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."

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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.