Summary

J. Henry Middleton Illuminated Manuscripts in Classical and Mediaeval Times… (1892)

Again, it should be remembered that the life of a mediaeval monk was a very uneventful and monotonous one, and even the most pious soul must at times have felt a weariness in the oft-repeated and lengthy Offices which made him spend so large a proportion of each day within the Choir of his monastic church. Thus it was that his work as an illuminator of manuscripts provided the one great relief from his otherwise grey and monotonous life, from which he turned to revel in every variety of fanciful shape and of varied arrangement of gleaming gold and brilliant pigments.
Source: Wikisource

J. Henry Middleton Illuminated Manuscripts in Classical and Mediaeval Times… (1892)

It may be interesting to consider what were the causes that made the illuminated manuscripts of the mediaeval period among the most perfect and beautiful works of art that the world has ever produced. No one can examine the manuscripts of any of the chief European countries down to the fourteenth century without a feeling of amazement at their almost unvarying perfection of execution, the immense fertility of fancy in their design, and the utterly unsparing labour that was lavished on their production.
Source: Wikisource

J. Henry Middleton Illuminated Manuscripts in Classical and Mediaeval Times… (1892)

Additional beauty is given to the mediaeval manuscripts by the fact that each scribe commonly did much important work in the preparation of his inks and pigments; in some cases even to the beating out of the gold leaf he was about to use in his miniatures and borders [5] . No colours bought of a dealer in a commercial age could ever equal in beauty or in durability the pigments that an illuminator made or at least prepared for his own use.
Source: Wikisource

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