Summary

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

Before long this great extension of the art of illumination, and the fact that it became a trade, a method of earning a livelihood, like any other craft, led to a serious decadence in the art. Though wealthy patrons were able to pay large prices for richly illuminated manuscripts, thus keeping up the production of very elaborate and artistically valuable works of miniature art, yet the practical result was a growing decadence of style and workmanship.
Source: Wikisource

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

In most even of the best productions of the guild-scribes of the fifteenth century one sees occasional signs of weariness and haste; and in the cheap manuscripts, which were turned out by the thousand in France and Flanders during the latter part of the fifteenth century, there is a coarseness of touch and a mechanical monotony of style, which remind one of the artistic results of the triumphant commercialism of the nineteenth century.
Source: Wikisource

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

Naturally, when a wealthy patron ordered a magnificent book, he was not always willing to wait several years for its completion, as must have been necessary when the whole of a sumptuous manuscript was the work of one man.
Again, it was not an uncommon thing for unfinished manuscripts to be sent to Bruges, Ghent and other centres of the illuminator's art from various distant towns and countries, especially from France, Italy and Spain, in order that they might be decorated with borders and miniatures by one of the Flemish miniaturists.
Source: Wikisource

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