Medieval Ornament no. 2. Borders from illuminated manuscripts and paintings 

Editor: Here we have "Medieval Ornament no. 2. Borders from illuminated manuscripts and paintings," created by Owen Jones. It’s a collection of ornate borders, seemingly drawings. I’m struck by the sheer variety and detail, almost like a textile sample book. What stands out to you? Curator: It's compelling to consider these patterns through a materialist lens. Each one represents labor – the skilled hands that painstakingly crafted these designs, both in the original manuscripts and in Jones’ reproduction. Think about the cost of the pigments, the preparation of the vellum, the social conditions that allowed for such elaborate ornamentation. Editor: So, it’s less about the aesthetic and more about… the process of making it? Curator: Precisely! We often separate "high art" from craft, but works like this challenge that distinction. What was the purpose of these borders? What social function did this ornamentation play in reinforcing power structures? And how does Jones’ act of reproduction, using graphic arts, transform their meaning and accessibility? Is it democratizing, or simply commodifying the past? Editor: I guess I hadn't considered the economic aspect of manuscript creation. Reproducing it as graphic art… that’s a new layer of context I never would have thought about. Thanks! Curator: Considering these borders not just as pretty pictures, but as products of a specific material culture and modes of production, really opens up a new understanding of the piece and Medieval art as a whole.