[1] The evangelists illustrations reflect an expressive art style called Emotionalism, that has a stylistic relationship with the Utrecht Psalter and the Codex Aureus of St.

[2] In comparison to the Utrecht Psalter and the Codex Aureus of St. Emmeram, the Ebbo Gospels demonstrates very energetic lines and dimension, in contrast to the Classical Roman art style of the past.

[3] The making of the Ebbo Gospels was during the Carolingian Renaissance, when Charlemagne was crowned the Holy Roman emperor by the Pope in the year 800.

[6] The Ebbo Gospels was produced in the ninth century at the Benedictine Abbaye Saint-Pierre d’Hautvillers,[7] which was one of the earliest manuscripts from Hautillers to not be destroyed or lost.

[1] St. Mark's illustration represents him seated in a Roman stool, twisting his body to look upwards towards his symbol of a lion that is holding a scroll.

Mark's facial expression is relaxed as he dips his stylus in ink to prepare for writing, in the inscribed codex rested on his leg.

The Ebbo Gospels style was curated by scholars, artists, and writers in a workshop at Reims school, who were hired by Charlemagne to study Roman art and replicate it.

[1] Greek artists fleeing the Byzantine iconoclasm of the 8th century brought this style to Aachen and Reims to be able to depict iconography.

[3] Matthew is a winged-man, which connects to his gospel containing information about Gods possible relation to king David.

The evangelist portrait of Matthew in the Ebbo Gospels is similar to the illustration of the psalmist in the first psalm of the Utrecht Psalter.

[7] Goldschmidt, a medieval historian, claims that many of the small details of the Utrecht Psalter can be compared to the features of the Ebbo Gospels.

[17] Items such the ink, the way animals are depicted, architecture is illustrates, body language and gestures that people in these books are given, has some connection between both the Ebbo Gospels and the Psalter.