ART HIS 40B Lecture Notes - Lecture 10: Historiated Initial, Ebbo Gospels, Lindisfarne Gospels

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5 Feb 2017
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February 1, 2017
Manuscript Illumination Continued
Illuminated Manuscripts cont’d
Matthew, Lindisfarne Gosepls, England, early 8th c. and Matthew,
Ebbo Gospels, France, early 9th c. (image #1 and #2 respectively)
identified as Roman tax collector, converted to Christianity
symbolized by angel because writings are believed to have
been dictated by an angel
become more significant because they are not merely recollections
Lindisfarne – slightly abstracted, flat
interior of room represented, as indicated by curtain
reduce to set of symbols like angel, halo/aura (light emitting from saint), opened book
(notion of authority – writing is coming directly from him), figure in back (unknown,
perhaps Matthew?)
linear pattern, no dimensions, calm authorial figures
Ebbo – dressed in toga, seated, evokes classicized view of Matthew
clerics of royal chapels responsible for purifying and standardizing liturgical text
Charlamagne imports books from Byzantium, Italy…
Greek and Roman influence visible
book intended for royal chapel
compare to eternal quality of Lindisfarne – jittery, curvilinear, brush strokes (hair and
landscape are alive), representing Matthew’s energy and passion in receiving a divine
message
repoussé thin sheets of metal (usually gold) pounded out to make shallow relief
impressions, three-dimensional
Cover, Codex Aureus, St. Emmeram, Christ in Glory, c. 870, gold, precious stones, pearls and
Cover, Lindau Gospels, St. Gall, crucifixion, c. 870, gold, precious stones, pearls (image #3 and
#4 respectively)
Codex Aureus – part of liturgical ceremonies
written with gold
Lindau Gospels – youthful Christ
emphasizes Christ as judge, instead of his passion and
painting
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