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1443:. Aside from adding rich decoration to the text, scribes during the time considered themselves to be praising God with their use of gold. Furthermore, gold was used if a patron who had commissioned a book to be written wished to display the vastness of their riches. Eventually, the addition of gold to manuscripts became so frequent "that its value as a barometer of status with the manuscript was degraded". During this time period the price of gold had become so cheap that its inclusion in an illuminated manuscript accounted for only a tenth of the cost of production. By adding richness and depth to the manuscript, the use of gold in illuminations created pieces of art that are still valued today.
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1473:: "In a scene from the New Testament, Christ would be shown larger than an apostle, who would be bigger than a mere bystander in the picture, while the humble donor of the painting or the artist himself might appear as a tiny figure in the corner." The calendar was also personalized, recording the feast days of local or family saints. By the end of the Middle Ages many manuscripts were produced for distribution through a network of agents, and blank spaces might be reserved for the appropriate heraldry to be added locally by the buyer.
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included mixing the gold with stag's glue and then "pour it into water and dissolve it with your finger." Once the gold was soft and malleable in the water, it was ready to be applied to the page. Illuminators had to be very careful when applying gold leaf to the manuscript because gold leaf is able to "adhere to any pigment which had already been laid, ruining the design, and secondly the action of burnishing it is vigorous and runs the risk of smudging any painting already around it."
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630:, and in Italy and the Netherlands, and by the late 14th century there was a significant industry producing manuscripts, including agents who would take long-distance commissions, with details of the heraldry of the buyer and the saints of personal interest to him (for the calendar of a book of hours). By the end of the period, many of the painters were women, especially painting the elaborate border, and perhaps especially in Paris.
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2275:, pp. 126–127: "Official" Turkish figures wear a standard combination of a sharbūsh, a three-quarters length robe, and boots. Arab figures, in contrast, have different headgear (usually a turban), a robe that is either full-length or, if three-quarters length, has baggy trousers below, and they usually wear flat shoes or (...) go barefoot (...) P.127: Reference has already been made to the combination of boots and
373:. These books contained illuminated depictions of various animals, both real and fictional, and often focused on their religious symbolism and significance, as it was a widespread belief in post-classical Europe that animals, and all other organisms on Earth, were manifestations of God. These manuscripts served as both devotional guidance and entertainment for the working class of the Middle Ages.
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manuscripts grew to an extent that monastic libraries began to employ secular scribes and illuminators. These individuals often lived close to the monastery and, in instances, dressed as monks whenever they entered the monastery, but were allowed to leave at the end of the day. In reality, illuminators were often well known and acclaimed and many of their identities have survived.
852:, and manuscripts essentially for study often contained some images, often not in color. This trend intensified in the Gothic period, when most manuscripts had at least decorative flourishes in places, and a much larger proportion had images of some sort. Display books of the Gothic period in particular had very elaborate decorated borders of foliate patterns, often with small
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369:, illuminated books began to reflect secular interests. These included short stories, legends of the saints, tales of chivalry, mythological stories, and even accounts of criminal, social or miraculous occurrences. Some of these were also freely used by storytellers and itinerant actors to support their plays. One of the most popular secular texts of the time were
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443:. Within the walls of a scriptorium were individualized areas where a monk could sit and work on a manuscript without being disturbed by his fellow brethren. If no scriptorium was available, then "separate little rooms were assigned to book copying; they were situated in such a way that each scribe had to himself a window open to the cloister walk."
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or specks of gold that could be applied with a brush. When working with gold leaf, the pieces would be hammered and thinned. The use of this type of leaf allowed for numerous areas of the text to be outlined in gold. There were several ways of applying gold to an illumination. One of the most popular
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At all times, most manuscripts did not have images in them. In the early Middle Ages, manuscripts tend to either be display books with very full illumination, or manuscripts for study with at most a few decorated initials and flourishes. By the
Romanesque period many more manuscripts had decorated or
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the roles were typically separated, except for routine initials and flourishes, and by at least the 14th century there were secular workshops producing manuscripts, and by the beginning of the 15th century these were producing most of the best work, and were commissioned even by monasteries. When the
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years would show a page in which the lettering was cramped and crowded into a format dominated by huge ornamented capitals that descended from uncial forms or by illustrations". To prevent such poorly made manuscripts and illuminations from occurring, a script was typically supplied first, "and blank
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While the use of gold is by far one of the most captivating features of illuminated manuscripts, the bold use of varying colors provided multiple layers of dimension to the illumination. From a religious perspective, "the diverse colors wherewith the book is illustrated, not unworthily represent the
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Illumination was a complex and costly process, and was therefore usually reserved for special books such as altar bibles, or books for royalty. Heavily illuminated manuscripts are often called "luxury manuscripts" for this reason. In the early Middle Ages, most books were produced in monasteries,
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probably had the largest personal library of his time in the mid-15th century, is estimated to have had about 600 illuminated manuscripts, whilst a number of his friends and relations had several dozen. Wealthy patrons, however, could have personal prayer books made especially for them, usually in
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The introduction of printing rapidly led to the decline of illumination. Illuminated manuscripts continued to be produced in the early 16th century but in much smaller numbers, mostly for the very wealthy. They are among the most common items to survive from the Middle Ages; many thousands survive.
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Monasteries produced manuscripts for their own use; heavily illuminated ones tended to be reserved for liturgical use in the early period, while the monastery library held plainer texts. In the early period manuscripts were often commissioned by rulers for their own personal use or as diplomatic
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as markers of official status (...) the combination is standard, even being reflected in thirteenth-century Coptic paintings, and serves to distinguish, in Grabar's formulation, the world of the
Turkish ruler and that of the Arab. (...) The type worn by the official figures in the 1237 Maqāmāt,
681:. In the case of manuscripts that were sold commercially, the writing would "undoubtedly have been discussed initially between the patron and the scribe (or the scribe's agent, but by the time the written gathering were sent off to the illuminator, there was no longer any scope for innovation.)
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of monks writing in the scriptorium had almost fully given way to commercial urban scriptoria, especially in Paris, Rome and the
Netherlands. While the process of creating an illuminated manuscript did not change, the move from monasteries to commercial settings was a radical step. Demand for
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The illumination and decoration was normally planned at the inception of the work, and space reserved for it. However, the text was usually written before illumination began. In the Early
Medieval period the text and illumination were often done by the same people, normally monks, but by the
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depicted, for example, on fol. 59r,67 consists of a gold cap surmounted by a little round top and with fur trimming creating a triangular area at the front which either shows the gold cap or is a separate plaque. A particular imposing example in this manuscript is the massive
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text was complete, the illustrator set to work. Complex designs were planned out beforehand, probably on wax tablets, the sketch pad of the era. The design was then traced or drawn onto the vellum (possibly with the aid of pinpricks or other markings, as in the case of the
203:. This gradually became the standard for luxury illuminated manuscripts, although modern scholars are often reluctant to distinguish between parchment and vellum, and the skins of various animals might be used. The pages were then normally bound into codices (singular:
322:. There are a few examples from later periods. Books that are heavily and richly illuminated are sometimes known as "display books" in church contexts, or "luxury manuscripts", especially if secular works. In the first millennium, these were most likely to be
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The application of gold leaf or dust to an illumination is a very detailed process that only the most skilled illuminators can undertake and successfully achieve. The first detail an illuminator considered when dealing with gold was whether to use
856:. A Gothic page might contain several areas and types of decoration: a miniature in a frame, a historiated initial beginning a passage of text, and a border with drolleries. Often different artists worked on the different parts of the decoration.
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that would separate one's day into eight hours of devotion. These were often richly illuminated with miniatures, decorated initials and floral borders. They were costly and therefore only owned by wealthy patrons, often women.
238:. Textual manuscripts on paper become increasingly common, but the more expensive parchment was mostly used for illuminated manuscripts until the end of the period. Very early printed books left spaces for red text, known as
673:, the initials of chapters and sections, the notes and so on; and then – if the book was to be illustrated – it was sent to the illuminator". These letters and notes would be applied using an ink-pot and either a sharpened
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1427:. The inclusion of gold alludes to many different possibilities for the text. If the text is of religious nature, lettering in gold is a sign of exalting the text. In the early centuries of Christianity,
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for the first time in Europe, and with them full treatises on the sciences, especially astrology and medicine where illumination was required to have profuse and accurate representations with the text.
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Books and their makers during the Middle Ages: A study of the conditions of the production and distribution of literature from the fall of the Roman Empire to the close of the seventeenth century
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An explosion of artistic production in Arabic manuscripts occurred in the 12th and especially the 13th century. Thus various Syriac manuscripts of the twelfth and thirteenth centuries, such as
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from the 9th century. They were not illustrated, but were "illuminated" with decorations of the frontispieces or headings. The tradition of illustrated manuscripts started with the
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They are also the best surviving specimens of medieval painting, and the best preserved. Indeed, for many areas and time periods, they are the only surviving examples of painting.
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was first seen around the 13th century and was particularly popular in the later Middle Ages. Prior to the days of such careful planning, "A typical black-letter page of these
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period. Especially after the book of hours became popular, wealthy individuals commissioned works as a sign of status within the community, sometimes including
33:
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The book on how to make all the colour paints for illuminating books: unravelling a
Portuguese Hebrew illuminators' manual' ' Herit Sci 6, 44 (2018).
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1603:–1470; tempera, gold, and ink on parchment, binding: leather over wood boards with copper alloy corner mounts and bosses; Metropolitan Museum of Art
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Leaf from a
Gradual: Initial P with the Nativity; 1495; ink, tempera and gold on vellum; each leaf: 598 × 41 mm; Cleveland Museum of Art
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The origins of the pictorial tradition of Arabic illustrated manuscripts are uncertain. The first known decorated manuscripts are some
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can also be called illuminated and use essentially the same techniques, comparable Far
Eastern and Mesoamerican works are described as
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A World of Beasts: A Thirteenth-Century
Illustrated Arabic Book on Animals (the Kitāb Na't al-Ḥayawān) in the Ibn Bakhtīshū' Tradition
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On the strictest definition, a manuscript is not considered "illuminated" unless one or many illuminations contained metal, normally
593:, probably from the 1330s, is a very early manuscript of one of the most common works for grand illustrated books in Persian courts.
560:, were derived from the Byzantine tradition, yet stylistically have a lot in common with Islamic illustrated manuscripts such as the
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495:, especially on the Iberian Peninsula, was instrumental in delivering ancient classic works to the growing intellectual circles and
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Illuminated
Manuscripts in Cambridge: A Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges
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and the creation of scientific and technical treatises often based on Greek scientific knowledge, such as the Arabic versions of
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spaces were left for the decoration. This presupposes very careful planning by the scribe even before he put pen to parchment."
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world produced manuscripts in its own style, versions of which spread to other
Orthodox and Eastern Christian areas. With their
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The Gothic period, which generally saw an increase in the production of illuminated books, also saw more secular works such as
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2589:"The book on how to make all the colour paints for illuminating books: unravelling a Portuguese Hebrew illuminators' manual"
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paint, or at least was brushed with gold specks. Gold leaf was from the 12th century usually polished, a process known as
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Up to the 12th century, most manuscripts were produced in monasteries in order to add to the library or after receiving a
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Calkins, Robert G. (1978). "Stages of Execution: Procedures of Illumination as Revealed in an Unfinished Book of Hours".
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273:–1465, ink, tempera, and gold on vellum, binding: brown Morocco over original wooden boards, overall: 59 × 116 mm,
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2089:"The Book of Hours: A Medieval Bestseller | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History"
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357:, which usually contained all 150 canonical psalms, and small, personal devotional books made for lay people known as
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Art historians classify illuminated manuscripts into their historic periods and types, including (but not limited to)
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2720:(Series: Medieval Texts and Cultures in Northern Europe, vol. 21. Turnhout: Brepols Publishing, 2013). xxiv + 552 pp
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The following steps outline the detailed labor involved to create the illuminations of one page of a manuscript:
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with much more fur than usual that is worn by the princely official on the right frontispiece on fol. 1v."
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Identity and Christian-Muslim interaction : medieval art of the Syrian Orthodox from the Mosul area
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2841:(London : Harvey Miller Publishers in conjunction with the Modern Humanities Association. 1999– )
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Four Evangelists; 1572–1585; 413 × 277 mm; from Italy, probably Rome; Morgan Library & Museum
250:) would also allow scribes to add their own notes, diagrams, translations, and even comic flourishes.
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https://penelope.uchicago.edu/~grout/encyclopaedia_romana/britannia/anglo-saxon/flowers/bestiary.html
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2244:"A Turk in the Dukhang? Comparative Perspectives on Elite Dress in Medieval Ladakh and the Caucasus"
844:). Many incomplete manuscripts survive from most periods, giving us a good idea of working methods.
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Other illuminated liturgical books appeared during and after the Romanesque period. These included
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of Western Europe throughout the 12th century. Books were produced there in large numbers and on
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designs. The Romanesque and Gothic periods saw the creation of many large illuminated complete
129:, the practice continued into secular texts from the 13th century onward and typically include
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The Social Life of Illumination: Manuscripts, Images, and Communities in the Late Middle Ages
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for choirs to sing from, and "Atlantic" bibles, requiring more than one person to lift them.
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The palaeography of Gothic manuscript books: from the twelfth to the early sixteenth century
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15 pages of illuminated manuscripts from the Ball State University Digital Media Repository
2421:. Cambridge studies in palaeography and codicology. Cambridge: Cambridge University Press.
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After the Carolingians: Re-defining manuscript illumination in the 10th and 11th Centuries
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A common process of manuscripts illumination from the creation of the quire to the binding
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and works of literature illuminated. Wealthy people began to build up personal libraries;
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As the production of manuscripts shifted from monasteries to the public sector during the
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format was used, for various reasons. A very few illuminated fragments also survive on
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whether for their own use, for presentation, or for a commission. However, commercial
246:, all of which would have been added later by hand. Drawings in the margins (known as
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2016:
1991:
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1634:; ink, tempera, and gold on vellum; codex: 225 × 152 mm; Cleveland Museum of Art
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1804:, recognisable by their characteristic bestial appearance, gather to do battle with
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A Collection of Indonesian Illuminated Manuscripts | Southeast Asia Digital Library
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UCLA Library Special Collections collection of Medieval and Renaissance manuscripts
2986:– A full collection with high resolution images of Armenian Illuminated Manuscripts
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Illuminating the Renaissance – The Triumph of Flemish Manuscript Painting in Europe
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1774:, whom he has unwittingly slain in single combat. Folio of a manuscript of 1655 of
1580:; ink, tempera and gold on vellum; leaf: 197 × 143 mm; Cleveland Museum of Art
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A 13th-century manuscript illumination, the earliest known depiction of Archbishop
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Melo, Maria J.; Castro, Rita; Nabais, Paula; Vitorino, Tatiana (1 December 2018).
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The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843-1261
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The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843-1261
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Detail from Bifolium with Christ in Majesty in an Initial A, from an Antiphonary;
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The type of script depended on local customs and tastes. In England, for example,
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gifts, and many old manuscripts continued to be given in this way, even into the
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from a wealthy patron. Larger monasteries often contained separate areas for the
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2969:. Digitized illuminated manuscripts from the University of Louisville Libraries.
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Wieck, Roger. "Folia Fugitiva: The Pursuit of the Illuminated Manuscript Leaf".
2011:
Brown, Michelle Patricia; Teviotdale, Elizabeth Cover; Turner, Nancy K. (2018).
334:. The Book of Kells is the most widely recognized illuminated manuscript in the
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1323:, where in medieval times iron nails would be boiled in vinegar; the resulting
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was widely used from the 12th to 16th centuries, while a cursive hand known as
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153:
53:
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2980:– Complete sets of high-resolution archival images from the Walters Art Museum
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Blondheim, D. S. (1928). "An old Portuguese work on manuscript illumination".
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Continuation of previous three steps in addition to outlining marginal figures
545:, and their work is known to have been sponsored by local rulers, such as the
215:. Books ranged in size from ones smaller than a modern paperback, such as the
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1988:
The British Library guide to manuscript illumination: History and techniques
1894:. Text, image, context. Toronto: Pontifical Institute of Mediaeval Studies.
566:, pointing to a common pictorial tradition that existed since circa 1180 in
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Manuscript in which the text is supplemented by the addition of decoration
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in Sweden; it is so massive that it takes three librarians to lift it.
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The earliest surviving illuminated manuscripts are a small number from
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Art of documentation: documents and visual culture in medieval England
207:), that is the usual modern book format, although sometimes the older
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emerged around 1260 for business documents. In the Frankish Empire,
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tradition mostly began in whole books, rather than single pages for
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1498:; 1079; ink, tempera and gold on vellum; sheet: 163 × 109 mm;
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195:, made from stretched calf skin, was supposedly introduced by King
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Piety in Pieces: How Medieval Readers Customized their Manuscripts
2063:"The Psalter as Scripture - Response - Seattle Pacific University"
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style, with all or most of the background in gold, was taken from
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3780:
3738:
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3040:, a collection of illustrations from manuscripts made before 1450
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Illuminated Manuscripts in the J. Paul Getty Museum – Los Angeles
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2013:
Understanding illuminated manuscripts: a guide to technical terms
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The art of written forms: the theory and practice of calligraphy
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389:", which set down prayers appropriate for various times in the
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until the 2nd century BCE, when a more refined material called
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3034:'s renowned collection of medieval and Renaissance manuscripts
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with vinegar, and covering that with decaying matter, such as
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is from Spain, near to Muslim paper manufacturing centres in
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2776:"The Schefer Ḥarīrī: A Study in Islamic Frontispiece Design"
1808:, son of Rostam. Leaf from another manuscript of Ferdowsi's
637:
The author of a manuscript at his writing desk. 14th century
613:
of saints. Book of Hours of Alexandre Petau, 16th century,
3842:
3585:
3089:
2848:(trans fr German), 1986, Harvey Miller Publishers, London,
1801:
1507:
1440:
1251:
1184:, also known as folium, a dyestuff prepared from the plant
1159:
975:
904:
571:
282:
146:
2837:
Morgan, Nigel J., Stella Panayotova, and Martine Meuwese.
716:
469:(1237 CE) depicting a ruler in Turkic dress (long braids,
439:
who specialized in the production of manuscripts called a
156:, and date from between 400 and 600. Examples include the
1431:
manuscripts were sometimes written entirely in gold. The
1379:
1353:, gold hammered extremely thin, or gold powder, bound in
1332:
752:
The surface is prepared for the application of gold leaf
138:
3058:
2586:
2490:. Medieval craftsmen. London: The British Museum Press.
2446:. Sense, matter, and medium. Berlin: Walter de Gruyter.
2309:
2307:
760:
Gold leaf is burnished to make it glossy and reflective
3854:
2716:
Coleman, Joyce, Mark Cruse, and Kathryn A. Smith, eds.
2441:
2386:
2372:. Metropolitan Museum of Art. 1997. pp. 384–385.
2343:. Metropolitan Museum of Art. 1997. pp. 384–385.
1627:
Hours of Queen Isabella the Catholic, Queen of Spain;
187:
Most manuscripts, illuminated or not, were written on
91:
Various examples of pages from illuminated manuscripts
3002:
British Library, catalogue of illuminated manuscripts
2823:
Studies in Icelandic Fourteenth Century Book Painting
2304:
2010:
931:
resinous secretion of a number of species of insects.
454:
266:
The 63rd page of the Book of Hours (Use of Utrecht),
2398:
827:
Penning of a rinceau appearing in the border of page
764:Decorative impressions are made to adhere the leaf
393:. One of the best known examples is the extravagant
105:
where the text is decorated with flourishes such as
2442:Kitzinger, Beatrice E.; O'Driscoll, Joshua (2019).
1376:, either silver leaf or powdered, as with gold; and
784:
Ink borders are traced to finalize the illumination
408:Illuminated manuscripts housed in the 16th-century
1917:Late Antique and Early Christian book illumination
669:, "who added (in red or other colors) the titles,
168:. The majority of extant manuscripts are from the
2949:. Vol. 14 (11th ed.). pp. 312–320.
4241:
1735:Example of an elaborately decorated border of a
346:. The largest surviving example of these is The
2704:Medieval Illuminators and their Methods of Work
1848:
1846:
1844:
1592:Detail of a L from Benedictine Antiphonary; by
1194:Chemical- and mineral-based colors, including:
935:Chemical- and mineral-based colors, including:
665:The first step was to send the manuscript to a
2984:Collection of Armenian Illuminated Manuscripts
2742:Image on the edge: the margins of medieval art
2481:
2479:
1861:. Cambridge University Press. pp. 43–67.
1403:was written with gold on a purple background.
1049:, an earth pigment that occurs as the mineral
658:emerged under the vast educational program of
3682:
3074:
2626:
2624:
2248:Interaction in the Himalayas and Central Asia
1981:
1979:
1977:
1975:
617:, well after printing had become more common.
2825:, Reykholt: Snorrastofa, rit. vol. VI, 2009.
2808:, Getty Museum/Royal Academy of Arts, 2003,
1857:. In Kwakkel, Erik; Thomson, Rodney (eds.).
1841:
1743:manuscript kept at Gurdwara Mattan Sahib in
589:or albums, as later became more common. The
394:
4181:
2773:
2476:
2260:
2093:The Met’s Heilbrunn Timeline of Art History
1739:illuminated manuscript from a 17th century
780:Lighter colors are used to add particulars
3689:
3675:
3081:
3067:
2828:Melo, M.J., Castro, R., Nabais, P. et al.
2621:
1972:
968:, HgS, and found in nature as the mineral
558:Syriac Gospels, British Library, Add. 7170
242:, miniature illustrations and illuminated
2883:
2873:
2832:https://doi.org/10.1186/s40494-018-0208-z
2747:
2655:
2604:
2272:
2250:. Austrian Academy of Science Press: 232.
2220:
2218:
2216:
2197:10.1093/gao/9781884446054.article.t077202
2182:
2015:. Los Angeles: The J. Paul Getty Museum.
1939:
1914:
1889:
1852:
868:The medieval artist's palette was broad:
554:Syriac Gospels, Vatican Library, Syr. 559
2933:
2908:
2510:
2485:
2404:
2392:
2325:
2313:
2298:
2004:
1990:. Toronto: University of Toronto Press.
1985:
1859:The European book in the twelfth century
1394:
1162:, produced from the leaves of the plant
1116:, a mineral found in nature, chemically
787:
740:Charcoal powder dots create the outline
728:
720:
632:
600:
475:fur hat, boots, fitting coat), possibly
458:
403:
261:
3030:. Thousands of digital images from the
2804:Kren, T. & McKendrick, Scot (eds),
2535:
2416:
2362:
2360:
1557:; tempera, gold, and ink on parchment;
1327:would then be mixed with an extract of
1138:, a plant-based pigment extracted from
717:Engrossing: The process of illumination
533:. The translators were most often Arab
19:For the art of miniature painting, see
4242:
2921:The Journal of the Walters Art Gallery
2774:Hillenbrand, Robert (1 January 2010).
2630:
2224:
2213:
1317:, usually for an escape mechanism; and
998:O, or iron oxide-rich earth compounds.
688:gradually gave way to scripts such as
684:The sturdy Roman letters of the early
491:uninterrupted by the Middle Ages, the
226:Paper manuscripts appeared during the
3670:
3062:
3014:Collection of illuminated manuscripts
2241:
2235:
1747:, Kashmir, India. It is known as the
830:Finally, marginal figures are painted
772:Darker tones are used to give volume
230:. The untypically early 11th century
2858:
2846:Book Illumination in the Middle Ages
2728:Illuminated Books of the Middle Ages
2357:
1946:Journal of the Royal Society of Arts
865:multiple grace of heavenly wisdom."
696:, where distinctive scripts such as
626:grew up in large cities, especially
530:Book of the Ten Treatises of the Eye
2768:A History of Illuminated Manuscript
2331:
2191:. Oxford: Oxford University Press.
704:developed. Stocky, richly textured
692:and half-Uncial, especially in the
13:
2748:Contadini, Anna (1 January 2012).
2730:. 1983, Cornell University Press,
2633:The art and history of calligraphy
2266:
1853:Kauffmann, Martin (26 July 2018).
748:Illustration is retraced with ink
513:Graeco-Arabic translation movement
455:Greek Europe and the Islamic world
397:Très Riches Heures du Duc de Berry
21:Miniature (illuminated manuscript)
14:
4306:
2978:Digitized Illuminated Manuscripts
2927:
2086:
1042:Mineral-based colors, including:
954:, found in nature as the mineral
815:drawing of the design is executed
172:, although many survive from the
3853:
3650:
3641:
3640:
3630:
2900:
2035:
1794:
1759:
1728:
1702:
1679:
1667:
1639:
1620:
1608:
1585:
1566:
1543:
1515:
1483:
1156:Plant-based substances such as:
958:, or made by heating white lead;
885:Insect-based colors, including:
821:Application of modulating colors
744:Silverpoint drawing is sketched
385:the form of richly illuminated "
81:
72:
61:
52:
41:
32:
3696:
3631:
2940:"Illuminated Manuscripts"
2649:
2635:. London: The British Library.
2580:
2529:
2504:
2435:
2410:
2176:
2131:
2106:
1919:. London: Chatto & Windus.
1695:Turkish and Islamic Arts Museum
1646:Farnese Hours, an example of a
1313:, from the ink produced by the
1102:, made historically by boiling
1034:, rarely due to cost, from the
818:Burnished gold dots are applied
574:which was highly influenced by
289:
3022:Museum Meermanno-Westreenianum
2486:De Hamel, Christopher (1992).
2080:
2055:
2029:
1986:De Hamel, Christopher (2001).
1933:
1908:
1883:
1:
2967:Illuminated Manuscript Leaves
2328:, p. Chapter4, 4th page.
2242:Flood, Finbarr Barry (2017).
2225:Putnam, George Haven (1897).
1855:"Decoration and illustration"
1834:
1654:; 1537–1546; illumination on
1628:
1597:
1574:
1551:
1522:Definitions of Philosophy of
1357:or egg; the latter is called
1008:Plant-based colors, such as:
596:
267:
219:, to very large ones such as
3554:Conservation and restoration
2990:
2963:(archived 17 September 2006)
2511:Anderson, Donald M. (1969).
1787:Princeton University Library
1142:Rhamnus tinctoria, R. utilis
917:, extracted from the insect
7:
3746:Canons of page construction
2744:. Harvard University Press.
2658:The Jewish Quarterly Review
1890:Berenbeim, Jessica (2015).
1817:
1660:Morgan Library & Museum
1573:Leaf from a Book of Hours;
1258:, to provide the necessary
1246:, and historically made by
10:
4311:
3054:The Missal of Thomas James
2702:Alexander, Jonathan A.G.,
2696:
2263:, p. 126 and note 40.
2183:Kauffmann, Martin (2003).
2042:World History Encyclopedia
1559:Metropolitan Museum of Art
1476:
1455:
1405:National Library of Poland
1390:
776:Further details are drawn
257:
18:
4164:
4079:
4038:
3940:
3922:
3874:Anthropodermic bibliopegy
3862:
3851:
3704:
3626:
3504:
3438:
3377:
3225:
3096:
3088:
2954:
2788:10.1163/9789004236615_011
2760:10.1163/9789004222656_005
2631:Lovett, Patricia (2017).
2606:10.1186/s40494-018-0208-z
2087:Stein, Authors: Wendy A.
1942:"Illuminated Manuscripts"
1940:Davenport, Cyril (1912).
1867:10.1017/9781316480205.005
1201:, made from the minerals
1172:, derived from the plant
859:
446:By the 14th century, the
410:Ethiopian Orthodox Church
395:
4214:Intentionally blank page
3007:24 November 2011 at the
2868:, Open Book Publishers,
2488:Scribes and illuminators
2417:Derolez, Albert (2003).
1915:Weitzmann, Kurt (1977).
1829:Renaissance illumination
1824:Gothic book illustration
1382:leaf, also as with gold.
903:insect is mixed with an
768:Base colors are applied
338:, and is famous for its
4250:Illuminated manuscripts
3212:Collection (publishing)
3136:Illuminated manuscripts
3018:Koninklijke Bibliotheek
2946:Encyclopædia Britannica
2766:De Hamel, Christopher.
1766:The great Iranian hero
1500:Cleveland Museum of Art
1295:, from sources such as
756:Gold leaf is laid down
641:
518:The Book of Fixed Stars
320:Renaissance manuscripts
275:Cleveland Museum of Art
111:miniature illustrations
101:is a formally prepared
4182:
1412:
1118:basic copper carbonate
978:, chemically hydrated
805:
785:
726:
638:
618:
591:Great Mongol Shahnameh
489:traditions of literacy
480:
428:
286:
99:illuminated manuscript
3581:Intellectual property
3207:Volume (bibliography)
3038:Manuscript Miniatures
2909:Snelders, B. (2010).
2452:10.1515/9783110579499
2301:, p. 3, note 14.
2139:penelope.uchicago.edu
1658:; 171 × 111 mm;
1650:illuminated page; by
1398:
1014:, processed from the
791:
732:
724:
656:Carolingian minuscule
636:
604:
462:
407:
401:for a French prince.
265:
115:Roman Catholic Church
2740:Camille, M. (1992).
1524:David the Invincible
1303:, or burnt bones or
1236:basic lead carbonate
1187:Crozophora tinctoria
1175:Indigofera tinctoria
850:historiated initials
798:Canterbury Cathedral
796:'s assassination in
463:Frontispiece of the
113:. Often used in the
4290:Textual scholarship
2935:Thompson, Edward M.
2726:Calkins, Robert G.
1812:(The Book of Kings)
1401:Tyniec Sacramentary
907:to produce the dye;
842:Lindisfarne Gospels
328:Lindisfarne Gospels
178:Islamic manuscripts
162:Vergilius Vaticanus
145:, inventories, and
4209:Fore-edge painting
4204:Extra-illustration
3618:World Book Capital
2915:. Peeters, Leuven.
2515:. New York: Holt.
2114:"The Getty Museum"
1712:, 1164-1167, from
1413:
1061:arsenic trisulfide
901:Dactylopius coccus
806:
786:
727:
639:
619:
605:Page from a Latin
481:
429:
287:
127:courtly literature
4237:
4236:
4116:Addendum/Appendix
4000:Table of contents
3664:
3663:
3496:Coffee table book
3327:Bookworm (insect)
3049:Related articles
2875:10.11647/OBP.0094
2797:978-90-04-23661-5
2706:, 1992, Yale UP,
2642:978-0-7123-5668-8
2522:978-0-03-068625-2
2497:978-0-7141-2049-2
2461:978-3-11-057467-8
2428:978-0-521-80315-1
2379:978-0-87099-777-8
2350:978-0-87099-777-8
2231:. London: Putnam.
2206:978-1-884446-05-4
2164:Missing or empty
2022:978-1-60606-578-5
1997:978-0-8020-8173-5
1952:(3087): 245–251.
1926:978-0-7011-2243-0
1901:978-0-88844-194-2
1876:978-1-316-48020-5
1741:Guru Granth Sahib
1722:Itsukushima Jinja
1594:Belbello da Pavia
1437:Byzantine mosaics
1399:The 11th-century
1388:
1387:
1274:calcium carbonate
1264:chemical reaction
702:insular minuscule
698:insular majuscule
583:Persian miniature
563:Maqāmāt al-Ḥarīrī
535:Syriac Christians
524:De materia medica
466:Maqamat al-Hariri
414:Ura Kidane Mehret
158:Vergilius Romanus
4302:
4275:Christian genres
4270:Book terminology
4185:
3914:Treasure binding
3857:
3691:
3684:
3677:
3668:
3667:
3654:
3644:
3643:
3634:
3633:
3564:History of books
3083:
3076:
3069:
3060:
3059:
2950:
2942:
2923:, Vol. 54, 1996.
2916:
2905:
2904:
2898:
2887:
2877:
2860:Rudy, Kathryn M.
2801:
2763:
2690:
2689:
2653:
2647:
2646:
2628:
2619:
2618:
2608:
2593:Heritage Science
2584:
2578:
2577:
2533:
2527:
2526:
2508:
2502:
2501:
2483:
2474:
2473:
2439:
2433:
2432:
2414:
2408:
2402:
2396:
2390:
2384:
2383:
2364:
2355:
2354:
2335:
2329:
2323:
2317:
2311:
2302:
2296:
2287:
2270:
2264:
2261:Hillenbrand 2010
2258:
2252:
2251:
2239:
2233:
2232:
2222:
2211:
2210:
2189:Grove Art Online
2180:
2174:
2173:
2167:
2162:
2160:
2152:
2150:
2148:
2135:
2129:
2128:
2126:
2124:
2110:
2104:
2103:
2101:
2099:
2084:
2078:
2077:
2075:
2073:
2059:
2053:
2052:
2050:
2048:
2036:Mark, Joshua J.
2033:
2027:
2026:
2008:
2002:
2001:
1983:
1970:
1969:
1937:
1931:
1930:
1912:
1906:
1905:
1887:
1881:
1880:
1850:
1798:
1789:Unknown artist.
1763:
1732:
1706:
1689:, 1591–92, from
1683:
1671:
1643:
1633:
1630:
1624:
1612:
1602:
1599:
1589:
1579:
1576:
1570:
1556:
1553:
1547:
1526:; 1280; vellum;
1519:
1487:
1164:Isatis tinctoria
913:, also known as
891:, also known as
871:
870:
837:High Middle Ages
539:Hunayn ibn Ishaq
400:
399:
367:High Middle Ages
272:
269:
228:Late Middle Ages
119:liturgical books
117:for prayers and
85:
76:
65:
56:
45:
36:
4310:
4309:
4305:
4304:
4303:
4301:
4300:
4299:
4240:
4239:
4238:
4233:
4160:
4075:
4071:Tipped-in pages
4034:
4015:Acknowledgments
3936:
3918:
3865:
3858:
3849:
3823:Recto and verso
3709:
3700:
3695:
3665:
3660:
3622:
3607:The Philobiblon
3500:
3434:
3373:
3221:
3168:limited edition
3092:
3087:
3009:Wayback Machine
2993:
2957:
2930:
2899:
2896:
2798:
2770:(Phaidon, 1986)
2699:
2694:
2693:
2670:10.2307/1451766
2654:
2650:
2643:
2629:
2622:
2585:
2581:
2534:
2530:
2523:
2509:
2505:
2498:
2484:
2477:
2462:
2440:
2436:
2429:
2415:
2411:
2403:
2399:
2395:, pp. 1–2.
2391:
2387:
2380:
2366:
2365:
2358:
2351:
2337:
2336:
2332:
2324:
2320:
2312:
2305:
2297:
2290:
2271:
2267:
2259:
2255:
2240:
2236:
2223:
2214:
2207:
2181:
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2154:
2153:
2146:
2144:
2137:
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2120:
2112:
2111:
2107:
2097:
2095:
2085:
2081:
2071:
2069:
2061:
2060:
2056:
2046:
2044:
2038:"Book of Kells"
2034:
2030:
2023:
2009:
2005:
1998:
1984:
1973:
1938:
1934:
1927:
1913:
1909:
1902:
1888:
1884:
1877:
1851:
1842:
1837:
1820:
1813:
1799:
1790:
1770:mourns his son
1764:
1755:
1754:(golden corpus)
1733:
1724:
1707:
1698:
1684:
1675:
1672:
1663:
1662:(New York City)
1644:
1635:
1631:
1625:
1616:
1613:
1604:
1600:
1590:
1581:
1577:
1571:
1562:
1561:(New York City)
1554:
1548:
1539:
1520:
1511:
1488:
1479:
1467:donor portraits
1458:
1393:
1279:
1245:
1241:
1215:, now known as
1131:
1127:
1123:
1101:
1097:
1093:
1070:
1066:
997:
989:
985:
966:mercury sulfide
953:
949:
919:Kermes vermilio
862:
802:British Library
736:
719:
644:
599:
457:
382:Philip the Bold
292:
270:
260:
232:Missal of Silos
166:Rossano Gospels
95:
94:
93:
92:
88:
87:
86:
78:
77:
68:
67:
66:
58:
57:
48:
47:
46:
38:
37:
24:
17:
12:
11:
5:
4308:
4298:
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4292:
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4267:
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4226:
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4216:
4211:
4206:
4201:
4196:
4193:
4188:
4187:
4186:
4174:
4168:
4166:
4165:Other elements
4162:
4161:
4159:
4158:
4153:
4148:
4143:
4138:
4133:
4128:
4123:
4118:
4113:
4108:
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4096:
4091:
4085:
4083:
4077:
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4074:
4073:
4068:
4063:
4060:
4055:
4050:
4044:
4042:
4036:
4035:
4033:
4032:
4030:Printer's mark
4027:
4022:
4017:
4012:
4007:
4002:
3997:
3992:
3987:
3982:
3977:
3975:Imprimi potest
3972:
3970:Edition notice
3967:
3962:
3957:
3956:
3955:
3946:
3944:
3938:
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3935:
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3928:
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3911:
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3901:
3896:
3891:
3886:
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3876:
3870:
3868:
3860:
3859:
3852:
3850:
3848:
3847:
3846:
3845:
3835:
3830:
3825:
3820:
3815:
3813:Page numbering
3810:
3805:
3800:
3795:
3794:
3793:
3788:
3778:
3773:
3768:
3763:
3758:
3753:
3748:
3743:
3742:
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3661:
3659:
3658:
3648:
3638:
3627:
3624:
3623:
3621:
3620:
3615:
3613:World Book Day
3610:
3603:
3598:
3593:
3588:
3583:
3578:
3577:
3576:
3571:
3561:
3556:
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3546:
3541:
3539:Book packaging
3536:
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3098:
3094:
3093:
3086:
3085:
3078:
3071:
3063:
3057:
3056:
3047:
3046:
3041:
3035:
3032:Morgan Library
3025:
3011:
2999:
2992:
2989:
2988:
2987:
2981:
2975:
2970:
2964:
2956:
2953:
2952:
2951:
2929:
2928:External links
2926:
2925:
2924:
2917:
2906:
2894:
2856:
2842:
2835:
2826:
2816:
2802:
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2550:10.2307/766713
2528:
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2409:
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2378:
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2273:Contadini 2012
2265:
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1318:
1308:
1288:
1284:
1283:
1282:
1281:
1277:
1267:
1260:carbon dioxide
1243:
1239:
1227:
1223:
1222:
1221:
1220:
1210:
1192:
1191:
1179:
1167:
1154:
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1149:
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1147:
1133:
1129:
1125:
1121:
1111:
1099:
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1088:cupric acetate
1079:
1075:
1074:
1073:
1072:
1068:
1064:
1054:
1040:
1039:
1036:Crocus sativus
1029:
1019:
1016:Reseda luteola
1006:
1002:
1001:
1000:
999:
995:
987:
983:
973:
959:
951:
947:
944:lead tetroxide
933:
932:
922:
908:
883:
879:
878:
875:
861:
858:
832:
831:
828:
825:
822:
819:
816:
718:
715:
643:
640:
598:
595:
456:
453:
418:Zege Peninsula
391:liturgical day
387:books of hours
359:books of hours
326:, such as the
291:
288:
259:
256:
154:late antiquity
135:enrolled bills
90:
89:
80:
79:
71:
70:
69:
60:
59:
51:
50:
49:
40:
39:
31:
30:
29:
28:
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15:
9:
6:
4:
3:
2:
4307:
4296:
4293:
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4255:Books by type
4253:
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4230:
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4222:
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4180:
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4157:
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4142:
4139:
4137:
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4129:
4127:
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4119:
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4105:
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4101:
4100:
4097:
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4092:
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4059:
4058:Illustrations
4056:
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4051:
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4045:
4043:
4041:
4037:
4031:
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4023:
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4018:
4016:
4013:
4011:
4008:
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4003:
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3998:
3996:
3993:
3991:
3988:
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3983:
3981:
3978:
3976:
3973:
3971:
3968:
3966:
3963:
3961:
3958:
3954:bastard title
3953:
3952:
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3948:
3947:
3945:
3943:
3939:
3933:
3930:
3929:
3927:
3925:
3921:
3915:
3912:
3910:
3909:Picture cover
3907:
3905:
3902:
3900:
3897:
3895:
3892:
3890:
3887:
3885:
3882:
3880:
3877:
3875:
3872:
3871:
3869:
3867:
3861:
3856:
3844:
3841:
3840:
3839:
3836:
3834:
3831:
3829:
3826:
3824:
3821:
3819:
3816:
3814:
3811:
3809:
3806:
3804:
3801:
3799:
3796:
3792:
3789:
3787:
3784:
3783:
3782:
3779:
3777:
3774:
3772:
3769:
3767:
3764:
3762:
3759:
3757:
3754:
3752:
3749:
3747:
3744:
3740:
3737:
3735:
3734:Marginal note
3732:
3730:
3727:
3725:
3722:
3721:
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3717:
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3714:
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3707:
3703:
3699:
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3609:
3608:
3604:
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3582:
3579:
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3567:
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3562:
3560:
3557:
3555:
3552:
3550:
3547:
3545:
3544:Book swapping
3542:
3540:
3537:
3535:
3532:
3528:
3525:
3523:
3520:
3519:
3518:
3515:
3513:
3510:
3509:
3507:
3503:
3497:
3494:
3490:
3487:
3485:
3482:
3480:
3477:
3476:
3474:
3472:
3469:
3465:
3462:
3460:
3457:
3455:
3452:
3450:
3447:
3446:
3444:
3443:
3441:
3437:
3431:
3430:United States
3428:
3426:
3423:
3421:
3418:
3416:
3413:
3411:
3408:
3406:
3403:
3401:
3398:
3396:
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3386:
3383:
3382:
3380:
3376:
3370:
3367:
3363:
3360:
3359:
3358:
3355:
3353:
3352:Print culture
3350:
3348:
3345:
3341:
3338:
3336:
3333:
3332:
3330:
3328:
3325:
3323:
3320:
3318:
3315:
3313:
3310:
3308:
3305:
3301:
3298:
3296:
3293:
3291:
3288:
3286:
3283:
3282:
3281:
3278:
3276:
3273:
3271:
3270:Bibliotherapy
3268:
3266:
3263:
3260:
3256:
3253:
3251:
3248:
3244:
3241:
3240:
3239:
3236:
3234:
3231:
3230:
3228:
3224:
3218:
3215:
3213:
3210:
3208:
3205:
3203:
3200:
3198:
3195:
3191:
3188:
3186:
3183:
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3178:
3177:
3176:
3173:
3169:
3166:
3164:
3161:
3159:
3156:
3154:
3151:
3149:
3146:
3145:
3144:
3141:
3137:
3134:
3133:
3132:
3129:
3127:
3124:
3122:
3119:
3115:
3112:
3111:
3110:
3107:
3105:
3102:
3101:
3099:
3095:
3091:
3084:
3079:
3077:
3072:
3070:
3065:
3064:
3061:
3055:
3052:
3051:
3050:
3045:
3042:
3039:
3036:
3033:
3029:
3026:
3024:in The Hague.
3023:
3019:
3015:
3012:
3010:
3006:
3003:
3000:
2998:
2995:
2994:
2985:
2982:
2979:
2976:
2974:
2971:
2968:
2965:
2962:
2959:
2958:
2948:
2947:
2941:
2936:
2932:
2931:
2922:
2918:
2914:
2913:
2907:
2903:
2897:
2895:9781783742356
2891:
2886:
2881:
2876:
2871:
2867:
2866:
2861:
2857:
2855:
2851:
2847:
2844:Pächt, Otto,
2843:
2840:
2836:
2834:
2833:
2827:
2824:
2820:
2817:
2815:
2814:1-903973-28-7
2811:
2807:
2803:
2799:
2793:
2789:
2785:
2781:
2780:Arab Painting
2777:
2772:
2769:
2765:
2761:
2757:
2753:
2752:
2746:
2743:
2739:
2737:
2733:
2729:
2725:
2723:
2722:online review
2719:
2715:
2713:
2709:
2705:
2701:
2700:
2687:
2683:
2679:
2675:
2671:
2667:
2664:(2): 97–135.
2663:
2659:
2652:
2644:
2638:
2634:
2627:
2625:
2616:
2612:
2607:
2602:
2598:
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2575:
2571:
2567:
2563:
2559:
2555:
2551:
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2543:
2539:
2532:
2524:
2518:
2514:
2507:
2499:
2493:
2489:
2482:
2480:
2471:
2467:
2463:
2457:
2453:
2449:
2445:
2438:
2430:
2424:
2420:
2413:
2406:
2405:Snelders 2010
2401:
2394:
2393:Snelders 2010
2389:
2381:
2375:
2371:
2370:
2363:
2361:
2352:
2346:
2342:
2341:
2334:
2327:
2326:Snelders 2010
2322:
2315:
2314:Snelders 2010
2310:
2308:
2300:
2299:Snelders 2010
2295:
2293:
2285:
2280:
2279:
2274:
2269:
2262:
2257:
2249:
2245:
2238:
2230:
2229:
2221:
2219:
2217:
2208:
2202:
2198:
2194:
2190:
2186:
2185:"Scriptorium"
2179:
2171:
2158:
2143:
2140:
2134:
2119:
2115:
2109:
2094:
2090:
2083:
2068:
2064:
2058:
2043:
2039:
2032:
2024:
2018:
2014:
2007:
1999:
1993:
1989:
1982:
1980:
1978:
1976:
1967:
1963:
1959:
1955:
1951:
1947:
1943:
1936:
1928:
1922:
1918:
1911:
1903:
1897:
1893:
1886:
1878:
1872:
1868:
1864:
1860:
1856:
1849:
1847:
1845:
1840:
1830:
1827:
1825:
1822:
1821:
1811:
1807:
1803:
1797:
1792:
1788:
1784:
1781:
1777:
1773:
1769:
1762:
1757:
1753:
1750:
1746:
1742:
1738:
1731:
1726:
1723:
1719:
1715:
1711:
1710:Heike Noukyou
1705:
1700:
1696:
1692:
1688:
1682:
1677:
1670:
1665:
1661:
1657:
1653:
1652:Giulio Clovio
1649:
1642:
1637:
1623:
1618:
1611:
1606:
1595:
1588:
1583:
1569:
1564:
1560:
1546:
1541:
1537:
1533:
1529:
1525:
1518:
1513:
1509:
1505:
1501:
1497:
1496:New Testament
1493:
1486:
1481:
1480:
1474:
1472:
1468:
1464:
1453:
1450:
1444:
1442:
1438:
1434:
1430:
1426:
1422:
1418:
1410:
1406:
1402:
1397:
1381:
1378:
1375:
1372:
1371:
1370:
1367:
1366:
1360:
1356:
1352:
1349:
1348:
1347:
1344:
1343:
1337:
1334:
1330:
1326:
1322:
1321:Iron gall ink
1319:
1316:
1312:
1309:
1306:
1302:
1298:
1294:
1291:
1290:
1289:
1286:
1285:
1275:
1272:, chemically
1271:
1268:
1265:
1261:
1257:
1253:
1249:
1237:
1234:, chemically
1233:
1230:
1229:
1228:
1225:
1224:
1218:
1214:
1211:
1208:
1204:
1200:
1197:
1196:
1195:
1189:
1188:
1183:
1180:
1177:
1176:
1171:
1168:
1165:
1161:
1158:
1157:
1155:
1152:
1151:
1145:
1143:
1137:
1134:
1119:
1115:
1112:
1109:
1105:
1089:
1086:, chemically
1085:
1082:
1081:
1080:
1077:
1076:
1062:
1059:, chemically
1058:
1055:
1052:
1048:
1045:
1044:
1043:
1037:
1033:
1030:
1027:
1026:Curcuma longa
1023:
1020:
1017:
1013:
1010:
1009:
1007:
1004:
1003:
993:
981:
977:
974:
971:
967:
964:, chemically
963:
960:
957:
945:
942:, chemically
941:
938:
937:
936:
930:
926:
923:
920:
916:
912:
909:
906:
905:aluminum salt
902:
898:
897:carminic acid
894:
890:
887:
886:
884:
881:
880:
876:
873:
872:
869:
866:
857:
855:
851:
845:
843:
838:
829:
826:
823:
820:
817:
814:
811:
810:
809:
803:
799:
795:
794:Thomas Becket
790:
783:
779:
775:
771:
767:
763:
759:
755:
751:
747:
743:
739:
735:
731:
723:
714:
711:
707:
703:
699:
695:
694:British Isles
691:
687:
682:
680:
677:feather or a
676:
672:
668:
663:
661:
657:
653:
649:
635:
631:
629:
625:
616:
612:
608:
607:book of hours
603:
594:
592:
588:
584:
579:
577:
576:Byzantine art
573:
569:
565:
564:
559:
555:
550:
548:
544:
543:Yahya ibn Adi
540:
536:
532:
531:
526:
525:
520:
519:
514:
510:
505:
502:
498:
494:
490:
486:
478:
474:
473:
468:
467:
461:
452:
449:
444:
442:
438:
434:
427:
423:
419:
415:
411:
406:
402:
398:
392:
388:
383:
379:
374:
372:
368:
363:
360:
356:
351:
349:
345:
341:
337:
333:
332:Book of Kells
329:
325:
321:
317:
313:
309:
305:
301:
297:
284:
280:
276:
264:
255:
251:
249:
245:
241:
237:
233:
229:
224:
222:
218:
217:pocket gospel
214:
210:
206:
202:
198:
194:
190:
185:
183:
179:
175:
171:
167:
163:
159:
155:
150:
148:
144:
140:
136:
132:
131:proclamations
128:
124:
120:
116:
112:
108:
104:
100:
84:
75:
64:
55:
44:
35:
26:
22:
4131:Bibliography
4020:Introduction
3980:Nihil obstat
3960:Frontispiece
3942:Front matter
3776:Illumination
3775:
3605:
3601:Preservation
3517:Book burning
3512:Banned books
3265:Bibliophilia
3250:Bibliography
3180:advance copy
3163:instant book
3135:
3131:Illustration
3114:dust jackets
3048:
2944:
2920:
2911:
2864:
2845:
2838:
2829:
2822:
2805:
2779:
2767:
2750:
2741:
2727:
2717:
2703:
2661:
2657:
2651:
2632:
2596:
2592:
2582:
2544:(1): 61–70.
2541:
2537:
2531:
2512:
2506:
2487:
2443:
2437:
2418:
2412:
2400:
2388:
2368:
2339:
2333:
2321:
2316:, p. 3.
2283:
2276:
2268:
2256:
2247:
2237:
2227:
2188:
2178:
2166:|title=
2145:. Retrieved
2138:
2133:
2121:. Retrieved
2118:Getty Museum
2117:
2108:
2096:. Retrieved
2092:
2082:
2070:. Retrieved
2066:
2057:
2045:. Retrieved
2041:
2031:
2012:
2006:
1987:
1949:
1945:
1935:
1916:
1910:
1891:
1885:
1858:
1751:
1748:
1691:Safavid Iran
1494:Psalter and
1490:Leaf from a
1463:Early Modern
1459:
1445:
1424:
1414:
1400:
1358:
1203:lapis lazuli
1193:
1185:
1173:
1163:
1141:
1135:
1041:
1035:
1025:
1015:
991:
980:ferric oxide
934:
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522:
516:
506:
497:universities
493:Muslim world
482:
470:
464:
445:
430:
375:
364:
352:
324:Gospel Books
296:Late Antique
293:
290:Latin Europe
252:
225:
186:
181:
151:
98:
96:
25:
4295:Western art
4285:Manuscripts
4265:Book design
4229:Thumb index
4195:Die-cutting
4156:Author page
4081:Back matter
4040:Body matter
3889:Dust jacket
3879:Bookbinding
3866:back covers
3833:Rubrication
3786:Historiated
3706:Page layout
3698:Book design
3534:Book curses
3410:Netherlands
3280:Bookselling
3255:Bibliomania
3238:Bestsellers
3226:Consumption
3217:Book series
3202:Typesetting
2819:Liepe, Lena
2782:: 117–134.
1778:'s Iranian
1714:Itsukushima
1648:Renaissance
1632: 1500
1601: 1467
1578: 1460
1555: 1405
1528:Matenadaran
1433:gold ground
1217:cobalt blue
1199:Ultramarine
1140:buckthorn (
1136:China green
1024:, from the
813:Silverpoint
706:blackletter
686:Middle Ages
660:Charlemagne
441:scriptorium
348:Codex Gigas
336:Anglosphere
304:Carolingian
271: 1460
174:Renaissance
170:Middle Ages
4244:Categories
4191:Book rhyme
4172:Book curse
4111:Postscript
4094:Conclusion
3990:Dedication
3985:Imprimatur
3965:Title page
3950:Half-title
3864:Front and
3818:Pull quote
3719:Annotation
3711:typography
3479:audiobooks
3378:By country
3331:Furniture
3322:Digitizing
3317:Collecting
3307:Censorship
3290:book towns
3175:Publishing
3158:incunabula
3097:Production
2885:10023/9562
2854:0199210608
2736:0500233756
2712:0300056893
1835:References
1785:, held in
1697:(Istanbul)
1425:burnishing
1421:shell gold
1359:shell gold
1355:gum arabic
1315:cuttlefish
1250:sheets of
1232:White lead
1106:plates in
1028:plant; and
877:Source(s)
854:drolleries
734:ENGROSSING
667:rubricator
624:scriptoria
611:miniatures
597:Techniques
537:, such as
521:(965 CE),
433:commission
378:chronicles
371:bestiaries
312:Romanesque
248:marginalia
236:Al-Andaluz
221:choirbooks
164:, and the
4260:Book arts
4183:ex-librīs
4177:Bookplate
4089:Afterword
4048:Body text
3924:Endpapers
3904:Paperback
3894:Hardcover
3803:Miniature
3791:Inhabited
3771:Headpiece
3751:Catchword
3549:Book tour
3522:incidents
3454:miniature
3449:fictional
3335:bookcases
3275:Bookmarks
3190:paperback
3185:hardcover
3016:from the
2991:Resources
2754:. Brill.
2678:0021-6682
2615:2050-7445
2574:190805404
2558:0016-920X
2470:241300499
1958:0035-9114
1810:Shahnameh
1783:Shahnameh
1656:parchment
1504:Cleveland
1492:Byzantine
1449:gold leaf
1417:gold leaf
1351:Gold leaf
1329:oak apple
1297:lampblack
1248:corroding
1114:Malachite
1090:, Cu(OAc)
1084:Verdigris
962:Vermilion
899:from the
893:cochineal
800:in 1170.
671:headlines
652:Anglicana
485:Byzantine
448:cloisters
422:Lake Tana
279:Cleveland
189:parchment
4224:Slipcase
4151:Postface
4146:Colophon
4126:Glossary
4121:Endnotes
4099:Epilogue
4066:Sections
4053:Chapters
4025:Prologue
4005:Foreword
3995:Epigraph
3838:Typeface
3808:Ornament
3724:Footnote
3646:Category
3559:Dog ears
3475:Formats
3471:Grimoire
3464:textbook
3415:Pakistan
3362:literacy
3340:bookends
3259:tsundoku
3143:Printing
3005:Archived
2937:(1911).
2862:(2016),
2284:sharbūsh
2278:sharbūsh
2157:cite web
2147:17 April
2123:17 April
2098:12 April
2072:12 April
2047:12 April
1966:41339989
1818:See also
1806:Faramarz
1776:Ferdowsi
1687:Al-Quran
1471:heraldry
1325:compound
1301:charcoal
1262:for the
1182:Turnsole
1146:berries.
1057:Orpiment
1051:limonite
1022:Turmeric
970:cinnabar
940:Red lead
895:, where
804:, London
679:reed pen
587:muraqqas
547:Artuqids
472:Sharbush
426:Ethiopia
355:psalters
330:and the
308:Ottonian
244:initials
201:Pergamum
176:. While
143:charters
123:psalters
121:such as
103:document
4280:Gilding
4219:Pop-ups
4199:Endband
4010:Preface
3932:Marbled
3899:Leather
3884:Buckram
3781:Initial
3739:Scholia
3636:Outline
3596:Outline
3505:Related
3445:Genres
3395:Germany
3369:Reviews
3357:Reading
3347:Library
3295:history
3153:history
3148:edition
3126:Editing
3104:Binding
3028:CORSAIR
2697:Sources
2686:1451766
2067:spu.edu
1749:Sunehri
1745:Martand
1536:Armenia
1532:Yerevan
1477:Gallery
1456:Patrons
1391:Gilding
1368:Silver
1242:·Pb(OH)
1238:, 2PbCO
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911:Crimson
889:Carmine
648:Textura
609:, with
509:Qur'ans
477:Baghdad
340:insular
300:Insular
258:History
240:rubrics
213:papyrus
197:Eumenes
182:painted
107:borders
4141:Errata
3828:Rubric
3798:Margin
3766:Header
3761:Footer
3756:Column
3656:Portal
3569:scroll
3484:Ebooks
3459:pop-up
3390:France
3385:Brazil
3285:blurbs
3233:Awards
3121:Design
3109:Covers
2955:Images
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956:minium
915:kermes
874:Color
860:Paints
710:Gothic
690:Uncial
344:bibles
318:, and
316:Gothic
209:scroll
199:II of
193:vellum
4136:Index
4104:Outro
4062:Parts
3729:Gloss
3591:Novel
3574:codex
3489:Folio
3439:Other
3420:Spain
3405:Japan
3400:Italy
3312:Clubs
3090:Books
2682:JSTOR
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2570:S2CID
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3586:ISBN
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3300:used
3243:list
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