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106:. However Walter Cahn sees the instructions as far more detailed than would be needed for that. Whether original or not, the images are "the fruit of what we must imagine to have been a thoroughly rationalized and quasi-industrial method of production", in "a stable craft with settled routines". They are painted in "an illusionistic style with an emphasis on imperial imagery" (Saul and David are dressed as emperors in military costume), and gold is used for highlights and the
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20 “But I did obey the Lord,” Saul said. “I went on the mission the Lord assigned me. I completely destroyed the
Amalekites and brought back Agag their king. 21 The soldiers took sheep and cattle from the plunder, the best of what was devoted to God, in order to sacrifice them to the Lord your God at
97:
Much of the paint surface is lost revealing the underlying writing that gives instructions to the artist who would execute the pictures, such as: "Make the tomb Saul and his servant stand and two men, jumping over pits, speak to him and . Make Saul by a tree and servant to him, one carrying three
207:
17 Samuel said, “Although you were once small in your own eyes, did you not become the head of the tribes of Israel? The Lord anointed you king over Israel. 18 And he sent you on a mission, saying, ‘Go and completely destroy those wicked people, the
Amalekites; wage war against them until you have
165:
in some scenes, the start of what was to become a very common feature in religious art for the next thousand years. But in many respects, the mosaics look (at the expense of visibility, given their high placement) like enlarged miniatures, just as the miniatures of both manuscripts draw on the
84:
The illustrations are grouped in framed miniatures occupying an entire page, with between two and five miniatures per page, with the corresponding text being on the other side of the pages; there are fourteen miniatures in total. One folio contains only text. The illustrations, although much
153:), which, with some specific details of the illustrations, leads scholars to postulate an earlier tradition of Jewish luxury manuscripts, perhaps in scroll format, in the Hellenized Jewish world. The Books of Kings feature strongly in the uniquely extensive wall-paintings of the
160:
The figures have landscape backgrounds, "atmospheric, autumnal settings, with softly shaded skies of pink and light blue", that are "very close" to those of the
Vergilius Vaticanus, whereas the Santa Maria Maggiore mosaics see the beginning of the use of a plain
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The full extent of the original manuscript is not known. Some of the episodes illustrated are very minor, suggesting that the whole manuscript may have been illustrated at this density, which is greater than any later
Biblical manuscript; according to
36:
124:"It staggers the imagination to picture what a fully illustrated manuscript of the two books of Samuel and the two books of Kings must have looked like". The style suggests it may have been made by the same workshop responsible for the
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24 Then Saul said to Samuel, “I have sinned. I violated the Lord’s command and your instructions. I was afraid of the men and so I gave in to them. 25 Now I beg you, forgive my sin and come back with me, so that I may worship the
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editions of the classics and who shared many of the same cultural values". The other very early illustrated biblical manuscripts that have survived are similar densely illustrated texts of specific books from the
98:
goats, one a wine-skin." This suggests that the programme of images was newly devised for this volume, rather than merely copying an earlier work. This, the usual conclusion, was disputed by
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22 But Samuel replied: “Does the Lord delight in burnt offerings and sacrifices/ as much as in obeying the Lord?/ To obey is better than sacrifice,/ and to heed is better than the fat of rams.
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15 Saul answered, “The soldiers brought them from the
Amalekites; they spared the best of the sheep and cattle to sacrifice to the Lord your God, but we totally destroyed the rest.”
73:
The fragments were found from 1865 onwards (two in 1865, two in 1867, one in 1887) re-used in the bindings of different books that had been bound in the 17th century in the town of
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23 For rebellion is like the sin of divination,/ and arrogance like the evil of idolatry. Because you have rejected the word of the Lord,/ he has rejected you as king.”
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33 But Samuel said, “As your sword has made women childless, so will your mother be childless among women.” And Samuel put Agag to death before the Lord at Gilgal.
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30 Saul replied, “I have sinned. But please honor me before the elders of my people and before Israel; come back with me, so that I may worship the Lord your God.”
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of the Old
Testament. It was probably produced in Rome in the 420s or 430s. It is the oldest surviving illustrated biblical manuscript and has been in the
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26 But Samuel said to him, “I will not go back with you. You have rejected the word of the Lord, and the Lord has rejected you as king over Israel!”
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32 Then Samuel said, “Bring me Agag king of the
Amalekites.” Agag came to him in chains. And he thought, “Surely the bitterness of death is past.”
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28 Samuel said to him, “The Lord has torn the kingdom of Israel from you today and has given it to one of your neighbors—to one better than you.
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Williams, 99 and Cahn, 22 thinks the designs are original, the latter describing
Kitzinger's view in a different work from that cited here.
132:. According to Kitzinger: "Evidently this book was commissioned by a patron who belonged to the same social stratum as the sponsors of
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510:
51:(Berlin, Staatsbibliothek Preußischer Kulturbesitz, Cod. theol. lat. fol. 485) is a fragment of six folios from a large 5th-century
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29 He who is the Glory of Israel does not lie or change his mind; for he is not a human being, that he should change his mind.”
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wiped them out.’ 19 Why did you not obey the Lord? Why did you pounce on the plunder and do evil in the eyes of the Lord?”
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Kitzinger, 68-72 (fullest comparison with the mosaics and Virgil MS); Weitzmann, 15, 40 (quoted); Williams, 99; Cahn, 22
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16 “Enough!” Samuel said to Saul. “Let me tell you what the Lord said to me last night.” “Tell me,” Saul replied.
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14 But Samuel said, “What then is this bleating of sheep in my ears? What is this lowing of cattle that I hear?”
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13 When Samuel reached him, Saul said, “The Lord bless you! I have carried out the Lord’s instructions.”
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Byzantine art in the making: main lines of stylistic development in
Mediterranean art, 3rd-7th century
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27 As Samuel turned to leave, Saul caught hold of the hem of his robe, and it tore.
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Age of spirituality: late antique and early
Christian art, third to seventh century
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The fragment includes a full page with four miniatures illustrating the episode at
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script", while the instructions to the artist are in "an eccentric Roman cursive".
56:
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since 1875-76. The pages are approximately 305 x 205 mm large.
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Quedlinburger Itala-miniaturen der Königlichen bibliothek in Berlin
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another name is 1 King (there are several names for the same book)
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The Quedlinburg Itala: The oldest Illustrated Biblical Manuscript
433:. Chatto & Windus, London (New York: George Braziller) 1977.
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31 So Samuel went back with Saul, and Saul worshiped the Lord.
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or captions to the images. The text is in a "superior
391:, Ithaca, New York: Cornell University Press, 1982,
405:. Ithaca, New York: Cornell University Press, 1983.
431:Late Antique and Early Christian Book Illumination
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85:damaged, are done in the illusionistic style of
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440:, 2002, Penn State University Press, 2002,
182:from the Quedlinburg Itala fragment (again)
31:fragment (the text illustrated given below)
313:Williams, 99 (quoted); Kitzinger, 68, 71
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467:Open Library Online text (in German)
403:Illuminated Books of the Middle Ages
128:, and has links with the mosaics of
543:5th-century illuminated manuscripts
375:, related to images by Cahn, 21-22
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487:Early Christian and Byzantine Art
538:Illuminated biblical manuscripts
501:(online as PDF), no. 424, 1979,
473:Die Quedlinburger Italafragmente
438:Imaging the Early Medieval Bible
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389:Romanesque Bible Illumination
16:Bible fragment of 6th century
482:. Leiden: E.J. Brill, 1985.
166:styles of larger paintings.
415:, 1977, Faber & Faber,
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503:Metropolitan Museum of Art
471:H. Degering - A Boeckler,
178:Scenes from Chapter 15 of
23:Scenes from Chapter 15 of
423:(US: Cambridge UP, 1977),
558:Vetus Latina manuscripts
62:translation of parts of
436:Williams, John (ed),
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157:from the 3rd century.
155:Dura-Europos Synagogue
53:illuminated manuscript
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548:Late Roman Empire art
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27:from the Quedlinburg
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489:, Phaidon, 57-59 pp.
130:Santa Maria Maggiore
68:Berlin State Library
553:Early Christian art
401:Calkins, Robert G.
126:Vergilius Vaticanus
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478:Levin, Inabelle.
448:, 9780271021690,
282:Calkins, 21; also
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79:Quedlinburg Abbey
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39:A text page
532:Categories
446:0271021691
421:0571111548
397:0801414466
382:References
367:Text from
190:15:13-33:
77:, home of
57:Old Latin
304:Cahn, 22
212:Gilgal.”
188:1 Samuel
180:1 Samuel
64:1 Samuel
49:fragment
25:1 Samuel
495:, ed.,
134:de luxe
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222:Lord.”
114:uncial
109:tituli
104:scroll
55:of an
252:Notes
59:Itala
47:Itala
29:Itala
507:ISBN
442:ISBN
417:ISBN
393:ISBN
43:The
523:SSB
369:NIV
534::
429:.
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297:^
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89:.
145:(
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