The Book of Hours of Catherine of Cleves, produced in the Netherlands in the early 15th century, is one of the most beautiful and complex manuscripts of the late Middle Ages.
Experts at the University of Birmingham believe they have discovered a manuscript of the Qur’an that is at least 1370 years old, making it the oldest known copy of the Islamic Holy Book.
If you’re passing through London and want something to do that is very quick, free, and historical, check out this great little Magna Carta exhibit at Burlington House hosted by the Society of Antiquaries of London.
Talks about growing a medieval parchment by stitching in items to it.
By the fifteenth century numerous accounts of the holy places circulated in Western Europe, many of them in Latin, a few in various vernaculars such as French and Middle Dutch.
One of the most remarkable books from the Renaissance period, the Rothschild Prayer Book, can now be seen at the National Library of Australia in Canberra.
Written in Latin between 1304 and 1309 by Petrus de Crescentiis, a wealthy lawyer from Bologna in Italy, Ruralia Commoda was the only publication of its kind during Henry VIII’s reign.
The Bible moralisée of Naples (c. 1340-1350, Naples, Italy) is housed in the Bibliothèque nationale de France, Paris.
A twelfth-century copy of the ‘Consolation of Philosophy’ by Boethius, has been revealed to have been been written in Scotland, making it the oldest surviving non-biblical manuscript from that country.
Take a look inside the pages of the 12th century manuscript Cardeña Beatus
Danielle Trynoski takes in the new Renaissance Splendors of the Northern Italian Courts exhibit at the Getty Center in Lost Angeles
The Great Hours of Anne of Brittany, created between 1503 and 1508 in Tours, France, is undoubtedly a masterpiece of French painting.
Analysing manuscripts, relics, indulgences, and even a bishop’s mitre, the article argues that stitching was a way to enact, or intensify, the ritual purpose of objects, whether that was ceremonial, devotional, or authoritative.
A look at the creation of the British Library’s Magna Carta: Law, Liberty, Legacy exhibition.
Identifying the materials used in medieval illuminated manuscripts gives us an insight into the techniques and skills of the scribes and illuminators, as well as the sometimes complex trade routes of the times.
In 2011 a medieval manuscript was broken apart – we take a look at the project which hopes to find all the pages and restore it.
This gem in the history of cartography is the outcome of the combined efforts of the workshops of the first two ‘schools’ of Portuguese cartography
What hooked me on medieval studies was my fascination with the material documents themselves: their feel, their smell, their creaking bindings, the specific and idiosyncratic redactions of texts they contain, and the marks of use on their pages.
The main subject of this study is an outstanding twelfth-century psalter produced in Normandy which has clear Eastern influences, both in terms of technical conception and iconography.
One of the Wales’s most important medieval manuscripts is throwing up ghosts from the past after new research and imaging work revealed eerie faces and lines of verse which had previously been erased from history.
How Palm Sunday was depicted in two of the most important illuminated manuscripts of Medieval Europe: The Isabella Breviary and Bible Moralisée of Naples.
Middle Age Couriers: How Medieval Polish Manuscripts Turned Up in Milwaukee, and How They Got Back Home to Poland
Middle Age Couriers: How Medieval Polish Manuscripts Turned Up in Milwaukee, and How They Got Back Home to Poland Lecture by Neal Pease Given at the University of Kansas on April 14, 2014 “He said he had something – a collection of stuff – that he wasn’t actually sure what it was, but he wanted […]
In less than two weeks a crowdfunding campaign to restore a 600 year old manuscript has already raised three-quarters of €25,000 it is asking for.
Take a look at the letters of the alphabet, as illustrated in medieval manuscripts
The blatant portrayal of male genitalia is reminiscent of fourteenth-century marginalia, but here is located front and centre. Unlike marginalia, which was either allegorically related or not related at all to the text, these images are a direct portrayal of events recounted in the tales which they accompany. How can we explain where the inspiration for these images came from and how they fit into the ideas and conventions of the context in which they were created?