Life and Art in 15th Century Bruges: The Artistic Process

Now I’ve written the whole thing; for Christ’s sake give me a drink. -15th century scribe

Hey everyone! If you’re a scribe in the SCA, this might sound familiar, but stick around. We’re diving into the artistic process of creating a 15th-century illuminated manuscript. Whether you’re new to this or just need a refresher, let’s explore everything. We’ll go from the first sketches to those final, perfect touches. And trust me, it was quite the process!

Imagine the hours scribes spent, hunched over an old manuscript, copying each letter by hand. It wasn’t just about writing a new book—it was about creating a work of art. This painstaking method continued through the Middle Ages until the invention of moveable type in the 15th century.

Originally, these manuscripts were created mainly for religious purposes, but as time went on, secular works became just as important. Manuscript production turned into a thriving industry, with luxury books being the height of artistic achievement.

So, how did it all begin?

Preparing the Parchment
It all starts with parchment. And no, Jehanne (thankfully!) didn’t make the parchment herself. It’s a stinky, laborious task that’s more about survival than art. In 15th-century Bruges, the parchmenter would take animal skins, usually from sheep, goats, or calves, clean and stretch them. They then scraped them down to make a smooth surface. Once the parchment was ready, it was cut to size and smoothed again with pumice. When done right, parchment is a lovely, sturdy surface for writing and painting.

Planning the Illumination
The next step was planning the manuscript’s design. A master or journeyman in the workshop would sketch out the preliminary designs using pencil or silver point. These “cartoons” were the blueprint for the whole project. It ensured everything was in the right place before any color or gold went down.

Applying Gold
Gold was applied early, even though that might seem backward. Why? Because gold leaf sticks to everything, just like todays glitter. And you didn’t want your gold sticking to the paint or ink! At the Bening workshop, the gold itself was brought in from a goldbeater. The gilding areas were first prepared with a special mixture called “bole. Then the gold leaf was applied and burnished. Sometimes, they even used raised gold to give it a rich, three-dimensional look.

Writing the Text
Once the gold was done, it was time to write. Jehanne and her colleagues ruled the parchment pages with silver point or pencil to keep everything neat and orderly. Then they grabbed their quills—usually from geese or swans—and started writing. The ink was made from oak galls or soot. The script style varied: Gothic, Batarde, you name it, depending on the project.

Illumination
In my opinion, the real magic happened with the paint. The pigments they used came from minerals, plants, and even insects. Some were ground right in the workshop, while others were bought from specialists. They mixed the pigments with egg or gum Arabic to make them stick. Their works of genius created bright, lasting colors.

Jehanne was also in charge of making sure the brushes and quills were in perfect shape—no sloppy tools here! The colors were applied in layers, starting with lighter shades and finishing with the dark details or lead white. Borders, initials, and miniatures (those tiny paintings) all came to life at this stage. Some of the scenes were religious; others told historical or mythical stories. Each brushstroke added depth and richness to the piece.

Fixing Mistakes
Mistakes? They happened, even in the best workshops. But nothing a quick scrape of the knife couldn’t fix! They’d smooth the surface and get right back to work, like it never happened.

Final Touches
After the illuminations were done, they’d give everything a final polish. The gold was burnished again, and they might add delicate patterns or filigree. Sometimes they applied a protective layer of varnish to keep the colors bright for years to come.

Binding the Manuscript
Once the pages were ready, they were folded into sections and sewn together. Then, the manuscript was bound with wooden boards, often covered in leather or velvet.Sometimes they were adorned with metalwork or jewels. These books weren’t just for reading—they were treasures in their own right! Some were intended to show how wealthy you were.

Presentation
Finally, the completed manuscript would be presented to the patron. Or it might find its way into a monastery, court, or church. The books in the Bening workshop were highly valued, both for their artistry and for the knowledge they contained.

Creating an illuminated manuscript was a labor of love. It involved many skilled hands—from the parchmenters to the scribes, illuminators, and binders. Each step took time, care, and patience. And the result? A stunning, handcrafted work of art that continues to inspire us centuries later.

Jehanne, like many in the Bening workshop, was proud to be a part of that legacy. Every brushstroke, every letter, brought a little more light into the world.

Resources

Cambridge University Library:The making of a medieval book

Medievalist.net: Seven videos on making medieval manuscripts

Medieval Illuminators and Their Methods of Work, Jonathan J. G. Alexander (Author)