Lindisfarne Gospels
[1] The manuscript is considered one of the finest works in the unique style of Hiberno-Saxon or Insular art, combining Mediterranean, Anglo-Saxon and Celtic elements.
The Gospels are richly illustrated in the insular style and were originally encased in a fine leather treasure binding covered with jewels and metals made by Billfrith the Anchorite in the 8th century.
An Old English translation of the Gospels was made in the 10th century: a word-for-word gloss of the Latin Vulgate text, inserted between the lines by Aldred, Provost of Chester-le-Street.
[8] King Oswald of Northumbria sent Aidan from Iona to preach to and baptise the pagan Anglo-Saxons, following the conversion to Christianity of the Northumbrian monarchy in 627.
[10] In the 10th century, about 250 years after the production of the book, Aldred, a priest of the monastery at Chester-le-Street, added an Old English translation between the lines of the Latin text.
[14] The gospels used techniques reminiscent of elite metalwork to impress a Northumbrian audience, most of whom could not read, and certainly not understand the Latin text.
[17] In Lindisfarne Cuthbert began to adopt a solitary lifestyle, eventually moving to Inner Farne Island, where he built a hermitage.
[17] Cuthbert agreed to become bishop at the request of King Ecgfrith in 684, but within about two years he returned to his hermitage in Farne as he felt death approaching.
[21] The pens used for the manuscript could have been cut from either quills or reeds, and there is also evidence to suggest that the trace marks (seen under oblique light) were made by an early equivalent of a modern pencil.
[23] Backhouse emphasizes that "all Eadfrith's colours are applied with great skill and accuracy, but ... we have no means of knowing exactly what implements he used".
Professor Brown added that Eadfrith "knew about lapis lazuli [a semi-precious stone with a blue tint] from the Himalayas but could not get hold of it, so made his own [substitute]".
[21] Holes were pricked through each gathering of eight leaves, and then individual pages were separately ruled for writing with a sharp, dry, and discrete point.
It is estimated that after around seven years the Lindisfarne community settled in the Priory at Chester-le-Street in Durham, where they stayed until 995 (and where Aldred would have done his interlinear translation of the text).
[27] In the early 17th century the Gospels were owned by Sir Robert Cotton (1571–1631), and in 1753 they became part of the founding collections of the British Museum.
[30] In The Illuminated Manuscript, Backhouse states that "The Lindisfarne Gospels is one of the first and greatest masterpieces of medieval European book painting".
[31] The Lindisfarne Gospels is described as Insular or Hiberno-Saxon art, a general term for manuscripts produced in the British Isles between 500 and 900 AD.
[27] As a part of Anglo-Saxon art the manuscript reveals a love of riddles and surprise, shown through the pattern and interlace in the meticulously designed pages.
Another notable aspect of the Gospels is the tiny drops of red lead, which create backgrounds, outlines, and patterns, but never appear on the carpet pages.
[39] The Book of Kells (Trinity College, Dublin, MS A. I.6 (58)) employs decorative patterns that are similar to other insular art pieces of the period, but is thought to have been produced much later than the Lindisfarne Gospels.
In these portraits, Matthew, Mark, and Luke are shown writing, while John looks straight ahead at the reader holding his scroll.
[42] A manuscript so richly decorated reveals that the Lindisfarne Gospels not only had a practical ceremonial use but also attempted to symbolize the Word of God in missionary expeditions.
[43] Backhouse points out that the clergy was not unaware of the profound impression a book such as the Lindisfarne Gospels made on other congregations.
[43] The opening words of the Gospel (the incipits) are highly decorated, revealing Roman capitals, Greek and Germanic letters, filled with interlaced birds and beasts, representing the splendour of God's creation.
[5] In 1971 professor Suzanne Kaufman of Rockford, Illinois, presented a facsimile copy of the Gospels to the clergy of the Island.
[49] The manuscript exhibition also included items from the Staffordshire Hoard, the Yates Thompson 26 Life of Cuthbert, and the gold Taplow belt buckle.
