Islamic illuminated manuscripts, (1898). Decoration from: 'Fig 1: an Arabian Koran, 14th century. Figs 2 and 3: an Arabian Koran, 16th century. Figs 4 and 5: a Moorish Koran, 18th century. Figs 6 and 7: an Arabian Koran, 16th century. Figs 8-10: an Arabian Koran, 17th century. Figs 11 and 12: a Moorish Koran, 18th century...in their paintings on parchment the Arabian artists show special skill in surface decoration. Scroll work, rigidly idealised, alternates with geometrical figures, or else the arabesque ornament fills the compartments formed by the lines and bands. In this manner whole pages

- Image ID: 2AG0HYR
Islamic illuminated manuscripts, (1898). Decoration from: 'Fig 1: an Arabian Koran, 14th century. Figs 2 and 3: an Arabian Koran, 16th century. Figs 4 and 5: a Moorish Koran, 18th century. Figs 6 and 7: an Arabian Koran, 16th century. Figs 8-10: an Arabian Koran, 17th century. Figs 11 and 12: a Moorish Koran, 18th century...in their paintings on parchment the Arabian artists show special skill in surface decoration. Scroll work, rigidly idealised, alternates with geometrical figures, or else the arabesque ornament fills the compartments formed by the lines and bands. In this manner whole pages
The Print Collector / Alamy Stock Photo
Image ID: 2AG0HYR
Islamic illuminated manuscripts, (1898). Decoration from: 'Fig 1: an Arabian Koran, 14th century. Figs 2 and 3: an Arabian Koran, 16th century. Figs 4 and 5: a Moorish Koran, 18th century. Figs 6 and 7: an Arabian Koran, 16th century. Figs 8-10: an Arabian Koran, 17th century. Figs 11 and 12: a Moorish Koran, 18th century...in their paintings on parchment the Arabian artists show special skill in surface decoration. Scroll work, rigidly idealised, alternates with geometrical figures, or else the arabesque ornament fills the compartments formed by the lines and bands. In this manner whole pages are painted in many Koran manuscripts...The writing itself is in most cases bordered and surrounded with rosettes and freezes, which are filled in with ever new combinations of lines and foliage. The splendid and at the same time harmonious effect of this illumination arises principally from the exquisite arrangement of the colours, the brilliancy of which is still enhanced by a profuse employment of gold'. Plate 25 from "The Historic Styles of Ornament" translated from the German of H. Dolmetsch. [B.T. Batford, London, 1898]