![]() The more intensely a reader used a given section of the book, the more intensely discolored those folios are. Users employed thread and glue to affix devotional objects to their books, and fingerprints and dirt darkened the page as the user ground it into the fibers of the vellum. I then consider how material was often inadvertently added to manuscripts through handling. I first consider how images were abraded through devotional kissing and rubbing that was directed at a particular image, or even a particular area of an image, or occasionally directed at a text. These examples reveal how medieval people interacted with their books and reveal something of their habits and expectations, and ultimately, an aspect of medieval readers’ emotional lives. Taking as my premise the idea that missals reveal habits of wear and use, in this article I bring together other manuscripts-especially prayer books-that have been rubbed and handled. The priest in Haarlem who used this missal kissed the osculation plaque some of the time, but his lips also crept upward, onto the frame of the miniature, onto the ground below the cross, up the shaft of the cross, occasionally kissing the feet of Christ. This plaque is designed to bear the wear and tear of the priest’s repeated kisses, for illuminators realized that priests would damage their paintings if they could not deflect the lips elsewhere ( fig. In the Missal of the Haarlem Linen Weavers’ Guild, made in Utrecht in the first decade of the fifteenth century, the illuminators provided an osculation plaque at the bottom of the full-page miniature depicting the Crucifixion. A priest would repeatedly kiss the canon page of his missal, depositing secretions from his lips, nose, and forehead onto the page. One of the most obvious ways in which a category of manuscripts-missals-carries signs of use is the damage often found in the opening of the canon of the mass. Īlthough it is often difficult to study the habits, private rituals, and emotional states of people who lived in the medieval past, medieval manuscripts carry signs of use and wear on their very surfaces that provide records of some of these elusive phenomena. 184 C 2 (Photo: Byvanck archive artwork in the public domain). 1400-10, tempera and gold on vellum, 349 x 270 (265 x 179) mm, 2 columns, 32 lines, littera textualis, Latin. Missal of the Haarlem Linen Weavers Guild, North Holland (Haarlem?), ca. 149v), showing damage where the priest repeatedly kissed it. ![]() If you have specific questions or information about content, the website, and applications, please contact us.Fig. However, Get Archive LLC does not own each component of the compilation displayed and accessible on the PICRYL website and applications. Get Archive LLC is the owner of the compilation of content that is posted on the PICRYL website and applications, which consists of text, images, audio, video, databases, tags, design, codes, and software ("Content"). Get Archive LLC does not charge permission and license fees for use of any of the content on PICRYL, however, upon request, GetArchive can provide rights clearance for content for a fee. GetArchive believes there are no usage restrictions or limitations put on content in the U.S. ![]() ![]() Permission for use, re-use, or additional use of the content is not required. Get Archive LLC, creator of PICRYL, endeavors to provide information that it possesses on the copyright status of the content and to identify any other terms and conditions that may apply to the use of the content, however, Get Archive LLC offers no guarantee or assurance that all pertinent information is provided, or that the information is correct in each circumstance. PICRYL makes the world's public domain media fun to find and easy to use. PICRYL is an AI-driven search & similarity engine. PICRYL is the largest media source for public domain images, scans, and documents. The World's Largest Public Domain Media Search Engine
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