Lambeth Bible
The Lambeth Bible bears close stylistic resemblance to the Gospel book made for Abbot Wedric of Liessies Abbey (Hainault) in 1146, of which only two leaves survive (the rest having been destroyed at Metz in World War II), now in Avesnes-sur-Helpe.
[2] Millar and Dodwell based their theory of a Canterbury provenance on some entries from the sixteenth century that occur on folio 310r in the Maidstone volume.
[3] Riedmaier criticizes Dodwell's evidence of a Canterbury provenance as inadequate, since it was based primarily on storage records of the manuscript's location from the sixteenth century.
[3] He argues that a Canterbury provenance is accurate, but that the strongest evidence for this is actually found in the textual, structural, and iconographic characteristics of the Lambeth Bible.
Christopher de Hamel instead links the Bible to Faversham Abbey, and claims that it was being produced for King Stephen.
[7] In the Lambeth volume, the entire Octateuch and the four books of Kings contain illuminated miniatures, excluding Exodus and Leviticus.
These historiated initials only appear at the beginning of each biblical book, depicting either the author of the text or the central figure of the events described within.
However, starting from folio 197r of the Maidstone volume, a completely new and distinct handwriting emerges, persisting throughout the rest of the Bible.
Additional supply leaves were inserted into the Maidstone volume, and both were subsequently rebound using bindings crafted from white goat-skin and wooden boards.
Both the front and back covers feature panels with diagonal lines, forming diamond-shaped sections where subtle designs are lightly etched.
In this portrayal, Jacob is depicted both dreaming, witnessing a ladder encircled by angels ascending towards God offering a scroll, and awake, anointing oil onto the stone that served as his pillow.
[14] The iconography of each biblical scene depicted within the Genesis miniature provides insight into the iconographical sources used for the illumination of the Lambeth Bible.
As described in the accompanying text, Abraham is shown raising his sword high above his son Isaac, who is positioned on the altar, ready for sacrifice.
[14] Second, the inclusion of a gray step-like structure leading up to the altar on the right side of the scene is unique to the Lambeth Bible and has not been observed elsewhere.
[14] The main focus of the illustration is on Jacob's dream of the ladder to heaven and the subsequent anointing of the stone the next morning.
Jacob and Abraham are both depicted wearing pointed hats, which were commonly used in medieval art to indicate that a figure is Jewish.
