The large Irish Illuminated Manuscript of the four Gospels known as the Book of Kells is one of the most famous of all medieval books.大型爱尔兰发亮手稿的四个福音称为添加页面，酒店，是其中最有名的中世纪的书籍。 Now in the library of Trinity College, Dublin, it was probably begun by monks at the island monastery of Iona and completed at the Irish monastery of Kells sometime between the mid-8th and the early 9th century.现在，在图书馆的三一学院，都柏林，它可能是一开始僧人在岛上的修道院iona并完成在爱尔兰修道院的爱尔兰之间的一段时间中的第8和早期九世纪。 The gospels are written on thick vellum and lavishly illuminated with the rich ornamentation characteristic of Celtic Art of this period.福音书是写在厚厚的vellum和发亮的宽厚与丰富的纹饰特征凯尔特艺术这一时期。 In addition to 31 full-page illustrations, fanciful figures and tightly interlaced bands, knots, and spirals of extraordinary intricacy and density occur throughout the book.除了31日以整版篇幅图文并茂，幻想的数字，并严密交错带，节，风，有着非同寻常的复杂性和密度，发生在全国各地的书。
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Bibliography参考书目
Alton, EH, and
Meyer, Peter, The Book of Kells, 3 vols.奥尔顿，嗯，和迈耶，彼得，这本书的爱尔兰， 3卷。
(1950-51); Henry, Francoise, The Book
of Kells (1974). （ 1950年至1951年） ;亨利，巴黎，这本书的爱尔兰（ 1974 ） 。
An Irish manuscript containing the Four Gospels, a fragment of Hebrew names, and the Eusebian canons, known also as the "Book of Columba", probably because it was written in the monastery of Iona to honour the saint.一名爱尔兰手稿，其中载有4个福音，一个片段的希伯来语名字，并eusebian大炮，也被称为"书的哥伦布" ，这可能是因为这是写在修道院的iona兑现圣。 It is likely that it is to this book that the entry in the "Annals of Ulster" under the year 1006 refers, recording that in that year the "Gospel of Columba" was stolen.因为这样做可能是为了这本书说，在进入"史册阿尔斯特： "根据今年的1006人是指，记录，在这一年， "福音的哥伦布"被盗窃的案件。
According to tradition, the book is a relic from the time of Columba (d. 597) and even the work of his hands, but, on palæographic grounds and judging by the character of the ornamentation, this tradition cannot be sustained, and the date of the composition of the book can hardly be placed earlier than the end of the seventh or beginning of the eighth century.按照传统，这本书是舍利子，从当时的哥伦布（四597 ） ，甚至工作，他的手，但对palæographic理由，并依性质的装饰品，这个传统不能持续下去，和日期的组成部分，这本书可以很容易放在早于去年底的第七或开始第八世纪。 This must be the book which the Welshman, Geraldus Cambrensis, saw at Kildare in the last quarter of the twelfth century and which he describes in glowing terms (Topogr. Hibern., II, xxxviii).这要作为这本书，其中威尔士人， geraldus cambrensis ，亲眼看到Kildare的，在上个季度的12世纪和他的叙述中焕发出的条件（ topogr. hibern 。第一，二，三十八） 。 We next hear of it at the cathedral of Kells (Irish Cenannus) in Meath, a foundation of Columba's, where it remained for a long time, or until the year 1541.我们接下来听到的，它在大教堂的爱尔兰（爱尔兰cenannus ）在米斯，基础哥伦布的，在那里停留了很长的时间，或直到今年第1541 。 In the seventeenth century Archbishop Ussher presented it to Trinity College, Dublin, where it is the most precious manuscript (AI 6) in the college library and by far the choicest relic of Irish art that has been preserved.在17世纪大主教厄舍尔提交给圣三一学院，都柏林，在那里是最可宝贵的手稿（爱6 ）在高校图书馆与迄今为止彩虹的遗迹爱尔兰艺术已经保存。 In it is to be found every variety of design typical of Irish art at its best.在它被发现，每一个品种的设计典型的爱尔兰艺术处于最佳状态。
Some small portions at the beginning and end of the manuscript have been lost, but otherwise it is in a very good state of preservation.一些小部分，在开始和结束时的手稿已遗失，但在其他方面，它是在一个非常好的状态，保存工作。 It was apparently left unfinished, since some of the ornaments remain only in outline.这显然是未完成的，因为一些的首饰只停留在大纲。 It is written in part black, red, purple or yellow ink, and it has been thought that the hands of two scribes, neither of whom is known to us by name, are discernible in the writing and illumination of the manuscript.这是写在部分黑色，红色，紫色或黄色墨水，并已经以为手中的两个文士，任何一人，是众所周知的，以我们的名字，但都是可以辨别的，在书面和光照的手稿。 The most characteristic ornaments of the Book of Kells, as of other illuminated Irish manuscripts of the period, are the closely coiled spirals connected with each other by a number of curves and terminating in the so-called "trumpet pattern".最具特色的饰物添加页面，酒店，为其他发亮的爱尔兰手稿的时期，是紧紧缠绕螺旋与彼此之间还有一些曲线，并终止在所谓的"小号"模式。 Almost equally characteristic are the zoomorphic interlacements, coloured representations of fanciful beings, or of men, animals, birds, horses, dogs, and grotesque, gargoyle-like human figures, twisted and hooked together in intricate detail.几乎同样的特点是zoomorphic interlacements ，有色交涉的幻想的人，或者男人，动物，鸟类，马，狗，怪诞， gargoyle样的人物，歪曲与衷诚合作，在错综复杂的细节。 Other frequently occurring designs are a system of geometrical weaving of ribbons plaited and knotted together, and a simpler ornamentation by means of red dotted lines.其他常见的设计是一个系统的几何编织的彩带plaited和扭结在一起，一个比较简单的装饰手段红色虚线表示。 The versatility and inventive genius of the illustrator surpasses all belief.功能性和创造性天才的插画超越一切的信念。 Lines diverge and converge in endless succession, and the most intricate figures, in lavish abundance and with astounding variety of ornament, are combined and woven into one harmonious design.线发散和衔接，在无休止地继承的，最复杂的数字，在奢华的丰度和惊人的各种饰品，连结在一起，编织成一个和谐的设计。 In spite of the extent of the work and its thousands of exquisite initials and terminals, there is not a single pattern or combination that can be said to be a copy of another.尽管程度的工作和数以千计的精美英文缩写和终端，还没有一个单一的模式或组合，可以说是一本。 The artist shows a wonderful technique in designing and combining various emblems, the cross, vine, dragon, fish, and serpent.艺术家表演精彩技术，在设计，结合各种徽章，在十字架上，畏缩不前，龙，鱼，蛇。 The drawing is perfection itself.绘画是完善自己。 It has been examined under a powerful magnifying glass for hours at a time and found to be, even in the most minute and complicated figures, without a single false or irregular line.它已被下了强大的放大镜几个小时的时间，并发现，即使是在最微小的和复杂的人物，没有一个单一的虚假或不规则线。 Some of the most accomplished of modern draughtsmen have attempted to copy its elaborate designs, but, such is the delicacy of the execution, that they had to abandon the task as hopeless.部分的最有成就的现代草拟曾试图复制其详细的设计，但是，这种是美味的执行，他们不得不放弃工作，因为无望。 In a space of one inch square were counted no less than 158 interlacings of white ribbon with a black border on either side.在空间的一平方英寸计数不得少于158 interlacings的白丝带与一个黑色边界两侧。 On the other hand, the pictures of the personages delineated are feeble and primitive and show but a limited knowledge of the human figure and its relative proportions.另一方面，关于这些照片的人士圈定是软弱和原始显示而是有限知识的人的数字，以及其相对比例。
No words can describe the beauty and the extreme splendour of the richly coloured initial letters, which are more profuse in the "Book of Kells" than in any other manuscript.没有任何语言可以形容美丽和极端色彩的丰富颜色的首字母，它们更丰富，在"添加页面，酒店， "比在任何其他手稿。 The only thing to which they can be compared is a bed of many coloured crocuses and tulips or the very finest stained glass window, which they equal in beauty of colouring and rival in delicacy of ornament and drawing.唯一的事，让他们可以比较的是一张床的许多有色crocuses和郁金香还是非常优秀的彩色玻璃窗，他们都是平等的美填色和对手在精致的饰品和借鉴。 The artist possessed a wonderful knowledge of the proportion of colour and the distribution of his material -- sienna, purple, lilac, red, pink, green, yellow, the colours most often used -- and he managed the shading and tinting of the letters with consummate taste and skill.艺术家拥有美好的知识含量比重的颜色和分配他的材料-西耶娜，紫，丁香，红色，粉红色，绿色，黄色，颜色最常用的-以及他的管理，遮荫及调色的一封信与制约性味和技能。 It is remarkable that there is no trace of the use of silver or gold on the vellum.值得注意的是，这是没有踪影，使用银色或金就vellum 。 Sometimes the colours are laid on in thick layers to give the appearance of enamel, and are here and there as bright and soft and lustrous as when put on fresh more than twelve hundred years ago.有时候，颜色，就奠定了在厚层，让外表釉，并在这里和那里，因为光明和柔软光泽，因为当把新鲜超过一千二百年前。 Even the best photographic and colour reproductions give but a faint idea of the beauty of the original.即使是最好的摄影和彩色复制给而是一个微弱的构想美丽的原始文件。 Especially worthy of notice is the series of illuminated miniatures, including pictorial representations of the Evangelists and their symbols, the Blessed Virgin and the Divine Child, the temptation of Jesus, and Jesus seized by the Jews.尤其值得注意的是公告的一系列发亮的微缩模型，包括图案交涉的福音和他们的符号，小圣和神的孩子，诱惑耶稣，耶稣和缴获的犹太人。 These pictures reach their culminating point in what is, in some respects, the most marvellous example of workmanship that the world has ever produced, namely the full page monogram XPI which occurs in the text of the Gospel of St. Matthew.这些照片达到其最终点是什么，在某些方面，最奇妙的例子的手艺，即世界都产生了，即整页会标xpi发生在文本中的福音的圣马太。 It is no wonder that it was for a long time believed that the "Book of Kells" could have been written only by angels.这也难怪，这是相当长的时间，相信"书中的爱尔兰"已经可以书面只有天使。
Publication information Written by Joseph Dunn.出版信息写的约瑟夫邓恩。 Transcribed by Paul Knutsen.转录的，由保罗knutsen 。 The Catholic Encyclopedia, Volume VIII.天主教百科全书，音量八。 Published 1910. 1910年出版。 New York: Robert Appleton Company.纽约：罗伯特Appleton还公司。 Nihil Obstat, October 1, 1910. nihil obstat ， 1910年10月1日。 Remy Lafort, STD, Censor.人头马lafort ，性病，检查员。 Imprimatur. imprimatur 。 +John Cardinal Farley, Archbishop of New York +约翰farley枢机主教，大主教纽约
I. ORIGIN一，原产地
A large number of manuscripts are covered with painted ornaments which may be presented under several forms:大量的手稿，布满手绘首饰，可下几种形式：
initials of chapters or paragraphs, ornamented sometimes very simply, sometimes on the other hand with a great profusion of interlacings, foliage, and flowers; these are developed along the whole length of the page and within are sometimes depicted persons or scenes from everyday life; paintings on the margin, in which some scene is carried over several pages; borders around the text (interlacing colonnades, etc.), the most remarkable example is that of the evangelistic canons of the Middle Ages; full-page paintings (or such as cover only a part of the page), but forming real pictures, similar to frescoes or easel pictures; these are chiefly found on very ancient or very recent manuscripts (fourteenth and fifteenth centuries);英文缩写的篇章或段落，装饰有时很简单，有时在另一方面，与一个伟大profusion的interlacings ，赏叶，花;这些都是沿整个长度的一页，并有时描绘的人或场景，从日常生活中;画上缘，其中有些是现场进行了几页;边界附近文（交错colonnades等） ，最显着的例子是，该福音门炮的中世纪;整版篇幅画（或如封面只是一部分的页面） ，但形成真正的图片，类似的壁画或画架的照片，这是主要发现很古老或非常近的手稿（第十四和第十五世纪） ;
finally, there exist rolls of parchment wholly covered with paintings (Roll of Josue in the Vatican; Exultet Roll of S. Italy; see below).最后，存在着卷羊皮纸全覆盖画（辊josue在梵蒂冈; exultet辊脊髓肌肉萎缩意大利;见下文） 。
All these ornaments are called "eluminures", illuminations, or miniatures, a world used since the end of the sixteenth century.所有这些装饰都是所谓的" eluminures " ，灯饰，或微缩的世界，一个用自去年底， 16世纪。 At first the "miniator" was charged with tracing in red minium the titles and initials.在第一次" miniator被指控"追查红色最小的名称及缩写。 Despite its limitations, the art of illumination is one of the most charming ever invented; it exacts the same qualifications and produced almost as powerful effects as painting; it even calls for a delicacy of touch all its own.尽管有它的局限性，艺术照明是其中最迷人的发明的，而是要付出相同资格，并制作了几乎同样强大的影响，正如国画，它甚至呼吁建立一个微妙的触摸，包罗万有。 And whereas most of the paintings of the Middle Ages have perished, these little works form an almost uninterrupted series which afford us a clear idea of the chief schools of painting of each epoch and each region.和而大部分的画中世纪已经灭亡了，这些小工程，形成一个几乎不间断的系列产品，可让我们有一个清晰的概念，行政学校的绘画每个时代和每个区域。 Finally, in the history of art the rôle of illuminated manuscripts was considerable; by treating in their works scenes of sacred history the manuscript painters inspired other artists, painters, sculptors, goldsmiths, ivory workers, etc.; it is especially in miniature that the ebb and flow of artistic styles during the Middle Ages may be detected.最后，在艺术史的rôle照明手稿是相当大;对待，在他们的作品场面神圣的历史手稿画家的灵感其他艺术家，画家，雕刻家，金匠，象牙工人等，它是特别的缩影，认为历经跌宕起伏的艺术风格，在中世纪，可侦破。 In the Orient must be sought the origin of this art, as well as that of the manuscripts themselves.在世界的东方，必须寻求起源的这届艺术，以及时表示，在该手稿本身。 The most ancient examples are found on Egyptian papyri, where in the midst of the texts, and not separated from it, portraits are painted, most frequently in profile, according to the Egyptian method.最古老的例子是发现于埃及papyri ，在复杂多变的文本，而不是脱离它，画像，是画，最经常出现在剖面上，根据埃及的方法。 After having drawn the outline in black in the artist filled in the drawing in colours.之后得出的纲要，在黑色中充满艺术家在绘画中的颜色。 The art seems to have been also cultivated by the Greek artists of Alexandria.艺术似乎已被中又形成了由希腊艺术家亚历山大。 The papyrus containing the poems of Timotheus (fourth century BC) found at Abousir, has a long-legged bird in the body of the text as a mark of division.纸莎草纸载诗timotheus （第四世纪BC ）的发现，在abousir ，有着悠久的腿鸟在正文中，作为标志而划分的。 A fragment of a romance on a papyrus (Paris, Bib. Nat., supp. Gr. 1294; first century AD) displays a text broken by groups of miniatures: men and women in bluish-gray or pink costumes stand out in relief from the background of the papyrus itself.片段爱情一纸莎草（巴黎，背带裤。 NAT的， supp 。克1294年;公元一世纪）显示一个文本打破团体的微缩模型：男性和女性在青灰色或粉红色服装的站出来，在从救济背景纸莎草纸本身。 Latin writers show us that the miniature was introduced into Rome as early as the first century BC (Pliny, "Hist. Nat.", XXV, 8).拉美作家，让我们看到了微型传入罗马早在公元前一世纪（普林尼， "历史。 NAT的" ，二十五8 ） 。 Martial (XIV, 1865) mentions a portrait of Virgil painted on a parchment manuscript, and Varro collected seven hundred such portraits of illustrious men.武术（ 14 ， 1865 ）中提到的肖像维尔吉尔手绘就羊皮纸手稿，并沃罗收集到700这样的画像显赫的男性。 (The portraits of the Evangelists in medieval manuscripts result from this tradition.) None of these works remains and the only traces of the illuminations of antiquity are found in the following manuscripts of the fourth and fifth centuries: （画像福音，在中世纪手稿的结果，从这一传统。 ） ，但这些工程仍然存在的唯一痕迹的灯饰，仿古都体现在以下几个手稿的第四和第五个百年：
the "Virgil" of the Vatican (Lat. 3225), written by a single hand, has fifty miniatures which appear to be the work of at least three different painters. "维尔吉尔"梵蒂冈（ lat. 3225 ） ，以书面，由一个单一的手，有五十六微缩模型似乎可为的工作，至少有三个不同的画家。 These are small pictures bordered by coloured bands (six of them fill a whole page); some of them, especially in the "Georgics", represent country landscapes the freshness of which is worthy of the text they illustrate.这些都是小照片边缘有深色条带（其中六人填补整页） ，他们中的一些人，尤其是在" georgics " ，代表着国家的景观新鲜，这是值得的文本，他们说明。 The background of buildings and temples recalls the paintings at Pompeii; the "Iliad" of Milan (similar technic);背景的建筑物和庙宇回顾书画厅庞培; "伊利亚特"的米兰（类似的技术） ;
the Bible of Quedlinburg (Berlin), containing the most ancient Christian miniatures known;圣经中的奎德林堡（柏林） ，其中载有最古老的基督教微缩模型已知;
the "Calendar" of Philocalus, composed in 354, the original of which, acquired by Peiresc, has disappeared, but the copies at Brussels, Vienna and the Barberini Library evidence a work of a purity thoroughly antique; the most curious portion is an illustrated calendar in which each month is symbolized by a scene of country life; this is a species of illustration of ancient origin which recurs very frequently in the miniatures of the Middle Ages. "日历"的philocalus组成，在354后，原有的，其中，收购佩雷斯克，已经消失了，但是副本是在布鲁塞尔，维也纳和barberini图书馆证据的工作，纯度彻底古董;最好奇的部分，是一本图文并茂日历，其中每个每月象征，由现场的乡村生活，这是一个以种，插图古代原产地复发，已非常频密，在微缩模型的中世纪。
II.二。 EASTERN MINIATURES东部微缩模型
Egypt埃及
The tradition of miniatures on papyrus was preserved till the Christian era.传统的微缩模型对纸莎草纸被保存下来，直到基督时代。 On a Berlin papyrus (Emperor Frederick Museum) we find a picture of Christ curing a demoniac.就柏林纸莎草（皇帝冯馆） ，我们发现一个图片基督治愈demoniac 。 In the Goleniscev collection there are sixteen leaves of a universal Coptic chronicle on papyrus, dated 392 and decorated with miniatures in a very barbarous style, intended as illustrations of the text.在goleniscev收集有16个叶片中的一个普遍科普特纪事对纸莎草，日期为392和装饰微缩模型，在一个非常野蛮的作风，打算作为插图的文本。 In the margin are seen successively the months (women crowned with flowers), the provinces of Asia (fortified gateways), the prophets, the kings of Rome, Lydia, Macedonia, Roman emperors, and perhaps the Patriarch Tehophilus presiding at the destruction of the Serapeum.在保证金被先后个月（女冠花） ，省亚洲（设防网关） ，先知，国王队的罗马，邓莲，马其顿，罗马帝王，也许牧tehophilus主持销毁了serapeum 。 The author was a native monk and a complete stranger to Hellenic art.作者是一个本土和尚和一个完整的陌生希腊艺术。
Syria and Mesopotamia叙利亚与美索不达米亚
The existence of Persian manuscripts on parchment very rich in miniatures, is proved by allusions of St. Augustine (Adv. Faustum, XIII, 6, 18).存在波斯语的手稿就羊皮纸十分丰富，在微缩模型，证明了典故的圣奥古斯丁（ adv. faustum ，十三，六， 18 ） 。 As early as the fifth century schools of miniaturists were formed in the Christian convents of Syria and Mesopotamia which drew some of their inspiration from Greek art (draped figures), but relied mainly on the ornamental traditions of the ancient Orient.早在公元5世纪学校的miniaturists形成于基督教修道院的叙利亚与美索不达米亚平原，引起了他们的一些灵感来自希腊艺术（披上数字） ，但主要是依赖于观赏传统的古老的东方。 The masterpiece of this school is the Syriac Evangeliary written in 586 at the Monastery of Zagba (Mesopotamia) by the monk Rabula (since the fifteenth century in the Laurentian Library, Florence).杰作的这所学校是叙利亚文evangeliary写在586上的修道院zagba （美索不达米亚） ，由僧人rabula （自15世纪在项目Laurentian图书馆，佛罗伦斯） 。 The miniatures are real pictures with a decorative frame formed of zigzags, curves, rainbows, etc. The Gospel canons are set in arcades ornamented with flowers and birds.这个微缩模型都是真实的图片，一个装饰框架形成的曲折，曲线，彩虹等，福音门炮，是集商场，装饰用鲜花和鸟类。 The scene of the Crucifixion is treated with an abundance of detail which is very rare at this period.现场的受难日，是治疗了丰富的细节，这是非常罕见的，在这个时期。 The works of the Syro-Mesopotamian School seem to have missed the meaning of the Hellenic figures (figures in flowing draperies) of which they retained the tradition.该工程的syro -美索不达米亚的学校似乎已经错过了的意思希腊数字（数字流布料） ，其中，他们保留了传统。 On a Syriac evangeliary in the Borgian Museum (manuscripts Syr., 14, f, k.) men and animals are painted in unreal colours and are bordered with black lines which give to the illuminations the appearance of cloisonné enamels.关于叙利亚文evangeliary在borgian馆（手稿syr ， 14型， F大调） ，男人和动物画在虚幻的色彩，并与相邻的黑线，这给了灯饰的外观景泰蓝珐琅。 The work, which is dated 1546, seems to have been inspired by an older model.工作，这是过时的1546 ，似乎已受到启发，由一个旧型的。
Armenia亚美尼亚
The Armenian School of illuminating also belongs to Syria.亚美尼亚学校的启发，也属于叙利亚。 It is represented by the evangeliary of Etschmiadzin (tenth century), the miniatures of which are derived from a sixth-century model; the evangeliary of Queen Mlke (Venice, Monastery of the Mechitarists, dated 902), and the evangeliary of Tübingen, dated 1113.它的代表是evangeliary的etschmiadzin （十世纪） ，微缩模型，其中有来自于第六世纪的模式; evangeliary皇后mlke （威尼斯，寺庙的mechitarists日902 ） ，以及evangeliary的蒂宾根，过时1113 。 In all these works the richness of the framework and the hieratic character of the human face are noteworthy.在所有这些作品内容丰富的框架和hieratic性格的人脸值得注意。
Muslim Art穆斯林艺术
All the above characteristics carried to extremes are found in the Muslim schools of miniatures (Arabic, Turkish, and Persian manuscripts); the oldest date only from the thirteenth century.所有上述特性进行了极端的是，发现在穆斯林学校的微缩模型（阿拉伯语，土耳其语，波斯语手稿） ;历史最悠久的迄今只有从十三世纪。 Together with copies of the Koran, admirably illuminated with purely geometrical figures radiating symmetrically around a central motif like the design of a carpet, there is found especially in Persia, a fruitful school of painters which did not fear to depict the human face.连同本可兰经，令人钦佩发亮，纯粹几何数字辐射对称地围绕中央的Motif想设计一个地毯，有发现，尤其是在波斯的，富有成果的学校的画家，没有恐惧，以描写人性的一面。 Nothing is more picturesque than the varied scenes intended to illustrate the books of chronicles, legends, etc. Besides fantastic scenes ("Apocalypse of Mohomet", Paris, Bib. Nat., supp. Turk., 190) are found contemporary reproductions of scenes from real life which take us into the streets of Bagdad in the thirteenth century or permit us to follow an army or a caravan on the march ("Maqâmât" of Hariri, Bib. Nat., Paris, supp. Arab., 1618).没有比这更风景如画比多样的场景意想说明书籍的地方志，传说等，除了神奇的场面（下称"启示mohomet " ，巴黎，背带裤。 NAT的， supp 。特克， 190 ）发现当代翻版场面从现实生活中，其中带我们到街上的巴格达在13世纪或许可证，我们必须遵循的一个军队或车队于3月（ " maqâmât "里，背带裤。 NAT的，巴黎， supp 。阿拉伯， 1618年） 。 Eastern artists, whether Christian or Muslim, frequently portray their subjects on backgrounds of gold; in Persian manuscripts, however, are found attempts at landscape backgrounds, several of which betray a Chinese influence.东区的艺术家，无论是基督徒还是穆斯林，经常描绘自己的学科背景的黄金;波斯语的手稿，不过，被发现企图景观背景，其中有几个出卖中国人的影响力。
III.三。 BYZANTINE MINIATURES拜占庭微缩模型
The history of Byzantine miniatures is yet to be written; it is impossible at present to determine its origin or to study its development.历史上的拜占庭微缩模型，尚未能写，这是不可能的，目前，以确定其来源或研究其发展。 It seems more and more evident that Byzantine art, far from being an original creation, is no more than a prolonged survival of the Hellenic-oriental art of the fourth to the sixth centuries.看来，越来越多的，可见拜占庭艺术，远不是一个独创，是一个长期生存的希腊-东方艺术的第四至第六世纪。 The Greek monks charged with the illumination of manuscripts never ceased to copy models, following the fashion and the occupation of the time, these models sometimes varies; hence Byzantine art has undergone a development more apparent than real.希腊的僧侣被控照度的手稿从未停止复制模型，继时装和占领的时间里，这些模型有时不尽相同，因此，拜占庭艺术经历了一个发展更加明显，实际并非如此。 Under present conditions, without seeking to determine the schools, we must be content to indicate the principal groups of manuscripts.目前的情况下，没有寻求确定学校，我们必须内容，以显示主要群体的手稿。
Fifth and Sixth Centuries第五和第六个世纪
Several of the Biblical manuscripts in gold letters on purple parchment have been rightly compared with one another, viz.几个圣经手稿黄金信件紫色羊皮纸已被正确地相比，又分别。 the Genesis of the Imperial Library of Vienna, the Evangeliarium of Rossano, and the fragment of the Gospel of St. Matthew discovered at Sinope (since 1900 in the Bib. Nat., Paris).成因帝国图书馆的维也纳， evangeliarium的罗萨诺，和片段的福音的圣马太发现sinope （ 1900年以来在背带裤。 NAT的，巴黎） 。 In these three manuscripts the painting has an anecdotic character; it is intended to illustrate the text, and sometimes two periods of a scene are represented in a picture.在这三个手稿画中有一个anecdotic性质，它是企图说明文，有时两个时期的一个镜头代表合影。 Both the evangelaries show a bearded face of Christ, majestic and severe, which already suggests the "Pantocrator" of church cupolas.无论evangelaries显示，留着胡须的脸基督的，雄伟壮观的严重，其中已经表明， " pantocrator "教会cupolas 。 From the same period date two works which appear to be the transcription on parchment of an original on papyrus; one is the Roll of Josue in the Vatican Library, which displays a series of miniatures, eleven yards long, relating to the history of Josue; the other is the manuscript of the voyage of Cosmas Indicopleustes (Vatican), a monk of Sinai; in this, together with symbolic representations of various parts of the world, are many scenes and personages of the Bible, painted opposite the text, with the manuscript itself as background.从同期日期两部作品似乎可转录羊皮纸上的一个原对纸莎草纸的，一个是轧辊的josue在梵蒂冈图书馆，它显示了一系列的微缩模型， 11码长，历史有关的josue ;另一种是手稿的航程中的科斯马斯indicopleustes （梵蒂冈） ，一名僧人的西奈半岛，在这方面，再加上象征性交涉的世界各地，许多场景和人物的圣经，描绘了对面的文本，同手稿本身作为背景。 Very different is the illustration of medical manuscripts such as the "Dioscorides" of Vienna, executed about the year 500, for Juliana, daughter of Placidia.非常不同的是，插图医疗手稿，如" dioscorides "的维也纳，处决了约500年，为juliana ，女儿placidia 。 Heron are found real pictures copied from ancient originals (portraits of physicians and of Juliana).苍鹭发现真实的图片拷贝从古代正本（肖像医师和juliana ） 。
Eighth to Eleventh Century第八至第十一世纪
The Iconoclastic crisis was fatal to illumination and painted manuscripts were either mutilated or destroyed.该iconoclastic危机是致命的照明和手绘手稿被肢解或销毁。 An attempt was made to substitute for religious representations a purely ornamental art.有人试图以取代宗教交涉，一个纯粹的装饰艺术。 Probably to this school belongs an evangeliary of Paris (Bib. Nat., Gr. 63), in which the motifs of decoration are borrowed from flora and fauna.大概这所学校属于一个evangeliary的巴黎（ bib. NAT的，克63 ） ，在该图案的装饰都是借来的，由动植物。 The triumph of images in the eleventh century was also the triumph of religious miniature painting, which together with calligraphy underwent great development in the scriptorium of Studion.凯旋的形象，在11世纪的，也是胜利的缩影，宗教绘画，连同书法经历了很大的发展，在写字间的studion 。 One of the books illustrated by preference by the monks was the Psalter, of which the paintings comprise two elements: the scenes of the history of David, and the symbolic allusions to the life of Christ contained in the Psalms.其中一本书说明偏好由僧人是psalter ，其中书画包括两方面：场景的历史国宝，并象征性典故，以生命的基督载诗篇。 There are to be distinguished (1) the aristocratic psalter, represented by the Psalter of Paris (Gr. 139); the miniatures extend over the whole page within a rich border, and appear to be the reproduction from an ancient original of the third-fourth century; some pictures, such as that of David tending his flocks, have a quite Pompeian freshness.有加以区别（ 1 ）贵族psalter ，由psalter的巴黎（ gr. 139 ） ;微缩模型扩展到全页内丰富的边境，似乎是复制，从一个古老原始的第三四世纪时，一些照片，例如像大卫抚育他的禽群，有相当pompeian新鲜。 Antique influence makes itself felt by a large number of allegories personified and draped in Hellenic costumes; (2) the monastic and theological psalter in which the miniatures placed in the margin follow the text step by step.古董影响，使自己感受到了一大批寓言人格化，并披上在希腊服饰; （ 2 ）修道和神学psalter其中微缩模型放置在保证金后续文本一步一步来。 The Chloudov Psalter of Moscow (ninth cent.), those of Vatopedi (tenth cent.), the Vatican (Barberini Library: dated 1059), etc. are the principal specimens of this class.该chloudov psalter的莫斯科（第九届美分） ，这些vatopedi （十美分） ，梵（ barberini图书馆：过时的1059名）等是主要的标本，这门课。 Some miniatures of the Chloudov Psalter represent episodes of the Iconoclastic conflict.有些微缩模型的chloudov psalter代表发作的iconoclastic冲突。 Another manuscript often illustrated at this period was the "Menologion", which contained sometimes besides the liturgical calendar, and abbreviation of the lives of the saints for each day.另一手稿往往体现在这个时代是" menologion " ，其中载有时除了礼仪日历，并缩写圣人们的生命中的每一天。 The most celebrated is that of the Vatican, decorated for Basil II (976-1025) by seven artists who left their names attached to each miniature.最有名的就是对中梵，装饰，为罗勒二（ 976-1025 ） ，由七个艺术家留下自己的名字附在每个缩影。 A great variety of colours relieved a rather extreme monotony of inspiration; everywhere are found the same architectural backgrounds, the same sufferings in the midst of the same landscapes.丰富，形式多样的颜色宽慰一个相当极端单调的灵感;到处都有发现，同一建筑的背景，同样的痛苦，在一片相同的景观。 The beautiful manuscript of the "Homilies" of Gregory of Nazienzus (Paris, Bib. Nat., Gr. 510: end of ninth century) was composed for Basil II; it is unfortunately damaged but it presents a remarkable series of the most varied pictures (portraits of St. Gregory of Nazienzus and of Basil I; sessions of Councils; Biblical scenes, etc.).美丽的手稿的"颂歌"的格雷戈里的nazienzus （巴黎，背带裤。 NAT的，克510 ：年底的第九世纪）组成，为罗勒第二，它是不幸的损坏，但它是一个了不起的一系列最多样的照片（画像圣格雷戈里的nazienzus和罗勒;届议会;圣经中的场景，等等） 。 This period was decidedly the golden age of Byzantine illumination.这个时代是断然的黄金时代，拜占庭的光照。 The manuscripts, even those which lack pictures, have at least ornamented initial letters, which in the earlier examples are very simple, but in course of time became surrounded with foliage, in the midst of which animals or small figures disported themselves.该手稿，甚至那些缺乏图片，都至少有装饰的首字母，而在较早的例子是很简单，但在过程中的时间，成为四周，枝叶繁密，在复杂多变的哪一种动物或小的数字disported自己。 (These initials, however, never attained the same dimensions as in Western manuscripts.). （这些名字缩写，但从来没有达到相同尺寸作为西部手稿） 。
Twelfth Century 12世纪
The lofty traditions of Byzantine miniature painting were upheld until the fall of Constantinople in 1204.崇高传统的拜占庭式微型画人坚持到秋天，君士坦丁堡在1204年。 A group of the Octateuch (Smyrna, Athos, Vatican and Seraglio libraries) seems to have the same origin.一组的octateuch （皆阿托斯，梵蒂冈和seraglio图书馆） ，似乎已是一脉相承的。 The artists were chiefly concerned with illustrating the text, following it step by step; some of the scenes are spirited and picturesque, but the inspiration seems derived from ancient models (such as the Roll of Josue).艺术家的人，主要是担心与说明文字，并按要求去做，一步一个脚印，有些场面是精神矍铄如画，但似乎灵感源自古代的模式（如轧辊的josue ） 。 The specimen at the Seraglio was composed for Prince Isaac, some of Alexius I Comnenus.该标本在seraglio组成，为王子艾萨克，一些alexius i康姆尼纽斯。 A manuscript whose picture exercised great influence on Byzantine art is that of the "Homilies on the Virgin", by James, a monk of Coxynobaphos (Vatical 1162; Paris, 1208).手稿的图片行使巨大的影响，对拜占庭艺术，是强调"颂歌关于处女" ，由詹姆斯，一名僧人的coxynobaphos （ vatical 1162 ;巴黎， 1208 ） 。 The initials are remarkable for richness, and the paintings develop all the events of the life of the Blessed Virgin until the birth of Christ (cf. the mosaics in the narthex of the Kahrié-Djami at Constantinople).英文缩写，是了不起的丰富性，以及油画发扬一切事件的生命，小圣直到基督诞生（参看镶嵌在narthex的kahrié - djami在君士坦丁堡） 。
Thirteenth to Fifteenth Century第十三到第十五世纪
The studios of miniature paintings for a long time felt the effects of the catastrophe of 1204, and after the thirteenth century the monks ceased to illuminate luxuriously liturgical manuscripts.工作室的微型画相当长的时间感受到了灾难的影响的1204 ，并经过13世纪僧人不再照亮豪华礼仪手稿。 One of the manuscripts most characteristic of this period is that of the "Chronicle" of Skylitzes (Madrid, National Library, thirteenth century).其中的大部分手稿的特点，这一时期是对"纪事报"的skylitzes （马德里，国家图书馆， 13世纪） 。 The colours are clear in tone and very fresh, but the artist having no ancient model before him and left to his own resources, has executed veritable bons-hommes, which nevertheless charm by the vivacity of their movements and their picturesque attitudes.色彩是明确的语气和非常新鲜，但是艺术家没有古老的模型前，他留下来，他自己的资源，已被处决名副其实bons -地球社，不过魅力由调皮的动作，和他们风景如画的态度。 The imitation of antiquity however was not abandoned, as is shown by the portraits of Dosiades and of Theocritus (Cod. Paris, Gr. 28- 32) composed in the fourteenth century, but probably copied from Alexandrian originals of the third and fourth centuries.仿文物，但并没有放弃，因为已经呈现出来，画像dosiades和忒奥克里托斯（ cod.巴黎，克28 -3 2）组成，在1 4世纪，但也可能是抄袭亚历山大正本的第三和第四世纪。 lastly attention is called to certain fourteenth-century manuscripts of Western or even Italian inspiration (Cod. Paris, Gr. 135; dated 1362; on this manuscript, written by a scribe of John V Cantacuzenus, there is a Gothic monster, a knight with buckler ornamented with fleur-de-lis, etc.).最后注意的是，所谓的某些第十四世纪手稿的西部，甚至意大利的启示（ cod.巴黎，克135个;过时第1362 ;关于这个手稿，写一个文士的约翰v cantacuzenus ，有一个哥特式的怪物，一个游侠（ Buckler装饰fleur德-土地信息系统等） 。 In the Slavic countries, the illuminated manuscripts of the Bulgarian, Russian or Serbian monasteries belong to the Byzantine school, but have also been directly influenced by the Orient, especially by Syria.在斯拉夫国家中，发亮的手稿，保加利亚，俄罗斯或塞尔维亚寺庙属于拜占庭学校，但也有直接影响的东方，尤其是叙利亚。 Some Russian manuscripts were illuminated in the sixteenth century (eg the Book of the Tsars, 1535-53).俄一些手稿发亮的，在16世纪（例如，这本书的沙皇， 1535年至1553年） 。 Scandinavian influences appear in Russian manuscripts (monsters and interlacings of initials); and one of the most remarkable monuments of Slavic miniature painting is the Servian Psalter of Munich, in which the paintings are executed by an impressionistic artist, who uses contrasting colours instead of pen designs.斯堪的纳维亚的影响，出现在俄罗斯的手稿（怪兽和interlacings的英文缩写） ;其中一个最显着纪念碑的斯拉夫微型画是servian psalter慕尼黑，在该画的执行由一个印象派画家，他们用对比的颜色不是钢笔设计。
IV.四。 WESTERN MINIATURES西方微缩模型
The evolution of miniature painting in the Occident was quite different; the imitation of ancient models was never as complete as in the Orient, and as in all other arts, the time came when the illuminator of manuscripts abandoned tradition and attempted to copy nature.演变的缩影，画在欧美颇为不同;仿制的古代模式从来没有完整地在世界的东方，如同在所有其他艺术，这个时间来到时，照明灯的手稿被遗弃的传统，并试图拷贝性质。 In the Occident even more than in the Orient, it is possible to follow a real development of illuminated books.在欧美，甚至多于在世界的东方，这是有可能走一条真正的发展发亮的书籍。
Sixth to Eighth Century第六至第八世纪
Until the Carolingian epoch the sole original school of illumination is to be sought in the Irish monasteries, or in those founded on the Continent by Irish monks.直到加洛林划时代的唯一原校的照度是，要寻求在爱尔兰寺庙，或在这些基础上，大陆由爱尔兰僧侣。 The works of the Irish school are characterized by wonderful decorative sense, far removed from naturalism.该工程的爱尔兰学校的特点是美好的装饰意义上的，远离自然。 Nothing is more graceful than the large initials formed by ribbons ornamented with interlacings, in the midst of which are sometimes human heads or animals.没有比这更优雅，比大型英文缩写组成的彩带装饰interlacings ，在复杂多变的是，有时人类元首或动物。 Some borders decorated with spirals, rose-work, and interlacings recall, by their display of fancy, pages of the illuminated Korans.有些边界的装饰风，玫瑰工作，并interlacings记得，显示出他们伴着页的发亮的可兰经。 Indeed there are in Irish art elements which are frankly Oriental, and the geometrical and symmetrical aspect of the human form in Irish manuscripts may be compared to what we find on certain Coptic monuments, buildings, or bas-reliefs.确实有在爱尔兰的艺术元素，其中有坦白东方，以及几何和对称方面的人的形式在爱尔兰手稿，可比起我们发现某些科普特古迹，建筑物，或下派米。 In Ireland as in the Orient, ancient ornamentation finds little place; foliage is entirely absent from this decoration, which consists almost exclusively of geometrical elements.在爱尔兰，因为在世界的东方，古代纹饰认定小地方，赏叶，是完全没有这个勋章，其中包括几乎全部的几何元素。 The kinship of these motifs with those found on the barbaric jewels or the stone sculptures of Ireland is evident.在亲情的这些图案与这些发现，在这个野蛮的珠宝或石头雕刻的爱尔兰是显而易见的。 Among the most celebrated works of this school may be cited: the "Book of Kells" (Trinity College, Dublin), the transcription of which is ascribed to St. Columba, but which in reality belongs to the seventh century; the "Evangeliarum of Durham", belonging to the Diocese of Lindisfarne (British Museum, Cotton manuscripts, Nero D. IV), copied in honour of St. Cuthbert by Bishop Eadfrith (698-721), bound by Bishop Æthilwald, and ornamented with precious stones by the monk Billfrith, is also of great value.其中最有名的作品，这所学校可引： "本书的爱尔兰" （都柏林三一学院） ，转录的，是得益于圣哥伦布，但在现实中属于第七世纪"的evangeliarum达勒姆商学院" ，属于教区林迪斯（大英博物馆，棉花手稿， Nero的四四） ，复制的荣誉，止于圣主教eadfrith （ 698-721 ） ，受主教æthilwald ，装饰与宝石所和尚billfrith ，也具有极大的价值。 Although copied in an English monastery it possesses all the characteristics of Irish art; large initials decorated with interlacings and without foliage, the predominance of simple colours (violet, green, yellow, red) absence of gold and silver, portraits of the evangelists similar to those on Byzantine manuscripts.虽然抄在英语寺，它拥有的所有特征爱尔兰艺术;大型缩写装饰interlacings及无枝叶繁密，占主导地位的简单的颜色（紫色，绿色，黄色，红色） ，没有黄金和白银，画像福音相似这些拜占廷手稿。 Beginning with the sixth century this art of illumination was brought by Irish monks, not only to England but also to the Continent, where the monasteries of Luxeuil, Würzburg, St. Gall, and Bobbio became centres of Irish art.从第六届世纪的这届艺术的光照所带来的爱尔兰僧侣，这不仅是为了英格兰，而且也给大陆，而寺院的luxeuil ，维尔茨堡，圣虫瘿，并bobbio成为中心的爱尔兰艺术。 As specimens of this expansion may be cited: the "Evangeliarium of St. Willibrord" (d. 730), Apostle of the Frisians (Cod. Paris, supp. Lat. 693), of which the initials resemble those of the manuscript of Durham; the "Evangeliarum of Maeseyck" (Belgium) eighth century; the manuscript of the Bible called Codex Bigotianus (Cod. Paris; Lat. 281 and 298), the work of the Abbey of Fécamp, eighth century; the so-called St. Cainim manuscript (now with the Franciscans of Dublin, but originating in Italy), in reality of the tenth and eleventh centuries.作为标本，这种扩张可引： " evangeliarium圣威利布罗德" （四730 ） ，使徒的frisians （ cod.巴黎， supp 。北纬693 ） ，其中英文缩写相似的手稿达勒姆; " evangeliarum的maeseyck " （比利时）第八届世纪手稿的圣经所谓法典bigotianus （ cod.巴黎;北纬281名和298名） ，这项工作的修道院fécamp ，第八世纪的那些所谓圣cainim手稿（现在同方济各的都柏林，但原产于意大利） ，在现实中的第十和第十一世纪。 Several manuscripts of St. Gall contain miniatures of this school, but showing foreign influence.几个手稿圣胆含有微缩模型的这所中学，但显示外国的影响力。
In the rest of Europe, among the Visigoths, the Franks, and the Burgundians, there were schools of calligraphy similar to those of Ireland, with more marked traces of ancient art (absence of interlacings which were replaced by garlands, sturdy foliage, etc.).在其余欧洲，其中visigoths ，弗兰克斯和勃艮第人，有学校的书法类似，以爱尔兰的，更加明显的痕迹，古老的艺术（无interlacings被取代花环，坚固，枝叶繁密，等等。 ） 。 As an example may be mentioned the initial of the Burgundian papyri of Geneva, sixth century (Homilies of St. Avitus).作为一个例子，可提到最初的勃艮第papyri的日内瓦，六世纪（颂歌圣avitus ） 。 A celebrated Bible, the ornamentation of which remains a problem, must be considered apart.我国著名的圣经，装饰品，其中仍然是一个问题，必须考虑除。 This is the famous manuscript of St. Gatien at Tours, stolen by Libri about 1846, and returned to the Paris Bibliothèque Nationale in 1888, after having figured in the Ashburnham collection.这就是著名的手稿圣gatien在旅游，偷书约1846年后，返回巴黎国家图书馆于1888年，之后想通在ashburnham收藏。 This Pentateuch, written in seventh-century uncials, is adorned with large full-page miniatures framed in red bands and presenting a number of scenes arranged on different margins, but without symmetry.这pentateuch ，写在第七世纪uncials ，是贴着大整版篇幅微缩诬陷红色带，并提出了一些场景安排在不同的利润率，但没有对称性。 What is striking about the manuscript is its aim at picturesqueness and movement, and the wholly Oriental character of the design and especially of the costumes of the personages (the women wear the tall head-dress and veil of the bas- reliefs of Palmyra) and of the architectural backgrounds (bulbous cupolas alternating with pedimented buildings).什么是引人注目的有关手稿，其目的在picturesqueness和行动的自由，以及全东方的特色设计，特别是服装的人士（妇女戴的高大头饰和面纱的震惊浮雕的巴尔米拉）该建筑背景（球根cupolas交替与pedimented建筑物） 。 The arrangement of the scenes recalls certain fourteenth-century Persian manuscripts.安排的场面回忆某些第十四世纪波斯手稿。 In this instance we have to do perhaps with the reproduction of a cycle of miniatures conceived in the East to illustrate the Vulgate of St. Jerome.在这一点上我们必须这样做，或许与再生产的一个周期的微缩模型构思，在东方，以说明vulgate圣杰罗姆。
Ninth and Tenth Centuries第九和第十世纪
The Carolingian period was as decisive for the illumination of manuscripts as for other arts.查里曼王朝时期被视为具有决定性照度的手稿，至于其他艺术。 Thanks to the initiative of Charlemagne and his chief assistants, Alcuin, Theodulfus, etc., schools of miniature painting were formed in the principal monasteries of the empire, and our libraries possess a large number of their works.多亏了主动的查理曼和他的首席助理，阿尔昆， theodulfus等，学校的缩影，画中形成的主要寺庙的帝国，而我们的图书馆拥有大量的作品。 The elements which compose this art were most varied; the influence of Irish and Anglo-Saxon illuminations is unquestionable, and to it was due the partiality for large initials which until the fifteenth century were one of the favourite ornaments of Western manuscripts.要素是组成这届艺术最多种多样的影响，爱尔兰与盎格鲁-撒克逊灯饰是不可置疑的，它是由于该偏袒大型缩写直到15世纪的一个热门饰物西方手稿。 Carolingian art was not exclusively Irish, and in the manuscripts of this period are found traces of ancient art and Oriental influences (evangeliary canons, symbolical motifs such as the fountain of life, etc.).加洛林艺术不仅是爱尔兰人，并在手稿此期间被发现的痕迹，古老的艺术与东方的影响（ evangeliary大炮，象征意义的图案，如喷泉的生命，等等） 。 With the assistance of these manuscripts a whole iconographical cycle may be formed, encyclopedic in character, in which side by side with religious history occur figures from the profane sciences (liberal arts, calendars, zodiacs, virtues and vices, etc.).借助这些手稿整体影像周期可能形成后，百科全书性质，其中并排与宗教历史人物出现，从亵渎科学（文科，日历， zodiacs ，美德和虎钳等） 。 Ornamentation is more luxurious, the colours are more vigorous and decided in tone, silver and gold have not been spared and there is even a return to manuscripts in gold letters on a purple ground.纹饰是更豪华，颜色更有力的，并决定在语气，白银和黄金都不能幸免，因此即使回到手稿黄金信件紫色地面。 Many of these Bibles, Psalters, or Evangeliaries were composed for sovereigns, whose portraits were presented on the first page in all their royal apparel; they are often surrounded by allegorical figures borrowed from antiquity.许多这些圣经， psalters ，或evangeliaries组成为主权国，其肖像被介绍的第一页，在其所有的皇家服饰，他们往往包围寓言数字借来的，由文物。 Beside these full-page paintings we find above all in these manuscripts beautiful initials of extraordinary variety; Irish interlacings alone or combined with antique foliage, purely zoomorphic initials, etc. The principal manuscripts of this period are: the Evangeliary of Godescalc, made for Charlemagne, 781-83 (Paris), text in gold letters on purple ground with a decorative framework which is different on each page; Bibles of Theodulf, Bishop of Orléans (Paris and Le Puy); Evangeliary of Charlemagne (Vienna); Bibles of Alcuin (Zurich, Bamberg, Vallicella, Tours); Bibles of Charles the Bald (Paris); Sacramentary of Drogo (Paris); Sacramentary of Gellone (Paris), has initials uniquely formed with fishes or birds; Evangeliary of Lothaire (Paris); Bible of St. Martial of Limoges (Paris, tenth cent.); Evangeliary of Cividale (Friuli); Codex Egberti (Trier), presented to Egbert, Archbishop of Trier, by two monks of Reichenau in 980.除了这些以整版篇幅画我们发现上述所有这些手稿美丽的英文缩写有着非同寻常的品种;爱尔兰interlacings单独或合并古董，枝叶繁密，纯粹zoomorphic缩写等主要手稿这一时期是： evangeliary的godescalc ，为查理曼， 781-83 （巴黎） ，文本黄金信函，紫色与地面装饰框架，它不同于上的每一页;圣经，对theodulf主教，奥尔良（巴黎和Le puy ） ; evangeliary的查理曼（维也纳） ;圣经，对阿尔昆（苏黎世，班贝克vallicella ，旅游等） ;圣经，查尔斯的秃头（巴黎） ; sacramentary的德罗戈（巴黎） ; sacramentary的gellone （巴黎） ，有独特的声母形成与鱼类或鸟类; evangeliary的lothaire （巴黎） ;圣经圣严利摩日（巴黎，第十届美分） ; evangeliary的cividale （弗留利） ;法典egberti （特里尔） ，提交埃格伯，大主教特里尔，由两名僧人的reichenau在980 。 To the same school belong the manuscripts composed in the German monasteries for the Ottos.以同校同属于手稿组成，在德国的寺庙为ottos 。 Moreover, Irish or Anglo-Saxon art also produced remarkable monuments, among which may be mentioned the Psalter of Utrecht (tenth cent.), the Psalters of Winchester (British Museum), and the Benedictionaries of Jumièges (Rouen).此外，爱尔兰或盎格鲁-撒克逊人的艺术也产生了显着的古迹，其中可能提到psalter的乌得勒支（十美分） ， psalters温彻斯特（大英博物馆） ，以及benedictionaries的jumièges （卢昂） 。
Tenth to Twelfth Century第十至第十二世纪
At the beginning of the eleventh century the fictitious unity in the artistic and intellectual sphere established by Charlemagne gave way to the diversity of the provincial schools, but if the boundaries of these schools may almost be traced when there is question of architecture, the task is more difficult in the study of miniatures; researches in this field have scarcely commenced.在一开始的11世纪虚构的统一，在艺术和思想领域建立的查理曼给予途径的多样性，省级学校，但如果分界这些学校几乎可以追查的时候，有问题的架构，它的任务是更难以在研究中的微缩模型;研究，在这一领域已经几乎没有动工。 The illuminated manuscripts of this period were made in the monastic studios.该会发亮的手稿这期间发了言，在寺院的工作室。 As a general thing the writers were at once painters and calligraphers, such as Guillaume de St. Evroult, "Scriptor et librorum illuminator" (Ord. Vital., III, 7).作为一个普通的事，作者都是在一次画家和书法家，如纪尧姆德圣evroult " ，作者等librorum照明灯" （号条例至关重要的，第三，第七） 。 Sometimes however the two professions were distinct; the manuscript of Peter Lombard (Valenciennes, 178) bears the inscription "Segharus me scripsit" and on the frontispiece "Sawalo me fecit".但有时两个行业截然不同;手稿彼得伦巴第（瓦朗西， 178 ）刻有碑文" segharus我scripsit " ，并于切面" sawalo我fecit " 。 Sawalo, a monk of St. Amand, is the illuminator and his name is found elsewhere. sawalo ，一名僧人圣amand ，是照明灯和他的名字的地方发现。 This period is marked by the extraordinary development of large initials while the full-page miniatures disappeared.这一时期是明显的，由超常规发展的大型英文缩写，而以整版篇幅微缩模型消失了。 Illustrations on several scales are still found in the margin.插图几个规模，仍发现在保证金。
These initials of the Romantic period follow the traditions of Carolingian illumination, but they are even more complex and the human figure assumes an increasingly important place.这些缩写的浪漫时期，按照传统的加洛林照明，但他们甚至变得更加复杂和人类的数字是假设一个日益重要的地位。 Some of them are full-length portraits of prophets or apostles; in others complete scenes (battles, besieged cities, etc.) are developed in the midst of pillars.他们中的一些人是完整长度的画像先知或传道者，在另一些完整的场面（战役，给被围困的城市，等等）是发达国家在复杂多变的支柱。 The great difference between this and the Carolingian period lies in the appearance of naturalism and of anachronism (prophets with pointed shoes, etc.).有很大的差别，这与加洛林时期，关键在外观自然主义和不合时代（先知同指出，鞋等） 。 Lastly there are many points of resemblance between the development of miniature painting and that of other arts of design.最后，有许多共同点，相似两者的发展缩影，绘画和其他艺术的设计。 The short and badly drawn figures were succeeded, at the end of the twelfth century, by more slender portraits which resemble the elongated statues of Chartres.短期和极得出的数字分别成功了，在去年底的12世纪中，更苗条的画像，这类似于细长的塑像chartres 。 Such is the character of the ornamental school which produced innumerable works in France, Germany, Northern Italy, Spain, and the Two Sicilies.这种性格的装饰性学校产生了无数的作品在法国，德国，意大利北部，西班牙，和两个西西里王国。 (Here it is difficult to trace the boundary between Western miniature painting and the Byzantine which made its influence felt in the workrooms of Monte Cassino and especially in the beautiful paintings of the rolls containing the text of the "Exultet" of Holy Saturday.) Also worthy of mention is an attempt of the Cistercians to infuse more simplicity into illuminating. （在这里，这是难以追查之间的边界西部的缩影，绘画和拜占庭这使得它的影响力在工作室的Monte cassino ，尤其是在美丽的画本卷载文" exultet "圣周六） ，也值得一提的是一个尝试的cistercians企业注入更简单到启发性。 A model manuscript had been composed at Cîteaux, in which gold and painting were replaced by a calligraphic decoration in perfect taste.示范手稿已经组成，在cîteaux ，其中黄金和绘画被取而代之的是一个书法装饰完美的口味。 There is an intimate relation between this severe elegance and Cistercian architecture.有一个亲密的关系，这严峻的优雅和修道院建筑。
Thirteenth Century 13世纪
In the thirteenth century illumination, like calligraphy, ceased to be the specialty of the monasteries.在13世纪的照明，如书法，不再是专业的寺院。 In France and about the University of Paris appeared the lay illuminators.在法国及约巴黎大学出现奠定illuminators 。 The taste for illuminated manuscripts spread more and more, and important studios of illuminators arose, the heads of which often furnished sketches of miniatures to be executed.俱全发亮手稿蔓延，越来越多的，以及重要的工作室的illuminators出现时，该负责人，其中往往家具写生的微缩模型，以被处决。 On the other hand the illuminations took a more and more important place at the expense of the text.在另一方面，该灯饰了更多和更重要的地位，而不惜牺牲的案文。 The artists were no longer satisfied with ornamented initials, but in a series of medallions arranged like those decorating the stained glass windows they developed whole cycles of sacred or profane history.艺术家们不再满足于装饰缩写，但在一系列的徽章安排喜欢那些装饰彩绘玻璃，他们开发的整个周期的神圣或亵渎历史。 There were then composed "Picture Bibles" made up of a continuous series of miniatures (Bible of Sir Thomas Philipps), or "Sermon Bibles", veritable illustrated theological summaries, giving for each verse of Scripture the literal, symbolical, and moral interpretations.有那么组成的"图画圣经， "弥补了一条连绵不断的一系列的微缩模型（圣经爵士托马斯philipps ） ，或"说教本圣经" ，说明了名副其实的神学概要说明，让每首诗的经文字面，具有象征意义，和道德的表述。 This immense work, which must have contained 5000 figures, has not reached us complete.这一巨大的工作，它必须载有5000个数字，还没有达到我们完成。 A manuscript in 3 vols.手稿在3卷。 of a Sermon Bible is divided between the Bodleian Library, the Bibliothèque Nationale of Paris, and the British Museum.一个讲道圣经分之间的国立图书馆，国家图书馆的巴黎，和大英博物馆。 The Psalter of Ingeburg (Musée Condé at Chantilly) and that of Sts.该psalter的ingeburg （博物馆condé在尚蒂伊） ，并开展STS 。 Louis and Blanche of Castile (Arsenal Library) belong by their ornamentation to the monastic art of the twelfth century.路易和处理权的卡斯蒂利亚（阿森纳图书馆）属于其纹饰，以修道艺术的12世纪。 On the other hand new tendencies appear in the works of the second half of the thirteenth century, eg the Evangeliarium of the Sainte-Chapelle (Bib. Nat.), the two Psalters of St. Louis (Paris, Bib. Nat., and collection of HY Thompson), the works of profane literature (chansons de geste, etc.).在另一方面，倾向性的新东西出现在作品下半年的13世纪，例如evangeliarium的圣Chapelle的（ bib.的NAT ） ，这两个psalters的圣路易斯（巴黎，背带裤。 NAT的，并收集路政署署长汤普森） ，作品的亵渎文学（ chansons德geste等） 。 Gothic ornamentation with its wealth of rose and quatrefoil decoration, gables, pinnacles, and foliage often forms the framework for these vignettes.哥特式装饰以其丰富的玫瑰和quatrefoil装修， Gables的pinnacles ，叶面往往形式的框架内为这些护身符。 The gold backgrounds are almost always covered with designs, sometimes in relief.黄金背景几乎总是布满设计，有时在救济。 Instead of foliage and fantastic animals the human figure holds the predominant place.反之叶面神奇的动物，人类的数字，掌握着主导位置。 In miniature painting as in the sculpture of the thirteenth century may be observed the progress of realism and the exact observation of the living model.在微型画象雕塑的13世纪，可观察到的进展，现实性和准确的观察生活模式。 These beautiful miniatures of the Books of Hours revive for us with their still admirable colours the costumes of the contemporaries of St. Louis and Philip the Fair.这些美丽的微缩模型的帐簿时，为振兴我们与他们还是令人钦佩的颜色服装的同时代的圣路易斯和菲利普这次洽谈会。 Such is the style which henceforth dominates French miniature painting and which speedily spread throughout Europe, especially England.这就是风格，从此主宰法语微型国画，并迅速传遍整个欧洲，特别是英国。
Early Fourteenth Century早在14世纪
This period is represented chiefly by the Parisian illuminator Jean Pucelle, whose name has been discovered on several manuscripts.) One of the most beautiful of his works is the Breviary of Belleville (Bib. Nat., Lat. 10483-84), executed in collaboration with Mahiet Ancelet and J. Chevrier.这一时期的代表主要由巴黎的照明灯让pucelle ，他的名字已被发现的几个手稿）的一个最美丽的他的作品是breviary的belleville （ bib.的NAT ，北纬10483-84 ） ，在被处决协作与mahiet安瑟莱及J chevrier 。 The new school was remarkable for its borders, formed of wonderful garlands of interlaced foliage and flowers, no longer conventional as formerly, but copied from nature.新学年开始，是了不起的，其边界，形成了奇妙的花环的交错和观叶花卉，不再是传统的，因为以前的，但抄袭性质。 Between the border and the text were represented scenes of everyday life, sometimes of a humorous character, for example a piper playing for dancing peasants, or animals, birds, monkeys, butterflies, dragonflies intermingled, with the foliage, as on the sculptured panels of the cathedrals of the same period.两国边防和文本派的场面日常生活中，有时一个幽默的性格，例如伯尔玩跳舞农民，或动物，鸟，猴子，蝴蝶，蜻蜓交织，同赏叶，由于对雕塑的面板大教堂的同一时期。 Traces of Italian inspiration appear in the architecture, which is of a mixed Gothic character.痕迹意大利语灵感出现在体系结构，它是一个混合哥特性格。 Among the works of this school the "Book of the Miracles of Our Lady" (Seminary of Soissons) is one of the most exquisite.其中工程，因此这个学校的"易经神迹的圣母" （神的soissons ）是其中最精美的。 During the same period the English miniaturists produced remarkable works such as "Queen Mary's Psalter" (Brit. Mus.), which belonged to Mary Tudor but which dates from the beginning of the fourteenth century.在同一时期，英语miniaturists产生了显着的工程，例如： "玛丽的psalter " （ brit.毛里求斯） ，其中属于玛丽都铎式，但日期从一开始的14世纪。 It contains first more than two hundred scenes from the Old Testament bordered with a simple framework of foliage.它包含首次超过200场面，从旧约边一个简单的框架叶面。 The figures are graceful and elegant.这个数字是婉约优雅。 Then come scenes from the life of Christ executed on gold backgrounds with much greater richness in the midst of innumerable scenes of the chase, tourneys, games, grotesque subjects.当时的场面来，从生活中的基督处决黄金背景与更丰富我们在复杂多变的无数场景追捕， tourneys ，游戏，怪诞科目。 The East Anglian abbeys (Norfolk, Suffolk) produced magnificent psalters during the same period (Psalter of Peterborough at Brussels; Psalter of Robert of Ormesby at Oxford) which belong to the same school.东盎格鲁修道院（诺福克，萨福克）制作的宏伟psalters在同一时期（ psalter的彼得伯勒在布鲁塞尔; psalter罗伯特的奥姆斯比在牛津） ，其中属于同一所学校。 In Germany the miniaturists had long been imitating Byzantine art; beginning with the fourteenth century they also imitate French models.在德国， miniaturists长期以来一直模仿拜占庭艺术;开始， 14世纪，他们也模仿法国模式。 In Austria at the monastery of St. Florian is found the most ancient example of the Biblia Pauperum, executed about 1300 according to the same method as the Sermon Bibles.在奥地利，在修道院的圣弗洛里发现的最古老的例子之一快报pauperum ，签约1300按同样的方法为讲道圣经。 The taste for miniatures was so keen at this period that they even went so far as to illuminate some important characters.俱全微缩模型是如此激烈，在这一时期，他们甚至竟然以照亮了一些重要人物。 A copy of the house rules of the kings of Majorca shows each of the officials in the exercise of his functions (reproduced in "Acta SS. Bolland.", June, I; cf. list given by Delaborde in "Centenaire de la Société des Antiquaires de France", 93).一份众议院规则国王的majorca显示每个官员在行使其职能（转载于"学报的SS 。 bolland " ，今年6月，我;比照名单给予德拉博尔德在" centenaire德协会香格里拉万antiquaires的法国" ， 93 ） 。
Late Fourteenth, and Fifteenth Century晚第十四，十五世纪
It was in the second half of the fifteenth century that the art of miniature painting was most profoundly changed.它是在下半年第十五世纪的艺术缩影，画中，最深刻地改变了。 It may even be said that the illuminators of this period were to a certain extent the precursors of modern painting.它甚至可以说是illuminators这一时期得到了一定程度的前驱的现代绘画。 This new transformation seems to have been largely the work of the powerful "Ghildes" of the Flemish masters, versatile artists, many of them skilled like André Beauneveu in painting, sculpture and architecture, and obliged by stress of competition to leave their own country in order to offer their services to the lovers of beautiful manuscripts.这种新的转变，似乎已在很大程度上工作的强大" ， ghildes "的弗拉芒语区的主人，多才多艺的艺术家，他们中的许多人一样，熟练安德烈博纳弗在绘画，雕塑，建筑和义务应力竞争离开自己的国家，在为了提供自己的服务，以情人的美丽手稿。 They are found scattered throughout Europe, and some went even to Italy.他们发现，遍布欧洲，有的甚至欲到意大利。 André Beauneveu became (1393-1397) the chief of the artists in the employ of Jean Duke of Berry.安德烈博纳弗成了（ 1393至1397年）行政的艺术家们在聘请让公爵浆果。 He made a Psalter (Bib. Nat., Paris) in which figures of prophets, and Apostles alternated in quiet tones.他作了一个psalter （ bib. NAT的，巴黎） ，其中数字的先知，在上帝和轮岗，在安静的声调。 It was at this time that manuscripts began to be painted in grisaille.正是在这时候，手稿开始被画在grisaille 。 The gold backgrounds were replaced by designs in colours, then by real landscapes.黄金背景的人所取代，在设计，颜色，然后由真正的景观。 In this respect the "Très Riches Heures" of the Duke of Berry (Chantilly, Musée Condé), which have been attributed to Pol de Limbourg, mark a veritable revolution (beginning of the fifteenth century).在这方面， " tr镳富贵heures "公爵浆果（尚蒂伊，博物馆condé ） ，其中已归入油料德limbourg ，标志着一个真正的革命（一开始的15世纪） 。 In the pictures of the different months are represented all the châteaux of the prince in the midst of surprisingly true landscapes.在照片中的不同月份都有代表所有的农田，王子在一片令人惊讶的真实景观。 Long before the Van Eycks, Pol de Limbourg was acquainted with aerial perspective.前不久面包车eycks ，波兰德limbourg是结识了空中视角。 In his works are found the effects of snow, of starry nights, of dazzling summer lights, the grey tones of autumn, all of which were new in art.在他的作品中发现的影响，雪，星空之夜，令人眼花缭乱的夏季灯光，灰色色调的秋季，所有这些都是新的艺术。 Persons were treated with the same love of truth.人的待遇与上年热爱真理。 Physiognomies copied from nature without disguise of any defect, intensity of look (never was religious sentiment expressed with such power), minute truthfulness as to costumes and details of furnishing, such were the characteristics of this art. physiognomies抄袭性质，没有掩饰任何缺陷，强度看（永远是宗教情感表示了这种权力） ，一分钟真，以服饰和细节，家具，这种人的特点，这届艺术。 Having arrived at this perfection miniature painting ceased to be a merely decorative art and was confounded with painting on a large scale.抵达后，在这个完美的缩影，绘画不再是一个仅仅是装饰艺术与被混淆与绘画上，规模大。 The anachronism of costumes belonging to the fifteenth century, whether they have to do with characters from Terence or scenes from the Gospels, is not one of the least charms of these beautiful works.错误的服装属于15世纪，无论他们有什么关系，从汉字乐庭或场景从福音，是不是一个最小的魅力这些美丽的作品。 Similar are the other manuscripts of Jean de Berry, the "Grandes Heures", ascribed to Jacquemart de Hesdin, the "Très Belles Heures" (Brussels) by the same artist, the "Dukes' Terence" (Paris), which first belonged to the Duke Guyenne.类似的，还有没有其他的手稿让德浆果， " grandes heures " ，归因于jacquemart德hesdin ， " tr镳belles heures " （布鲁塞尔）由同一个艺术家， "的Dukes '乐庭" （巴黎） ，其中第一次是属于杜克吉耶讷。 The "Heures de Turin" (destroyed by the fire of 1904), made for William IV, Count of Holland, belong to the same school. " heures德都灵" （摧毁火1904 ） ，为威廉四，指望荷兰，属于同一所学校。 About 1450 we can distinguish the Flemish-Burgundian school (works executed for the Dukes of Burgundy) from the French school, whose chief representative is Jean Fouquet of Tours (1415-80).大约1450年，我们可以分辨出弗拉芒语区-勃艮第的学校（工程枪决肿瘤Dukes的勃艮）从法国学校，其主要代表的是让Fouquet联络旅行团（ 1415至1480年） 。 Flemish and Italian influences are confused in his works: "Jewish Antiquities" (Paris); "Books of Hours" of Etienne Chevalier (Chantilly); "Grands Chroniques de France" (Paris), etc. After him Jean Bourdichon, who about 1508 decorated the "Hours" of Anne of Brittany (Paris), may be considered the last representative of the great school of miniature painting.弗拉芒语和意大利语的影响感到迷茫，在他的作品中说： "犹太古物" （巴黎） ; "书籍的时间"的艾蒂安士（尚蒂伊） ; "出chroniques的法国" （巴黎）等后，他让布尔迪雄，谁约1508装饰的"时间"的安妮布列塔尼（巴黎） ，可被视为上次代表伟大学校的微型国画。 The progress of wood-engraving was as fatal to it, as was that of printing to calligraphy.进度木雕刻是由于致命的，因为是印刷，以书法。 Until modern times Books of Hours, works of heraldry, etc. have continued to be illuminated, but these miniatures do not possess a single personal quality.直到近代的书籍时，工程的跳转等，都继续受到发亮的，但这些微缩模型并不具备一个单一的个人素质。
Publication information Written by Louis Bréhier.出版信息写路易bréhier 。 Transcribed by Bryan R. Johnson.转录由布莱恩传译约翰逊。 The Catholic Encyclopedia, Volume IX.天主教百科全书，体积九。 Published 1910. 1910年出版。 New York: Robert Appleton Company.纽约：罗伯特Appleton还公司。 Nihil Obstat, October 1, 1910. nihil obstat ， 1910年10月1日。 Remy Lafort, Censor.人头马lafort ，检查员。 Imprimatur. imprimatur 。 +John M. Farley, Archbishop of New York +约翰米farley ，大主教纽约
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In the Middle Ages the Church made use of pictures as a means of instruction, to supplement the knowledge acquired by reading or oral teaching.在中世纪教堂用图片作为一种手段，教学语言，以补充学到的知识通过阅读或口语教学。 For books only existed in manuscript form and, being costly, were beyond the means of most people.书籍只存在于手稿形式，并正在昂贵，超出了，就是大多数人的。 Besides, had it been possible for the multitude to come into the possession of books, they could not have read them, since in those rude times, education was the privilege of few.此外，如果有可能，为众多来进入藏书籍，他们可没有看过他们，因为在那些粗鲁的时代，教育是特权的寥寥可数。 In fact, hardly anyone could read, outside the ranks of the clergy and the monks.事实上，几乎没有人能够看到，外面的行列教士和僧侣。 So frescoes of scenes from the Old and New Testaments, stained-glass windows, an the like were set up in the churches, because, as the Synod of Arras (1025) said, "The illiterate contemplated in the lineaments of painting what they, having never learnt to read, could not discern in writing".所以壁画的场景，从旧约及新约，彩色玻璃窗，一个类被设在教堂，因为，正如主教的阿拉斯（ 1025 ）说： "不识字的争议中的轮廓画的是什么，他们从未据悉，阅读，不能看出，在写作" 。 Especially did the Church make use of pictures to spread abroad a knowledge of the events recorded in the Bible and of the mutual connection between the leading facts of the Old and New Testaments, whether as type and antitype, or as prophecy and fulfillment.尤其是当时教会利用图片，以传播国内外知识的事件记录在圣经和相互之间的联系，导致事实的旧约及新约，无论是作为类型和antitype ，或作为预言和圆满。