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Book of Kells Features of Medieval Gospel Books Book of Kells Features of Medieval Gospel Books In addition to the New Testament books of Matthew, Mark, Luke, and John, Gospel books of the medieval period, like the Book of Kells, often included the following ach year, half a million tourists to Dublin, Ire- features: land, stop by the Old Library at Trinity College • Canon tables—a kind of con- for a peek at the legendary Book of Kells. If you cordance, showing passages joined them, what exactly would you see? that were common to two or You would see a book of dazzling beauty more of the Gospels. E • Breves causae—summaries of and imagination. Its 340 folios, which is 680 pages, are made the Gospel narratives of fine calfskin vellum and measure approximately 13 x 10 • Argumenta—introductions inches, or about 33 x 25.4 centimeters. Originally one vol- to the Evangelists, or Gospel writers ume containing all four Gospels in Latin, the Book of Kells was divided into four volumes in 1953. Typically, the Old Library displays two of these volumes at a time. One is open to reveal two decorated pages of elegant insular majuscule text featuring the elaborate initial letters common in the Irish-Celtic tradition. The other shows one of the book’s vivid, brightly colored illu- minations. If you gaze at these pages long enough, you would perhaps understand why the Annals of Ulster, the definitive history of Ire- land from AD 431 to 1540, boasts that Book of Kells is “the chief treasure of the western world.”1 You would also be looking at a book with quite a history. The Book of Kells is believed to have been the work of monks Left: Folio, Book of Kells (ca. 800), artist unknown. on the Scottish island of Iona more than twelve Right: An example of Irish, or insular, illumination, Book of centuries ago. Based on Kells, artist unknown, ca. 800. 25 slight variations in the script and artwork, it seems four different scribes and three different artists were involved. • After repeated Viking raids, including one in AD 806 that left sixty-eight monks dead, the book was transported to a monastery in Kells, a small town in Ireland. • It was stolen at some point in 1006. • A few months after it was taken, it was found—but missing its bejeweled cover. Left: Folio, Book of Kells (ca. 800), artist unknown. • It remained at Kells until the destruction of the monastery Middle: A rich miniature of the in 1641. four Evangelists, Book of Kells • Since 1661, it has been at Trinity College. (ca. 800), artist unknown. Right: Illustration of Jesus with What would you not see? Some thirty folios of the original angels, Book of Kells (ca. 800), manuscript, including the ending of John, have disappeared in artist unknown. the mists of history. 26 Hunterian Psalter r. William Hunter (1718–1783) was both builder and benefactor. Professionally, he built a world- class reputation as a pioneer in the field of anatomy. He shared that knowledge with oth- Ders in papers and lectures. Personally, he built a one-of-a-kind collection of valuable books and antique coins. When he died, he bequeathed his magnificent library, some 10,000 printed books and more than 600 manuscripts, to his alma mater, the University of Glasgow. The jewel of Hunter’s remarkable collection is an English manu- script from the twelfth century full of vivid Romanesque illustrations, now known simply as the Hunterian Psalter (MS Hunter 229). Like most Psalters, this one begins with an illustrated cal- endar. Because the calendar omits the feast day of Thomas à Becket on December 29, it is believed the work must have been Left: Folio, Hunterian Psalter (12th century), artist unknown. Right: Illuminated “O” with image of Saul and David, Hunterian Psalter (12th century), artist unknown. 71 produced before 1173 (the year of à Becket’s canonization). It next features thirteen glorious full-page miniatures. Analysis of these and the volume’s other adornments indicates that sev- eral artists must have had a hand in the manuscript’s creation. Because each of the psalms begins with a decorated initial and every verse begins with a gold letter, the book’s more than two Left: Depiction of God, hundred leaves flash and dazzle. Hunterian Psalter (12th century), artist unknown. When Hunter’s agent bought the book at auction in Paris in 1769, it was fittingly described as acodex pervetustus, or “very old codex.” Right: Scenes from the life of Jesus, Hunterian Psalter (12th century), artist unknown. 72 La Somme le Roi What Is a Facsimile? In the world of old manuscripts, a forgery is a document intended to deceive. It is passed off as an original. A facsimile, however, is an exact replica or reproduction of an ancient document made for the erhaps he saw firsthand the spiritual dangers of purpose of display and study. Even royal power and privilege. But whatever the rea- when we are not able to look at or handle an actual, ancient treasure, son, King Philip the Bold of France requested a facsimile can help us appreciate a substantive book of moral lessons. And so in the appearance and significance P1279, the Dominican friar Laurent d’Orléans of that document. prepared for Philip La Somme le Roi (The Sum of the King). A veritable textbook of religion, La Somme le Roi has five sec- tions. It includes teachings on the Ten Commandments, discusses the Twelve Articles of the Catholic faith, warns against the seven deadly sins, and urges the practice of the seven virtues, which stem from the seven gifts of the Holy Spirit. For good measure, the book concludes with a lengthy commentary on the Lord’s Prayer. Left: A miniature with four panels, intended to promote moral conduct, at top left, Mercy personified; top right, the temptation of Avarice; bottom left, the biblical Lot with angels; bottom right, a woman with pots of oil, from La Somme le Roi, artists unknown, 13th century. Right: A panel showing Gluttony seated at a table and overindulging, from La Somme le Roi, artists unknown, 13th century. 81 The fact that Laurent’s manuscript was copied, translated into multiple languages, and spread throughout Europe is proof of the work’s immense popularity among the faithful. The version owned by the British Library (MS 28162), which contains over 400 pages, dates to the very end of the thirteenth century. Historians suspect it was made at the royal Cistercian abbey of Maubuisson for the abbess Blanche de Brienne et d’Eu (1276–1309). Written in French on parchment, its illuminations are believed to be the work of the Parisian artist Master Honoré. They feature assorted virtues and vices drawn allegorically as human characters in a style that is delicate, rich, and refined. This copy of La Somme le Roi was purchased by the British Museum in 1869. Left: Apostles writing the Creed, La Somme le Roi, artists unknown, 13th century. Right: Folio, La Somme le Roi, artists unknown, 13th century. 82 Psalter of Robert de Lisle Left: Crucifixion,Psalter of here’s a book at the British Library that often Robert de Lisle (14th century), stops unsuspecting museumgoers in their tracks. attributed to an artist known as Scholars refer to it as Arundel MS 83. We know the Madonna Master. it as the Psalter of Robert de Lisle. Scenes from the life of Jesus, This illuminated manuscript is actually Psalter of Robert de Lisle T (14th century), attributed a combination of two different Psalters. The first part consists to an artist known as the of the Howard Psalter (pages 1r–116v). It begins with a some- Madonna Master. what typical calendar of saints interspersed with an eye-catching, brightly colored series of charts and diagrams by John of Metz known as a Speculum theologiae. After the devotional’s psalms, canticles, and litanies, there’s an Office of the Dead and an Hours of the Passion. All these pages are beautifully adorned with historiated initials. At page 117r, we find perhaps an even more riveting portion of what once was the De Lisle Psalter. It includes a calendar, the diagrams of the Speculum theologiae drawn and adorned dif- ferently from the ones found at the beginning of the book, plus a number of miniatures from the life of Jesus ascribed to an artist known as the Madonna Master. There is no Psalter included in this portion. The manuscripts date from 1308 to 1340. One theory is that Lord William Howard, the fourth Duke of Norfolk, bound the two manuscripts together in the late sixteenth century because both contained drawings from the Speculum theologiae. In 1831, the British Library acquired the work. 97 The Hours of The Hours A book of hours is designed to Jeanne d’Evreux encourage individuals to engage in eight formal times of prayer each day, similar to the schedule followed by monks and nuns. Those times, with their Latin names, are as follows: • Matins, also referred to as n 1325 King Charles IV of France married for the nocturns or vigils (the Night third time. He must have been smitten with his Office), around midnight new bride, his fifteen-year-old first cousin, Jeanne • Lauds (Morning Prayer), around 3:00 a.m. d’Evreux. Her coronation in 1326 was a lavish and • Prime (the First Hour), around costly affair—involving a lot of jewelry, fine furs, 6:00 a.m. I • Terce (Midmorning Prayer), and gourmet food. About this same time, Charles also hired the around 9:00 a.m. renowned French artist Jean Pucelle (ca.
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