Beginning of the Gospel of Saint Matthew
The Lindisfarne Gospel is a stunning example of manuscripts from the early Medieval era. It is a reflection of the history and people of its time. It is also a marvel in its beautifully detailed design and complex knot work.
The Lindisfarne Gospels are named after the monastery in which they were created in 698 CE. The Lindisfarne monastery was located on Holy Island in the Anglo-Saxon Kingdom of North Umbria in present-day Britain. The monastery was founded by Irish monks in 635. They were pursuing the conversion of the people of North Umbria. Britain was developing a national identity with many cultural influences. The new insular culture was influenced by regional Celtic and Germanic peoples, the early Christian community, Byzantine, North African and Middle Eastern cultures.
The Lindisfarne Gospels are said to have been created in 698 CE to commemorate the moving of the relics of St. Cuthbert to the high altar. St. Cuthbert was bishop at Lindisfarne from 634-687. In his earlier life he was known as a hermit who took solitude for self reflection and meditation. His work as a bishop was so well received a cult in his name was created two years after his death. It was customary for these cults to create great works of art in honor of their saint. Other cults of saints such as St. Wilfred, St. Columbia and St. Brigid also produced ornate gospel books.
The Lindisfarne monastery was founded in 635 by St. Aidan. He was part of the monastic family of St. Columba of Iona. This group of monks was working to convert the Germanic people. St. Columba’s followers lead the Celtic Church. At the time of Cuthbert the insular churches including Lindisfarne were debating the issue of adhering to mainstream, Roman church policy or remain regional. This debate appeared at the Synod of Whitby in 664. Cuthbert was bishop at Lindisfarne at this time. He was considered the symbol of compromise of the two points. By 698 when the Gospels are made to celebrate Cuthbert, Lindisfarne had drawn closer to the Roman Church.
The Lindisfarne Gospels were originally written in Latin;the text is the Vulgate. Old English was added between the lines in 883 by a priest named Aldred. Aldred was member of the community of St. Cuthbert of Chester-le-street. The cult of St. Cuthbert moved from Lindisfarne to Chester-le-street because of Viking attacks in 875. They brought with them Cuthbert’s coffin and relics and the Gospels.
In addition to the translation, Aldred also added a colophon that named Bishop Eadfrith of Lindisfarne as the writer and illuminator. His successor Bishop Ethilwald completed the book by binding the pages together.
Aldred’s colophon not only gives us the name of a single artist but also the place in which the book was created. Some scholars believe it was created in Jarrow or Ireland, However, other artifacts found at Lindisfarne have striking similarities to the Lindisfarne Gospels.
“The evidence for the Gospels having been made at Lindisfarne is strengthened when we tie in what we know from archaeology to have been available at Lindisfarne: the figures carved on the outside of the wooden coffin of St Cuthbert; the pectoral cross of St Cuthbert, whose geometry seems to be reflected within one of the carpet pages of Lindisfarne; and the namestones which would have laid at the head of the graves of some early members of the community. There are very similar scripts to the display capitals that we find in the Lindisfarne Gospels, which are fascinating because you can see the artist scribe actively grafting on Germanic runic features to Roman capital forms. These are very overt statements of a hybrid culture. And the best context for all of that is Lindisfarne and its archaeology.”
The Lindisfarne Gospels contain the writings of Matthew, Mark, Luke and John the Evangelists. The gospels recount the life and teaching of Jesus Christ. The Lindisfarne Gospels opens each gospel with a portrait page of the Evangelist. Next one would see an extremely detailed and beautifully ornate carpet page or cross page. The Gospel would start with an ‘incipit’ page which the first word was large and highly decorated. The style of calligraphy that was used on the carpet and ‘incipit’ pages depicts divinity without the use of human forms. The blending of cultures that were present in Britain at this time is seen in the designs. “There are Roman capitals, Greek characters and angular letters recalling Germanic.” The Lindisfarne Gospels was a way to tie together all the cultures in one cohesive and importantly Christian display. Today we look at it as a reflection of it time and peoples.
The ‘insular’ style used by Eadfrith was based on earlier works in manuscript illumination. However, Eadfrith goes beyond what earlier scribes used to decorate the pages of important books. His use of complex interwoven design and ornate lettering is mesmerizing. Most manuscripts created around this time were produced with a team of scribes, thus creating various styles in one book. The Lindisfarne Gospels are stylistically unified throughout the whole manuscript thus providing more edivence it had one creator. The great skill and dedication Eadfrith possessed to create such a work is inspiring. The countless hours he worked on the manuscripts were his ‘opus dei’ or a work for God.
One can learn so much about the history and people of early Christian Britain when looking at the Lindisfarne Gospels. To the people surrounding the manuscript it would have reflected the issues concerning their placement in the Christian world. To the creator it was his life’s work. Through his dedication to his faith and great artistic skill he lives on today.
http://www.fathom.com/course/33702501/index.html
(accessed October 12, 2008)
The British Library Board. The Lindisfarne Gospels Tour. The British Library
http://www.bl.uk/onlinegallery/features/lindisfarne/home.html
(accessed October 12, 2008)
