Curious about what medieval peasant homes really looked like? Dive into the world of medieval manuscript illuminations, which offer fascinating glimpses into the everyday lives of those living in the Middle Ages. These vibrant artworks reveal the secrets of peasant houses, showing us both their exterior and interior details.
In her article, “The Peasant House: The Evidence of Manuscript Illuminations,” Sarah M. McKinnon examines images from the 11th to the 16th centuries that depict the homes of rural families. She explores what these artistic sources reveal about peasant living conditions, including the shape, layout, and materials of their houses, as well as the items found inside.
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McKinnon acknowledges that interpreting these images can be challenging. Manuscripts like Books of Hours were often owned by wealthy individuals, who might have preferred less accurate depictions. However, McKinnon argues that the manuscript illuminators, being familiar with rural life, likely provided a reasonably accurate portrayal. As she puts it, they “were themselves not very far removed from the soil and were thus undoubtedly familiar with aspects of rural life.”
Insights from the Bayeux Tapestry
Houses in the Bayeux Tapestry – Wikimedia Commons
The earliest depiction McKinnon explores is not from a manuscript but from the Bayeux Tapestry. In a scene shortly after the Norman fleet’s arrival in England, three houses are visible in the background. Although these houses are small and lack detail, they provide valuable insights. As McKinnon observes, “All three of the houses have central doorways along the side which contain no windows.” She adds that “the horizontal lines of two of the houses may be intended to suggest wood construction, with timbers pegged into vertical posts at the corners. The additional vertical lines at the third house may be meant to suggest stone work.”
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Exploring Half-Timber Homes: An Illustration from The Book of Love
A house depicted in The Book of Love by Rene of Anjou – Vienna, Oesterreichische Nationalbibliothek MS 2597 fol. 17
Next, McKinnon examines an illustration from The Book of Love, authored by Duke René of Anjou between 1465 and 1470. This image features “a sturdy, well-constructed cottage” and reveals both the construction details and the interior setup. McKinnon describes the scene: “The knight enters by stepping over the wooden sill and must lower his head to avoid the crossbeam of the ceiling. The walls are framed with square timbers and filled with plaster, showing a few slight cracks. There are also timber-framed windows—two small ones and a larger one. Inside, a woman sits in a rectangular room in front of a fireplace built into the wall opposite the doorway. A small chimney stack is visible at the roof’s ridge, which is covered with a thick layer of thatch.” This image highlights both the craftsmanship of medieval homes and the everyday life within them.
The Charm of Thatched Roofs: Common Features and Maintenance
A house shown in Mortifement de Vaine Plaisance – Morgan Library MS 705
Many medieval illustrations depict houses with high, steeply pitched thatched roofs. McKinnon explains that this roofing material was popular due to its low cost, ease of installation, and effectiveness at keeping out rain. The steep pitch helped rainwater flow off easily. However, thatched roofs were also susceptible to damage. For instance, an illustration from La Mortifident de Vaine Plaisance, another work by René of Anjou, shows a small cottage with visible wear.
McKinnon notes:
The visible gable wall contains a doorway and features half-timber construction, with timber posts framing the corners, doorway opening, crossbeam of the ceiling, and gable above. Some timbers are hewn; others, likely replacements for damaged posts, are left in their natural state. Horizontal wooden planks are exposed where the mortar infill has worn away.
This depiction sheds light on the maintenance challenges faced by medieval homeowners.
A Peek Inside: What Manuscripts Reveal About Medieval Interiors
Très Riches Heures du Duc de Berry – Musée Condé MS 65 fol. 2v
Artists often illustrated medieval home interiors by removing one wall, giving us a peek into domestic life. This technique is particularly evident in the February page of Très Riches Heures du Duc de Berry, created between 1412 and 1416 and celebrated for its manuscript art.
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McKinnon describes the scene: “The three occupants are warming themselves by the fireplace; smoke rises from a small chimney. The room is dark with few windows, yet the sturdy frame construction, walls, and roof trussing are visible. The hipped roof is thatched. Inside, the room features a large bed covered with a blue spread at the back; clothing hangs to dry both above it and near the room’s front. A white cat also warms itself by the fire.”
British Library Additional MS 24098 fol. 18v
Another 16th-century Flemish manuscript reveals similar interior details, including low ceilings, a table with dishes, and leaded glass windows. McKinnon adds: “The room’s low ceilings are furnished with a table, tablecloth, dishes, and a chair. One window features leaded glass, an expensive item. Outside, two peasants work diligently—one chopping wood and the other gathering it. The house is solid, suggesting relatively comfortable living conditions.”
Household Goods and Daily Life: Depictions from The Hours of Catherine of Cleves
The Hours of Catherine of Cleves, created by a Dutch artist around 1440, provides further insights into peasant life. This manuscript includes over 150 images, two of which depict the Holy Family in their home. Mary is shown weaving, Joseph working as a carpenter, and the baby Jesus in a walker.
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Hours of Catherine of Cleves – Morgan Library MS 917 p.149
In the first image we can see the parents doing work – Mary is weaving while Joseph, a carpenter, is working on a piece of wood. Meanwhile, the baby Jesus is in a walker. One can also see more weaving and carpentry tools, as well as cooking pots and utensils.
McKinnon describes the next scene:
In the second image, the family is shown sitting by a fire with a cooking pot hanging above it. Other furnishings include a barrel chair, a hand grill, shears, bellows, and a storage cabinet. The walls are stone, covered with plaster, and the ceiling consists of wooden planks supported by large beams. A single small window is framed in wood.
Hours of Catherine of Cleves – Morgan Library MS 917 p.151
These images offer a glimpse into the material culture and daily life of the time.
Medieval manuscript illuminations provide a captivating view into the architecture and daily life of peasant homes. These images reveal a range of housing styles, from simple thatched cottages to more elaborate timber-framed structures. McKinnon’s analysis suggests that while portraying these homes accurately was challenging, the artistic depictions offer valuable evidence of peasant living conditions and economic status. As McKinnon concludes, “This observation suggests another conclusion: that a measure of material well-being and economic prosperity had been attained by at least some members of peasant society in the fifteenth century. The architecture depicted in these illuminations indicates that they had achieved a standard of living above subsistence level.”
Curious about what medieval peasant homes really looked like? Dive into the world of medieval manuscript illuminations, which offer fascinating glimpses into the everyday lives of those living in the Middle Ages. These vibrant artworks reveal the secrets of peasant houses, showing us both their exterior and interior details.
In her article, “The Peasant House: The Evidence of Manuscript Illuminations,” Sarah M. McKinnon examines images from the 11th to the 16th centuries that depict the homes of rural families. She explores what these artistic sources reveal about peasant living conditions, including the shape, layout, and materials of their houses, as well as the items found inside.
McKinnon acknowledges that interpreting these images can be challenging. Manuscripts like Books of Hours were often owned by wealthy individuals, who might have preferred less accurate depictions. However, McKinnon argues that the manuscript illuminators, being familiar with rural life, likely provided a reasonably accurate portrayal. As she puts it, they “were themselves not very far removed from the soil and were thus undoubtedly familiar with aspects of rural life.”
Insights from the Bayeux Tapestry
The earliest depiction McKinnon explores is not from a manuscript but from the Bayeux Tapestry. In a scene shortly after the Norman fleet’s arrival in England, three houses are visible in the background. Although these houses are small and lack detail, they provide valuable insights. As McKinnon observes, “All three of the houses have central doorways along the side which contain no windows.” She adds that “the horizontal lines of two of the houses may be intended to suggest wood construction, with timbers pegged into vertical posts at the corners. The additional vertical lines at the third house may be meant to suggest stone work.”
Exploring Half-Timber Homes: An Illustration from The Book of Love
Next, McKinnon examines an illustration from The Book of Love, authored by Duke René of Anjou between 1465 and 1470. This image features “a sturdy, well-constructed cottage” and reveals both the construction details and the interior setup. McKinnon describes the scene: “The knight enters by stepping over the wooden sill and must lower his head to avoid the crossbeam of the ceiling. The walls are framed with square timbers and filled with plaster, showing a few slight cracks. There are also timber-framed windows—two small ones and a larger one. Inside, a woman sits in a rectangular room in front of a fireplace built into the wall opposite the doorway. A small chimney stack is visible at the roof’s ridge, which is covered with a thick layer of thatch.” This image highlights both the craftsmanship of medieval homes and the everyday life within them.
The Charm of Thatched Roofs: Common Features and Maintenance
Many medieval illustrations depict houses with high, steeply pitched thatched roofs. McKinnon explains that this roofing material was popular due to its low cost, ease of installation, and effectiveness at keeping out rain. The steep pitch helped rainwater flow off easily. However, thatched roofs were also susceptible to damage. For instance, an illustration from La Mortifident de Vaine Plaisance, another work by René of Anjou, shows a small cottage with visible wear.
McKinnon notes:
The visible gable wall contains a doorway and features half-timber construction, with timber posts framing the corners, doorway opening, crossbeam of the ceiling, and gable above. Some timbers are hewn; others, likely replacements for damaged posts, are left in their natural state. Horizontal wooden planks are exposed where the mortar infill has worn away.
This depiction sheds light on the maintenance challenges faced by medieval homeowners.
A Peek Inside: What Manuscripts Reveal About Medieval Interiors
Artists often illustrated medieval home interiors by removing one wall, giving us a peek into domestic life. This technique is particularly evident in the February page of Très Riches Heures du Duc de Berry, created between 1412 and 1416 and celebrated for its manuscript art.
McKinnon describes the scene: “The three occupants are warming themselves by the fireplace; smoke rises from a small chimney. The room is dark with few windows, yet the sturdy frame construction, walls, and roof trussing are visible. The hipped roof is thatched. Inside, the room features a large bed covered with a blue spread at the back; clothing hangs to dry both above it and near the room’s front. A white cat also warms itself by the fire.”
Another 16th-century Flemish manuscript reveals similar interior details, including low ceilings, a table with dishes, and leaded glass windows. McKinnon adds: “The room’s low ceilings are furnished with a table, tablecloth, dishes, and a chair. One window features leaded glass, an expensive item. Outside, two peasants work diligently—one chopping wood and the other gathering it. The house is solid, suggesting relatively comfortable living conditions.”
Household Goods and Daily Life: Depictions from The Hours of Catherine of Cleves
The Hours of Catherine of Cleves, created by a Dutch artist around 1440, provides further insights into peasant life. This manuscript includes over 150 images, two of which depict the Holy Family in their home. Mary is shown weaving, Joseph working as a carpenter, and the baby Jesus in a walker.
In the first image we can see the parents doing work – Mary is weaving while Joseph, a carpenter, is working on a piece of wood. Meanwhile, the baby Jesus is in a walker. One can also see more weaving and carpentry tools, as well as cooking pots and utensils.
McKinnon describes the next scene:
In the second image, the family is shown sitting by a fire with a cooking pot hanging above it. Other furnishings include a barrel chair, a hand grill, shears, bellows, and a storage cabinet. The walls are stone, covered with plaster, and the ceiling consists of wooden planks supported by large beams. A single small window is framed in wood.
These images offer a glimpse into the material culture and daily life of the time.
Medieval manuscript illuminations provide a captivating view into the architecture and daily life of peasant homes. These images reveal a range of housing styles, from simple thatched cottages to more elaborate timber-framed structures. McKinnon’s analysis suggests that while portraying these homes accurately was challenging, the artistic depictions offer valuable evidence of peasant living conditions and economic status. As McKinnon concludes, “This observation suggests another conclusion: that a measure of material well-being and economic prosperity had been attained by at least some members of peasant society in the fifteenth century. The architecture depicted in these illuminations indicates that they had achieved a standard of living above subsistence level.”
McKinnon’s article, “The Peasant House: The Evidence of Manuscript Illuminations,” appeared in Pathways to Medieval Peasants, edited by J. Ambrose Raftis and published by the Pontifical Institute of Mediaeval Studies in 1981. This collection of essays also features a piece on festivals that took place in an English medieval village.
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