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 6th 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 6th 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 (698-721)
• 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.