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Final essay about Lindau Gospels
Ancient through Medieval Art (ARH 2750 )
Kennesaw State University
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Lindau Gospels and their Relationship with Governmental and Religious Establishments
Introduction
The creation of the Lindau Gospels, among other considerable gospels and religious works, details the importance of reform of art and church practice as well as the conjunction of new techniques and old techniques alike during the Carolingian period. Through usage of manuscript illumination, repousse techniques, architectural detailing, Carolingian miniscule, and metalwork with application of Classical and Insular techniques, the Lindau Gospels act as a physical representation of the goals of the ruler for society at the time. During the Carolingian period, the Lindau Gospels harbor a strong and influential relationship on governmental practice and religious establishments. This collective book of artworks acts as a physical aid to the period, in which the aim was to reform church, schooling, art, and politics; therefore, the works achieved the goal as they raised literacy considerably and portrayed the word of the Gospel through simplified depictions and visuals. This essay will define the relationship between the Lindau Gospels and governmental and religious establishments through, firstly, an in-depth description of the artwork itself; then, to further the evidence, the essay will also analyze related artworks and their influence as well as analyze the initial artwork to draw conclusions regarding said relationship.
Context
The Lindau Gospels were compiled from separate works and employed as a teaching and preaching aid during the Carolingian period. Charlemagne was attributed to the throne during the Carolingian period in 800 AD and was the first major and recognized ruler during the time. 1 A few of his many successes in government include him uniting the majority of Europe as well as removing such trials as the Lombards and Christianizing non-believers and pagans. 2 During the rule of the Carolingian Dynasty, which lasted from 750 to 887 AD, Charlemagne worked to implement new values and reform coined the Carolingian Renaissance; with this, his rule was characterized by improvements in centralized control and government, cultural renaissance, and bureaucracy. To list a few, Charlemagne’s values included standardization of dialects of Latin, standardized curriculum in schools, reformation of the French currency, and authority of the
1 Barbero 2004, 327. 2 Encyclopedia Britannica, n.
Pope, or papacy 3. Charlemagne’s rule is highly characterized by his conjunction of new techniques and desires for society with influence of old traditions which helped him unite nearly all of Europe, and the artwork that occurred during the Carolingian Renaissance followed the same characterization. Also, it is clear that Charlemagne worked to emulate Constantine’s style and reign. Constantine also worked to unite his people under a similar set of reforms as well as setting standards of currency and more. Additionally, even the art that was created under the Carolingian Renaissance mirrors the art created during the late Roman period that Constantine ruled in a sense. For example, the drapery found in the upper cover of the Lindau Gospel is similar to the Roman period as being relatively idealized, and this attention to drapery throughout the cover suggests the desire for the revival of Classical art techniques in this time period. 4 In addition, Constantine contributed to the art of his empire with a grand arch, known as the Arch of Constantine, which is also emulated in the work under the Carolingian empire since the arch shape is a recurring theme.
Charlemagne’s successors, though, were primarily inefficient rulers whom either died in accidents or of health-related conditions. Even upon Charlemagne’s demise, they were left responsible for carrying out Charlemagne’s task; in truth though, his goals act as an attempt to emulate Constantine’s ruling to bridge the pagan empire with the new Christian empire to revive lost art and other traditions. Their attempts did prove to be successful since the period experienced a rise in literacy during this time, which can be easily attributed to the illuminated manuscripts, which created ease in learning the gospel.
Description of Artwork
Looking at the artwork as a whole, the Lindau Gospels are best described as an illuminated manuscript encapsulated by a distinctive front and back cover. Measuring in at approximately 13 and 3/8 inches by 10 and 3/8 inches, the decorated and treasure bound manuscript is bigger than the average book. 5 The binding of the two covers is crafted from leather and decorative (fig. 11 ). Inside the covers, a precious silk seeming to have originated in Byzantium and the Middle East lines the interior before the manuscript itself; these silks add yet another worldly and vast expanse of span of location to the artwork (fig. 4). Since the illuminated
3 Encyclopedia Britannica, n. 4 Calkins 1983, 5. 5 Pierpont Morgan Library, n.
upper cover is the raised cross (fig. 7) , which features reference to architectural details and arch shapes. This raised detailing is a clear reference to early church or basilica plans and features, since it is cruciform in shape and many religious buildings of the time were cross shaped. The cover itself is an example of treasure binding (fig. 7) , a binding or cover decorated with metalwork and stones inlaid, and the gems encrusted are semi-precious stones and pearls, which alludes to the Heavenly Gates of Jerusalem. 9 In the Bible, The New Jerusalem, the gates are described as “each gate consisting of a single pearl” with “the main street of the city [as] pure gold,” and the upper cover features upwards of the twelve pearls depicted in the Bible as being on each heavenly gate.
Made significantly before the upper cover and manuscript, the back cover is a prime example of Insular metalwork. The date is estimated to be approximately 700 AD, over 100 years earlier, and created in Austria. The back cover is oftentimes looked over due to the disregard for its entirely separate creation. In fact, the style of art in which this artwork fits a style produced in the post-Roman history of Ireland and Britain, in which the two countries shared a common style different from their European counterparts. Insular style is often defined as ornamental and decorative with an interest in pattern, color, and figural abstraction. In more specific, Insular illumination is strongly characterized by metalwork which often employs interlacing detailing and enameling. Characteristic of the Insular art period, the cover (fig. 6) features heavy usage of enamel detailing as well as cruciform halos. The halos are defined as cruciform halos since they extend far beyond the figures. 10 In the center of the back cover (fig. 6) , there is a Latin inscription, which translates to “Jesus Christ Our Lord.” Because this piece of the artwork was created first, it is believed that it was found or repurposed to fit the needs of the written illuminated manuscript it covers; the cover (fig. 6) still fits the characteristic of the Carolingian period since it features encrusted gems and colorful depictions of Christ that exemplify his divinity.
Although the upper and back cover are most definitely the most recognizable and decorative pieces of the Lindau Gospels, the manuscript itself features many incipit and decorative pages as well as print pages. It is highly likely that this aspect of the gospels was written in a designated scriptorium, a room in which manuscripts were copied specifically. These
9 Khan Academy, 2016. 10 Schapiro 2006, 11.
pages make up the codex, which is the most common form of manuscript during the Early Christian period. The Lindau Gospels feature many folios, or leaves of paper which make up a codex, including eight pages with gold detailing on purple vellum, twelve canon tables with gold and silver lettering on purple vellum, and two carpet or textile pages with red detailing (fig. 2, 3, 5). 11 The entirety of the manuscript itself is considered an illuminated manuscript since the text features added initials and illustrations for decoration. Each of these pages was created on vellum. This type of parchment is prepared from calf, or animal skin in general, which was prepared for writing and printing which proved to hold up significantly better than papyrus. 12 Each of the incipit pages to Matthew, Mark, Luke, and John (fig. 2, 3) features large letters derived from the Roman alphabet and decorated with bright colors and gold leaf. The canon tables (fig. 5) , which act as a device to indicate what passages are in which gospels, were also decorated with bright coloring, mainly red and purple. Each canon table (fig. 5) is outlined by an arch shape, which mirrors churchlike architecture, like the upper cover of the manuscript.
One of the Carolingian Renaissance reforms put into place by Charlemagne was the standard of Carolingian Miniscule. The printed gospel pages themselves were written in this standard, which was particularly designed to facilitate the readings of Latin writings. In implementing this, Charlemagne’s aim was for Carolingian Miniscule to be the European standard of calligraphy and to be an educational reform. 13 This standard also assisted in Charlemagne’s overall goal to standardize all of Latin’s spoken dialects and written intricacies to raise literacy and communication amongst society.
Comparison and Analysis
A few notable works of art also from the Carolingian Dynasty that holds religious significance are the Lothair Crystal, the Golden Altar of Sant’Ambrogio, and the Aachen Cathedral. These works, although different in materials, media, and creation, also served the Carolingian period by aiding Charlemagne’s desire to reform church and schooling. For example, the Lothair Crystal is a clear quartz crystal engraved with eight episodes from the Story of Susanna and the Elders, which follow Susanna’s heroic journey from false condemnation for adultery to her release, which triggered the death sentence for those who falsely accused her. The
11 Pierpont Morgan Library, n. 12 British Library, n. 13 Encyclopedia Britannica, n.
gold leaf and gilded silver detailing, and this ornamentation served to glorify God and Jesus and exemplify their divinity and royalty.
A few related and similar illuminated manuscripts to the Lindau Gospels are the Book of Kells and the Drogo Sacramentary. Both the following originated between the 6th and 9th centuries which grant them relevance with the Lindau Gospels and period of Carolingian art.
The most recognizable and traditional illuminated manuscript related to the Lindau Gospels is the Book of Kells. Due to the fine and delicate decoration and illumination of this manuscript, its creation occurred between the 6th and 9th centuries in multiple monasteries and religious establishments. Although similar in the way of medium for expressing the Bible and its stories, the two manuscripts are highly similar since both feature both characteristics of Insular Art and traditional Christian iconography. This manuscript, in comparison with the Lindau Gospels, most definitely takes more after the Insular style, which touches of traditional Christian style. It also employs the Insular majuscule script rather than the Carolingian miniscule, which was designed to become the standard over all other scripts. Therefore, this manuscript does have some confirmation that Charlemagne’s tactics were not accepted and put into place everywhere.
However, unlike the majority of the Lindau Gospels, the Book of Kells features depictions of evangelist symbols. For example, in addition to the already present depictions of animals, birds, and human figures, the illuminated manuscript features symbolic illustrations of the four evangelists (fig. 8). 18 Another differentiating characteristic between the Lindau Gospels is the fact that the Book of Kells features no use of gold, since there was no available gold to be found in Ireland. 19 The Book of Kells is also highly more intricate and closer to over-designed in comparison with the Lindau Gospels; for example, the large initials (fig. 9) are designed with interlace, which is a high characteristic of the Insular art style. The text employed heavily decorated initials, which originate in the Celtic art of Ireland. 20 The high complexity and ornamentation of the Book of Kells have created quite an esteem for the artwork. One of the folios within the overall codex contains the particular evangelist symbols (fig. 8) for each of the four evangelists: a man for Matthew, a lion for Mark, an eagle for John, and an ox for Luke. Each evangelist symbol features a cruciform, or all-encompassing halo. Although both the Book
18 Bernard 1994, 8. 19 Ancient History Encyclopedia, 2018. 20 Kennedy 2000, 6.
of Kells and the Lindau Gospels were written around the same time periods, the purpose was distinctly different for the Book of Kells, which creates an opposing argument to the idea that illuminated manuscripts were used for aids in reforming school and church as well as raising literacy. In this case, the Book of Kells was created to be a lavishly decorative book, rather than an appropriate and correct adaptation of the Gospels. For example, the text features many mistakes in both the insular majuscule text and headings. This manuscript was definitely created with aesthetics valued over purpose and practicality. 21 With that being said, this book, during church, acted as a visual and decorative reference to the actual Gospel texts.
In contrast with the Book of Kells, the Drogo Sacramentary was created the clear intent of Drogo’s, Charlemagne’s son, personal use, but it is fit to be used during devout religious ceremony since it is outfitted with all the necessary prayers for mass. 22 Although the book contains several decorative initials, the Latin script is clear and legible (fig. 10). The decorated pages do not proceed the original opening or beginning of the text, nor is there a title page. The first decorated page or aspect of the manuscript does not occur until approximately ten folios into the 130 folios included. 23 The text and its decorative historiated initials originated by the means of several artists in a court school; however, this does not dull its significance nor its beauty. The covers and binding of this sacramentary are also different from many of the manuscripts originating in similar time periods. 24 This cover (fig. 11) and binding art are a sculpted relief which shows main scenes from the sacraments within the book, and the attention to drapery is similar to Classical standard again (fig. 10). This connects to the Lindau Gospels, which makes sense due to the similar time in which both were made and compiled.
Different from previously referenced artworks though, this illuminated manuscript features definite historiated initials, which are illustrated initials which focus on the visual representation of the biblical stories contained. In previous manuscripts discussed, the initials were only larger and decorated with gold leaf or designs relevant to the period in which they were made. One example of a historiated initial takes place on an “O” initial (fig. 10) , in which there is an image of Christ, dead and bloody. Contrasting with the aforementioned image of the
21 Calkins 1983, 79-82. 22 World Digital Library, n. 23 World Digital Library, n. 24 British Library, n.
Illuminated manuscripts, the Lindau Gospels in specific, act as a physical aid to the Carolingian period of Renaissance, in which reform for church, schooling, art, and politics was a necessity. Through their implementation, a higher rate of literacy and understanding of the Bible was achieved through the art styles and simplified imagery. Therefore, the Lindau Gospels, as well as many other illuminated manuscripts, foster an undeniable and advantageous relationship with the governmental and religious establishments of the Carolingian period.
Figure 1: Jeweled upper cover of the Lindau Gospels Court School of Charles the Bald Lindau Gospels, in Latin Switzerland, Abbey of St. Gall, late ninth century ca. 880 AD 350 x 275 mm (Pierpont Morgan Library)
Figure 2: Incipit Page to Matthew, Initial Page ( Liber generationis )
Lindau Gospels, in Latin, Switzerland, Abbey of St. Gall ca. 880–890 AD
320 x 250 mm (Pierpont Morgan Library)
Figure 3: Incipit Page to John, Initial Page ( In principio )
Lindau Gospels, in Latin, Switzerland, Abbey of St. Gall ca. 880–890 AD
320 x 250 mm (Pierpont Morgan Library)
Figure 4: Silk damask lining (inside front cover)
Byzantium, 9th century AD (?) (Pierpont Morgan Library)
Figure 5: Canon Tables, Lindau Gospels, in Latin
Switzerland, Abbey of St. Gall, ca. 880–890 AD
320 x 250 mm (Pierpont Morgan Library)
Figure 6: Jeweled upper cover of the Lindau Gospels, Lindau Gospels, in Latin
Figure 10: Drogo Sacramentary Historiated Initial, 264 x 214 mm
ca 850 AD, Bibliotheque Nationale de France (World Digital Library)
Figure 11: Drogo Sacramentary Relief Upper Cover, 264 x 214 mm,
ca 850 AD, Bibliotheque Nationale de France (World Digital Library)
Figure 11: Leather Binding of Lindau Gospels,
Abbey of St. Gall ca. 880-890 AD
320 x 250 mm (Pierpont Morgan Library)
Figure 12: Lothair Crystal, Quartz,
115 x 183 mm, ca. 855-869, British Museum (BBC)
Figure 13: Golden Altar of Sant’Ambrogio, gold and silver detailing,
Church consecrated 379, Completed 1099 (Hahn)
Mutherich, F. and Gaehde, J. Carolingian Painting. New York: George Braziller, Inc.
Pierpont Morgan Library, n. “Lindau Gospels.” Accessed Feb, 2019. themorgan/collection/lindau-gospels
Schapiro, M. 2006. The Language of Forms: Lectures on Insular Manuscript Art. New York: Pierpont Morgan Library.
World Digital Library, n. “The Drogo Sacramentary.” Accessed March 30th, 2019. wdl/en/item/590/
Final essay about Lindau Gospels
Course: Ancient through Medieval Art (ARH 2750 )
University: Kennesaw State University
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