Images from World History:
Carolingian Era: Iro-Frankish and Anglo-Frankish art
Miniatures
1. Victor Codex. Tatian ms: 547. (Fulda: Lib. Codex Bonifacius 1). Irish hand, 8th c. A.D. The Codex was originally
owned by Boniface. Boniface was an English missionary monk in Frankia and a major architect of the new
Carolingian order. This entailed the destruction of the incipient Irish Church in Germany from a base in Fulda,
and the elimination of Gallo Roman bishops in the West. They were replaced by Frankish warrior bishops who
were organized within in a hierarchical Church institution headed by a "New Moses/David" whom Boniface
eventually arranged to have crowned as king. Since the Gallo-Roman aristocratic bishops were the main
perpetuators of Romanitas, this revolution ended what little was left of Roman culture. But at the
same time, the hierarchical structure that replaced the Roman tradition of aristocratic anarchy prepared the
way for the cultural synthesis that eventually took place within the court "school" of Charlemagne and his son,
Louis the Pious.
2. Incipit from the Evangelary of Saint Mary and the Martyrs, Trier: Mark Incipit. 9th c. A.D. (Trier: Stadt.
Bibl Cod. 231 f. 6). Typical Irish colors and interlacing. The letters are still Roman majuscule rather than
Carolingian miniscule.
3. Miniature and incipit from Cadmug Evangelary, 800-833 A.D. Iro-Fulda school. (Fulda Lib. Codex Bonif. 3).
Missionary monks, such as the Irish Cadmug, would have made small evengelaries they could stick in a pocket
for travelling. These works, most of which have been lost, stand in contrast with the large Bibles with
richly ornate covers used in churches. The hair that looks like a wig and feet projecting beyond the frame
are Irish stylizations.
4. Incipit of the Gospel according to Saint Mark from the Halberstadt Gospel. Anglo-Frankish school, 9th c. A.D.
Note the dot decoration, interlacing, and the zoomorphs.
5. Incipit, possibly from Saint Pantalion, Cologne, from the Gospel according to Luke: "Quonia[m Quidem],"
from the Gospel according to Luke. 9th c. A.D. (Koln: Stadtarchiv. Nr. 147 f67v). 27x21.6 cm.
Metalwork
1. Front binding from the Four Gospels, St. Gall. 9th c. A.D..
2. Back cover of the Four Gospels, from Saint Gall. 9th c. A.D. Except the four evangelists in the corners,
reflects the Irish aesthetic.
2. Incipit from the Evangelary of Saint Mary and the Martyrs, Trier: Mark Incipit. 9th c. A.D. (Trier: Stadt.
Bibl Cod. 231 f. 6). Typical Irish colors and interlacing. The letters are still Roman majuscule rather than
Carolingian miniscule.
3. Miniature and incipit from Cadmug Evangelary, 800-833 A.D. Iro-Fulda school. (Fulda Lib. Codex Bonif. 3).
Missionary monks, such as the Irish Cadmug, would have made small evengelaries they could stick in a pocket
for travelling. These works, most of which have been lost, stand in contrast with the large Bibles with
richly ornate covers used in churches. The hair that looks like a wig and feet projecting beyond the frame
are Irish stylizations.
4. Incipit of the Gospel according to Saint Mark from the Halberstadt Gospel. Anglo-Frankish school, 9th c. A.D.
Note the dot decoration, interlacing, and the zoomorphs.
5. Incipit, possibly from Saint Pantalion, Cologne, from the Gospel according to Luke: "Quonia[m Quidem],"
from the Gospel according to Luke. 9th c. A.D. (Koln: Stadtarchiv. Nr. 147 f67v). 27x21.6 cm.
1. Front binding from the Four Gospels, St. Gall. 9th c. A.D..
2. Back cover of the Four Gospels, from Saint Gall. 9th c. A.D. Except the four evangelists in the corners,
reflects the Irish aesthetic.