1/27/2024 0 Comments Medieval manuscripts borders![]() So far in my limited experience, the borders found in the Aussem Book of Hours were unlike any I have seen. I became utterly obsessed with the large floral images assembled along the border all together yet completely distinct, as well as the wildlife illustrated in scientific precision. Each miniature in itself is a work of art and a testament to the artist, yet what really captured my gaze were the images in the borders. The vivid colors of the drapery alone seem to cloak Mary and the angel Gabriel in their encounter as the image is split between the holy dove and a European city in the background. This image found on folio 19.v begins the Hours of the Virgin and contains many different and carefully placed components. The German Aussem Book of Hours contains stunning and detailed miniatures as seen in Fig. It was not until I began flipping through the pages of the Aussem Book of Hours (MS W.437) that I realized a border could be just as captivating as a sophisticated miniature. They never seem to transgress past the point of persistent elegance by demanding more than a polite acknowledgement of their existence. ![]() How is it that something could be in such proximity to artistry, yet be devoid of any real praise? The borders and margins of an image suggest that what lies inside their walls is worthy of recognition, while holding a secret power of their own. They have since changed to a variety of forms and colors to even containing images within the border itself, however they continued to be viewed passively in comparison. In the 13th Century, borders became extensions of the texts they surrounded as an evolution from letter finial to wrapping around bodies of texts entirely. Although the choice to include bodies of text with borders and marginal imagery is visually intriguing, they often go unnoticed. Unlike most modern novels, medieval manuscripts frequently include highly decorated imagery around bodies of text as well as miniatures.
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