(for images of the Lindisfarne Gospels, see the British Library's virtual exhibition "Turning the Pages")

Traditional date is 698 - though Michelle Brown has suggested a slightly later date (715-720)
(associated with the translation of St. Cuthbert's relics)
(probably written and illuminated by Bishop Eadfrith, r. 698-721; bishop or abbot as craftsman is common)
(text combines languages and letter forms - combination of capital letters with half uncial)
(includes Greek, Latin, Old English and runic-looking letters)
(tension between Roman vs. insular style - e.g., pattern on Matthew's drapery is not naturalistic, artist was not interested in capturing this aspect of classical art; on the other hand, however, artist *was* interested in using color creatively)
(provenance could be Irish, English, Pictish (northern Scottish)? unsure

Book of Durrow - c. 640-650
Lindisfarne Gospels - c. 700 (covered in 19th century)
Book of Kells - c. 800

Lindisfarne is heavily decorated and the more important the passage, the more greatly decorated the initial letter is
(Anglo-Saxons have a tradition of turning words into icons via the historiated initial)

One of the book's major themes is the order and harmony of the Gospels

Michelle Brown has argued for a Coptic influence on this Gospel book and sees influence from Coptic metalwork
(yet there is no established connection between Egypt and Anglo-Saxon England)
(you do, however, find a connection between the Copts and the Merovingians - as well as other societies - but it is very difficult to identify the intermediary between Egypt and England)
(interesting to note that the color combination of red, orange and green is characteristic of Coptic art - though it is also characteristic of Merovingian art)

Note the images within images - e.g. crosses within animal ornamentation

Why are parts of the Matthew carpet page not finished? Possible explanations include:
1. Janet Backhouse: need for some imperfections since only God is perfect
2. Brown says these parts were where gold leaf would have been filled in. The problem with this explanation, however, is that gold would have been used *first* because it is difficult to control
3. another suggestion is that Eadfrith died before the work was finished and no one dared to finish it for him

How to interpret the various crosses in the book?
1. simply decoration?
2. particular crosses have particular meanings?
3. function as prayer labyrinths?
4. architectural plans or are symbolic of church buildings?
5. symbolic prayer mats
(again, note the riddle-like nature of Anglo-Saxon art!)

Brown has suggested that the northern English community that produced this book was consciously trying to draw on the traditions of the far-flung churches of the post-Roman world (Egypt, Byzantine, Roman, etc. - an expression of multiculturalism)

Who is the guy behind the curtain?
1. Christ?
2. Moses?
3. God?
4. St. Cuthbert?
5. St. Jerome? (suggestion due to the emphasis on his Vulgate in the prefatory material)

Many thanks to Catherine Karkov for the knowledge she generously shared.