The making of the Book of Kells: two Masters and two Campaigns Vol. I - Text and Illustrations Donncha MacGabhann PhD Thesis - 2015 Institute of English Studies, School of Advanced Study, University of London 1 Declaration: I hereby declare that this thesis has not been submitted as an exercise for a degree at any other university, and that it is entirely my own work. _________________________________ Donncha MacGabhann 2 Abstract This thesis investigates the number of individuals involved in the making of the Book of Kells. It demonstrates that only two individuals, identified as the Scribe-Artist and the Master-Artist, were involved in its creation. It also demonstrates that the script is the work of a single individual - the Scribe-Artist. More specific questions are answered regarding the working relationships between the book’s creators and the sequence of production. This thesis also demonstrates that the manuscript was created over two separate campaigns of work. The comprehensive nature of this study focuses on all aspects of the manuscript including, script, initials, display-lettering, decoration and illumination. The first part of chapter one outlines the main questions addressed in this thesis. This is followed by a summary of the main conclusions and ends with a summary of the chapter- structure. The second part of chapter one presents a literature review and the final section outlines the methodologies used in the research. Chapter two is devoted to the script and illumination of the canon tables. The resolution of a number of problematic issues within this series of tables in Kells is essential to an understanding of the creation of the manuscript and the roles played by the individuals involved. These issues include the scribal and artistic attribution of these pages, the iconography, the impracticality of the layout of some tables and also their completion over two separate campaigns of work. Within the limitations of this study it is not possible to include a comprehensive analysis of all the illuminated pages. Instead, the discussion of the illumination in the canon tables in chapter two serves as a case-study which is representative of the collaborative working patterns of the creators of the manuscript. 3 Chapter three is a detailed analysis entirely dedicated to the script. This demonstrates conclusively that it is the work of a single individual - the Scribe-Artist. Chapter four continues this investigation addressing script-related issues, both textual and decorative. It is argued that analysis of these issues also clearly identify the work as that of the Scribe-Artist. The fifth chapter deals with the initials and the display-lettering. This makes the case that, with a small number of exceptions attributed to the Master-Artist, these are also the work of the Scribe-Artist. The artistic skill of this latter individual is also identified in chapter five. This is clearly demonstrated through analysis of the links between the initials and the script and also the relationship between the initals and the illumination. Chapter six deals with aspects of the second campaign, and in particular, argues that some of this may be understood as a later and final phase of work. The seventh chapter examines the outcomes of this research within the specific cultural and historical contexts of the period. Conclusions are presented in chapter eight. 4 Acknowledgements It has been a privilege to have had the opportunity to undertake this study. Foremost in this respect has been the opportunity to engage with so many people without whose support and advice this project could not have been realised. In addition to the affection and encouragement of family and friends, this includes many chance encounters, and has led to many new friendships. These have all added immeasurably to the sense of adventure that has been a constant source of sustenance over the past five years. I offer my gratitude to the staff of many institutions for their courtesy and assistance. In particular this includes the staff of the libraries at the Royal Irish Academy, University College Cork, University College Dublin, National University of Ireland Galway, Trinity College Dublin, University of Limerick, The Index of Christian Art (Princeton), The Warburg Institute, Cambridge University, Corpus Christi College (Cambridge), St John’s College (Cambridge), University of Oxford - Bodleian Library, University College London, Victoria and Albert Museum and Lambeth Palace. To these I would like to add the staff at the National Library of Ireland, the British Library and the Bibliothèque nationale de France. Special thanks are due to Mike Mulcay and his colleagues at the wonderful Palaeography and Book Studies Library at Senate House (University of London). I would also like to thank all of the staff at the School of Advanced Study (University of London) - especially those at Registry and at the Institute of English Studies. It has been a joy to have had the privilege of getting to know so many wonderful scholars within the Early Medieval, Insular Art and Palaeography communities. Their erudition is matched by the warmth of their welcome. Thank you especially to Mildred Budny, Celia Chazelle, Roy Flechner, David Ganz, Jane Hawkes, Isabel and George Henderson, Dan McCarthy, Carol Neuman de Vegvar, Conor Newman, Eamonn Ó Carragáin, Jennifer O’Reilly, Rosemary Power, Jane Roberts, Etienne Rynne (R.I.P.), Robert Stevick, Peter Stokes, Ben Tilghman, Kees Veelenturf, Chris Verey, Stephen Walker and Susan Youngs. I would like to acknowledge the support of those I have counted as ‘classmates’ - Michael Brennan, Jennifer Gleeson, Cyndy Johnston and Colleen Thomas. It has been a privilege also to have benefitted at various times from the mentoring of Laura Cleaver, Carol Farr, Anna Gannon, Heather Pulliam, Michael Ryan, Niamh Whitfield and Victoria Whitworth. My faltering beginnings were greatly supported by Peter Harbison and Roger Stalley and I am certainly not alone in those whose early scholarship has benefitted hugely from the interest and encouragement of Dáibhí Ó Cróinín. The scope, breadth and depth of knowledge that informs Michelle Brown’s scholarship is immense. To have had the benefit of this knowledge, her vast experience and scholarly insight, in her role as the supervisor of this thesis, has been both inspirational and a very special privilege indeed. Patience in dealing with a latecomer to academe is another of her virtues that may not be so well known. In addition, I would like to say thank you to Michelle and also to Cecil for the warmth of their hospitality, both in London and more recently in Cornwall. I would like to express my gratitude to work colleagues and management at John the Baptist Community School. Thanks especially to fellow art-teacher Caoimh Ryan for Photoshop work on the canon tables. Some friends need particular mention and I especially 5 include Kristin Lindfield-Ott and James MacPherson, Donnel and Janet O’Flynn, Rev. Seán Fennelly, Michael Quinlan (cara a spreag) and his son Micheál (for IT advice). Others to provide invaluable technical help include Diarmuid O’Sullivan and Philip Coleman. Thank you to Peter Furniss and his calligraphy colleagues and to Tony Storan at the Limerick Studies Archive. Thanks also to my many kind neighbours and loyal friends for keeping me grounded throughout this time. I would like to acknowledge those individuals who have been formative influences in my life as an Artist and Teacher and I would particularly like to mention Paul O’Reilly. Thanks also to John Logan, Mike Fitzpatrick and Jim Gleeson for providing references. Undertaking this project without the support of my family would have been utterly impossible. My parents Denis and Una are no longer with us but I hope this study, to some extent, justifies the opportunities they afforded me in my youth. Ní bheidh a leithéid arís ann - buiochas. I must speak to the grandfather I never knew, Seán A. Mac an Gabhann, a scholar, amongst other things, of Latin and Greek. I am very mindful that the circumstances of your life and times denied you the opportunity of university study which you would, no doubt, have relished. My brothers and sisters in their different ways have also been very supportive and I offer thanks to Seán, Tadhg, Niamh and Nuala. My wife, children, and more recently, grand- children, are the very bed-rock of my existence. Dear Áine, Diarmuid and grandchildren Matthew and Evie-Rose - your joyful attitude to life is awesome and a constant source of inspiration - thank you. Dear Niamh, the privilege of being your father and your art teacher was turned on its head as you became my thesis-mentor. Thank you, and Philip, for your scholarly expertise, advice and patience in responding to my endless questions. Dear Cathal and Elaine, apart from being such special people, your pursuit of artistic excellence through your music continually inspires me (and indeed many others). Dearest Anita, your commitment and involvement with this project has been such that it has been very much a shared adventure. Your patient editing and also your willingness to discuss contentious issues have been essential to maintaining clarity and focus in this text and also in the various conference papers I have presented. It is entirely inadequate to say thank you. I would also like to note my appreciation of the support and encouragement of your brothers and sisters. A special thank you to your mother Rosemary whose positivity is truly inspirational. While acknowledging the support, assistance and advice of those I have mentioned above, I must claim full responsibility for any errors that persist. I would like to thank The Board of Trinity College Dublin and Bertelsmann Publishing for permission to reproduce images from the Faksimile Verlag facsimile Finally, this thesis is dedicated to two remarkable individuals with whom, to some extent at least, I have become acquainted.