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CELTIC ILLUMINATIVE ART

Printed at the

BY PONSONBY A GIBBS

</i/t/y*<Ai^^^y^

tKAAA/Lfi/W*

Celtic

Illuminative Art
THE GOSPEL BOOKS OF
DURROW, LINDISFARNE, AND KELLS
IN

BY

THE REV. STANFORD

F.

H.

ROBINSON, M.A.

DUBLIN: HODGES, FIGGIS, & CO., LIMITED, PUBLISHERS

TO THE UNIVERSITY, 104, GRAFTON STREET
1908

Digitized by the Internet Archive

in

2011 with funding from

Brigham Young University

http://www.archive.org/details/celticilluminatiOOrobi

The

Publishers desire to express their acknowledgments to the

Controller of His Majesty's Stationery Office for his courtesy in per-

mitting them to

make

use of vol.

Ireland for some of the reproductions

of the National Manuscripts of

to Mr. J. J. Buckley,

the Art Section of the Science and Art

during the progress of the book

Department, to whose
the

Book

Durrow.

of Kells,

skill

and

Museum, Dublin,

to Mr.

Keeper of

for his advice

A. M'Googan, of the same

they owe the beautiful cover-design from

and the two illuminated

letters

from the Book of

LIST OF PLATES.
THE BOOK OF DURROW.
Frontispiece
I.

F and

page of

First

St.

from

St.

Luke's Gospel.

EVAN-

Mark's Gospel INITIUM

GELII IHU XPI.

II.

First

page of St. Luke's Gospel QUONIAM

III.

First

page of St. John's Gospel IN PRINCIPIO

IV. Evangelical

Symbol

of St. John's Gospel

QUIDEM.
ERAT.

The Eagle.

THE BOOK OF LINDISFARNE.

V.
VI.
VII.

The Colophon.
Page with Ornamental Cross.
First

VIII. First

page of
GELII.

St.

Mark's Gospel INITIUM

page of St. Luke's Gospel QUONIAM

IX. First page of St. John's

X.

Monogram page in

St.

EVAN-

QUIDEM.

Gospel IN PRINCIPIO ERAT.

Matthew's Gospel XPI

AUTEM

GENERATIO.

THE BOOK OF KELLS.

XI. Page of Eusebian Canons.
XII.

One

of

the

pages containing the

EVANGELICAL

SYMBOLS.
XIII. Portrait of the Evangelist St. Matthew.


List of Plates.

vi
XIV.

Portrait of the Evangelist St. John.

Christ.

XV. The Doubtful Portrait probably of Jesus

XVI. The Arrest

Jesus

of

Christ St.

chapter xxvi, verse 30, " Et

montem

Matthew's Gospel,

ymno

dicto exierunt in

oliveti."

XVII.

St.

Matthew's Gospel, chapter xxvi, verses 11-15-

XVIII.

St.

Matthew's Gospel, chapter xxvi, verses 15-21-

XIX.

St.

Matthew's Gospel, chapter xxvi, verses 21-25.

XX.

St.

Matthew's Gospel, chapter xx, verses 18-22.

XXI.

page of the Genealogy

First

in

St.

Luke's Gospel

QUI FUIT.
XXII. Enlargement of the

three

first

QUI's on the

first

page

of the Genealogy.

XXIII. Smaller initials ITA dico,

AIT autem. St.

Luke's

Gospel, chapter xv, verses 9-12.

XXIV. Smaller

ET

initials INtra,

chapter

xxii,

XXV. Enlargement

verse

Abiit. St. Luke's Gospel,

3.

of preceding.

XXVI. Enlargement

of conjoined initial letters

and ET.
4, 5, and

St.

AD,

Luke's Gospel, chapter

xvii,

ESTI,
verses

6.

XXVII. Enlargement

ET

of

in

the Prologue

of St.

Mark's

Gospel.

XXVIII.

page

in

St.

Mark's Gospel, chapter xv, verse 25

ERAT AUTEM HORA.

XXIX.

page from the Summaries of the Gospels

TAS XPI
XXX.

First

page of

IN

St.

TIONS.

NATIVI-

BETHLEM.

Matthew's Gospel LIBER

GENERA-

List of Plates.
XXXI.

First

page of

Matthew's Gospel

St.

a portion of the

XXXII.

First

page of

vii

in

Enlargement of

LIBER GENERATIONS.

Mark's Gospel INITIUM

St.

EVAN-

GELII.

XXXIII. Enlargement of a portion of the interlaced work of

the first page of St. Mark's Gospel.

XXXIV.

XXXV.

page of

First

Luke's Gospel QUONIAM.

Enlargement of the lower portion of the

the

XXXVI.

St.

First

letter

in

Quoniam page.

page of

St.

Gospel IN PRINCIPIO

John's

ERAT.
XXXVII. Enlargement

of a portion of the

initial

letter

in

Principio.

XXXVIII. Enlargement

of a portion of the

page

in St.

Matthew's

Gospel (chapter xxvi, verse 31) containing the

words

TUNC DICIT

ILLIS IHS

OMNESVOS

SCAN.
XXXIX. Enlargement

of a portion of the ornament on the

page containing the

eight-circled cross.

XPI n Generatio.
Monogram page the

XL. The Monogram page

XLI. Enlargement

of

ascending

stroke of the letter X.

XLII. Enlargement of Monogram page

the

letters PI.

XLIII. Enlargement of a portion of the ornament above the

letters PI.

XLIV. Enlargement of

the

ornament

at

the

intersection

of the letter X.

XLV.

Further enlargement of the same ornament.

List of Plates.

viii

XLVI.

Initial letters

produced

in

XLVIL

Initial letters

produced

in

XLVIII.

Initial letters

produced

in

XLIX. Conjoined

letters

(A H).
colour (I

colour

P).

colour

produced

(QZ).

in colour

DI,

ETu, FA,

and HI.
L. Conjoined letters produced in colour

QUI,

TUNC,

UA, and VA.

LI.

Conjoined

MEMo

letters

produced

QUI, and NA.

in

IN,

colour

MA,

INTRODUCTION.
EYEEY

nation

varying
the

there

degrees,

objects

been

has

a desire

selected

for

manifested,

decoration

for

ornamental

in

and

embellish-

ment, together with the type of decorative design

employed, afford an indication of the character

and pursuits of a nation no

it

has attained in

The
is

of great

most

antiquity.

ancient

than of the position

achievement.

desire that books should be

Evidence of

civilizations

artistic

less

for

this is to

example,

made

beautiful

be found amongst the

an Egyptian papyrus

is

preserved in the Louvre at Paris containing a description of funeral

rites pictorially

The

adorned in colours, and embellished with gold.

art of the

the text of his

medieval scribe was not wholly confined to writing

work

in well-proportioned

also included the graceful

capitals.

This,

though

and legible characters, but

drawing in colour of the

not

initials

and other

constituting all included in the term

" illumination," yet in a great measure supplied the motif of that art,

and

in the

Celtic schools

was an

essential contribution

towards

In the twelfth century the word " illuminator " was applied to the

who

decorated the leaves of a manuscript with

initial

it.

artist

letters

and

miniatures, not only executed in colours, but wrought with burnished

gold;

and

so illumination, like the sister art of heraldry,

both colours and metals.

The

employed

craft of the skilled illuminator

added

Introduction.

practised for
elegance and beauty to the art of the scribe, and was
attaining to its
the gratification of those who took pleasure in books,

place in literature.
greatest perfection in those nations which hold a

Medieval illumination, with the taste which brought about the

city
production of magnificent books, was due to the re-building of the
The Emperor Justinian lavished his wealth on the
of Byzantium.
Basilica of
erection of the Church of Sancta Sophia, formerly the

and everything that could minister to the splendour of

the new edifice and its furniture was procured. Thus arose Byzantine
Constantine

art,

and with

the

it

art

extravagant magnificence.
in the

of book-decoration

The

reached a stage

of

greater liturgical books were executed

most costly materials, and reflected the gorgeous splendour of

the buildings for whose use they had been provided.

In the earlier centuries of Christianity the art of the illuminator

was

chiefly devoted to liturgical books.

beautified with

more than simple ornamental

adornment was a
in

When the

pages of these were

initials,

the illuminative

reflection of the architectural details of the

which they were

to

The

be used.

tympana of the Byzantine

panellings, arcades,

basilicas are all

church

and imposing

produced in the designs

which adorn the pages of the Gospel Books executed by the Byzantine
scribes.

So, too, at a

Romanesque arch were

acquired the

name

when

the

laid aside for a

new

later period,

classic

cornice

and the

style of architecture

which

of Gothic, the illuminators of this Gothic school

based their scheme of ornament on the striking feature of the interior

of the Gothic cathedral
of the windows.
feeling of the

the

stained glass which filled the traceries

This period of Gothic illumination expressed the

Gothic traceries, and was mainly a reproduction of

glass-painting on vellum.

Introduction.
The

xi

art of the illuminator also incorporated

of the minor arts practised at the period

book was executed.

particular

This

is

when

some of the

details

the decoration of a

specially noticeable

when we

study the illuminations of the Kenaissance period, during which the

local industries

and medallist

and

arts

including the delicate

crafts of the

gem-cutter

contributed to the varieties of rich adornment pervading

this pseudo-classical style.

Although

differing in various

the

of illumination,

elements

decoration

by the

local taste

and industry.

ways from other periods and

of the ornament

employed

styles

book-

in

scribes of the Celtic school are not less a reflection of

The

textile art of plaiting

and hand- weaving

supply the Celtic illuminator with the details of numerous patterns of

interlaced ribbon-work, which

permeate

also

the

treatment of the

forms of men, of dragons, of dogs, of reptiles, and of birds

in the

the

metal-work

the features

dots, the whorls, the spirals, the discs,

fretted patterns, together with the mosaic patterns

and the

and colours of the

Cloisonne enamels, which jewelled the sacred vessels and shrines

all

were transferred to the leaves of the illuminated vellum.

The everyday life

of the Celtic scribe

other arts which were practised side

buildings
in metal

by

was

in close contact with those

side in the

same group of monastic

indeed, some of the scribes and illuminators were workers

and other materials, and had

were possible in

different materials

at their

command

and by various processes.

Hence

Celtic work,

and are

the characteristics of this school pervaded

all

quite as evident in the illuminative ornaments in the

farne,

Book

wrought by an Anglo-Saxon hand, as

of

titles

and

Roman and

initials

Book of

Lindis-

in a manuscript like the

Durrow, written and adorned by an Irish

Unlike the

designs which

scribe.

Byzantine manuscripts, in

which

the

were written merely in red or gold, the Celtic

Introduction.

xii

completely covered the

artist

first

opening words, written in large

Gospel

page of each

letters,

with

of a

initials

scheme of

much

greater

was devoted

elaborately decorated, while the opposite page

size,

with the

to a

intricate tabular enrichment.

The notable

feature originating

development of the

maze of designs,

initials

and governing the ornament

is

the

and as they are conjoined and involved in a

their identification is rendered difficult.

They form an

absolute contrast to the small and legible capitals of the Classic and

Byzantine schools.

Indeed, so far as methods of embellishment are con-

cerned, the Celtic school

calligraphy.

was not indebted

to the devices of

Continental

Without vellum richly stained with purple, without gold and

silver writing,

without pages completely covered with gold, upon which

were painted miniatures in body colour

and extravagant accessories

the

without

these

more

costly

Celtic school of Ireland for centuries

perpetuated a type of handwriting, and developed a style of ornament,

whose influence was not confined

to the British Isles, but

and wide over the Continent, and

left,

where

was introduced, an

it

impression more marked than any other style of

To
art at

Ireland

is

due the honour of having

two remote and widely

left its

different periods.

reached far

its

time.

impress on European

Such masterpieces as

the Cross of Cong, the Chalice of Ardagh, or the examples

of

illu-

minative art in the Books of Durrow and Kells, recall to us the time

when

the Irish missionaries were exercising a humanizing influence on

the Teutonic conquerors of the

illumination which

was

Roman

in a large

Empire, and diffusing a style of

measure the outgrowth and translation

of a peculiar heirloom of the Celtic

race the

thousand years before the days of

St.

art of

enamel-work

but, a

Columba, Ireland was already

claiming a European position as a centre of metallurgic industry, and

of the goldsmith's craft in particular.
Scandinavian archaeologists are

Introduction.
now

xiii

recognizing that certain gold cups and ornaments, as well as

Age

bronze implements found in the Bronze

made

Europe, were

in Ireland

and so

of Northern

deposits

can show, the

far as analysis

The

ornaments seem to have been made of Irish gold.

gold

museum

of the Koyal Irish

richer in objects of native gold than

any museum outside

Dr. Arthur Evans considered that the

Academy was

late

Athens, and that the pre-Christian Irish ornaments far surpassed the
treasures unearthed

With

by Dr. Schliemann

the introduction of Christianity into Ireland came, not only a

revival of the earlier art,

new

also

moulded and developed

artists in the

Tripartite

am

missionary party accompanying

given below

Gwynn

for the transcription

//.

who made

of the passages

11 verso

fol.

Patrick

altars

the

these,

and book-

from the Book

of

Armagh

(col. 2).

aeclessia patricii in

tinum in

ricio et faciebat altaria

et

bibliothicas quas faciebat in patinos

aeclessia

sancti nostri pro honore patricii episcopi et de

arddmachae

alteram in aeclessia alofind

Asicus sanctus episcopus faber aereus erat p at-

magna

et

tertium in

saeoli super altare fe-

larti sancti episcopi.

il-

patinos quadrotos uidi idest pafol.

8 verso

clocos

.1.

patinos

The following

.1.

is

(col. 2).

altaria libros legis aeuanguelii libros

Portauit patricius per sininn secum

.1.

St.

Lib. Ardmach.

lis iii

directions, but

and mentions one of

Life confirms this statement,

indebted to Dr.

new

According to the Book of Armagh,* there

Assicus, as being " Patrick's copper-smith,

*

in

more primitive conceptions

ideas which were welded into the

of pre-historic decoration.

were

at Mycenae.

et reliquit illis in locis nouis.

calices

a translation of the above passages

The holy Bishop Asicus was Patrick's worker in brass, and was wont to make altars and bookAnd of them I have seen
caskets, which he made for patens in honour of our holy Bishop Patrick.
second in the Church of
a
three square patensnamely, a paten in the Church of Patrick in Armagh
;

Elphin

and a third in the great Church of Saeoli over the

Patrick carried with

of the

him

across the

Law, books of the Gospels, and

left

Shannon

them

in

fifty bells, fifty

new

altar of the holy

places

[i.e.,

Bishop Felart.

patens, fifty chalices, altars, books

newly founded Churches].

Introduction.

xiv

This phase of Irish art has been overlooked, owing to the

covers."

popular misapprehension that

St.

came alone

Patrick

whereas

he

was the head of a regularly constituted missionary community.

The

geometrical
less

common

came

into

spirals

ornamentation in

to all primitive races, belong to this period.

European decoration

Ireland

is

more

or

at Mycenas,

The

spiral

which had close contact with

of these Mycenaean designs closely resembled the Celtic

and possibly the source of these designs lay in the two thousand

years' start

which Egypt had before Europe awoke.

of the Christian period

of the

Celtic

the spirals, zigzags, circles, and dots, which were

Many

Egypt.

the earliest

of

basis

Pagan

Celts.

of extreme difficulty.

was the

The

spiral

system

lineal descendant of the spiral design

The drawing

of these

spirals

was a matter

Dr. Keller considered the examples of their

treatment in Irish illumination as real masterpieces, which furnished

a splendid proof of the extraordinary skill of the drawing, and of

the firmness of the artist's hand.*

Ireland in several ways that would

influence of the taste of the Celtic race

One

The

spiral

seem

upon

the distinct

this principle of decoration.

was the development of

which enriched the ornamental scheme with a

flamboyant curves.

series of graceful

indicate

to

special characteristic of the Celtic spiral

the connecting links

design was used in

Some

of these forms of spiral

ornament were evidently derived from the application of gold wire to

flat

surfaces of gold or other metal.

Many

of the smaller linear and

geometrical designs were also plainly suggested

while

whole

series

step-like lines can

of diaper and

similar

by the metal work,

patterns formed

with

be certainly attributed to the beautiful specimens

* See Dr. Ferd. Keller, Bilder

und

Schriftziige 'in den Irischen

Mamiscripten der Schweitzerischen

the Mittheilungen der Antiquarischen Gesellschaft in Zurich, Bd. vn, hit. 3, 1851
translated by Dr. Reeves in Ulster Journal of Archceology, Vol. vn, p. 212, sqq.
Bibliotheken, in

Introduction.
of Cloisonne enamel,

in

which

art

the

xv

Celt was

peculiarly

gifted.

In enamelling in Cloisonne, the preliminary work on the metal equals in

difficulty

of

all

The design

and importance the process of enamelling.

is first

outlined with a narrow wire, which forms small cells or cloisons to

hold the enamels.

The wires when shaped

to the required pattern are

then soldered to the metal plate or boss they are to adorn.

Books in the
Continent

first

instance must have

and the beautiful form of letters

come
for

to Ireland from the

which the Celtic scribes

became famous was derived from the Roman system, and doubtless
reached Ireland through Gaul.

The

Irish manuscripts of the sixth

and

seventh centuries show a script in the same round hand as that in

use in Italy and France during the

fifth

and

sixth centuries, modified

and with an added grace of form, which through centuries remained

unequalled by any other school of scribes, and, owing to the isolation
of the early Celtic Church, unimpaired by foreign influence.

JFrom the same source,

too,

were derived those interlacings which

form one of the features of Celtic art in Ireland

St.

Patrick and his band of companions.

Chaldean, Assyrian, and Greek decoration

its

after the

Interlacing

is

advent of

found in

and among the Eomans

use was prominent, as their mosaic pavements bear witness.

these mosaic pavements,

when animal forms were not

In

treated, well-

defined panels, filled with interlaced patterns, were the characteristic

feature.

Roman

and Britain

influence

affected

countries

and in Egypt the Coptic

interlaced ornaments,

as

far

apart as

Egypt

textiles exhibit panels of these

which are simply remnants of the Roman

art

which gave so prominent a place to such devices.

Indeed,

it

has been demonstrated by Eugene Muntz* that the

Romans have made

the

most extensive and exclusive use of

* " Etudes Iconographiques et Areheologiques."

(Paris, 1887, p. 146.)

inter-

Introduction.

xvi

and that the mosaic pavements are the domain

lacings,

which

in

this

motif of decoration has been maintained for the longest time, and

Wherever

with the most indisputable favour.

it

began

the

first

came

to

to extend

through

century.

It

Italy,

and

is

it

may have

originated,

found at Pompeii at the end of

developed rapidly from a simple border, until

occupy a foremost place, and in later examples

it

it

takes posses-

sion of the entire mosaic.

The

Irish interlacings, although

more intense

in their execution,

were simply the national version of a principle of decoration common to

These interlaced ornaments

Eastern and Western Christendom

alike.

have been regarded by some as

they were of Irish creation, perhaps

owing

to

if

the fact that from the

fifth

to the

eighth century,

when

mediocrity in everything artistic prevailed in Europe, these interlaced

designs were elaborated and developed in Ireland to a standard

of

excellence and beauty never before attained, nor since surpassed.

For about a century and a half from the time of

Ireland was more or less

in a state of

principles of the decoration of the

isolation,

St.

Patrick

during which the

Pagan period were revived and

enriched with the interlaced motif of the Christian period, which became
naturalised,
distinct

new

and by a process of mutual fusion were developed into a

and perfect system.

era opened, and in

gradually removed.

The

But with the coming of

it

Koman

Augustine

the isolation of the Celtic Church was

Celtic missionaries were brought into contact

with contemporary Continental

the

St.

art,

not only through intercourse with

who came with St. Augustine, but also on the

own subsequent missionary endeavours. It is

missionaries

Continent by their

work of the

interesting to

notice that the

community

Iona synchronised with the renovations of Justinian

at

at

Byzantium.

scribes of the

Columban

Introduction
To

this period,

xvii

subsequent to the arrival of

St.

may

Augustine,

be attributed the introduction of other elements into the distinctive

character of the illuminative style nurtured in Ireland.
artists

were receptive of these new influences

of Kells

That the Celtic

apparent in the Book

is

the pillared pages of the Eusebian Canons, with the arches

resting on the double capital, characteristic of Byzantine architecture,

and the miniatures of the Evangelists, are evidently derived from Byzantine sources.
life,

To

this period, too,

whose treatment

belong those monstrous forms of animal

in ornamental devices cannot be reconciled with

The same extraordinary animal forms

the laws of anatomy.

conspicuous feature of early Scandinavian

art,

and in Celtic

art

are a

were

probably due to northern influences, no doubt fostered by the bardic

lore

in

snakes, dragons, and other mythic monsters, which assisted

the fertile imagination of the artist in producing those compositions of

dragon, bird, and reptile forms, as marvellous as they are unique.

miniatures, and pictorial illustrations, if we

the Greek icons

such, resemble

they are emblems or symbols of events and mysteries

in the Gospel narrative, rather than

It

may call them

The

any attempts

at realistic portrayal.

has been suggested " that the devotional fervour with which every-

thing connected with religion was approached by the faithful of the

day

cast

around the

sanctitude which

illustrative efforts of the [Celtic] school a halo of

made

their absurdities disappear to a sympathizing

and

uncritical onlooker."*

less,

because

it

The figure-drawing

is

crude and shadow-

belongs to an art which did not aim at representation,

but was essentially ornamental.

There

is

no attempt at shading, and

yet the conventional folds of the vesture of the Evangelists are arranged

with the same masterly

*See Johan Adolf Bruun,
Ages" (page 23).

skill as

"An

the rest of the illuminative decorations.

Inquiry into the Art of the Illuminated

MSS.

of the

Middle

Introduction.

xviii

All these outside influences are so

complete consistency.

It is

woven together

when

only

as to achieve a

subjected to a careful analysis

that one of the elaborate embellishments in the

Book

of Kells, for

many

example, proves to be a composite style containing

distinct

constituents.

These general remarks on some of the more noteworthy features of

may

Celtic art

assist the

reader in recognizing the principles which

prevailed in the book-decoration of the Celtic school between the sixth

and ninth

centuries,

when

it

reached the zenith of

amount of description can give a

fame

true idea of this illumination

be seen to be realized and appreciated.

letters, of

its

The

but no
it

must

details of the initial

the pages of tabular decoration, of the figure-drawing, of the

interlacings

and other embellishments

to

which attention

is

called in

the descriptive notes, can only be perceived by a careful examination

of the collotype reproductions.

three

The ornaments

selected from the

Gospel Books of Durrow, Lindisfarne, and Kells, which are

placed together in this volume, offer the student of decorative art an

opportunity of studying the development of details, and the influences

from outside sources reflected in their treatment.

is

afforded for comparison.

To compare

Lindisfarne, for example, with those of

interesting, for

it

will be the

An

opportunity, too,

the details of the

Durrow and Kells

comparing of the

artistic

Book of

will prove

achievement of

the Anglo-Saxon disciple with that of his Irish teacher in the

Columban

community.

brief account of the history

Books may be of interest.

and contents of these three Gospel

xix

Introduction.
Book

*$s&^<; he
^^^t

^ vSSy

Durrow contains the Four Gospels

of

W^^^

the

Vulgate version, an explanation of Hebrew names, the

Eusebian Canons, the Epistle of

*&{$M<$h

in

the Bishop of

to

Damasus,

Rome, and the " Breves Causae,"

The book acquired

maries of the Gospels.

Jerome

St.

or

Sum-

name from having

its

belonged to the important monastery of Durrow, in King's County, the

head of the Columban

St.

Columba about the year

to Iona,

and

ness,

is

553.

later to Kells.

still

Gospels there

his

institutions in Ireland,

which was founded by

Later the headship was transferred

At the end

of the

a colophon* which reads thus:

Summaries of the

"I pray thy blessed-

holy presbyter, Patrick, that whosoever shall take this book into

hand may remember the

writer,

Columba, who have

[for

myself]

written this Gospel in the space of twelve days, by the grace of our

Lord."

It

is

obvious that the beautifully written text of the

quite

Gospels could not have been executed in twelve days, and certainly not

by a busy man

Abbot of Iona.

like the

The explanation

is

to

be inferred from the note contributed by

Dr. Abbott to Hermathena,"t in which he has conclusively shown that the

colophon

is

not the subscription of the actual scribe, but was simply

copied by him from the archetype he was using.

possible for St.

Columba

It

would have been

to transcribe hastily in twelve days, in smaller

and more cursive characters, the text of the Four Gospels

likely that the

Book

the text only.

The

circumstances of
the copy

by the

of

Durrow

is

me

The

request

made

its

most

authorship and the

to the reader to pray for

frater mi," etc,* is placed at

below the colophon, and plainly indicates

* See transcription of

it is

production would naturally be incorporated in

scribe.

the scribe (" Ora pro

and

a copy of such transcription as regards

interesting note recording

its

some distance

this conclusion.

Colophon on recto of descriptive note on Plate

i.

f Vol. viii, p. 199.


xx

Introduction.
The Book

of

Durrow probably dates from the end

of the sixth or the

beginning of the seventh century, and exhibits the development of the

The composition and colouring

features of Irish art in the early period.

are simple.

The numbers

of the sections of the Eusebian

not enclosed within columns or treated with decoration.

employed are mainly composed of spirals and

displaying the minute

interfacings, which, if not

The book was

silver-mounted shrine or cumdach

King

The ornaments

elaboration of the ornaments in the

are always effective.

Kells,

Canons are

made

for

it

by the

direction of Flann,

This has long since

disappeared; but the inscription once borne by the cumdach

and

fly-leaf,

it

is

evident from

was regarded with veneration

it

of

originally enclosed in a

of Ireland, between the years 879 and 916.

on a paper

Book

is

entered

that this Gospel

as a reliquary as early as

Book

the ninth

century.

The following
fly-leaf

is

transcription

of the

notes

written

" Inscriptio Hibernicis Literis incisa

cruci argenteae in operiruento hujus Libri
in transversa crucis parte,
cis indicat;

lineis

nomen

artifi-

et in longitudine tribus

a sinistra et totidem dextra,

ut sequitur.

"

Opoic acur- benoachc Cholumib

chille oo piaunt) mace mailr-echnaill
oo Righ epeim

[sic]

la

r-a [sic]

nDepnao a cumooach

r-

" Flannius hie rex Hiberniae decessit 8 kal. Maii et die Sabbati
ut in MS. Cod. Hibernico, quod Chronicon Scotorum dicitur,

anno

aerae

Hanc

Xanae vulgaris 916.

inscript. interpretatus est

19 Jun. 1677."

Ro. Flaherty,

on the

xxi

Introduction.
Which may be
An

translated as follows

on the transverse part of the

this book,

and three

engraved on a

inscription in Irish characters

lines in length

on the

left

and

silver cross

cross, expresses the

as

many on

on the cover of

name

of the artist

the right as follows

Prayer and blessing of Columbcille [be] to Flann, son of Mailsechnall, the

king of Ireland, by

whom

this cover

This Flannius, king of

common

died 8 kal.

Ireland,

[recorded] in an Irish MS. which

the

was made.

is

May, on Saturday,

of

called Chronicon

Scotorum

in the

as

year of

Ro. Flaherty interpreted this inscription, 19th of

Christian era 916.

June, 1677.*
Little is

served at

known

Durrow

of the subsequent history of the book.

until the time of the Reformation,

It

was pre-

and early

in the

seventeenth century collated by Archbishop Ussher.

This manuscript

was presented

Vice- Chancellor,

to

Trinity

College,

Henry Jones,t who was Bishop

translated to
*

An

Meath

entry lower

Dublin,

by

its

of Clogher from 1645-1661, and

was

in 1661.

down on

the fly-leaf states

" Liber autem hie scriptus est

manu

ipsius B. Columkille

per spatium 12 dierum an. dom. 500."

Now

this

Anno Domini

book was written by the hand

500.

Columba, however, was not born

f

of Blessed Columkille himself in the space of

Haydn, " Book

until 520.

of Dignities," pp.

596 and 599.

12 days,

Introduction.

xxii
honour
earliest

of

Cuthbert

St.

was

written,

colophon,* by Eadfrith, the

the

death

of that

many

as

we

the

are told in

shortly

bishop,

we know

so that

was written between the years 687 and

of a manuscript,

lindisfarne

the

after

which took place in the year 687.

saint,

Eadfritht died in the year 721

of

scribes that can be dated with

book of the Celtic

some degree of accuracy

Book

the

this

Gospel Book

In judging the date

721.

considerations enter into the account, such as

the style of writing, the kind of ink, and the nature of the vellum.

It is

a matter of extreme difficulty to distinguish between the hands of the

conservative Celtic scribes of the seventh, eighth, and ninth centuries,

who were

trained

in

monastic

great

those

schools,

perpetuating

generations a type of script which showed no traces of modi-

for

fication

by foreign

influence.

Consequently Celtic manuscripts are

peculiarly difficult to date with precision

if

we do

not possess further

data to assist us.

The writing and ornaments

eloquent

testimony

to

the

of the Lindisfarne Gospels are an

of

influence

the

Columban monks

in

Northumbria, and afford evidence that the Celtic style of illumination

had reached that high standard of excellence probably before the end of

The Gospel Book

the seventh century.

aspect.

Some

Benedictine

years ago

the Lindisfarne
v, also

mind

resembled

closely

Anglo-Saxon,

is

Eadfrith, and Ethelwold,

four with God's help were employed upon this book."

the

affixed to St.

and

See

Rushworth Gospels," part 4, page xliv (Surtees

Abbaye de Maredsous Belgique, Nov.-Dec. 1891.

farne and

that with regard to

liturgical

cycle

p. xxiv.

-j-The following foot-note, written in

living God, bear in

Benedictine,*

Calendar prefixed to each Gospel, the use of

community
note on

interesting from a liturgical

was pointed out by a member of the

Order in the Revue

the Festivals in the

* See Plate

it

is

Billfrith,

Matthew's Gospel : " Thou,

and Aldred the

sinner.

These

George Waring, "Prolegomena, Lindis-

Society).

Introduction.

Church of Naples.

peculiar to the

by the Venerable Bede* helps us

xxiii

passage in the History written

to

account for this remarkable

coincidence.

Theodore of Tarsus, who was sent in the year 669 to be Archbishop

of Canterbury, in his mission tour through England,

was accompanied

by one Adrian, formerly the Abbot of a monastic foundation on the

At

island of Nisita, close to Naples.

consecrated the

be

little

new

Lindisfarne, Archbishop Theodore

cathedral dedicated to St. Aidan

and there can

doubt that Adrian brought over with him some of the books

The conclusion

from his own monastery.

the Revue Benedictine

is

that the text

arrived at

of the

by the writer

Lindisfarne

in

Book was

transcribed from a copy brought by this Neapolitan ecclesiastic

was the companion of Theodore.

It is

noteworthy that the

who
Saxons who

occupied the monastery of Lindisfarne, after the withdrawal of the

Columban monks

to

Iona, faithfully retained the traditions

illuminative art bequeathed

by

their predecessors,

and did not

of the
intro-

duce into their magnificent book that medley of Celtic and classical
elements which in the eighth century became so

common

in

the

illuminative works of the Anglo-Saxon.

Unlike the Books of Durrow and Kells, the text of the Gospels
written in double columns.

The Eusebian Canons

are set out on pages

of arcading of the same Byzantine construction as in the

Kells, but
its

on a much simpler scale

treatment.

festivals,

the

of

is

Book of

ornament, more purely Celtic in

Besides the capitula of the lections to be read on certain

Book contains the

Epistle of St.

and Summaries of each Gospel, similar

Jerome

to

Damasus,

in character to the contents

prefixed to the chapters of the Gospels which the English Bible has

rendered familiar.
* Hist. Eccles.,

lib. iv, c. 1.


Introduction.

xxiv
The Book

honour

in

written

of

Cuthbert* was kept at

St.

Lindisfarne with the saint's body until the year 875,

Danes caused the community

invasions of the
in

which

both these treasures.

to deposit

of the

some

safer place

chronicler,

Simeon of

to seek

The

when one

Durham, writing about the year 1104, records a story

wandering of the Lindisfarne Monks in Northumbria.

relating to the

After several

determined to
years of fruitless search for a suitable habitation they
but as the boat was put out to sea, a great
cross the Irish Channel
;

storm arose, for the saint was angry at the removal of his body from
his

own

land,

and the fury of the waves was

volume was washed overboard.

their loss, the

monks put back

was encouraged by
and one day

low

at

immersion; doubtless
cover in which

found

many

tide
its

it

now

The following

is

of St.

John's Gospel

"

&

to shore.

In a dream one of them

precious volume;

for the

was recovered,

was then contained.

it

resting-places,

is

penitence, and in grief for

little

the worse of

its

preservation was due to the splendid jewelled

Subsequently, having meanwhile

was deprived of

it

dissolution of the monasteries

Cotton, and

much

In

Cuthbert to seek

St.

so great that the sacred

later the

jewelled case at the

its

book was rescued by Sir Robert

in the safe custody of the British

Museum.

a translation of the Anglo-Saxon colophon (see Plate v) written at the end

God and
Lindisfarne, made

Eadfrith, Bishop over the church of Lindisfarne, wrote this book in honour of

St. Cuthbert,

and

all

the

company

of saints in the Island; and Ethelwald, Bishop of

an outer case and adorned it, as he was well able, and Billfrith the anchorite he wrought the metal
work of the ornaments on the outside thereof, and decked it with gold and with gems overlaid with
and most miserable priest, by the help of God
silver and with unalloyed metal; and Aldred, an unworthy

and

same in English, and domiciled himself with three

Cuthbert Mark, this part for the Bishop and Luke,

St. Cuthbert, overglossed the

this part for

God and

St.

parts.

Matthew,

this part for the

brotherhood, with eight ora of silver (as an offering or entrance) and St. John's part for himself,
four silver ora with God and St. Cuthbert, that he may find accepti.e. for his soul, and depositing
;

ance in heaven, through tbe mercy of God, good fortune and peace on earth, promotion and dignity,
wisdom and prudence, through the merits of St. Cuthbert. }- Eadfrith, Ethelwald, Billfrith, and
Aldred have wrought and adorned this Book of the Gospels, for the love of God and St. Cuthbert."
See " Prolegomena, Lindisfarne and Bushworth Gospels," part iv, pages xlivand xlv (Surtees Society).

xxv

Introduction.
Book of

nciently the
3,

possibly because

munity

known
was

it

at Kells, but

honour of

now

is

the most precious

as the Gospel or

in the custody of the

more probably because

of Kells, after destruction

Prior to that date the

year 804.

known

but

Book

it

of Columcille,

Columban com-

was written

at

Iona

Columba.

St.

The Abbey

little

which

manuscript possessed by the Library of Trinity College,

Dublin, was

in

Kells,

it

by

fire,

was

Columban foundation

rebuilt in the
at Kells

was

soon began to acquire celebrity owing to the influx

of monks driven from Iona by the raids of the Norsemen, and a few years

became the headquarters of the Columban community.

later

Here,

between the years 806 and 813, Cellach, the Abbot of Iona, took
refuge

and we may conjecture that

this

famous book was brought from

Iona by him, thus passing into the possession of the monastery at

Here

Kells.

it

possessions

its

Plunket.

remained until the year 1541, when the abbey and

were

In the year 1568

Subsequently

it

it

was

by

the

Abbot,

last

in the custody of

Richard

Gerald Plunket.*

was acquired by Archbishop Ussher, and, with the

of his valuable library,

The manuscript
inks

surrendered

came

which

rest

into the possession of Trinity College.

is

written in black, red, yellow, and purple

contains, in addition to the Four Gospels, a fragment of the inter-

pretation of

Hebrew names,

the Eusebian Canons, Summaries of the

Gospels, and grants of certain lands

to the

Abbey

of Kells.

In the absence of a colophon

of the missing leaves

*A

it is

which, no doubt, was written on one

not possible to

Harbour-master of Dublin; possibly a nephew

granted to Sir Gerald Fleming.

Sir Gerald Plunket
Office,

by Muirtach O'Laghlan and others

fix

the date with precision

of the last

Abbot

of Kells.

The Abbey was

Harris states (" Ware's Antiquities," p. 264) that the grantee was

but Dr. Abbott assures

he was unable to find an entry

of

me

that, notwithstanding a careful search in

any Sir Gerald Plunket.

the Kecord

xxvi
but,

Introduction

having regard to the type of Hieronymian text

illumination,

its

contains,

it

must

The highly composite

be regarded as later than the Book of Durrow.

character of

it

and the minute elaboration of the various

ornaments, far surpassing both the Books of Durrow and Lindisfarne,

speak of a later period in Celtic

fore, that

the

art.

There can be

Book of Kells cannot be placed

little

doubt, there-

than the eighth

earlier

century.

According to the " Annals of the Four Masters," the Book was
stolen in the year 1006, and, " after twenty nights

was found under a

is

sod, without its jewelled

most probable that

saw when he came

He saw

it

it

to Ireland as chaplain to John, son of

He

a time for safety.

described

it

admiration, in the following words

"

Of

all

and golden cumdach.

It

was the same book which Gerald de Barri

Kildare, whither possibly

at

and two months,"

it

had

to

Henry

II.

be transferred for

minutely, and with enthusiastic

the wonders of Kildare, I found nothing more wonderful

than that marvellous book, written in the time of the virgin Brigid
and, as they say, at the dictation of an angel.

The book contains the

Concordance* of the Evangelists, according to Jerome

which

is

filled

every page of

with divers figures, most accurately marked out with

various colours.

Here you behold a majestic

drawn

face, divinely

there the mystical forms of the Evangelists, each having sometimes

six,

sometimes

calf; there a

so closely

human

figures, exhibiting

But

if

and other

face, or a lion,

wrought together, that

would seem rather

art.

and sometimes two wings

four,

like a

no

you look

if

here an eagle

there a

figures, of infinite variety,

you looked

carelessly at them, they

uniform blot than an exquisite interweaving of

where

skill or art,

closely,
*

with

The Eusebian

all

all is skill

and perfection of

the acuteness of sight that you

tables or canons.


Introduction.

xxvii

can command, and examine the inmost secrets of that wondrons

you

and closely-wrought

discover such subtle, such fine

will

art,

lines,

twisted and interwoven in such intricate knots, and adorned with such

and

fresh
to

brilliant colours, that

you

will readily

acknowledge the whole

have been the result of angelic rather than human

frequently I behold

it,

the more

numerous the beauties I discover

admiration of
indeed, they

it.

diligently I

in

it,

examine

the more I

The more

skill.

am

it,

lost in

the more

renewed

Neither could Apelles himself execute the like

seem rather

to

and,

have been formed and painted by a hand

not mortal."*

The

colours

employed

in the illuminations are in a

wonderful state

of preservation, having suffered less from fading than from scaling

The

colour tones are sombre and darker than the bright colour scheme

in the Lindisfarne Book,

that

off.

and the pages of ornament have something of

charm that time gives

back into their canvas.

of chromatic

effect,

The colouring

and every page

With

proportion and of colour.

Hartley says
"

to paintings in

which the colours have sunk

reveals a profound knowledge

affords a lesson in the

reference to the

Professor

very careful examination of the work shows that the pigments mixed

with gum, glue, or gelatine are laid on somewhat thickly

the vellum and no mingling of tints.

me, a painting

of blue over a

numerous, consist of black, a

ground
tint

(largely used), a neutral green,

purple.

colours,

beauty of

The yellow

black of course

is

is

There

is,

of green.

there

is

no staining

of

however, as was pointed out to

The

colours,

which are not very

resembling burnt sienna, a bright red, a yellow

an emerald green, two blues, a

much employed

in filling

up

lilac,

and a reddish

finely traced designs.

lampblack, or possibly fishbone-black, that

is

* " Giraldi Cambrensis Opera," vol. v (Topographia Hibernica), page 123.

The

to say, charred
[Master of Rolls

Series.]

This passage
Pictoria."

is

translated by Dr. Todd, and

is

given by Westwood in his " Palaeographia Sacra

Introduction.

xxviii

The

and the blues could be obtained either

by grinding natural mineral substances; second, by grinding artificially

state.
first,

reds, the yellow, the greens,

The very appearance

coloured enamels or glasses.

the
of

of carbon artificially prepared, in a finely divided

some other form

fish-bones, or

first

of the colours

is

in favour of

rather than the second, and altogether against a third possible process

by the formation

preparation, namely,

which are precipitates

By

alumina or lime.
the bright red

known

as lakes,

animal pigments in combination with

making comparisons with ground minerals, I conclude that
of vegetable

realgar (arsenic

is

of those substances

or

As 2 S 2 )

disulphide,

the yellow

is

orpiment,

auripigmentum, the gold colour of the ancients (arsenic tersulphide, As 2 S 3 );

and the emerald green is malachite, an ore of copper (basic carbonate of copper,
Cu2 Co 3 CuH 2 ). The deep blue might be lapis-lazuli, the natural ultramarine, but
where the green is enhanced
I am inclined to think not, for the following reason
2

in

beauty by an overlying coat of blue, the

pigment, such as could not be produced by

am

of opinion,

is

similar to that

either a finely

known

be overlooked, and
It is

not alone that

ground

effect

The

in a

of

a transparent

reddish purple, I

glass coloured with gold, or a preparation

very sparing use must not

Its

be justly regarded as an evidence of

employed

it is

that

lapis-lazuli.

as the purple of Cassius.

may

is

few

places, but

its

costly nature.

put upon the vellum

it is

in very thin washes."*

careful

elaborately

were

at

There

decorated

least

are

two

pages

drawing and

makes

engaged

artists

certain

his use of the

known

study of the

characteristics

parchment as one of

quite

it

in

the

produced

effect

The red

dot

which

element of decoration in

many

jewellery.

quite subordinate place.

Mr. de Burgh has called

evident

that

there

work of embellishment.

mark

that

the

master

his colours, notably

as the Eight-circled Cross, where,

parchment, the

colouring of the more

owing

artist

on the page

to the nature of the

resembles the play of light upon

is

so

of the

frequent

pages

and prominent an
is

by him given a

In addition to these notable characteristics,

my

attention to two other points.

* Scientific Proceedings of the Royal Dublin Society (N.S.), vol.

iv.,

In the pro-

1885, pp. 485, 486.

Introduction.

xxix

duction of mauve, instead of applying a colour ready mixed, he seems

to

combine red and blue as he works, allowing sometimes the one and

sometimes the other to predominate, and at other times laying the

mauve on a ground of white

like

the second point

the raised enamel-

is

appearance produced by putting on colours in layers of differing

thicknesses.

remarkable instance of

occurs in the interlacing at the

An

Plate xxxii.

this in three distinct levels

lower part of the

initial

letters

on

examination of Plates xxi, xxx, xxxi, xxxn, xxxiii,

xxxvi, and xl, which evince these characteristics, will prove interesting.

His marvellous drawing

Compare,

for

as wonderful as his delicate sense of colour.

is

example, the interlacing on Plate xxxviii, executed by

with that on Plate xxn, enlarged to four times

its

There are several emblematic devices continually recurring

in

a minor

artist,

original size.

the ornamentation, such as the cross, the

the

the serpent,
this

trefoil,

the peacock, the dove,

fish,

and the conventional

volume does not admit of their consideration

to the Doubtful Portrait (Plate xv),

it is

The scope

vine.
;

of

but with reference

necessary to allude to the

peacocks standing on the vines which issue from two chalice-like vases.

The peacock was used by

tality,

and

it

of the Resurrection,
feathers.

On

of immor-

was adopted by Christian decorators

owing

to the bird's

annual

loss

as a

symbol

and renewal of

its

each wing of the peacocks in the Doubtful Portrait there

a small disc

the

emblem

probably from the curious fancy that the flesh of this bird was

incorruptible

is

the early Christians as an

marked with a

Monogram Page

(Plate xl).

cross similar to the Eucharistic cake in

The

vines issuing from the cups or

vases, taken in conjunction with the peacocks,

seem

to

lotus

are,

be a symbol of

the Eucharist.

The Greek acanthus and the Egyptian

h

according to

xxx

Introduction.

Euskin,

the

roots

of leaf-ornament in

architecture

Christian

but

neither of these formed the basis upon which Celtic foliated ornament

In the Book of Kells two symbolic forms, those of the vine

developed.

and

are the roots of the leaf-ornament,

trefoil,

treatment shows considerable development,

is

It is noticeable that the conventional vine is

which, though the

of infrequent occurrence.

found associated with the

ornamentation of those pages which portray the Christ.

portrait given

Westwood* has pronounced the

that of St. Matthew, and that given on Plate

a misplaced

shown

folio,

in the note

to be that of either St.

on Plate xm, there

plate as the portrait of St.

Matthew

is
;

on Plate xv to be

xm, which he regards

Mark

or St.

good reason

and there

is

Luke

but, as

as
is

regarding that

for

no ground

for sup-

posing that in the one Gospel Book there are two representations of the

same Evangelist.
I desire to express

my

thanks to Dr. Abbott, Librarian of Trinity

College, Dublin, for the use of several of the photographic negatives

reproduced

for the facilities afforded

me by him and

the Assistant

Librarian, Mr. de Burgh, for photographing and consulting the Books

of Kells and

Durrow

and

to Dr.

Department of the British Museum,

the

Book of Lindisfarne.

Warner, Keeper of the Manuscript

for similar facilities

I have to record

my

with regard to

thanks, too, to Dr. Lawlor,

Professor of Ecclesiastical History, Trinity College, Dublin, for reading

some of the proof-sheets

also to

his careful supervision of the

Mr. Gibbs, of the University Press, for

work

whilst passing through the press.

STANFOED

F. H.

EOBINSON.

Feast of Saint Andrew, 1907.

See " Fac-similes of the Miniatures and Initials in Anglo-Saxon and Irish MSS.," p. 30.

Plate

I.

C(dtu OmatiuittB
FROM

BOOK OF DURROW.

Book

of Durrow.

THE COLOPHON.
Rogo beatitudinem
tuam

see praesbitere

patrici ut

quicunque

hunc libellum manu

nuerit meminerit

bae scriptoris

te

colum

qui hoc scripsi

himet evangelium per xn

dierum spatium

gtia dni nri

Ora pro me
ter

s. s.

fra

mi dns tecum

sit.

This note

" Pray

was added by the

for

scribe

me,

who

my brother

this

book

O
in

the Lord be with thee"

copied the original manuscript, and

colophon, of which the following

blessedness,

is

a translation:

"I

pray thy

holy presbyter, Patrick, that whosoever shall hold

his

hand may remember Columba the

have [for myself], in the space of twelve days, written

by

its

the grace of our Lord."

writer,
this

who

Gospel,

Book
ST.

of Durrow.

MARK'S GOSPEL.
Chapter

i,

Verses 1-7.

JNITIUM
EVANGE
LI IHU XPI
Filii dl sicut sc

riptum

in eseia

Ecce mitto an

profeta.

gelum

meum

ante faciem
tua,

tuam qui praeparabit

VOx

via

clamantis in deser

to parate

viam dni

rec

tas facite semitas ejus.

FUIt

iohannis in deserto

babtizans et praedicans

babtismum paenitentiae
in remission

ET

em

peccatoru

egrediebatur ad ilium omnes rege

iudeae regio et hierusolimitae uni

versi et babtizabantur

ab

illo

in ior

dane flumine confitentes peccata

ET

erat iohannis vestitus pilis

sa.

cam
elli

THE

ornamental

scheme of the illuminated page facing the

opening words of

St.

Mark's Gospel

affords decorative design

of a character suitable to the craft of the art metal-worker.

the ornaments in this manuscript

and
in

offer

many more

show

Most of

a distinctive feeling for art,

possible designs for the artist in metal-work or

embroidery than the very elaborate and

intricate illuminations in

Although the penmanship and colouring do

not manifest the extraordinary skill and delicacy of the drawing and
colour in the Book of Kells, they have much vigour and character,
the

Book

of Kells.

and are always bold and

effective.

Plate

Cjdtir

II.

Ornaments
FROM

BOOK OF DURROW.

Book

of Durrow.

LUKE'S GOSPEL.

ST.

Chapter

i,

Verses i-6.

UONIA3

0.

^QUIDEM MUL

ti

conati sunt ordinare

narrationem quae
in nobis

rerum

completae sunt

sicut tradiderunt

nobis qui ab initio ipsi viderunt

ministri fuerunt sermonis

ET

visum

ET
est

mihi adsaecuto a principio omni

bus diligenter ex ordine

tibi scribere

theofile ut cognoscas eorum

optime
r

verborum de quib

tern

eruditus es verita

T7UIT IN DIEB
HERODIS REGIS

iudae sacerdos quidam no

mine zacharias de

ET

THE

uxor

tessellated

illi

vice abia

de filiabus aaron

and mosaic-like patterns

sections of the illuminative

in

the

rectangular

page placed at the beginning of

Luke's Gospel are worthy of attention. These fretted designs

of
are traced in the natural colour of the vellum on a background
St.

colour.

Notice the
of

spiral

and trumpet decoration enclosed

in the letter

QUONIAM.
Reproductions of the

the Frontispiece.

letters

and F

in colour will

be found on

OWL vi >t "'iXf"

Plate
Cfsltir

III.

Ornaments
FROM

BOOK OF DURROW.

Book

ST.

of Durrow.

JOHN'S GOSPEL.
Chapter

i,

Verses 1-5.

N PRIN
I

CIPIO

ERAT
VERBUM ET VE
RBUM ERAT AP
UD DM ET DS
erat

verbum hoc

ap

at in principio

ud

dm omnia

sum

er

per ip

facta sunt et

si

ne ipso factum est

nihil

quod factum

est

in ipso vita erat et vi

ta erat lux

THE

hominum

ornament on the page facing the opening words of the

Gospel

is

or special interest.

It contains the

only animal form

introduced into the decorative designs in this manuscript.

examination of the characteristics of

this

ornament

will

be the interlaced form of a dog resembling that of the

hound.

On

Plate

Notice within the

like devices,

ix the dog

is

treated

in

circle the cross in the centre,

which

are plainly derived

careful

show

it

to

Irish wolf-

similar

manner.

and the three jewel-

from the patterns formed by

the wires used in Cloisonne enamel work.

Notice the two forms of the

See note on Plate xxxii.

letter

in the

word PRINCIPIO.

5&#$m

**S&;

;
:

:-

V::

'v>^f

:::aili&:;;

'f<&.
^*

aPESRi:-

r*uaii-'

1.^a^.;

tfTriSS

:iS#k;i

f"
*-*
21

ir

F,

-i

O
J*- *l^
ZL
fm^K

'-

'

*afc.,:fT

T,:#

*is.-'

$ i

^ O O

,*/

\i~

:r**

'

pi.

Plate IV.

Celtic

Ornaments
FROM

BOOK OF DURROW.

Book

of Durrow.

THE SYMBOL OF THE EVANGELIST

ST.

THE

figure

colour

framework of

of the Eagle

which

is

similar

a continuous

JOHN.
presents a
to

scheme

on metal.

enamelling

interlaced

ribbon

symmetrical patterns by the colour treatment.

of form

is

and

The

broken up into

Plate V.

dtitit

Ornaments
FROM

BOOK OF LINDISFARNE.

Book

of Lindisfarne.

THE COLOPHON.
b

EADFRIS

J-

biscop Lindisfearnencis aecclesiEe

he Sis boc aurat

cvSberhte

fruma gode

aet

7
gim

allum $aem halgum

see
aenelice

$a

$e

_
[bisc

in

eolonde sint

grSryde

hit vta

ESILVALD

gibelde

gihn'no SaSe vtan on sint

hrinade mrS golde

mrS gim mum

pbr indignus

godes fvltvmae

Sri'im daelu

see cuSberhti

Saem bisc

Lvcas

Matheus

Marc

dael

aeht ora seolfres

mr3

_
7

hine gihamadi

dael

dael

Saem hiorode

cvSberhtes

sci

on englisc

hit ofgloesade

gode

misserrimus

miS Saem

aec

ALDRED

mS

cirSae

hit gi

svlfre ofgylded faconleas feh

mrS
7

sva he vel

he gismio^ade Sa

BillfrrS se oncrae

Lindisfearneolondinga

sci ioh dael

seolfres

to inlade

"/"

fe

fhine seolfne

mvS gode

h' s saule

feover ora

sci cv^berti

j?.te

he

hselbe ondfong Serh godes milsae on heofnv

on eorSo forSgeong

seel 7 sibb

visdom
4.

EADFRIS

OeSilvald
7

BillfrrS

colophon
THISAldred

is

and

who wrote
who

Billfrith

He

gems.

at the

who added the

He gives the name of

names

the book, the

made

end of the book, and was written by

its

'

Anglo-Saxon

interlinear

the scribe

names of the

r
p br indignus

Eadfrith the
Ethelwald

artists

cover, and adorned

describes himself as

unworthy and

Aldred

ornavervnt.

the priest,

and notes.

cv^berhto constrvxert.
t

bishop

grSyngo

snyttro Serh sci cv^berhtes earnvnga

hoc evange do

glosses

it

with gold and

misserrimus,' 'most

miserable,' and, in the note in the margin, tells us the

of his father

and mother, Alfred and Tilwin,

good woman

('bonas mulieris ').*

There was a Bishop of Durham named Aldred, from 946-968.

The glosses, which are in the Northumbrian dialect, were probably
written in the tenth century by this Aldred, who became Bishop of

Durham.
*

'

Alfredi natus Aldredus vocor 7 Til? bouse mulieris filius eximius loquor.'

10

Utxn

lttfw^

^'tSJS^',

Sorter &-

'%

w^r

..-IN"

,j

Plate VI.

Cteltu

Ornanunt0
FROM

BOOK OF LINDISFARNE.

Book

of Lindisfarne.

PAGE WITH DECORATED CROSS.

THIS

page contains one of the most

ment

Quoniam page

are apparent in this

Book

graceful design of

on a background of interlaced bird-forms.

birds are evidently sea-birds of the

the

The

in the St. Cuthbert's Gospels.

the cross stands out

the

effective pieces of orna-

(Plate

vin.).

elegant

same genus

More

The

as those depicted in

regularity

and repetition

ornament than on a similar page

in

of Kells, containing as elaborate decoration.

Observe
of the cross

how
is

the

ornament contained

in the circle

divided into four quadrants.

identity of the patterns in the

background

in

the centre

Notice, too, the absolute

;

those below the arms of

the cross are repeated four times, those above twice.

The

six

small circles on the cross enclosing those enamel-like

patterns (which are

of such

frequent occurrence in the

Book of

Kells) give the effect of jewels or brilliant enamels set in the midst of
interlacing, as striking in

There

is

its

symmetry

as in

its

beauty.

a similar page of ornament at the

each Gospel.

The

treatment shows the same repetition

various portions of the decorative designs, in

sense of beauty

is

commencement of

apparent.

all

of

of the

which an exquisite

Plate VII.

C(ltu

Ornanunta
FROM

BOOK OF LINDISFARNE.

Book

of Lindisfarne.

MARK'S GOSPEL.

ST.

Chapter

i,

Verses

i,

%.

TNITIUM
EVAN
GE

IHU

LII

XPI FILI DI SICUT

SCRIBTUM EST
IN ESAIA PROPHETA

NOTICE the grace of the

dogs
the letter

in

two of

The

T.

and trumpet ornaments, and the

spiral

the decorative sections of the letter

fretted patterns in the letter

and

PROPHETA;

St.

"

but the form

has no affinity to the

At

letters

in

XPI.

Kells.

P resembles B
of the letter B

in the

+ Marcus

Church

at

ex ore Petri scrips."

to the fact that

second Gospel

is

St. Peter's

unanimous.

in

it is

the dictation

of

The testimony

are of

words

XPI

SCRIBTUM

See note on Plate

the end of St. John's Gospel (see Plate v)

Mark's Gospel was written

GE, which

Book of

a different type from those found in the

Observe the form of the

worthy of exa-

are

mination, particularly those adjoining the letters

N next to

xxxn.
recorded that
St.

Peter

of the

early

teaching was the basis of the

onx^nn fX

5*J-pof*lltH

\*el&\i>e)-

Plate VIII.
Cfeltic

Ornaments
FROM

BOOK OF LINDISFARNE.

Book

ST.

of Lindisfarne.

LUKE'S GOSPEL.
Chapter

i,

Verse [i.

QUO

NIAM
QUIDEM
MULTI COX
TI SUNT ORDINA
RE NARRATIONEM.

NOTICE

within

the circular

peculiar twisted device,

ornaments of the

somewhat

letter

the

like a star-fish in appear-

ance, and possibly evolved from the trumpet pattern. This distinctive

ornament, although varying somewhat in form,

on the In Principio and

found

in the

Book of

at

is

Christi pages (Plates ix

Kells or in the

once recognized

and

x).

It

is

not

Book of Durrow, although

it

forms part of the decoration on the Tara Brooch.

Observe on the right-hand side the dog's head and foot turning
in

towards the word

NARRATIONEM.

The words " 4- Lucas de ore Pauli ap scrips" (see Plate v) state
that St. Luke recorded the Gospel which Paul the Apostle preached.
This

is

constantly affirmed by the early Fathers.

With

regard to St. Matthew's Gospel, the words

ex ore Xpi

scripsit

" probably

"+Matheus

refer to the fact that St.

recorded what he himself heard from the

lips

of Christ.

Matthew

Tjucxcsirrt
^ob

njciprceua

SSSS

Plate
Ctsltri:

IX.

Ornaments
FROM

BOOK OF LINDISFARNE.

Book

ST.

of Lindisfarne.

JOHN'S GOSPEL.
Chapter

Verse

i,

i.

IN PRIN
CIPIO

ERAT VERBUM
ET VERBUM ERt

APUD DM ET DS

WITH

the exception of three angular

ornaments enclosing

forms of birds, the dog, alternated with interlaced work,

Notice the extreme
occupies the sections of the Monogram IN.
beauty of the step-like pattern in the diamond-shaped ornaments.
brilliant
In the original the colouring causes them to stand out like
Notice too (at the top of the letter I, and the top and
enamels.

bottom of the

letter

P) the varieties of the starfish-like ornament

alluded to in the note on Plate

forming the terminal of the

the only occurrence of the
of this manuscript

the

dog and

bird,

letter

vm. Observe the human head

C in the word PRINCIPIO; it is

human form

in the illuminative

the only other forms of animal

life

are those of

the latter being of the seagull type.

ascending stroke of the conjoined

letters

IN

ornament
In the

notice the interlaced

below the diamond-shaped ornament they

resemble in motif and treatment the dog decoration on Plate iv
of the Book of Durrow.
The words " + Ioh in prochemio deinde eructuavit verbum
dog-forms

Do
and

in the section

donante
state

Holy

et

that

Spirit.

Spu Sco scrips"

St. John wrote

(see Plate v) describe this Gospel,

it

by the help

ot

God and

the

?t\AVM

lor

rvms

via
13

iitjrfniTn

.U

<*

seniudunloTiap

to.

Plate X.

Qrttit

OrnanuntH
FROM

BOOK OF LINDISFARNE.

Book

ST.

of Lindisfarne.

MATTHEW'S GOSPEL.
Chapter

i,

Verse

18.

XPI

AUTEM GENE
RATIO

SIC

ERAT CUM

ESSET DESPONSATA

MATER EIUS MARIA IOSEPH

THIS

Monogram page

much grace and symmetry, but

does not present as much variety in the treatment of its
ornament as the In Principio page. The scheme of bird ornament
elaborated on the letter X will repay careful examination.
The
corresponding page in the Book of Kells, containing only the
Monogram XPI, with the words autem generatio,' is the most
has

'

elaborate piece of illumination in Celtic

art.

Tatjpmtxrtne-

P&~*X&a p-rtl&yy
Tta

mhieyiu
fane-

r*ltHi
tft>3

miyua.

layf-yh^- za

Ann^ mt.c
ct.vf-tirjifj**1'-',

Plate XI.

Qzitit

Ontanunta
FROM

BOOK OF KELLS.

Book

of Kells.

ONE OF THE TABLES OF THE EUSEBIAN

CANONS.

THE

Eusebian Canons are

of

of pages

out in a series

set

Byzantine arcading, elaborated with Celtic ornament, and

decorated with the Evangelical symbols, which are treated with

the greatest variety in each table.

Ammonius

of Alexandria,

Harmony

prepared a sort of
as a basis,

numbers

numbers of the

Hence

margin of the

parallel passages

by

in

text,

and beside them

the other three Gospels.

sections.

the four Gospels

to

which the

first

the

two of

fifth,

contains passages

sixth,

the Gospels

end of

at the latter

the second, third, and fourth, those

three of the Gospels

common

who was born

adopted the plan of drawing up

century,

(kolvopes) or canons, of

those

Matthew

St.

numbers were designated the

these

Eusebius, the great historian,

third

Taking

of the Gospels.

in the

the sections indicated

Ammonian
the

lived early in the third century,

he marked out sections, and, numbering these sections, he

placed their
the

who

ten tables

common
common

to
to

seventh, eighth, and ninth,

and the tenth, those passages

peculiar to one Gospel.

The work
numbering the

them

of

Ammonius

sections

suggested to Eusebius the

on a more convenient

principle,

idea

of

and placing

in these ten tables, called, after their originator, the

Eusebian

Canons.

The numbers of

the sections are not entered on the pages of the

Gospels, as they are in the Books of

a
St.

later

hand has

inserted

them

in

Durrow and
the

first

Lindisfarne

couple of pages

but
of

John's Gospel.

Notice the intertwined figures

of St.

Matthew holding

holding a book.

in the arcading, also the

symbol

a budding sceptre, and that of St.

John

-*

'-">
S-^sS

VZ.

\ry^~

&&
'**

~*S

-v
3SI

\v

p^

ftf

S^SJ

fc*-

mi

\<W.l

sX

&?

iLA

W.fc
'V

T!

'**
>>crn

as

.n:

W1

Canon
quo

?'

* 3*rj

:hti

duo-

O^pcniiii

IIITI

ecu

eftapen

OcUj
rlir

to*

.111

-,

tit

v;a.:

ctrm
cLuu

id
ltKlt?ltr-~'

gituiui

c^-

l\TYtf1

tfxiii,
ce*i
r

ecim

r.i.-

Ill

OppCUIlTJ

cljpctfi

ctboo
ckvcuitii

I-

an
1

oeni

ccvti.

'*'
>

mi

dtoc-

ccx& mi

GOzLvv

ecttxm

cebpetti?

icctri

o>

J&jL

ecu
acinn

tJCUl Tl

r
f

*v

fl^l

eclrni
cctx-vu

*ln

it

4^r
,r*Vi./i

"
>!

/J*

**p'**}y lv
J

Plate XII.

Qdtk OntanuntH
FROM

BOOK OF KELLS

Book

of Kells.

SYMBOLS OF THE FOUR EVANGELISTS.

the

IN

original

Matthew), the Lion

Eagle (St John).

unequalled

sidered

three

are

(St.

One of

Lion to

dignity of Christ;

the Ox,

John, because, as

St.

Luke), and the

(St.

Westwood

con-

the sacrificial

Augustine

power and

forth the

sets

writes,

and gazes on the

an eagle

as

Man

to

the

victim,

because he illustrates the Priesthood of Christ

St.

The

The Man is assigned

out Christ's human character

Mark, because he

St.

Ox

the

to

Art.*

Matthew, because he brings

St.

symbols

these pages Professor

Celtic

in

Mark), the

devoted

pages

full

of the four Evangelical

illustration
(St.

there

to

St.

royal

Luke,

and the Eagle to

"he

light of

heaven

soars to

immutable Truth

with a keen and steady ken."

Both

in the

treatment and type of the figures there

which resembles Egyptian work.

symbol of

Matthew

St.

the angle of the

framework

at the top.

border of the

Monogram page

forms treated

in a similar

the

Book

tradition

Lion

them
St.

the

Monogram page

One

(see

left

in

of the rectangles in the

(see Plate xlij) contains four

human

manner.

Durrow, showing an acquaintance with

which gave the symbol of the Eagle to

but

budding

an illuminated page of the four Evangelical symbols in

of

to St.
;

in

much

hand of the

Observe also the four human figures on the

Plate xliv).

is

in the right

the cruciform sceptre similar to the

by one of the angels

sceptre held

There

Notice

is

St.

a very old

Mark, and the

John.
St.

This is the order in which St. Irenasus gives

Jerome gives the Lion to St. Mark, and the Eagle to

John.

* See Dr. Abbott's " Celtic Ornaments from the Book of Kells," Plate xxxvn.

Plate XIII.

Qeltu Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

PORTRAIT OF THE EVANGELIST

MATTHEW.

ST.

THE

pages

pictorial

symbols, as

representing

figure-drawing

the

as

far

Evangelists

the

is

or

their

concerned, are

evidently derived from Byzantine sources, though the details of the

framework
These

in

Canons

illustrate

Celtic ornamentation,

influences and give

reminiscences of those

Observe

when

it

pages

of development

keep

insects

reached

had the capacity to absorb outside

freshness

to

Roman

be seen on

born of

consular diptychs.

in the spandrels of the arch the fan-shaped

to

containing

thrones depicted behind the Evangelists are

resembling the flabellum

Church

the state

them back again with the

The

native ingenuity.

are set are Celtic.

the Evangelists and the

portraits of

the Eusebian

by

which they

ceremonial

used

tan

from alighting on the

ornament closely

altar.

in

the Eastern

In one of the

pages containing the symbols of the four Evangelists these fans are
introduced with pendent bells attached, similar to those in use in the

Coptic Church for protecting the Eucharistic elements.

symbol of

St.

Mark

at each side

head, while those of St.

the throne.

The

Notice the

of the nimbus round the Evangelist's

Luke and

St.

John appear

absence of the symbol of

St.

at

each side of

Matthew

taken

in

conjunction with the presence of the symbols of the other three

points to the portrait being that of the Evangelist himself.

The

vesture on the figure probably represents the ecclesiastical vestments

in use in the Celtic

Church

in the eighth century.

Plate XIV.

Celtic

Ornaments
FROM

BOOK OF KELLS

Book

of Kells.

PORTRAIT OF THE EVANGELIST

ST.

THIS

pictorial

JOHN.

page represents

St.

John

sitting in a chair, with

a quill in his right hand, and with an ink-pot close to the

chair and near his right foot.

The nimbus about

the head of the Evangelist

is

of

much

larger

dimensions than usual, and remarkable for the combination of orna-

ment employed.

The

by

outer circle, intersected

encloses a series of ingeniously interlaced animal

inner circle, surrounding the Evangelist's head,

three large discs,

forms

is filled

and the

up with those

inlay or mosaic-like patterns alluded to in the Introduction.

three discs also contain this ornament, and produce an

many

respects resembling that of

The

effect

in

enamel work.

Observe, outside the framework, the head, the hands, and the
feet of another figure

evidently

the nail held in each hand.

the head

was cut

off

by

a representation of Christ

notice

In the past, at some unrecorded date,

the binder,

who

is

also responsible for the

mutilation of the decoration on several of the folios containing the

more

pictorial

and elaborate schemes of ornament

Plate XV.

Qzltii

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

THE DOUBTFUL PORTRAIT.

1^ HE decoration

of this page abounds in interlaced and spiral

designs, as wonderful in

displayed in

their

their

conception as in the

The framework

execution.

contains

skill

con-

tinuous series of intertwined animal forms, and will repay a careful

examination

notice the delicate skill evinced in the treatment of

the birds (probably peacocks) in the

two semicircles on the middle

of the outer sides of the frame, and also

patterns in the

in that

two squares from which the arch

discs touching the feet of the figure,

in

of the trumpet-

springs.

The two

the designs they exhibit,

are remarkable in their close resemblance to the enamel ornaments

so characteristic of the art of the Celtic metal-worker.

The two

peacocks standing on the vines which issue from two vases or cups
of chalice-like form have already been noticed in the Introduction.

The

figure, at first sight,

appears to be standing

but the two

ends of the cushion (blue, dotted with white in triangles), seen at

the sides of the figure

The

left

rests

upon

hand

is

below the elbow, indicate a

seat supporting

it.

covered, and holds a book, while the right hand*

the book, with the

first

and second

(what appears to be) the act of benediction.

fingers

extended in

The

rectangular

spaces on each side are devoted to the representation of four angelic

beings, one of

whom

is

holding a foliated rod.

The whole

general

design of the drawing, and the elaboration of the interlaced details,

render this page one of special interest.

Gerald Plunket wrote in the spandrels of the top of the arch the

words

JESUS CHRISTUS.

The

presence of the cross above, the colour of the vestments,

the chalice-like cups, the vine, the peacock, the four angelic beings

give grounds for this ascription.

The

subjects of Plates

been inadvertently reversed.

xm

and xv have,

in the process of reproduction,

Plate XVI.

C[ltu

Ornaments
FROM

BOOK OF KELLS

Book

of Kells.

MATTHEWS

ST.

GOSPEL.

Chapter xxvi, Verse

THIS

is

a representation of the arrest of Jesus Christ described

(Tunc

in verse 50
et

30.

accesserunt, et

The

tenuerunt eum).

manus

iniecerunt in

writing at the top of the folio

Gerald Plunket, whose explanation of the picture

sents the ministry of

the figures have

Angels during the Agony

little

Angels contained

is

in the

that

Garden.

repre-

But

resemblance to any of the representations of

in the

Book.

The

crosses of

Clonmacnoise and

Monasterboice afford examples of similar portrayals of

Above

it

Jesum
is by

the head of Christ are the words

et

ymno

this scene.

dicto

exierunt
in

montem

oliveti.

Notice the two large heads of dogs.

was making an
compassed

me

allusion
.

').

to

Psalm

Possibly the illuminator

xxii, verse

16

('Dogs have

Plate XVII.

Ctdtir

Ornaments
FROM

BOOK OF KELLS

Book

of Kells.

MATTHEW'S GOSPEL.

ST.

Chapter xxvr, Verses nig.

Semper pauperes habe

me.

est in

me autem non sem

vobiscum

bitis

per habebitis

Mittens enim haec unguentum

hoc

in

meum

corpus

me

A men

fecit

ubicumque

dico vobis

praedicatum
evangelium

Et quod

ad saliendum

fecit

fuerit

orbe narrabiatur

in toto

haec

hoc

memoriam

in

ipsius

Tunc

abiit

unus de duodecim

ad principes sacerdotum
qui dicitur Iudas Scarioth

Et

ait illis

quid vultis mihi

eum tradam

dare, et ego vobis

At

This
text,

plate,

illi

constituerunt

ei

and the two following,

xxx

are

specimens of the ordinary

exemplifying the manner in which the

initials of all the sen-

tences throughout the Gospels are artistically treated.

Doisaim in rcnjcsn* uo
pett fia&ebias^K m-w&im rtrj

Tioancoapns maim cns&Mben

me-<gJewdiCD uobis u6tdimique

lpsnjj

c cr6rr<7TjmisT)efaTOeaW

tnilisquiduuGas miln
eairpcpi

Plate XVIII.
C( elite

Ornaments
FROM

BOOK OF KELLS

Book

of Kells.

MATTHEW'S GOSPEL.

ST.

Chapter xxvi, Verses 15-21.

Et exinde que rebat

argenteos.

oportunitatem ut

eum

Prima autem

azemorum

die

traderet.

accesserunt discipuli ad

ihrri

dicentes ubi vis paremus tibi

man

ducare pacha

At

ihs dixit ite in civitatem

ad quendam
ter dicit

Apud

et dicite ei

meum

tempus

te facio

prope est

pascha cum

Et fecerunt

pulis meis.

magis

cipuli sicut praecipit

illis

disci

dis
ihs

et paraverunt pascha.

autem

7"espere

bebat

cum

Et edentib

illis

facto

xii

discum

discipulis suis

dixit

dico vobis quia unus.

Amen

oporamiarton iKEtmrcRtrDeRerJ

axres8a^inJC"di3apuli aDrtfrb

paFemusrabi ran
T)uaxRe pacha:

oioarces ub\ ins

jnsT>pacr<j& luauTGDDDcin

ujoqneiroam (3uchcraBa in ergs

XEuroicKTTrmpus meuiTi puope^sc

^rxpxao pasdiacanrroisa
>uis

aim

siarc,

f^^txciuiwrchs

pmijeapTcnWjs

itis

ccRaiieRiarer

^pa*eaircrin puilD oiscum

6ebarrQim?ait)isapulissuis
oico 11061s ginauyus-

Plate XIX.
C[*ltir

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

MATTHEW'S GOSPEL.

ST.

Chapter xxvi, Verses 21-45.

vestrum

Et

me

tradet

contristati sunt valde et

coeperunt singuli dicere

numquid ego sum dne

respondens

ait qui intinguit

mecum manum
hie

me

At ipse

in

Et

tradet.

parabside
films

quidem

hominis vadit sicut scriptum

est

de eo

Vae autem homini

filius

bonum

per quern

hominis tradetur

erat

isset

illi

ei

si

homo

non natus

fu

ille.

Respondit autem iudas qui tra

diturus erat
ei

eum

et dixit

numquid ego sum rabbi

ihs tu dixisti.

Ait

illi

me-'cRjxoc

*r

DTrccrfousuiJu-u ccfoe-Q: -

cn<mm tngouHwiiqiapcn^ffl^
msqui
esc - deeo
j
OcaKxm^XQiimii i&i peRqn

Ouum a^rt^^l3'8ln0^^3cBaIk^Il
Cspoi roKTauoamu
w.aj

Plate XX.

C[eltu

Ornaments
FROM

BOOK OF KELLS

Book

of Kells.

MATTHEW'S GOSPEL.

ST.

Chapter xx, Verses 18-23.

et films

hominis tradetur prin

cipibus sacerdotum et scribis et

condempnabunt eum morte

eum

dent

et tra

gentibus ad deludendum

et flagillandum et

crucifigendum

et tertia die resurget

Tunc

accessit

ad eum mater

orum Zebedei cum

filis

fili

ad

suis

orans et petens aliquid ab eo qui

dixit ei

quid vis

Notice the horse and

leading his steed.

Book of Kells,"

rider.

Ait

illi

dicunt sede

There

Luke xvn. 27,

is

another example of a

which the horseman

See Dr. Abbott's "Celtic Ornaments from the

horse and rider in St.

is

Plate xliii.

in

Plate XXI.

C(ltu Orttatiunts
FROM

BOOK OF KELLS

Book

ST.

of Kells.

LUKE'S GOSPEL.
Chapter hi, Verse

%%,

QUI FUIT.

THE

page of the Genealogy

first

Fuit Heli.'

form of the

The Genealogy

occupies

and the ornamental design

The continuous

page.

Luke's Gospel 'QUI

in St.

five

pages

the

are different for each

interlacing of the Q's, and the beauty and

minuteness of the ornament, are worthy of attention.

This can be

and the accuracy of the drawing better appreciated, by examining the enlargement of three of the Q's given

more

fully realized,

on the next

plate (xxn).

The

B's of the Beatitudes are similarly

intertwined.

The words which

precede the Genealogy are

facta est tu es films

meus

dilectus in te

bene complacuit mihi.

Et

ipse ihs erat incipiens quasi an

norum

tringinta ut putabatur films

ioseph.

Then

follow

QUI
QUI

fuit

heli

fuit

matha

QUI

fuit

levi

etc.

etc.

etc.

This page contains the most elaborate set of interlaced initials

in the Book, the letter Q being repeated twelve times in superb
The Et before
tints of alternate green, blue, scarlet, and yellow.
'

'

'

ipse

'

is

gem

of minute workmanship.

Notice the figure of an ancient warrior, armed with the small

round shield and a long spear.

piaiEesEraies pill us mais cWeocusiyice

bene

AX)iip(ivaiK7iniTiis)r

'

.$

|]pso iTiscuinrniiapicjisqucrsi au
pmuT)r(Knrg7ira.uqpuaal)iraiR.pljus

TM
fBSJW

pire

^-#*

ioujije

JWlTXfc

'&
^t*
IF

108Cp

pure

Tniatiatrtm^
ainoii

mire

^srO csJj

p>WT(V
ptflTO
$***$$*
Si

QKIUlfc
\

Plate XXII.

Celtic

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

LUKE'S GOSPEL.

ST.

QUI FUIT.

THIS

IS

AN ENLARGEMENT of a portion of the

of the Genealogy in

St.

first

Luke's Gospel (see preceding

page

plate).

Magnified nearly four times.

Observe the man's head and the elongation of his neck until
joined with his legs and
the third and fourth
circle in

feet,

is

is

margin beside the

noteworthy

that,

first

U.

although the opening page of

the Genealogy have not been finished.

its

occupying the

Q, and that resting on the top of

so richly ornamented, the decorations

the border and

at the left-hand side of

also the fine line of the spiral

the right-hand stroke of the

It

which appear

it is

St.

Matthew

on the leaves containing

Some of

the outlines of

zoomorphic terminals are drawn, and a ground

of yellow has been laid on some parts of the design.

All

Plate XXIII.

Qzttic

Omanunis
FROM

BOOK OF KELLS.

Book

ST.

of Kells.

LUKE'S GOSPEL.

Chapter xv, Verses 9-14.

THIS

plate

initials

of the Book.

two

reproduces

which

are

examples of the smaller ornamental

found on every page

This reproduction from

St.

in the ordinary text

Luke's Gospel gives

ITA

dico

AIT

autem

Their linear dimensions are the same

as in the original text.

Plate XXIV.

G(dtu

Ornanunis
FROM

BOOK OF KELLS.

Book

of Kells.

LUKE'S GOSPEL.

ST.

Chapter xxii, Verse

3.

INtra

ET

THIS

plate

Gospel

shows two of the ordinary

The IN

the centre of the coloured

patterns so frequently to

smaller initials in the

An
plate.

Abiit

is

initials

in

St.

Luke's

a beautiful specimen, and displays in

background one of the numerous

inlay

be met with in the decoration of these

Book

of Kells.

enlargement of these two

initials will

be found on the next

Plate XXV.

C(dtu Ornaments
FROM

BOOK OF KELLS,

Book

ST.
Chapter

xxii,

of Kells.

LUKE'S GOSPEL.
Verse

3,

and Chapter xrx, Verse

Intra

Dixit

ET

Vocatis

Abiit

THESE specimens of some of

Gospel are enlarged

12.

the smaller initials from St. Luke's

to twice the linear

dimensions of the

original.

The
original

initials

IN

and

ET

on the preceding

are reproduced exactly the size of the

plate.

y
gp>

vs.

Plate XXVI.

Qzltit

Ornanunts
FROM

BOOK OF KELLS.

Book

ST.

LUKE'S GOSPEL.

Chapter

AD

xvii, Verses +,

tendite

ETSI

ET

1^ HE

of Kells.

.....

septies

dixerunt

specimens of the ordinary

Gospel have been enlarged

5, 6.

to

Initial letters

from

St.

Luke's

double the linear dimensions

of the original text.

The accuracy and

to this severe test,

is

steadiness of the drawing,

most remarkable.

though subjected

roaraum

Guoi.;
1

Amu)
cilice i jo

Plate XXVII.

dzltic

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

MARK'S GOSPEL.

ST.

ET ERAT[IO
HANNIS BAPTIZAN[S IHM]

THIS

large

initial

ET

is

from the Prologue of

St.

Mark's

Gospel, and has been enlarged to almost double the linear

dimensions of the original. Notwithstanding the numerous instances

of the combination of these two

two

are not

to

respect alone

Book

is

letters in the

Book

of Kells, there

be found with the same ornamentation.

the variety of ornamental

a revelation

of

the

wonderful

In this

designs contained in the

versatility

and inventive

genius of the illuminator.

Notice the beauty of the interlaced ornaments, and the characteristic

method of connecting

the spirals.

The

spiral lines in the

small circles have suffered from rubbing, and are so fine that in the

Manuscript
distinctly

itself

it

is

necessary to use a lens in order to see them

hence they are not

visible in the reproduction.

Plate XXVIII.
Ct^Itir

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

MARK'S GOSPEL.

ST.

Chapter xv, Verse

25.

ERAT

AUTEM
HORA TER(CIA)
et Crucifigentes

eum
divise

THE

interlacing in the sections of the letter

head are

worthy

of

examination.

and the dog's

The lozenge-shaped

devices in the middle of the upright borders contain one of the

many

patterns used in Celtic enamel work.

Observe the head and

shoulders of the

human

corner, while the

end of the vesture worn by the same figure appears

in

the

left-hand

TERCIA'
The word

the
divise

figure placed at the top of the right-hand

corner
letters

at

CIA

the

have

bottom.

been

should read diviserunt.

In

the

added

by

line

'

HORA

a later

hand.

Plate XXIX.

Qtitit

Ornaments
FROM

BOOK OF KELLS.

Book

ST.

of Kells.

MATTHEW'S GOSPEL.

Page from the Summaries of the Gospels.

NATIUITAS

BETHLEM

XPI IN

IU

DEAE MAGI
MUNERA OFFERUNT ET
INFANTES INTER
FICIUNTUR x REGRESSIO

THESE

words, in the handwriting of Gerald Plunket, appear

again at the bottom of the

This

folio

the ground

is

is

full

leaf.

of interlaced and fretted ornament, in which

coloured, while the design

effectively

is

thrown up

in the natural colour of the vellum.

Parts of this design are

are faded.

An

much

rubbed, and a few. of the colours

which has taken place

irregular contraction

vellum has given some of the

and ornament a crooked and

lines

The human form

twisted appearance.

into this elaborate design

in the

introduced three times

is

observe the head and arms of one of

these at the top, while the legs appear in the left-hand corner at

the bottom.

As
and

has

trefoil

already been noticed

are

foliated designs
like pattern

the

roots

which

are

in

of the

Introduction,

the

leaf-ornament

found in Celtic

which occurs frequently

a flower conventionally treated

effectively

thrown up

in Celtic illumination

observe this

in the natural colour

is

With

in

under

may be

Nati vitas,' where

'

notice

FICIUNTUR

regard to the colouring of the original,

worth calling attention to the

INFANTES,'

'

of the vellum

good

effect

bright green which forms the background of the

1

various

design repeated

latter

also the conventional treatment of the vine

REGRESSIO.'

the

Possibly the star-

art.

six times in the embellishment of the letter

it is

in

the vine

and the

of

'INTER.'

it

produced by the

FA

and the S of

Plate

C(eltk

XXX.

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

MATTHEW'S GOSPEL.

ST.

Chapter

i,

Verse

i.

LIBER

GENE
RATI

ONIS

1^ HE

first

page of

St.

Matthew's Gospel, containing the two

opening words of the Gospel

with great elaboration.
ing ornamental

This page

forms.

The

round the outer curve of the

as

also

the topmost

circles filled

This

Liber

is

treated

of minute and interest-

full

of the

treatment

letter

generationis

ornament

spiral

should be specially noticed,

portion of the same

letter,

containing four

with a maze of intertwined reptiles and birds.

latter

can be better appreciated by looking

ment given on

at the enlarge-

which furnishes

a splendid proof of

the skill and of the extraordinary firmness of

hand possessed by

the

the next plate,

artist.

Notice the treatment of the

their

letter

The forms of

B.

birds,

with

necks elongated and minutely interlaced, are effectively divided

into sections of

ornament by small rectangles

filled in

with mosaic

design.

The ornament

enclosed in the circle on the side of the letter

below the book held by the

figure in the margin,

of one of the more elaborate mosaic

Cloisonne inlay, used with such rich

patterns
effect

is

an example

derived

upon

I,

vessels

from the

made of

gold.

The scheme and harmony of

a

striking

GENE
and the

effect

in

the

ONIS being
letters RATI in

and

colour in this page are beautiful

illumination

is

produced by the

letters

executed in red on a rich purple ground,

purple on a red ground.

Plate XXXI.

ddtit Ornaments
FROM

BOOK OF KELLS.

Book

ST.

THIS

IS

of Kells.

MATTHEW'S GOSPEL.

AN ENLARGEMENT

the letter

Liber generationis.

on the

of the topmost portion of

page of

first

St.

See preceding plate.

Matthew's Gospel

The

graceful treatment

of the spiral and continuous trumpet-ornament, carried along the

outside edge of the letter L, as well as the interlaced
four circles,

is

worthy of careful examination.

forms of six birds intertwined

filled

Two

work

in the

contain the

while each of the other two

is

with skilfully designed patterns produced by the interlacing

of six serpents.

The

design in the lower circle on the right forms

a shamrock-shaped ornament of

much

grace.

Plate XXXII.

Celtic

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

MARK'S GOSPEL.

ST.

Chapter

i,

Verse

i.

INITIUM EVANGELII IHU

THE

page of

first

St.

Mark's

IHU = IESU

Christi.

Manuscripts

of

Iesus

Gospels

the

IHS = IES (H

(Genitive)

Initium

XPI =

retained

being the Greek E)

was sometimes written

containing the four

Gospel,

opening words of the Gospel

Iesu

The

Latin

Greek

the

contraction

The name

IESUS.

for

Ihs and Ihu might

Ihesus, so that

Greek contraction of Christus

Evangelii

Christi.

The

pass with the reader as Latin contractions.

retained the

XPI.

Latin mss. also

XPS

or ^ps

(P being

more elaborate illuminations and pictorial pages in the Books of Kells, Lindisfame, and Durrow, B is
apparently written for P, e.g. the opening words of St. John's Gospel
the

Greek R); but

in the

('IN PRINCIBIO'
See Plates

scripts.

However, on
letter

is

not

'IN PRINCIPIO')

for

III, ix,

and xxxvi.

a closer examination,

(as has

this variant

of the

letter

lens.

the

It

ornament on

contains a

design

specially

call

for

effect

produced by the interlaced snakes

letter

N.

The

right

differing

of

notice

three

human

the typical

The

following

the

beautiful

EUAN

are

figures

left

contain a

intertwined, the

legs,

meet

heads of birds

figure at the top

the cross of the

EUAN

the other circles above and

a curious heart-shaped design

human

letters

is

are the

formed of

are

below

spirals.

filled

the

small

with the

are filled with

The

grotesque

held in the grasp of a dragon

wings of two dragons.

in

The

centre, with each of the three hands clasping a wrist.

ornaments below the

of the

at the four corners

arms of each, interlaced with the

circular

from

page should

this

number

three circles above the letters

most peculiar device

own,

school superbly executed.

patterns of the Celtic

in

its

more-

P.

the illuminative

be examined with a

below

the space

fill

has a distinct character of

The whole of

features

becomes evident that the

it

been assumed by some authorities), but P,

with an ornamental terminal added to

over, the letter

Manu-

in the three

under

Plate XXXIII.

Qdtir Ornaments
FROM

BOOK OF KELLS.

Book

ST.

of Kells.

MARK'S GOSPEL.

INITIUM EVANGELII.

AN ENLARGEMENT

of the central portion of the

of

larged
letters

is

St.

Mark's Gospel

The

page

design en-

the interlacing of the snakes at the right side of the

EUAN.

sions of the

drawing.

Initium Evangelii.

first

The enlargement

original,

is

three times the linear

dimen-

and shows the marvellous accuracy of the

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Plate XXXIV.

C^lttr

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

LUKE'S GOSPEL.

ST.

Chapter

Verse

i,

i.

QUON
IAM

THE

first

word

ornament
'

is

page of the Gospel of

devoted to the

is

Quoniam.

first

The

and contains some excellent examples of the

elaborate,
'

Luke

Latin text of that Gospel

in the

trumpet pattern

St.

segments of the

in the

circles

attached to the

sides of the rectangle

of the Q, as well as in the graceful spiralwork so ingeniously connected, and which forms the border of the

The

four sides of the rectangular design.

six circles placed at the

four corners and at the middle points of the sides of the rectangle,
as

seen in the adjoining plate, are apparently almost devoid of

ornament.

This

suffered (as in

due

is

pigment

to the red

some other

folios)

in the original

from rubbing

having

but a few traces of

the ornamental devices enclosed in these circles can

still

be deci-

phered even in the collotype reproduction.

Under
('

in

hand

number of human

filled

The

circle

with a profusion of

the 'many' who

forming the bottom of the

reptile

forms,

to every conceivable

ment given

may be

better appreciated

in the next plate (xxxv).

to the right of the

tail

form of contortion.

circle,

notice

The

made

to

submit

intricacies of the

by examining the enlargeAt the bottom of the page,

the projection

of a monstrous form, whose head appears

The

letter

snakes, and birds,

marvellously intertwined, and, in the Celtic fashion,

intertwining

which

the words

to

to set forth' in writing 'those things' recorded

in the Gospel history.

is

will be noticed a

multi conati sunt ordinare narrationem')

had 'taken

NIAM

probably introduced with reference

figures,

follow

the letters

of the

at the top

legs

and

of the page.

composed of spiral and trumpet patterns, which surmounts

the page, has been mutilated by the binder, and deprives the whole
finial,

design of an important adjunct to

its

beauty.

Plate

Cfdttr

XXXV.

Ornaments
FROM

BOOK OF KELLS.

Book

ST.

of Kells.

LUKE'S GOSPEL.

QUONIAM.

THIS

IS

AN ENLARGEMENT

bottom of

the letter Q.

It enables

the wonderful ingenuity of the artist

distinct

how

the

of the

who

one

circle

forming the

to better appreciate

could combine so

forms and weave them into one balanced design.

whole design divides the

many

Observe

circle into quadrants, the design

of the four quadrants being of a similar character.

Plate XXXVI.

Qdtk Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

JOHN'S GOSPEL.

ST.

Chapter

Verse

i,

i.

IN P

RINCI
PIO

ERAT VER

BUM

THE

page of the Gospel of

first

words

'

the

is

less

the ornaments of the letters

magnificent scale)

RINC,

scheme and harmony of the colouring

great richness, and evidently executed

produced the

The

containing the

always richly ornamented in manuscripts of the

Here

(though on a

John,

In Principio [see note on Plate xxxii] erat verbum'

a page which
Celtic school.

St.

Monogram

page.

by

are

in

P, and also

most elaborate

the original are of

same

the

IN

skilful

hand that

See Plate xl.

four circles in the ornaments at both ends of the design

forming the

letters

IN

ought to be specially examined.

The

spiral

which

afford

good

and trumpet patterns terminate in three

discs,

examples of some of the various designs in frequent use by the

Celtic artist

cumdach

when applying

some

the decorative enamel inlay to

or other product of the metal-worker's art.

The human figure at the top of the page, posing on the middle
of the letter N, holds a book in the left hand, the hand being
concealed in the folds of the robe.
The smaller figure of a man
surmounting the
the monstrous

protruding.

which he

is

letter

is

depicted in a sitting posture opposite

form of a dragon, with open mouth and tongue

The

right

hand of the man holds

RINC, which

are

is

the letter C, and intertwined with

it,

in the attitude of playing

the graceful drawing of

reptile forms.

Close to

observe the figure of a

The lyre-like shape

extended arms of the human figure, present
letter I.

by

formed by serpents ingeniously bound

by the interweaving of smaller

forming the

vessel,

features of interest presented

the illuminative treatment of this page

together

V-shaped

in the act of raising to his lips.

Noteworthy among the many

the letters

of the

letter

man

C, and the

the appearance of a

man

on a musical instrument, and bear some

likeness to those representations of musicians

found

in

Egyptian art

Plate XXXVII.
C(lttr

Ornaments
FROM

BOOK OF KELLS.

Book

ST.

of Kells.

JOHN'S GOSPEL.

IN PRINCIPIO

THIS

IS

ment

AN ENLARGEMENT of a portion of the

in the letter N in the preceding plate (xxxvi).

orna-

The

interlacing with the small enamel patterns contained in the central

device has a distinct resemblance to the combination of interlaced

wire and enamels found in the metal work-

Notice the minuteness and beauty of the interlaced patterns

in the two spandrel-shaped devices contained in the segment of
the circle at the

top.

In this enlargement the ornament appears

horizontally.

The ornament

in this plate has

been enlarged to nearly twice

the linear dimensions of the original.

^imM&liW^^M

Plate XXXVIII.

Qtitit

Ornattunis
FROM

BOOK OF KELLS

Book

ST.

of Kells.

MATTHEW'S GOSPEL.
Chapter xxvi, Verse

THIS

IS

AN ENLARGEMENT

31.

of a small

framework which encloses the words

*"

TUNC

OMNES VOS

DICIT ILLIS IHS

The letters appearing are the OM in

The chief feature of interest to be noticed
interlaced

and

SCAN[dalum]."

word

the
in

fretted patterns so skilfully traced

background, and thrown up

portion of the

OMNES.

this plate

is

the

upon a lampblack
of vellum.

In

the original these minute designs produce a charming effect.

In

this plate

in the natural colour

they are enlarged to two and a half times their original

linear dimensions.

reproduction of the

full

page

will

be found in Dr. Abbott's " Celtic

Ornaments from the Book of Kells," Plate

xiii.

Plate XXXIX.

Qrttit

Ornament*
FROM

BOOK OF KELLS.

Book

THIS

AN ENLARGEMENT

IS

portions of minute

The enlargement
this

page

of fine spiral

its
;

workmanship.

exquisite

and many of the

delicately

and interlaced ornament

containing similar ornament,

It

is

drawn

effect,

to the Christi

has suffered

It

filled

designs, producing a lace- like

much from

lines are scarcely visible.

up with

spiral

and trumpet

five

other spaces

there are

treated with an

amazing wealth of

evident that this page was executed by the master-

hand of the same

of the

the *eight-circled cross.

in

slightly over four times the linear dimensions

In addition to the eight circles

variety.

of one of the central

page surpasses description, and ranks next

in

rubbing

is

ornament

The wealth

of the original.

on

of Kells.

Monogram

artist

who wrought
There

page.

is

the marvellous ornaments

a close resemblance in the elabo-

ration of the trumpet and other patterns in the circles

treatment of the

human form and

letter

X.

finely

the intersection of the

at

drawn

The same

three bladder-like bodies.

the small circles in the next Plate (xl).

containing within

spiral,

device

fills

number of

It consists of three,

some-

times only two, of these curious forms with long necks and

The

explanation of this pattern

leather satchel ot the

circular

same

(See Plates xliv and xlv.)

Observe at the bottom the

it

that of the bird manifests the

ornament

feeling as that evinced in the

and the

design

Book

enclosing

of

is

on the stamped

to be found

Armagh, on which

three

quadrupeds.

evidently resulted from diminishing the

larger

tails.

there

is

a large

This pattern

has

device to a mere

conventional outline.

*A

reproduction of the

full

page

will

be found in Dr. Abbott's

Ornaments from the Book of Kells," Plate xvi.

" Celtic

Plate XL.
C(elttr

Ornaments
FROM

BOOK OF KELLS.

Book

ST.

of Kells.

MATTHEW'S GOSPEL.
Chapter

Verse

i,

18.

XPI
ft

THE
words
for

'XPI

'Monogram' page.
The Greek
[= autem] Generatio.'
is

ft

name

the

page of the Narrative portion of

first

Gospel

Generatio.

called

Christi,

It

the

and were used

the

in

Matthew's

St.

contains the

letters

XPI stand

Latin text of the

Gospels by Celtic scribes.

In the reign of Constantine, after his conversion to Christianity,
this

Monogram

Labarum,

of our Lord

as well as

earliest Christian

was

placed upon the

>p

on many of the

Roman

coins

Roman

one of the

it is

symbols, of which numerous examples are to be

seen on the walls of the Catacombs.

It

would be impossible

exaggerate

to

the

beauty and the

elaborate ornamentation of this page, and the delicate skill with

which the

illuminations

intricate

have

been

executed.

Every

by
crowning

variety of design to be found in Celtic art has been lavished

the illuminating artist

upon

this

Monogram, which

is

the

splendour of this Gospel Book " so that," as Miss Margaret Stokes

has expressed it, " the name which is the epitome of his faith is
;

also the

epitome of his country's

The mind

is filled

art."

with amazement as one views the extraordinary

combination of extravagant human and

besque

traceries,

maze of almost
the eye.

reptile forms, intricate ara-

and geometrical designs,

incredible interlacings,

all

which

woven

together in a

fascinate

and charm

Serpents and other reptile forms, but to what species they

Book
belong

would be

it

of Kells.

difficult to conjecture

and legs elongated and interlaced

legs twisted

and knotted

with those of birds

the designer

all

human

figures with

arms and

in coils, while their bodies are intertwined

yielding to the capricious requirements of

made

are

birds with their necks

do duty

to

parts of this

as

marvellous

composition of ornament.

Along

the ascending line of the letter

outspread wings

two of these

are holding

are three angels with

books

in their hands,

while the third holds in each hand a sceptre terminating in a

In Celtic

blossoming or flower sceptres are sometimes

these

art

trefoil.

found in the hands of Christ and His angels.

In the centre of the
outline,

is

letter

P, with

placed the head of a

tion of the letter

X, emerges from

the veiled head of a

there

is

graceful and crozier-like

over the intersec-

at the top,

four centres of trumpet ornament

woman.

Between the bottom of the

the letter

man

its

a curious

letter

and the ascending

Two

group of animals.

line

of

rats are

depicted in the act of seizing the Eucharistic bread, while two cats
are

watching them.

of the

artist,

Possibly in this design there was, in the fancy

an allusion

to the

unworthy

receivers,

and the impend-

ing judgment which awaited such profanation.

Observe the bladder-shaped patterns (referred to

Plate xxxix) filling the small circles.

on Plate

They

xi.

ago

was photographed when the ms. was unbound some

hence

linear

it

was possible

who

15x12

in the process

ornaments.

to secure a

dimensions are rather

the actual size of which

measured

and xliii, are due to the

of securing the page in position for photography.

difficulty

Plate

The

clearly defined

of the border in Plate xlii, and the

slight distortion of the circles in Plates xli

years

more

on

xli.

The warped appearance

extreme

are

in the note

is

ia-g-

9f-

less

more

level surface.

than those of the original,

inches.

Probably the leaves

inches before they were reduced

by

of reduction grievously mutilated

the binder,

many of the

Plate XLI.

C[dttr

Ornaments
FROM

BOOK OF KELLS

Book

of Kells.

MONOGRAM

THIS
the

IS

AN ENLARGEMENT

letter

and numerous

PAGE.

X.

spiral

It is

filled

with a

of the upward stroke

maze of

and trumpet devices.

Notice the two angels holding books.

interlaced

of

work

Plate

C(dtu

XL II.

Ornanunts
FROM

BOOK OF KELLS.

Book

of Kells.

MONOGRAM

THIS

IS

PAGE.

AN ENLARGEMENT

of the lower portion of

the Christi page containing the letters PI.

repay a careful examination

also in the square in the

At

the

splendid

manship.

bottom of the

letter

border to the right of the same

the fine interlacings traced in vellum

are

Every part

specimens of accurate

Notice, above the

in the act of seizing a fish.

will

P, and
letter,

on a background of colour
drawing and minute work-

letter n, the

animal resembling a

rat

i^H

Plate XLIII.

Cteltu Ornaments
FROM

BOOK OF KELLS

Book

of Kells.

MONOGRAM

HIS

IS

letter

PAGE.

AN ENLARGEMENT
X.

Rubbing

has

the delicately lined ornaments.

of the outer portion of the

removed some of

the

colouring ot

Plate XLIV.

Celtic

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

MONOGRAM

THIS

IS

letter

mination.

PAGE.

AN ENLARGEMENT
X,

the

of the intersection of the

ornament of which

Although

it

is

enlarged

to

is

worthy of careful exa-

almost twice the

dimensions of the original, the drawing loses nothing of

ness.

Observe the forms of

men and

birds

its

linear

sharp-

with a profusion of

intricate interweaving.

The

veiled head of the

woman

at the top, as well as the angel

with the budding sceptres, have already been alluded to in the note

on Plate xl.
Observe in the space next to the angel, on the outside of the

upper curve of the X, a moth with outspread wings.

^"t*

Plate XLV.

Qeltu Omatiunts
FROM

BOOK OF KELLS.

Book

of Kells.

MONOGRAM
I^HIS

A FURTHER ENLARGEMENT

IS

at the intersection

ornament
the

is

of the

Notwithstanding

grace of the drawing remain

Columban

of the ornament

on the preceding

This

plate.

enlarged to about four times the linear dimensions of

original.

devotion

PAGE.

and

conscientious

school.

this

severe

test,

the accuracy

and

unimpaired, as an evidence of the

work of

the

Celtic

scribes

of the

Plate XLVI.

Qeltu

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

ABC

SMALLER ORNAMENTAL INITIALS.

O50O

(177

D
(282

(?8*)

The numbers under

the originals.

v)

E
(286 r)

v)

(105

G
(7

6 5)

(68

the letters indicate the leaves

zO

which contain

Plate XLVII.

dzltic Ornanunta
FROM

BOOK OF KELLS.

Book

of Kells.

SMALLER ORNAMENTAL INITIALS.

I
(i

39

J
8*)

*)

L
(i68r)

(162

O
(287

The numbers under

the originals.

(1*5

IN
(96

v")

r)

(i6b 9 )

the letters indicate the leaves

which contain

Plate XLVIII.
Cfsltir

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

SMALLER ORNAMENTAL INITIALS.

Q
(267^)

(309

U
(51 >-)

(46

(271 )

The numbers under

the originals.

(H* *)

f)

X
(39

z
(irO

the letters indicate the leaves

which contain

Plate XLIX.

Qeltir

Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

SMALLER ORNAMENTAL INITIALS.

ETu

DI
(247

FA
(261 r)

The numbers under

the originals.

(16+0

HI
(246

z/)

the letters indicate the leaves

which contain

Plate L.

C[ltu Ornaments
FROM

BOOK OF KELLS.

Book

of Kells.

SMALLER ORNAMENTAL LETTERS CONJOINED.

QUI
(260

v)

(96^)

Ua

Va

(101; 8 )

(joor")

The numbers under

the originals.

TUNC

the letters indicate the leaves

which contain

Plate LI.

Qeltu

Ornaments
FROM

BOOK OF KELLS

Book

of Kells.

SMALLER ORNAMENTAL LETTERS CONJOINED.

IN

MA

(257^)

(185 *)

MEMo

NA

QUI

(i6 4 r)

(257

The numbers under

the originals.

the letters indicate the leaves

which contain

mttttlittiitttttl-ttinttai

Hi

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