Early Medieval Art

Art of the Warrior Lord: Hiberno-Saxon After the fall of the Roman Empire (starting with the death of Constantine) many western Roman territories were lost to migrating and indigenous tribes in Europe. The art of this period is a mixture of antique Roman style and native tribal styles Anglo Saxons (who resided in modern day Britain) contributed abstract depictions of animals and figures while the Celts contributed interweave and interlace patterns.

Hibernians resided in modern day Ireland, was an area that was never conquered by Rome Unique style of the Hibernians was because of their isolation Most of the people in Europe were illiterate and monasteries became the repositories for books and documents, as well as for learning and literacy

Most art work that survived was linked to the church. This included illuminated manuscripts, reliquaries, and small sculpture This work combined native styles brought by nomadic tribal groups with Roman Christianity icongraphy

Looped Fibulae, mid 6 th Century, silver gilt with semi precious stones and garnets

Intricate brooches (Roman’s called them fibulae) commonly made of bronze or iron and sometimes gold, silver with inlaid jewels Used to fasten clothing (before buttons) especially cloaks Even though these items were utilitarian, those made of precious metals and stones were a sign of rank or status Included in burials

Small portable an dhighly decorative items were highly valued by many people during this migratory period This pair came from a wealthy woman’s grave in France (known as Gaul) in a time when the Merovingian dynasty ruled and Christianity had recently been embraced by the Frankish leaders (originally German nomadic invaders of the region.

Lindisfarne Gospels

Lindisfarne Gospels, St Matthew, Cross-Carpet page, f.26v (British Library)

The Bristish Isles consisted of many small kingdoms which were ruled by territorial kings Christianity arrived in the 6 th century which were divided by two separate sects. These early Christians helped to convert scores of pagans The Celtic church in the north favored monastic rural life and in the south, a more disciplined and moderate church formed

The illuminated manuscript known as Lindisfarne Gospels was made at the Lindisfarne Priory on Holy Island. While most manuscripts were made by groups with specialized jobs, the Lindisfarne Gospels were made by one monk: Eadfrith who was bishop of Lindisfarne ( ) When he died the work was unfinished St. Luke’s portrait page was the front page of the Gospel according to Luke.

Carpet page may be a reference to the Islamic prayer rugs The carpet page may help prepare the reader for the gospel message they are about to read Each carpet page has a different form of the cross and used the interlace patterns of metal work made by other craftspeople Incipit page is the first page of the gospel and the first letters are illuminated with elaborate decoration

Lindisfarne Gospels, St Luke, incipit page, f.139 (British Library)

FEATURES of TRADITION: How specifically does the Book of Lindisfarne reflect traditional methods and/or customs in the production of illuminated manuscripts? You may refer to materials, processes (or techniques), and imagery.

ARTISTIC INFLUENCE: Citing specific visual evidence, how does the Book of Lindisfarne specifically reflect a fusion between the art of the Christian Mediterranean world and the art of a pre-Christian Celtic culture?

COMPARE and CONTRAST: Select another illuminated manuscript from your textbook. Analyze how the formal qualities of your selected manuscript and the Book of Lindisfarne are either similar or different.

The Book of Kells, circa 800, showing the lavishly decorated text that opens the Gospel of St. John

The Book of Kells contains the four Gospels in Latin based on the Vulgate text which St Jerome completed in 384AD, intermixed with readings from the earlier Old Latin translation. The Gospel texts are prefaced by other texts, including "canon tables", or concordances of Gospel passages common to two or more of the evangelists; summaries of the gospel narratives; and prefaces characterizing the evangelists. The book is written on vellum (prepared calfskin) in a bold and expert version of the script known as "insular majuscule". It contains 340 folios, now measuring approximately 330 x 255 mm; they were severely trimmed, and their edges gilded, in the course of rebinding in the 19th century.