On the Transmission of Artistic Patterns in Late Medieval Manuscript Illumination
Edited By Joris Corin Heyder and Christine Seidel
Floral Borders: Some comparative aspects: Nataša Golob
Floral Borders: Some comparative aspects
The rethinking of the relationship between illumination, and wall and panel paint-ings in ex-Carniola (present Slovenia) in Gothic period was triggered by the discov-ery of a painted wooden ceiling in the village of Gosteče, near Ljubljana (c. 1515): large fantastic blossoms, framing a few images of saints, are parallels to contemporary manuscript decoration. Although the written sources for the art of Middle Ages offer rather general descriptions of painted wooden ceilings we still learn that iconographic scenes were centrally positioned and bordered by floral and leafy mo-tifs all around. The principle is the same as in manuscripts: text is essential and cen-tered, while the margins are for painted decoration. The compositions on the vaults of gothic churches also allow for comparisons to illumination, and the formal rela-tionship is revealed in the usage of the same patterns, of spindle and pumpkin blos-soms, of leafy flowers as corbels for angels, of anthropomorphic leafy fantasies etc.
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