TheLindisfarne Gospels (London, British Library Cotton MS Nero D.IV) is anilluminated manuscriptgospel book probably produced around the years 715–720 in the monastery atLindisfarne, off the coast ofNorthumberland, which is now in theBritish Library in London.[1] The manuscript is considered one of the finest works in the unique style ofHiberno-Saxon orInsular art, combining Mediterranean,Anglo-Saxon andCeltic elements.[2]
The Lindisfarne Gospels are presumed to be the work of a monk namedEadfrith, who becameBishop of Lindisfarne in 698 and died in 721.[3] Current scholarship indicates a date around 715, and it is believed they were produced in honour ofSt. Cuthbert. However, some parts of the manuscript were left unfinished so it is likely that Eadfrith was still working on it when he died.[3] It is also possible that he produced them prior to 698, in order to commemorate the elevation of Cuthbert's relics in that year,[4] which is also thought to have been the occasion for which theSt Cuthbert Gospel (also in the British Library) was produced. TheGospels are richly illustrated in the insular style and were originally encased in a fine leathertreasure binding covered with jewels and metals made byBillfrith theAnchorite in the 8th century. During theViking raids on Lindisfarne this jewelled cover was lost and a replacement was made in 1852.[5] The text is written ininsular script, and is the best documented and most complete insular manuscript of the period.
AnOld English translation of the Gospels was made in the 10th century: a word-for-wordgloss of the LatinVulgate text, inserted between the lines byAldred, Provost ofChester-le-Street. This is the oldest extant translation of the Gospels into theEnglish language.[6] The Gospels may have been taken fromDurham Cathedral during theDissolution of the Monasteries ordered byHenry VIII and were acquired in the early 17th century bySir Robert Cotton fromRobert Bowyer,Clerk of the Parliaments.Cotton's library came to theBritish Museum in the 18th century and went to theBritish Library inLondon when this was separated from the British Museum.[7]
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Lindisfarne, also known as "Holy Island", is located off the coast ofNorthumberland in northern England (Chilvers 2004). In around 635 AD, the Irish missionaryAidan founded the Lindisfarne monastery on "a small outcrop of the land" on Lindisfarne.[8] KingOswald of Northumbria sent Aidan fromIona to preach to and baptise the paganAnglo-Saxons, following the conversion to Christianity of the Northumbrian monarchy in 627. By the time of Aidan's death in 651, the Christian faith was becoming well-established in the area.[9] The Lindisfarne gospel book is associated with the Cult of St. Cuthbert. Cuthbert was an ascetic member of a monastic community in Lindisfarne, before his death in 687. The book was made as part of the preparations to translate Cuthbert's relics to ashrine in 698. Lindisfarne has a reputation as the probable place of genesis according to the Lindisfarne Gospels. Around 705 an anonymous monk of Lindisfarne wrote theLife of St Cuthbert. His bishop, Eadfrith, swiftly commissioned the most famous scholar of the age, Bede, to help shape the cult to a new purpose.[10]
In the 10th century, about 250 years after the production of the book, Aldred, a priest of the monastery atChester-le-Street, added anOld English translation between the lines of the Latin text. In hiscolophon he recorded the names of the four men who produced the Lindisfarne Gospels:[8]Eadfrith,Bishop of Lindisfarne, was credited with writing the manuscript; Ethelwald, Bishop of the Lindisfarne islanders, was credited with binding it;Billfrith, ananchorite, was credited with ornamenting the manuscript; and finally, Aldred lists himself as the person who glossed it in Anglo-Saxon (Old English).[11]
Some scholars have argued that Eadfrith and Ethelwald did not produce the manuscript but commissioned someone else to do so.[12] However, Janet Backhouse argues for the validity of the statement by pointing out that "there is no reason to doubt [Aldred's] statement" because he was "recording a well-established tradition".[8] Eadfrith and Ethelwald were both bishops at the monastery of Lindisfarne where the manuscript was produced. As Alan Thacker notes, the Lindisfarne Gospels are "undoubtedly the work of a single hand", and Eadfrith remains regarded as "the scribe and painter of the Lindisfarne Gospels".[13]
The Lindisfarne Gospels is a Christian manuscript, containing the fourgospels recounting the life and teachings of Jesus Christ. The manuscript was used for ceremonial purposes to promote and celebrate the Christian religion and the word of God.[14] Because the body of Cuthbert was buried there, Lindisfarne became an important pilgrimage destination in the 7th and 8th centuries, and the Lindisfarne Gospels would have contributed to the cult of St Cuthbert.[14] The gospels used techniques reminiscent of elite metalwork to impress aNorthumbrian audience, most of whom could not read, and certainly not understand the Latin text.
According to Aldred's colophon, the Lindisfarne Gospels were made in honour of God and SaintCuthbert, a Bishop of the Lindisfarne monastery who was becoming "Northern England's most popular Saint".[15] Scholars think that the manuscript was written sometime between Cuthbert's death in 687 and Eadfrith's death in 721.[14] There is a significant amount of information known about Cuthbert thanks to two accounts of his life that were written shortly after his death, the first by an anonymous monk from Lindisfarne, and the second byBede, a famous monk, historian, and theologian.[9]
Cuthbert entered into the monastery ofMelrose, now in lowland Scotland but then inNorthumbria, in the late 7th century, and after being ordained a priest he began to travel throughout Northumbria, "rapidly acquiring a reputation for holiness and for the possession of miraculous powers".[16] TheSynod of Whitby in 664 pitted the Hiberno-Celtic church against the Roman church regarding the calculation of the date of Easter. The dispute was adjudged by KingOswiu of Northumbria in favour of the Roman church, but many of the leading monks at Lindisfarne then returned to Iona and Ireland, leaving only a residue of monks affiliated to the Roman church at Lindisfarne. Due to increasingly slack religious practice in Lindisfarne, Cuthbert was sent to Lindisfarne to reform the religious community.[17] In Lindisfarne Cuthbert began to adopt a solitary lifestyle, eventually moving toInner Farne Island, where he built ahermitage.[17] Cuthbert agreed to become bishop at the request of KingEcgfrith in 684, but within about two years he returned to his hermitage in Farne as he felt death approaching. Cuthbert died on 20 March 687 and was buried in Lindisfarne. As a venerated saint, his tomb attracted many pilgrims to Lindisfarne.[18]
The Lindisfarne Gospels manuscript was produced in ascriptorium in the monastery of Lindisfarne. It took approximately 10 years to create.[19] Its pages arevellum, and evidence from the manuscript reveals that the vellum was made using roughly 150 calf skins.[20] The book is 516 pages long. The text is written "in a dense, dark brown ink, often almost black, which contains particles of carbon from soot or lamp black".[21] The pens used for the manuscript could have been cut from either quills or reeds, and there is also evidence to suggest that the trace marks (seen under oblique light) were made by an early equivalent of a modern pencil.[22] Lavish jewellery, now lost, was added to the binding of the manuscript later in the 8th century.[23] Eadfrith manufactured 90 of his own colours with "only six local minerals and vegetable extracts".[19]
There is a huge range of individualpigments used in the manuscript. The colours are derived from animal, vegetable and mineral sources.[24] Gold is used in only a couple of small details.[23] While some colours were obtained from local sources, others were imported from the Mediterranean.[24] The blue was long thought to beultramarine from Afghanistan, but analysis withRaman microscopy in the 2000s revealed it to beindigo.[25] The medium used to bind the colours was primarily egg white, with fish glue perhaps used in a few places.[23] Backhouse emphasizes that "all Eadfrith's colours are applied with great skill and accuracy, but ... we have no means of knowing exactly what implements he used".
Professor Brown added that Eadfrith "knew aboutlapis lazuli [a semi-precious stone with a blue tint] from the Himalayas but could not get hold of it, so made his own [substitute]".[23]
The pages were arranged intogatherings of eight. Once the sheets had been folded together, the highest-numbered page was carefully marked out by pricking with a stylus or a small knife.[21] Holes were pricked through each gathering of eight leaves, and then individual pages were separately ruled for writing with a sharp, dry, and discrete point.[21]
The Lindisfarne Gospels are impeccably designed, and as Backhouse points out, vellum would have been too expensive for "practice runs" for the pages, and so preliminary designs may have been done onwax tablets (hollowed-out wood or bone with a layer of wax).[26] These would have been an inexpensive medium for a first draft; once a sketch had been transferred to the manuscript, the wax could be remelted and a new design or outline inscribed.[26]
As a result of Viking raids, the monastic community left Lindisfarne around 875, taking with them Cuthbert's body, relics, and books, including the Lindisfarne Gospels[14] and theSt Cuthbert Gospel. It is estimated that after around seven years the Lindisfarne community settled in the Priory at Chester-le-Street in Durham, where they stayed until 995 (and where Aldred would have done his interlinear translation of the text).[27] After Henry VIII ordered theDissolution of the Monasteries in 1539, the manuscript was separated from the priory.[27] In the early 17th century the Gospels were owned by SirRobert Cotton (1571–1631), and in 1753 they became part of the founding collections of the British Museum.[28]
The Lindisfarne Gospels are in remarkable condition and the text is complete and undamaged.[29] However, the original binding of the manuscript was destroyed. In March 1852 a new binding was commissioned by bishopEdward Maltby; Smith, Nicholson and Co. (silversmiths) made the binding with the intention of recreating motifs in Eadfrith's work.[30]
InThe Illuminated Manuscript, Backhouse states that "The Lindisfarne Gospels is one of the first and greatest masterpieces of medieval European book painting".[31] The Lindisfarne Gospels is described as Insular or Hiberno-Saxon art, a general term for manuscripts produced in the British Isles between 500 and 900 AD.[27]
As a part of Anglo-Saxon art the manuscript reveals a love of riddles and surprise, shown through the pattern and interlace in the meticulously designed pages. Many of the patterns used for the Lindisfarne Gospels date back before the Christian period.[32] There is a strong presence of Celtic, Germanic, and Irish art styles. The spiral style and "knot work" evident in the formation of the designed pages are influenced by Celtic art.[32]
One of the most characteristic styles in the manuscript is thezoomorphic style (adopted from Germanic art) and is revealed through the extensive use of interlaced animal and bird patterns throughout the book.[32] The birds that appear in the manuscript may also have been from Eadfrith's own observations of wildlife in Lindisfarne.[27] The geometric design motifs are also Germanic influence, and appear throughout the manuscript.
Thecarpet pages (pages of pure decoration) exemplify Eadfrith's use of geometrical ornamentation. Another notable aspect of the Gospels is the tiny drops of red lead, which create backgrounds, outlines, and patterns, but never appear on the carpet pages.[33] The red dots appear in early Irish manuscripts, revealing their influence in the design of the Lindisfarne Gospels.[33] Thacker points out that Eadfrith acquired knowledge from, and was influenced by, other artistic styles, showing that he had "eclectic taste".[34] While there are many non-Christian artistic influences in the manuscript, the patterns were used to produce religious motifs and ideas.
Eadfrith was a highly trained calligrapher and he used insularmajuscule script in the manuscript.[34]
The Lindisfarne Gospels are not an example of "isolated genius... in an otherwise dark age":[35] there were other Gospel books produced in the same time period and geographic area that have similar qualities to the Lindisfarne Gospels. The Lindisfarne monastery not only produced the Lindisfarne gospels, but also theDurham Gospels andEchternach Gospels. These gospel books were credited to "the 'Durnham-Echternach Calligrapher', thought to be the oldest member of the Lindisfarne Scriptorium".[36] The Echternach gospels might have been made during the creation of the Lindisfarne Gospels and the Durham Gospels came after, but in an old-fashioned style.[37] TheLichfield Gospels (Lichfield Cathedral, Chapter Library) employ a very similar style to the Lindisfarne Gospels, and it is even speculated that the artist was attempting to emulate Eadfrith's work.[29] Surviving pages from the Lichfield Gospels also have a cross-carpet page and animal and bird interlace, but the designs do not achieve the same perfection, and are seen as looser and heavier than Eadfrith's.[29]
The design of the Lindisfarne Gospels has also been related to theTara Brooch (National Museum of Ireland, Dublin), displaying animal interlace, curvilinear patterns, and borders of bird interlace, but unfortunately the origin of the brooch is unknown.[29] The Durham Gospels (Durham Cathedral Library) are suspected as having been created slightly earlier than the Lindisfarne Gospels, and while they have the bird interlace, the birds are less natural and real than Eadfrith's birds in the Lindisfarne Gospels.[38] TheBook of Durrow (Trinity College, Dublin) is also thought of as an earlier insular manuscript, as the style of the manuscript is simpler and less developed than that of the Lindisfarne Gospels.[39] TheBook of Kells (Trinity College, Dublin, MS A. I.6 (58)) employs decorative patterns that are similar to other insular art pieces of the period, but is thought to have been produced much later than the Lindisfarne Gospels.[40]
The Lindisfarne Gospels is a manuscript that contains the Gospels of the four Evangelists Mark, John, Luke, and Matthew. The Lindisfarne Gospels begins with acarpet page in the form of a cross and a major initial page, introducing the letter ofSt. Jerome andPope Damasus I.[27] There are sixteen pages of arcadedcanon tables, where parallel passages of the four Evangelists are laid out.[41] A portrait of the appropriate Evangelist, a carpet page and a decorated initial page precedes each Gospel. There is an additional major initial of the Christmas narrative of Matthew.[27]
Bede explains how each of the four Evangelists was represented by his own symbol: Matthew was the man, representing the human Christ; Mark was the lion, symbolising the triumphant Christ of the Resurrection; Luke was the calf, symbolising the sacrificial victim of the Crucifixion; and John was the eagle, symbolising Christ's second coming.[42] A collective term for the symbols of the four Evangelists is theTetramorphs. Each of the four Evangelists is accompanied by his respective symbol in his miniature portrait in the manuscript. In these portraits, Matthew, Mark, and Luke are shown writing, while John looks straight ahead at the reader holding his scroll.[42] The Evangelists also represent the dual nature of Christ. Mark and John are shown as young men, symbolising the divine nature of Christ, and Matthew and Luke appear older and bearded, representing Christ's mortal nature.[42]
A manuscript so richly decorated reveals that the Lindisfarne Gospels not only had a practical ceremonial use but also attempted to symbolize the Word of God in missionary expeditions.[43] Backhouse points out that the clergy was not unaware of the profound impression a book such as the Lindisfarne Gospels made on other congregations.[43] The opening words of the Gospel (theincipits) are highly decorated, revealing Roman capitals, Greek and Germanic letters, filled with interlaced birds and beasts, representing the splendour of God's creation.[42] On one page alone, there are 10,600 decorative red dots.[44] Different kinds of pigment are used throughout the manuscript.[24]Red lead and gold were also used for decoration.[23][33]
Each carpet page contains a different image of a cross (called a cross-carpet page), emphasising the importance of the Christian religion and of ecumenical relationships between churches.[42] The pages of ornamentation have motifs familiar from metalwork and jewellery that pair alongside bird and animal decoration.[27]
A campaign exists to have the gospels housed in the North East of England. Supporters include theBishop of Durham,Viz creatorSimon Donald, and the Northumbrian Association. The move is vigorously opposed by the British Library.[45][46] Several possible locations have been mooted, includingDurham Cathedral,Lindisfarne itself or one of the museums inNewcastle upon Tyne orSunderland.[5] In 1971 professor Suzanne Kaufman of Rockford, Illinois, presented a facsimile copy of the Gospels to the clergy of the Island.[47]
Between September and 3 December 2022 the manuscript was being exhibited in theLaing Art Gallery inNewcastle upon Tyne.[48]
From July to September 2013 the Lindisfarne Gospels were displayed inPalace Green Library, Durham. Nearly 100,000 visitors saw the exhibition.[49] The manuscript exhibition also included items from theStaffordshire Hoard, the Yates Thompson 26Life of Cuthbert, and the goldTaplow belt buckle.[50] Also included was the closely relatedSt Cuthbert Gospel, which was bought by the British Library in 2012. This returned to Durham in 2014 (1 March to 31 December) for an exhibition ofbookbindings at the library. Alongside the Lindisfarne Gospels Exhibition was a festival of more than 500 events, exhibitions and performances across the North East and Cumbria.
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