DOI Page / Citation link:
https://doi.org/10.11588/diglit.14715#0023
THE ART OF ILLUMINATION.
7
In the seventh century we find this style of illumination carried, by the
Irish missionaries who followed St. Columba, to Iona, and hence to Lindis-
farne, by the companions of Aidan, who was made Bishop of that See, a. d.
635. He obtained from Oswald, Prince of Northumbria, leave to have his
episcopal residence at Lindisfarne, where he founded a monastery and
college similar to that at Iona.
In that monastery was produced the celebrated copy of St. Cuthbert's
Gospels, commonly called " The Durham Book," now deposited in the
British Museum.* The drawings in this extraordinary volume are second
only to the Book of Kells in their wonderful elaboration, delicacy, and
beauty. It is a folio volume, containing the four Gospels in the Latin
version of St. Jerome, to which are prefixed, as usual, the Canons of
Eusebius. At the beginning of each Gospel are paintings representing one
of the Evangelists, and a tessellated cross. These are followed by large
illuminated capital letters; and many small ones, equally rich in character,
are found at the heads of various chapters.'!" Between the lines of the text
is introduced a Saxon Gloss, of the highest value, from its containing so
early a specimen of the Northumbrian dialect, and at the close of the
volume a note is added by the Saxon scribe, from which we learn its history.
This manuscript seems to have been written and illuminated in honour of
St. Cuthbert, by Eadfrith, Bishop of Lindisfarne, who succeeded to that See
in the year 698, and died in 721. His successor, iEthelwald, caused it to
be splendidly bound, and adorned with gold and gems; which was executed
under his direction by Bilfrith, who, according to Simon of Durham, was
" aurificis arte prsBcipuus." This precious volume passed into the Monastery
of Durham, where it remained till the time of the Reformation, when it
was despoiled of its cover for the sake of the gold and jewels which adorned
it.
In noticing this manuscript it is most interesting to observe the extra-
ordinary purity and beauty of the pigments and materials employed on it.
The vellum is of admirable quality, and the colours are almost free from
change, except, in a few instances, on those pages which have been most
frequently exposed, or the least carefully treated; while the ink has a
richness and fulness of tone not to be found in modern works, and remains
so fresh in appearance that it is difficult to imagine that the scribe who used
it has been in his grave between eleven and twelve hundred years.
i
* Cotton Collection, Nero D iv.
t The complete page preceding the Gospel of St. Matthew has hcen copied, and carefully
coloured in close imitation of the original drawing, in " Shaw's Illuminated Ornaments of the
Middle Ages,"
7
In the seventh century we find this style of illumination carried, by the
Irish missionaries who followed St. Columba, to Iona, and hence to Lindis-
farne, by the companions of Aidan, who was made Bishop of that See, a. d.
635. He obtained from Oswald, Prince of Northumbria, leave to have his
episcopal residence at Lindisfarne, where he founded a monastery and
college similar to that at Iona.
In that monastery was produced the celebrated copy of St. Cuthbert's
Gospels, commonly called " The Durham Book," now deposited in the
British Museum.* The drawings in this extraordinary volume are second
only to the Book of Kells in their wonderful elaboration, delicacy, and
beauty. It is a folio volume, containing the four Gospels in the Latin
version of St. Jerome, to which are prefixed, as usual, the Canons of
Eusebius. At the beginning of each Gospel are paintings representing one
of the Evangelists, and a tessellated cross. These are followed by large
illuminated capital letters; and many small ones, equally rich in character,
are found at the heads of various chapters.'!" Between the lines of the text
is introduced a Saxon Gloss, of the highest value, from its containing so
early a specimen of the Northumbrian dialect, and at the close of the
volume a note is added by the Saxon scribe, from which we learn its history.
This manuscript seems to have been written and illuminated in honour of
St. Cuthbert, by Eadfrith, Bishop of Lindisfarne, who succeeded to that See
in the year 698, and died in 721. His successor, iEthelwald, caused it to
be splendidly bound, and adorned with gold and gems; which was executed
under his direction by Bilfrith, who, according to Simon of Durham, was
" aurificis arte prsBcipuus." This precious volume passed into the Monastery
of Durham, where it remained till the time of the Reformation, when it
was despoiled of its cover for the sake of the gold and jewels which adorned
it.
In noticing this manuscript it is most interesting to observe the extra-
ordinary purity and beauty of the pigments and materials employed on it.
The vellum is of admirable quality, and the colours are almost free from
change, except, in a few instances, on those pages which have been most
frequently exposed, or the least carefully treated; while the ink has a
richness and fulness of tone not to be found in modern works, and remains
so fresh in appearance that it is difficult to imagine that the scribe who used
it has been in his grave between eleven and twelve hundred years.
i
* Cotton Collection, Nero D iv.
t The complete page preceding the Gospel of St. Matthew has hcen copied, and carefully
coloured in close imitation of the original drawing, in " Shaw's Illuminated Ornaments of the
Middle Ages,"