These images are usually termed “marginal illustrations” or “marginalia”. In the later tradition of western European manuscript illumination in the 13th and 14th centuries, animals appear in copious illustrations on the side and bottom margins. Please check your inbox to activate your subscription Thank you! The Wild World of Medieval Marginalia The Prayer Book of Bonne of Luxembourg, Duchess of Normandy, attributed to Jean Le Noir, via Metropolitan Museum of Art In a Christian context, these animal forms may be interpreted for their religious connotations or as apotropaic devices (symbols believed to impart protection wherever they appear). This style relates back to pre-Christian Celtic and Anglo-Saxon metalworking traditions, such as that seen in the treasures of the Sutton Hoo ship burial. In many cases, the interlace itself becomes the long and stylized bodies of birds, snakes, and terrestrial animals, with their heads and claws sprouting from the ends. Manuscripts like the Book of Kells and the Lindisfarne Gospels practically invite viewers to play Where’s Waldo, finding all the creatures hidden in a single image. In insular manuscripts - those made in early medieval monasteries of the British Isles - profuse animal and human forms occur within the characteristic interlacing decoration that often covers entire letters or pages. Humans and human/animal hybrids called “grotesques” or “chimeras”, as well as foliage appear here as well. They occur in the ample white space, or within decorated capital letters, frames, borders, and more.
In medieval manuscripts, animal images appear most frequently as decorative details with little relationship to the meaning of the text. Animals in Medieval Manuscripts The Lindisfarne Gospels, Anglo-Saxon, c.
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