innata pasión por imponer la ley del más fuerte, su sumisión a la lucha para conquistar poder y riquezas… Pero el Reino de Olar es un universo mágico donde, como en un largo sueño, podemos hallar de todo; un bosque de enigmas habitado por hadas y trasgos, ondinas, gnomos y silfos por el que el ser humano puede perderse a veces y desatender sus intrigas para encontrar también, aunque sea en estado precario, el amor y la ternura que hacen perdurar la especie".

Domingo de Resurrección...Easter Sunday


Three Marys At The Tomb - Bouguereau - 1876



He Is Risen - Arthur Hughes - 1896


Now after the Sabbath, as the first day of the week began to dawn, Mary Magdalene and the other Mary came to see the tomb. 
And behold, there was a great earthquake; for an angel of the Lord descended from heaven, and came and rolled back the stone from the door, and sat on it. 
His countenance was like lightning, and his clothing as white as snow. And the guards shook for fear of him, and became like dead men. 

Matthew 28, 1-7,  New King James Version




Three Marys At Tomb - Bartolomeo Schedoni - 1613



The Resurreccion - Giovanni Bellini - 1479



Resurrection - Raffaelino del Garbo - 1510



Y como tuvieron temor y bajaron el rostro a tierra, les dijeron:
--¿Por qué buscáis entre los muertos al que vive?
No está aquí, sino que ha resucitado. Acordaos de lo que os habló cuando aún estaba en Galilea, diciendo: 
"Es necesario que el Hijo del hombre sea entregado en manos de hombres pecadores, y que sea crucificado y resucite al tercer día".

Lucas 24, 5-7,  Reina Valera 1995



Paso del Misterio Resucitado - Procesiones de Cordoba



Resurrection - Mantegna - 1459



The Resurrection - Carl Heinrich Bloch - 1873



And they say unto her, "Woman, why weepest thou?" She saith unto them, "Because they have taken away my Lord, and I know not where they have laid him".
And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus.

Jesus saith unto her, "Woman, why weepest thou? whom seekest thou?" She, supposing him to be the gardener, saith unto him, "Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away".

Jesus saith unto her, Mary. She turned herself, and saith unto him, “Rabboni”; which is to say, Master.
Jesus saith unto her, “Touch me not (*); for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God”.

John 20, 3-17, King James Version

(*) Noli Me Tangere



Noli Me Tangere - Agnolo Bronzino - 1561




Appearance of Christ to Mary Magdalene - Alexander Ivanov - 1860




Christ and Mary Magdalene - Albert Edelfelt - 1890



Noli Me Tangere - Janssens Wildens - s.XVII



Llegaron a la aldea adonde iban, y él hizo como que iba más lejos.
Pero ellos lo obligaron a quedarse, diciendo:
Quédate con nosotros, porque se hace tarde y el día ya ha declinado.
Entró, pues, a quedarse con ellos.

Y aconteció que, estando sentado con ellos a la mesa, tomó el pan, lo bendijo, lo partió y les dio.
Entonces les fueron abiertos los ojos y lo reconocieron; pero él desapareció de su vista.
Y se decían el uno al otro:
--¿No ardía nuestro corazón en nosotros, mientras nos hablaba en el camino y cuando nos abría las Escrituras?

Lucas 24, 28-32, RV 1995


Supper at Emmaus - Caravaggio - 1602




Christ at Emmaus - Rembrandt - 1628



Cena en Emaus - Velazquez - 1629



Now Thomas, called the Twin, one of the twelve, was not with them when Jesus came. The other disciples therefore said to him, “We have seen the Lord.”
So he said to them, “Unless I see in His hands the print of the nails, and put my finger into the print of the nails, and put my hand into His side, I will not believe.”

And after eight days His disciples were again inside, and Thomas with them. Jesus came, the doors being shut, and stood in the midst, and said, “Peace to you!” Then He said to Thomas, “Reach your finger here, and look at My hands; and reach your hand here, and put it into My side. Do not be unbelieving, but believing.”
 And Thomas answered and said to Him, “My Lord and my God!”

Jesus said to him, “Thomas, because you have seen Me, you have believed. Blessed are those who have not seen and yet have believed.”

John 20, 24-29, NKJV



La Icredulidad de Santo Tomas - Caravaggio - 1603



The Doubting of Thomas - Carl Heinrich Bloch - 1881



Finalmente se apareció a los once mismos, estando ellos sentados a la mesa, y les reprochó su incredulidad y dureza de corazón, porque no habían creído a los que lo habían visto resucitado.

Y les dijo: “Id por todo el mundo y predicad el evangelio a toda criatura. El que crea y sea bautizado, será salvo; pero el que no crea, será condenado”.
“Estas señales seguirán a los que creen: En mi nombre echarán fuera demonios, hablarán nuevas lenguas, tomarán serpientes en las manos y, aunque beban cosa mortífera, no les hará daño; sobre los enfermos pondrán sus manos, y sanarán.

Marcos 16, 14-18, RV 1995



Resucitado - Hdad. de la Santa Vera Cruz de Setenil



Resurrección de Cristo - Fray Juan Bautista Maino - 1614



Cristo Resucitado - Procesiones de Torredonjimeno



So then, after the Lord had spoken to them, He was received up into heaven, and sat down at the right hand of God.  And they went out and preached everywhere, the Lord working with them and confirming the word through the accompanying signs.

Amen.

Mark 16, 19-20, NKJV



Cristo Resucitado - Procesiones de Sevilla



Ascension of Christ - Garolfalo - 1520



La Ascensión de Cieza - Miguel Bejarano Moreno



The Ascension - Benjamin West - 1801


Link to ..... "SABADO DE GLORIA...LAMENTATION AND ENTOMBMENT"

Link to ..... "VIERNES SANTO...CRUCIFIXION"

Link to ..... "JUEVES SANTO...VIA CRUCIS"

Link to ..... "MIERCOLES SANTO...JUDGEMENT AND FLAGELLATION"

Link to ..... "MARTES SANTO...BETRAYAL AND ARREST"


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