Lindisfarne, the island art of illumination Like the Book of Kells , the Lindisfarne Gospel Book is one of the finest illuminated manuscripts of the early Middle Ages. It was made at the monastery of Lindisfarne on an island north of what is now England in the late 7th century by a monk named Eadfrith , who later became Bishop of Lindisfarne. Comprised of over 250 vellum leaves, the manuscript contains the texts of all four Gospels in Latin. It is a stunning example of the strength of the Christian faith during one of the most turbulent periods in British history. A few additions in the 10th century On various folios, textual elements are noted between the lines of the original text. These are additions written in an Old English language by Aldred (Provost of Chester-le-Street) in the mid-10th century, in order to make the content more accessible to the English-speaking community. The scribes also added colophons to indicate the circumstances of their work (place, date, price of the manuscript, etc.). Aldred's colophon indicates that the gospels were written by Eadfrith, the original binding was provided by Ethelwald (Eadfrith's successor) and the exterior ornamentation was done by Billfrith, a anchorite of Lindisfarne. He also states that the Gospels were created for God and Saint Cuthbert. Saint Jerome Folios 2v and 3 The first of the five large decorated openings of the manuscript introduces the letter that Saint Jerome addressed to Pope Damasus, at whose request he revised the text of the Latin Bible at the end of the 4th century. The frontispiece incorporates a cross. It faces the introductory page bearing a richly decorated initial (N), introducing the Latin word "Novum" (new). Canon Table Folio 11 One of the sixteen pages of Canon tables in the Lindisfarne Manuscript. The Canon Table system is a concordance device invented to indicate which passages are shared across different gospels. It shows, for example, whether a particular passage in the Gospel of Matthew also appears in Mark, Luke, and John. Saint Matthew Folio 19 Each of the four Gospels is preceded by an introductory text that is not part of the biblical text. These passages are distinguished by small groups of decorative capital letters, which incorporate ornamentation. Here we clearly see Aldred's interlinear translation of the original Latin text into Old English. Folio 25v Each of the four evangelists is depicted in a full-page illumination at the beginning of his Gospel. Saint Matthew is represented accompanied by his traditional symbol, the figure of a man, and by a second figure placed behind a curtain. Folios 26v and 27 The carpet page at the beginning of the Gospel of St. Matthew is perhaps the best-known in the Lindisfarne manuscript. It is a remarkable example of multi-colored interlacing composition. On the opposite page, the Gospel opens with the Latin words: "Liber generationis iesu christi" (the book of the generation of Jesus Christ). Folio 29 The Gospel of Saint Matthew includes a second main page, marking the beginning of the story of Jesus' birth. The first three lines contain the words: "Christi autem generatio sic erat." This can be translated as "these are the circumstances in which Jesus Christ came into the world." Enjoy all the details of this illumination by downloading the high-definition version DOWNLOAD Saint Mark Folio 90 The preliminary text of the Gospel of Saint Mark opens with the name of the evangelist. The initial letter and the capital letters that make up the first name are set within a regular pattern of red dots, enriched with various decorative motifs. Folio 93v The second evangelist, Saint Mark, is here accompanied by his traditional symbol, a lion. Like Matthew, he is depicted in clothing apparently copied from a late classical model. In this illumination, the lion is painted more realistically than in most medieval animal depictions. The golden color of its fur also suggests a good knowledge of the beast. Folios 94v – 95 In designing this opening page of St. Mark's Gospel, Eadfrith relied heavily on a variety of purely linear motifs. On the page containing the initial letter, different decorative techniques alternate inside and around the outlines of the letters and margins. Saint Luke Folio 137v The third evangelist, Saint Luke, is represented by his traditional symbol, a bull (or young calf) . He sits in the same position as that adopted for St. Matthew and, like him, wears a beard. Folios 138v – 139 The cross-carpet page that introduces the Gospel of Saint Luke makes only limited use of animal ornamentation and appears overall more geometric than the previous ones. On the right-hand page, the Gospel opens with the words "Quoniam quidem multi conati sunt ordinare narrationem" (Many having undertaken to put the narrative in order). Folio 143v This folio is an example of a typical page from the Gospel of Luke. The regular script of Aldred's gloss appears in red between the lines of the original text. Saint John (reading list) Folio 208 This page is one of the few on which Eadfrith's original handwriting can be admired. It is, in fact, almost entirely untouched by the annotations added by Aldred in the 10th century. The text provides details on certain passages that should be read on specific feast days. One can admire a confident and remarkably regular handwriting. This particular style of writing, designed for formal use (writing official and sacred texts), is known as " insular capital " or "semi-uncial." Folio 209v Of the four evangelists, only Saint John is depicted facing forward, his gaze directed toward the reader. He is not writing, but appears to be expounding the contents of his scroll. He is accompanied by his traditional symbol, the eagle. Folios 210v – 211 This carpet page and the initial letter introducing the Gospel of John are the last illuminations in the Lindisfarne manuscript. They are exceptionally rich and complex, utilizing the various elements of Eadfrith's decorative vocabulary in a sort of final flourish of ornamentation. Colophon Folio 259 On the last page of the manuscript, much of the second column of text was originally left blank. Here Aldred decided to add a substantial Old English inscription detailing the story of the Gospels. The names he gives can all be found in other historical sources.

This short video from the University of Sherbrooke (Canada) explores the social and religious representation of women through the art of illumination.   Through the richness of their illuminations, manuscripts offer us a vast field of study regarding religious and social representations in the medieval world. What can their pages illuminated with precious miniatures and the rich ornamentation of their margins teach us? Illumination artist Sylvie Poirier is currently writing a dissertation analyzing religious and social representations of women in French Romano-Gothic illumination, under the direction of Professor Patrick Snyder. Report by Vicky Gauthier and Michel Caron

Created around 800 AD, the Book of Kells – which depicts the four Gospels of the New Testament – ​​is undoubtedly the major work of Insular illumination and one of the most remarkable remains of medieval religious art. THE Book of Kells or the eventful history of an exceptional manuscript This magnificent work, whose sponsor remains unknown, is said to have been created by monks from the monastery of Iona, on a small island to the southwest of Scotland (but there are other hypotheses ). The Viking invasions, whose primary objective was to plunder villages and monasteries most likely precipitated the monks' decision to leave the island and go to Ireland (to the abbey they would found at Kells) to protect the "Book" (then unfinished), which, as you will have understood, would give it its name. THE Annals of Ulster (which record medieval Irish history) report that the Book of Kells (referred to as “the most precious object in the Western world”) was stolen around 1007 and found some time later, … buried in a ditch! Surprisingly, the book is intact, but "lightened" of its precious cover encrusted with gold and precious stones (which naturally sheds light on the motive for the crime). The manuscript remained in the monastery until 1654, when a new problem arose: Oliver Cromwell. Book of Kells. Monogram of Christ on the page known as the "Chi-Rho," which opens the Gospel of Saint Matthew. Incipit of the Gospel of Saint John (folio n°292) Cromwell was a British Protestant soldier who landed in Ireland in 1649 in the context of a civil war (originally "the War of the Three Kingdoms "). The Irish Confederate Wars brought together the Kingdoms of Scotland and Ireland, which wished to emancipate themselves from the Kingdom of England. Cromwell set himself the task of embodying the opposition to King Charles I. He succeeded and eventually had the king brought before an extraordinary court, which condemned the sovereign to death. Oliver Cromwell, buoyed by this political success that propelled him to the status of a symbol, began a series of battles and sieges aimed squarely at Irish Catholics. The result was a massacre: the Irish population was divided by 2.4. British hegemony was established. New settlers invaded the area and religious and political oppression took hold, leading the Irish people into historically famous misery and famine. In this context, the monks of Kells sent the precious Gospel book to Dublin where it was presented in 1661 to Trinity College, which then asked permission to keep it. The Book of Kells has since been kept at the University of Dublin (the oldest university in Ireland) where it was exhibited at the very beginning of the 19th century. century. What does it contain? the book of Kells? Answer: the four Gospels (the first and main source of information on the life and ministry of Jesus) and a wealth of remarkable illuminations! The iconography of Christian literature often represents the evangelists (Matthew, Mark, Luke and John). The Book of Kells is no exception to the rule, but their graphic representation is part of the symbolism known as the "Tetramorphs", that is to say under the figurative form inspired by the vision of Saint John, which finds its origin in that of Ezekiel (Old Testament prophet). It illustrates both the qualities attributed to Christ and the editorial articulation of the evangelists. Saint Matthew Matthew was the first of the apostles: “As he passed by, he saw Levi, son of Alphaeus, sitting at the tax office. He said to him, “Follow me.” The man got up and followed him” (Gospel of Jesus Christ according to Saint Mark – Chapter 2 – Verse 14). Considered the author of the very first Gospel (which he begins with the genealogy of Jesus), Matthew (or Levi) appears in the Book of Kells in the form of a man . He symbolizes the humanity of Jesus (his birth and his incarnation). Saint Mark One of the first verses of Mark's Gospel depicts a desert setting. At that time, the lion was still present in Palestine, particularly near the Jordan River, where Jesus was baptized by John. Marc in his figure of the lion is the illustration of the strength . In the Bible, the lion evokes the messiah (Rev 5:5: "The lion of the tribe of Judah, the descendant of King David, has won the victory"). In the Book of Kells, all the representations of the evangelists have wings and a halo (symbolizing spiritual elevation and holiness respectively). Saint Luke Luke begins his Gospel in the temple with the announcement of the angel Gabriel to Zechariah and then to Mary (the Annunciation). It was also in the temple that animals were sacrificed (as an offering) bulls farewell. It exists other explanations , but I will retain this one: the illustration of his power of work. Depicted in this way, Luke represents both the sacrifice offered to God by Christ, and his involvement in the writing of the Gospel and in that of the Acts of the Apostles. Saint John If John takes the symbol of the eagle , this is probably due to the height of the analysis he demonstrates in the very writing of his gospel. It appears very clearly that the gospel of John is different from the other three. Many passages in the Gospels of Matthew, Mark, and Luke overlap in their themes and shared episodes. But John does not address the nativity or genealogy of Christ. Nor is there an account of Jesus' temptation or baptism. John focuses on revealing Jesus' identity and emphasizes that he is much more than just a prophet. Who made it these illuminations? Examination of this work by the most eminent specialists in their field reveals at least three artists (master illuminators): a goldsmith (author of the opening pages of the Gospels), an illustrator, and a portraitist. They were undoubtedly not the only ones to contribute to this masterful achievement. It has even been hypothesized that the nine apostles depicted on the left of folio 202, illustrating the temptation of Christ by Satan (opposite), are in fact the authors of the book! What is eminently remarkable about the Book of Kells is the precision and finesse of the lines that make up its various illuminations. Some pages contain details almost invisible to the naked eye. However, the invention of the magnifying glass did not appear until the 13th century (magnifying glasses of Roger Bacon ). The authors of this work must therefore have had excellent eyesight! The completion of the 680-page Book of Kells took nearly 30 years. Many questions will remain (probably for a long time) about the mysteries of its creation.