![]() ![]() ![]() From around 1700, however, miniaturists began painting on ivory, with vellum used mainly by botanical artists, such as Pierre-Joseph Redouté (1759–1840), a tradition that was revived in the mid-20th century by the remarkable Scottish painter Rory McEwen (1932–1982), whose work has inspired an entire generation of botanical artists. ![]() The techniques used by artists in illuminated manuscripts also lent themselves well to portrait miniatures, which first became popular in the court of Elizabeth I, ensuring that vellum played an important role in art history even as paper and the printing press increasingly replaced manuscripts. In the Middle Ages, vellum was used in precious illuminated manuscripts, such as the Lindisfarne Gospels (produced in around 715 to 720 AD), and for important secular records, such as the Doomsday Book of 1086, and the Magna Carta in 1215. Vellum has a long and illustrious history, and was described by the Greek historian Herodotus in the 5th century BC. The opening of St Luke’s Gospel in the Lindisfarne Gospels, circa 715 AD (image in the public domain) ![]()
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