413:
226:
394:
375:
119:, the south of Britain came under the direct influence of continental Christianity, mainly Italian. Some Italian and Byzantine manuscripts came to the island as a result, influencing the development of Insular illumination as well. In turn, the major centres of production were concentrated first in Northumbria, then in southern England and Kent over the 7th and 8th centuries. The monasteries in these places benefited from more conditions which were more prosperous than those in Ireland as well as from the protection and patronage of the Anglo-Saxon kings. The
316:
242:
331:
745:
17:
258:
301:
353:
The earliest
Insular designs are generally images of the cross, sometimes included in a carpet page. The first representations of individuals in Insular manuscripts probably only occur as a result of the influence of works acquired from the continent. Specialists have been able to distinguish several
218:
motifs generally extend into the interlace: their heads are located at an end and occasionally the rear of the animal reappears at the other end of the interlace. In the earlier manuscripts, their character remains very schematic and it is difficult to identify specific species of animal. From the
285:
decorated in the characteristic style of
Insular illumination: the first letter is incorporated into the text and is followed by other letters whose size decreases until they reach the size of the main text. The initials themselves are decorated with curves, spirals, points and even animal heads.
192:
is the best-known motif of
Insular art. This decoration, however, is not limited to Celtic art of Insular illumination. It is also seen in some Egyptian papyrus, Byzantine and Italian works and some Anglo-Saxon works of art, like those found in the tomb at
39:
in the monasteries of
Ireland and Great Britain between the 6th and 9th centuries, as well as in monasteries under their influence on continental Europe. It is characterised by decoration strongly influenced by metalwork, the constant use of
144:
was active in southern
Germany. All these establishments helped to spread the Insular calligraphy and decorative techniques to manuscripts produced on the continent in this period. Often referred to as
225:
197:. But the use of this pattern in Insular manuscripts is almost systematic from the middle of the 7th century onwards. It can fill out the space around other types of illumination, as well as
219:
Lindisfarne
Gospels onwards, some kinds of animal begin to appear with more realism, especially dogs and predators, which recall the art of the hunt appreciated by the Anglo-Saxon elite.
241:
374:
412:
180:-like appearance, which makes it very receptive to ink and colour. This treatment was applied to both veal-skin and sheep. It enables both calligraphy and ornamentation.
512:
315:
436:
1068:
393:
257:
115:
in 635. The Irish missionaries brought their art to
Britain along with their religion. Over the course of the 6th and 7th centuries, especially after the
76:, and also manuscripts. Two types of manuscripts dominated: small format gospels to be used by preachers and missionaries or in private worship (e.g. the
330:
364:
to the Near East. Representations of humans are very schematic, with individuals on foot, usually the
Evangelists are represented without wings or
132:
travelled to the continent and contributed to the creation of several monasteries in France, Switzerland and
Northern Italy. Columbanus' disciple,
666:
1229:
1063:
1209:
1023:
300:
1041:
1011:
969:
168:
Despite the great diversity of origins of manuscripts of the
Insular style, several common characteristics can be identified.
622:
520:
481:
1029:
615:
A survey of manuscripts illuminated in the British Isles: part 1 : Insular manuscripts : 6th to the 9th century
1224:
365:
1115:
1104:
1073:
801:
368:. Sometimes their representation is limited to their symbols (lion, cow, eagle, man) depicted in a heraldic manner.
939:
659:
1214:
92:
294:
period onwards and marks the true beginning of the distinction between Insular and late antique manuscripts.
72:, mostly organised around monasteries, ordered the creation of numerous works of art, liturgical objects and
975:
855:
36:
993:
709:
307:
278:
151:
1219:
1089:
999:
897:
849:
652:
108:
1153:
1005:
963:
903:
831:
724:
446:
385:
264:
137:
69:
21:
146:
933:
879:
873:
795:
734:
699:
423:
322:
291:
744:
16:
987:
951:
915:
891:
825:
807:
618:
477:
404:
116:
1109:
981:
1143:
1121:
1017:
774:
714:
189:
81:
41:
25:
84:), and large works, reserved for the liturgical services of the monasteries (such as the
1138:
1099:
1094:
1058:
927:
909:
867:
813:
638:
341:
337:
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details of these earliest miniatures which are shared with ancient manuscripts of the
1203:
1035:
945:
921:
861:
843:
729:
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232:
209:
85:
77:
1183:
1158:
885:
837:
141:
1163:
819:
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759:
689:
675:
451:
381:
356:
202:
157:
121:
112:
104:
61:
49:
45:
600:
Celtic and Anglo-Saxon Painting: Book illumination in the British Isles 600–800
1188:
1148:
957:
779:
719:
441:
361:
287:
215:
194:
133:
129:
125:
of Lindisfarne and Iona were the most prolific at the end of the 8th century.
96:
65:
205:. Different types of interlace can be identified: simple, double, or triple.
1173:
73:
704:
517:
Le scriptorium de l'abbaye de Saint-Amand - Bibliothèque de Valencienne
419:
400:
360:
from Persia, which might have come to the British Isles as a result of
282:
248:
198:
100:
208:
Rectilinear motifs include diamonds, chequerboard patterns, clefs and
68:
in the 4th and 5th centuries AD. The new religious institutions of
1178:
602:. Chatto & Windus, London (New York: George Braziller), 1977.
177:
15:
128:
At the end of the 7th century, several Irish missionaries led by
1168:
281:(beginning of 7th century) is the oldest extant manuscript with
648:
644:
212:. Round motifs include circles, spirals, and winding helixes.
247:
Detail of the interlacing and zoomorphic decoration of a
52:. Around sixty manuscripts are known from this period.
93:
conversion of Scotland and the north of Great Britain
48:. The most celebrated books of this sort are largely
639:
L'influence insulaire sur l'enluminure carolingienne
1131:
1082:
1051:
788:
752:
682:
235:, showing interlacing and a zoomorphic spiral, f.24
156:", the manuscripts made in northern France in the
660:
437:List of Hiberno-Saxon illuminated manuscripts
160:period also show a direct Insular influence.
95:, establishing numerous monasteries, such as
8:
667:
653:
645:
263:Decoration in the form of a cat, from the
617:. London: Harvey Miller ed. p. 219.
176:The treatment of the parchment creates a
64:began after the conversion of Ireland by
468:
466:
462:
370:
296:
221:
7:
286:This type of decoration is found in
136:, took part in the foundation of an
14:
1064:Library of Trinity College Dublin
613:Alexander, Jonathan J.G. (1978).
91:The Irish monks took part in the
44:, and the importance assigned to
743:
411:
392:
373:
329:
314:
299:
256:
240:
224:
970:Clonmacnoise Crucifixion Plaque
804:(late 7th or early 8th century)
1:
1024:Shrine of Saint Lachtin's Arm
936:, (late 9th or early 10th c.)
476:, Thames & Hudson, 1995,
1042:Shrine of St Patrick's Tooth
1012:Shrine of St. Patrick's Bell
972:(late 10th or early 11th c.)
321:Detail of an initial in the
35:refers to the production of
1074:National Museum of Scotland
1030:Bell Shrine of St. Cuileáin
802:Rinnegan Crucifixion Plaque
1246:
1069:National Museum of Ireland
918:(late 8th or early 9th c.)
513:"L'Ă©cole franco-insulaire"
172:Treatment of the parchment
1230:Hiberno-Saxon manuscripts
1044:(12th & late 14th c.)
798:(late 6th or early 7th c)
741:
641:on the website of the BNF
912:(8th or 9th & 14 c.)
380:Cross integrated into a
1210:Illuminated manuscripts
976:Bell Shrine of St. Mura
201:, frames, margins, and
103:in Scotland in 563 and
37:illuminated manuscripts
1083:Notable art historians
996:(shrine: late 11th c.)
994:Cathach of St. Columba
940:Muiredach's High Cross
710:Illuminated manuscript
308:Cathach of St. Columba
279:Cathach of St. Columba
62:Insular artistic style
29:
142:St Kilian of WĂĽrzburg
28:, Cotton MS Nero D.IV
19:
1000:Clonmacnoise Crozier
898:Londesborough Brooch
856:St. Fillan's Crozier
850:Moylough Belt-Shrine
770:Insular illumination
493:Nordenfalk, p.96–107
418:The lion, symbol of
251:in the Book of Kells
138:abbey in Switzerland
33:Insular illumination
1225:Celtic Christianity
1154:Celtic Christianity
1006:River Laune Crozier
904:Derrynaflan Chalice
832:Lindisfarne Gospels
725:House-shaped shrine
586:Nordenfalk, p.19-20
568:Nordenfalk, p.16-17
550:Nordenfalk, p.13-14
541:Nordenfalk, p.14-15
502:Nordenfalk, p.25-26
447:Celtic Christianity
386:Lindisfarne Gospels
265:Lindisfarne Gospels
70:Celtic Christianity
22:Lindisfarne Gospels
960:(10th and 15th c.)
934:Prosperous Crozier
880:Monymusk Reliquary
874:Breadalbane Brooch
796:Ballinderry Brooch
735:Processional cross
700:Crucifixion plaque
598:Nordenfalk, Carl.
424:Echternach Gospels
323:Echternach Gospels
30:
1197:
1196:
1090:Raghnall Ă“ Floinn
988:Shrine of Miosach
952:Ardboe High Cross
916:Kilmainham Brooch
892:Tully Lough Cross
826:Lichfield Gospels
808:Hunterston Brooch
523:on 21 August 2011
474:Le Livre de Kells
405:Lichfield Gospels
336:Beginning of the
184:Ornamental motifs
117:Gregorian mission
1237:
964:Soiscél Molaisse
942:(9th or 10th c.)
747:
669:
662:
655:
646:
628:
587:
584:
578:
577:Nordenfalk, p.13
575:
569:
566:
560:
559:Nordenfalk, p.16
557:
551:
548:
542:
539:
533:
532:
530:
528:
519:. Archived from
509:
503:
500:
494:
491:
485:
472:Bernard Meehan,
470:
415:
396:
377:
333:
318:
303:
260:
244:
231:Detail from the
228:
155:
20:Folio 27 of the
1245:
1244:
1240:
1239:
1238:
1236:
1235:
1234:
1215:Anglo-Saxon art
1200:
1199:
1198:
1193:
1144:Anglo-Saxon art
1127:
1122:Margaret Stokes
1078:
1047:
1038:(early 12th c.)
1018:Lismore Crozier
906:(8th or 9th c.)
900:(8th or 9th c.)
894:(8th or 9th c.)
784:
748:
739:
715:Insular crozier
678:
673:
635:
625:
612:
609:
607:Further reading
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306:Initial in the
304:
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164:Characteristics
149:
82:Book of Mulling
58:
26:British Library
12:
11:
5:
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1139:Abbey of Kells
1135:
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1129:
1128:
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1125:
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1113:
1107:
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1100:Griffin Murray
1097:
1095:Peter Harbison
1092:
1086:
1084:
1080:
1079:
1077:
1076:
1071:
1066:
1061:
1059:British Museum
1055:
1053:
1049:
1048:
1046:
1045:
1039:
1033:
1032:(late-11th c.)
1027:
1021:
1015:
1014:(c. 1094–1105)
1009:
1008:(late 11th c.)
1003:
1002:(late 11th c.)
997:
991:
985:
979:
973:
967:
966:(c. 1001–1011)
961:
955:
949:
948:(c. 9–11th c.)
943:
937:
931:
928:Book of Armagh
925:
919:
913:
910:Domnach Airgid
907:
901:
895:
889:
883:
877:
871:
868:Ruthwell Cross
865:
859:
853:
847:
841:
838:Ardagh Chalice
835:
829:
823:
817:
814:Book of Durrow
811:
805:
799:
792:
790:
786:
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633:External links
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342:Book of Durrow
338:Gospel of Mark
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1110:Máire de Paor
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1036:Cross of Cong
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982:Breac MaodhĂłg
980:
977:
974:
971:
968:
965:
962:
959:
956:
953:
950:
947:
946:Kells Crozier
944:
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938:
935:
932:
929:
926:
923:
922:Book of Kells
920:
917:
914:
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902:
899:
896:
893:
890:
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881:
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875:
872:
869:
866:
863:
862:Book of Dimma
860:
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854:
851:
848:
845:
844:Rogart Brooch
842:
839:
836:
833:
830:
827:
824:
821:
818:
815:
812:
809:
806:
803:
800:
797:
794:
793:
791:
787:
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780:Triple spiral
778:
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771:
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766:
763:
761:
758:
757:
755:
751:
746:
736:
733:
731:
730:Pictish stone
728:
726:
723:
721:
718:
716:
713:
711:
708:
706:
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701:
698:
696:
695:Celtic brooch
693:
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233:Book of Kells
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107:, founded by
106:
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99:, founded by
98:
94:
89:
87:
86:Book of Kells
83:
79:
78:Book of Dimma
75:
71:
67:
63:
55:
53:
51:
47:
43:
38:
34:
27:
23:
18:
1184:Scottish art
1159:Clonmacnoise
984:(c. 11th c.)
886:Stowe Missal
822:(c. 710-750)
769:
614:
599:
582:
573:
564:
555:
546:
537:
525:. Retrieved
521:the original
516:
507:
498:
489:
473:
399:Portrait of
355:
352:
276:
214:
207:
203:carpet pages
187:
175:
167:
147:Franco-Saxon
127:
120:
90:
59:
50:gospel books
32:
31:
1220:Insular art
1179:Pictish art
1164:English art
1105:Rachel Moss
1052:Collections
888:(after 792)
820:Tara Brooch
765:Celtic knot
760:Carpet page
690:Bell shrine
676:Insular art
527:23 February
452:Insular art
382:carpet page
357:Diatessaron
210:Greek frets
158:Carolingian
150: [
113:Northumbria
105:Lindisfarne
46:calligraphy
42:interlacing
1204:Categories
1189:Viking art
1149:Celtic art
958:Corp Naomh
753:Techniques
720:High cross
624:0905203011
593:References
482:2878110900
442:Celtic art
362:pilgrimage
349:Miniatures
288:Celtic art
216:Zoomorphic
195:Sutton Hoo
134:Saint Gall
130:Columbanus
122:scriptoria
97:Iona Abbey
66:St Patrick
1174:Irish art
1124:(d. 1900)
1118:(d. 1866)
1112:(d. 1994)
1026:(c. 1120)
1020:(c. 1100)
990:(11th c.)
978:(11th c.)
954:(10th c.)
775:Interlace
484:, p. 9-10
290:from the
190:interlace
74:vestments
930:(9th c.)
924:(9th c.)
882:(8th c.)
876:(8th c.)
870:(8th c.)
864:(8th c.)
858:(8th c.)
852:(8th c.)
846:(8th c.)
840:(c. 750)
834:(c. 730)
828:(c. 730)
816:(c. 700)
810:(c. 700)
789:Examples
431:See also
283:initials
273:Initials
267:, f.139r
199:initials
80:and the
1132:Related
705:Cumdach
420:St Mark
403:in the
401:St Luke
384:in the
340:in the
292:la Tène
249:Chi-Rho
101:Columba
56:History
621:
480:
366:nimbus
683:Types
458:Notes
178:suede
154:]
109:Aidan
1169:Iona
619:ISBN
529:2012
478:ISBN
277:The
188:The
140:and
60:The
111:in
88:).
1206::
515:.
465:^
422:,
152:fr
24:,
668:e
661:t
654:v
627:.
531:.
145:"
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