602:
22:
593:
support the caption, admit the scene could not be so identified without it. The caption reads:"Ihs dixit vulpes fossa habent", a paraphrase of the start of Luke 9, 58 (and
Matthew 8, 20): "et ait illi Iesus vulpes foveas habent et volucres caeli nidos Filius autem hominis non habet ubi caput reclinet" – "Jesus said to him: The foxes have holes, and the birds of the air nests: but the Son of man hath not where to lay his head." The image shows Jesus blessing a bent figure, which could match the quotation, or a miracle.
468:
317:
294:("Old Latin") text used by Christians in the Roman Empire. A 1933 analysis of the St Augustine Gospels by Hermann Glunz documented around 700 variants from the standard Vulgate: most are minor differences of spelling or word order, but in some cases the scribe chooses readings from the Vetus Latina. This supports the St Augustine connection, as
1510:
386:
historian, the figures in the small scenes have "a linear form which we immediately perceive to be medieval" and "are no longer paintings, but tinted drawings. The same tendency is exhibited in the treatment of the architecture and ornament; the naturalistic polychrome accessories of a manuscript like the
899:
documents pertaining to the abbey are a land charter in the name of
Wulfric, abbot of St Augustine's (989–1005) and a twelfth-century list of holy relics kept in the abbey which include fragments of the Virgin Mary's cloak and the True Cross, the hair of St. Cecilia, and a finger of St. Gregory the Great.
898:
De Hamel (2016), p.18 The first abbey-related entry is in a tenth-century Old
English hand – the ninth-century bequest of Ealhburg, who, in exchange for the monks' daily singing of psalm 20 on behalf of her husband, granted the abbey various products from her estate at Bradbourne, Kent. Among other
385:
The miniatures have moved further from classical style than those in the Greek manuscripts, with "a linear style which not only flattens the figure, but begins to develop a rhythmic quality in the linear design which must be seen as the beginning of a process of intentional abstraction". For another
227:
in the 10th century, when the first of several documents concerning the Abbey were copied into it. In the late Middle Ages it was "kept not in the
Library at Canterbury but actually lay on the altar; it belonged in other words, like a reliquary or the Cross, to Church ceremonial". The manuscript was
592:
text of Luke identifying them. For example, the top right caption reads: "legis peritus surrexit temptans illum" or " lawyer stood up, tempting him", from Luke 10, 25. The caption two below this one may misidentify the scene depicted, according to Carol Lewine. Even those, like
Francis Wormold, who
402:
that developed from the 7th century onwards (with
Canterbury as a major centre), all comments by art historians have necessarily been speculative. It is clear from the variety of styles of evangelist portraits found in early Insular manuscripts, echoing examples known from the Continent, that other
328:
for all four
Evangelists, preceding their gospel, a usual feature of illuminated Gospel books, and at least three further pages of narrative scenes, one following each portrait page. Only the two pages preceding Luke have survived. However the surviving total of twenty-four small scenes from the
821:
435:
of a Roman theatre – a common convention for Late
Antique miniatures, coins and Imperial portraiture. The pose with the chin resting on a hand suggests an origin in classical author portraits of philosophers – more often evangelists are shown writing. Above a
397:
has often been raised, though in view of most of the presumed picture pages of this manuscript now being lost, and the lack of knowledge as to what other models were available to form the
Continental post-classical aspects of the
415:. In general, though evangelist portraits became a common feature of Insular and Anglo-Saxon Gospel books, the large number of small scenes in the Augustine Gospels were not seen again until much later works like the
680:, the Passion scenes show an emphasis on the suffering of Christ that was probably influenced by the art of the Eastern Empire and shows the direction Western depictions were to follow in subsequent centuries.
652:
might well have completed the
Passion and Resurrection story, and two others covered the earlier life of Christ. The scenes around Luke's portrait notably avoid the major episodes in Christ's life such as his
483:), are set between columns in the architectural frame to the portrait. This particular arrangement is unique in surviving early evangelist portraits, though similar strips of scenes are found in
1081:
1069:
Alexander, J. J. G., Insular Manuscripts, 6th to the 9th Century, Survey of Manuscripts Illuminated in the British Isles 1 (London, 1978) – see comments on Parker Library Bibliography below.
1580:
772:
from Luke demonstrates one of the reasons why scenes from the period of Christ's ministry became increasingly less common in medieval art. Another reason for this was the lack of
210:
have been suggested as the place of creation. It was certainly in England by the late 7th or early 8th century when corrections and additions were made to the text in an
1271:
According to Wormald in the Cambridge History cited above, the "parable of the fig tree" (Luke 13, 6–9), which precedes the miracle of the bent woman (Luke 13, 11–13).
601:
21:
1585:
1024:
Weitzmann, 18–19, Beckwith, 143. Other writers think the full complement of two pages, a portrait and a grid of scenes from the gospel, preceded each gospel.
588:
The captions in the margins, added later, probably in the 8th century from the handwriting, name the scenes or are quotations or near-quotations from the
256:
by the Parker librarian of Corpus for each ceremony. The Augustine Gospels have also been taken to Canterbury for other major occasions: the visit of Pope
768:
were to remain very common in large narrative cycles throughout the Middle Ages and beyond. The difficulty of identifying many of the episodes of the
560:"...a certain woman from the crowd, lifting up her voice, said to him..." (right 2nd down, Luke 11, 27–28): "extollens vocem quaedam mulier de turba".
419:, made in the 12th century in Canterbury, which has prefatory pages with small narrative images in grids in a similar style to the Augustine Gospels.
260:
in 1982, and the celebrations in 1997 for the 1,400th anniversary of the Gregorian mission. In 2023 the Gospels were carried in the procession at the
1117:
1250:(Luke 9, 10–17). Similar round loaves piled on an apostle appear in the depiction of this scene in the Rossano Gospels (Schiller, Vol 1, fig. 479.
1078:
1522:
Alexander, J. J. G., Insular Manuscripts, 6th to the 9th Century, Survey of Manuscripts Illuminated in the British Isles, Vol 1 (London, 1978).
264:. As far as is known it is the first time they have been used in a coronation. The book was open at the page with the portrait of Saint Luke.
229:
1413:
1231:
1200:
1176:
962:
557:"...And behold a certain lawyer stood up, tempting him and saying, Master, what must I do to possess eternal life?" (right, top: Luke 10, 25)
261:
431:
survives (Folio 129v). He is shown sitting on a marble throne, with a cushion, in an elaborate architectural setting, probably based on the
1154:
673:
648:. However at least two further such pages once existed, at the start of other Gospels. Luke is the third gospel, so a panel preceding the
1211:
224:
1180:
618:
124:
105:
1478:
1464:
1436:
1389:
1223:
1192:
1168:
954:
460:(Book 1, line 357): "Iura sacerdotii Lucas tenet ore iuvenci" – "Luke holds the laws of priesthood in the mouth of the young bull" (
85:
66:
1446:
Vulpes Fossa Habent or the Miracle of the Bent Woman in the Gospels of St. Augustine, Corpus Christi College, Cambridge, ms 286
123:) Gospel Book, and one of the oldest European books in existence. Although the only surviving illuminations are two full-page
1560:
940:
867:
245:
985:
304:
that he was using the more fluent Vulgate, except for certain passages where he found the Old Latin more suitable, and his
220:
or captions to the scenes around the portrait of Luke, not all of which may reflect the intentions of the original artist.
1565:
973:
1575:
1356:
692:
480:
924:
407:
at Canterbury in the 7th century. Later works mentioned as probably influenced by the Augustine Gospels include the
1570:
1093:
375:
131:
as so few comparable images have survived. "When this manuscript was made, Latin was still generally spoken, and
758:
412:
735:
654:
516:
241:
792:, was one miracle that was easily recognised in images, and remained in the usual repertoire of artists. The
1418:
566:(right 3rd down, Luke 13, 10–17), though labelled with text from Luke 9, 58: "Foxes have holes" (see below).
267:
The manuscript was rebound at the British Museum in 1948–49 with plain oak boards and a spine of cream alum-
183:
62:
1114:
550:
441:
408:
74:
1555:
1216:
Vision and Meaning in Ninth-century Byzantium: Image as Exegesis in the Homilies of Gregory of Nazianzus
371:
331:
252:
of new Archbishops of Canterbury, and the tradition has been restored since 1945; the book is taken to
1033:
These were created in Byzantine Italy in a Byzantine style. Beckwith, 143 mentions comparable ivories.
1394:
1280:
Schiller, I 156. Brubaker, 383, says this is the earliest known example of this as a separate image.
662:
253:
171:
343:– the only comparable narrative Gospel cycles from manuscripts in the period are Greek, notably the
946:
863:
798:
706:
632:. This was included because, following John 11.46 ff. it was considered the immediate cause of the
496:
325:
271:
30:
26:
104:
measuring about 252 x 196 mm, and is not entirely complete, in particular missing pages with
1160:
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715:
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387:
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187:
151:
89:
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606:
502:
The scenes, many of which were rarely depicted in art from later medieval periods, include:
457:
182:
The manuscript is traditionally, and plausibly, considered to be either a volume brought by
42:
487:
book-covers from the same period. The scenes themselves probably drew from a now-destroyed
1493:
1121:
1089:
1085:
928:
781:
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344:
163:
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120:
96:
since fairly soon after its creation; by the 16th century it had probably already been at
1535:
144:
1483:
1088:. These leaves are dispersed, though most of the manuscript, one of the copies of the
858:
Weitzmann, 22. There is another, unillustrated, possible survivor of the group in the
745:
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367:
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1156:
The Eadwine psalter: text, image, and monastic culture in twelfth-century Canterbury
1449:
1355:
For a comparable "extra" scene around the meeting with Pilate, see the 4th-century
541:
521:
291:
257:
249:
140:
101:
190:
in 597, or one of a number of books recorded as being sent to him in 601 by Pope
1525:
Wormald, F., The Miniatures in the Gospels of St Augustine (Cambridge UP, 1954).
1473:, Vols. I & II, 1971/2 (English trans from German), Lund Humphries, London,
687:
641:
636:'s decision to move against Christ. As in the few other surviving cycles of the
399:
336:
198:
sees "no reason to doubt" the tradition. The main text is written in an Italian
128:
116:
77:
308:
opts for the older translation in the same places as the St Augustine Gospels.
710:
467:
158:, though to scholars this name usually refers to another book, an 8th-century
97:
70:
584:(right, bottom), who had climbed a tree to see Christ better (Luke 19, 1–10).
921:
912:
was stolen from the sacristy, not the library, at Kells in the 11th century.
773:
696:
633:
580:
449:
403:
models were available, and there is a record of an illuminated and imported
233:
1540:
316:
282:
The manuscript is "more or less the oldest substantially complete copy" of
764:
In contrast to the scenes around the portrait, all of these scenes except
335:
are very rare survivals and of great interest in the history of Christian
776:
celebrating them. The two scenes at the top of the central column on the
683:
From top left the twelve scenes shown, some of which have captions, are:
445:
428:
677:
589:
437:
287:
93:
1242:
Unambiguously labelled with the text, though once the accuracy of the
669:
488:
283:
216:
199:
136:
132:
1442:
832:
475:
More unusually, twelve small scenes drawn from Luke, mostly of the
1187:, Peter R. Ackroyd and others, Cambridge University Press, 1975,
484:
315:
112:
50:
20:
784:, and most of the scenes on this page are easily identified. The
1498:
Anglo-Saxon Art: From The Seventh Century To The Norman Conquest
1490:. Chatto & Windus, London (New York: George Braziller) 1977.
949:, John Wilkins, Continuum International Publishing Group, 2005,
248:. It was traditionally used for the swearing of the oath in the
203:
1163:, T. A. Heslop, Richard William Pfaff, Penn State Press, 1992,
162:
gospel book written at Canterbury, now with one portion in the
802:
is the earliest surviving example of the motif in this scene.
695:, the earliest Western image to show the moment of the first
202:
hand which is widely accepted as dating to the 6th century –
1218:, Leslie Brubaker, p. 84, Cambridge University Press, 1999,
545:, (left, 5th down, Luke 7, 12–16) at the "gate of the city".
1459:(trans fr German), 1986, Harvey Miller Publishers, London,
1431:, 1974 edn. (1935 1st edn.), University of Michigan Press,
1301:
The meaning of the image is the subject of Lewine's article
390:
are flattened and attenuated into a calligraphic pattern."
780:
page, in contrast, feature in the gospel reading set for
512:(left, top, Luke 1, 8–20), as he officiates at the Temple
665:, probably reserving these scenes for other grid pages.
393:
The subject of the influence of the miniatures on later
524:, probably from lack of space; Mary enters to the left.
668:
Compared to other cycles of the time, such as that in
80:
which dates from the 6th century and has been in the
1384:, Penguin History of Art (now Yale), 2nd edn. 1979,
362:
cycles are more varied however, including the Greek
286:'s translation of the Gospels. His late-4th-century
111:
This manuscript is the oldest surviving illustrated
1500:, Thames and Hudson (US edn. Overlook Press), 1984.
1452:, Vol. 56, No. 4 (December, 1974), pp. 489–504
1488:Late Antique and Early Christian Book Illumination
1140:
1138:
876:
874:
554:, a very rare scene (left bottom, Luke 5, 27–32).
479:(who can be identified as the only figure with a
1581:Manuscripts of Corpus Christi College, Cambridge
569:The one leper out of the ten (?), Luke 17, 12–19
1290:Vulgate Latin/English side by side text of Luke
1258:
1256:
644:itself is not shown, the sequence ending with
139:, was then no more distant in time than (say)
49:, Corpus Christi College, Cambridge, Ms. 286,
1541:More information at Earlier Latin Manuscripts
612:A full-page miniature on folio 125r prior to
8:
1096:. See Parker Bibliography, comments, passim.
520:(left, 2nd down, Luke 2, 43–50) which omits
320:The left-hand scenes on the portrait of Luke
616:contains twelve narrative scenes from the
427:Of the four portrait pages, only that for
1511:Full bibliography from the Parker Library
1179:. There is a slightly different list in
942:John Paul II: reflections from The Tablet
922:Archbishop of Canterbury official website
600:
466:
100:for almost a thousand years. It has 265
810:
605:Folio 125r contains 12 scenes from the
540:The Miracle of the son of the widow of
339:, especially as they come from the old
35:Iura sacerdotii Lucas tenet ore iuuenci
230:Parker Library, Corpus Christi College
262:coronation of Charles III and Camilla
236:as part of the collection donated by
127:, these are of great significance in
7:
1457:Book Illumination in the Middle Ages
1406:Meetings with Remarkable Manuscripts
1399:A History of Illuminated Manuscripts
1586:6th-century illuminated manuscripts
1246:is doubted, the scene might be the
988:. Corpus Christi College, Cambridge
846:Meeting with Remarkable Manuscripts
298:, the supposed donor, wrote in his
1328:Schiller, II 14, 64–5 & passim
1185:The Cambridge History of the Bible
573:The Healing of the Man with Dropsy
456:by the 5th-century Christian poet
16:6th-century gospel book in England
14:
1382:Early Christian and Byzantine Art
1051:Hinks, 69. See also Beckwith, 143
674:Basilica of Sant'Apollinare Nuovo
86:Corpus Christi College, Cambridge
1401:. Boston: David R. Godine, 1986.
1319:Weitzmann, 18–19, see also Grove
1248:Miracle of the Loaves and Fishes
908:Pacht, 11. In the same way the
244:in 1575, some decades after the
225:St Augustine's Abbey, Canterbury
170:, and another in the Library of
290:gradually replaced the earlier
844:De Hamel, Christopher (2017).
699:, rather than the betrayal of
528:Christ preaching from the boat
324:The manuscript once contained
246:Dissolution of the Monasteries
1:
788:, with the body in its white
688:Christ's entry into Jerusalem
564:The Miracle of the Bent Woman
306:Forty Homilies on the Gospels
1536:The Augustine gospels online
1471:Iconography of Christian Art
1357:Sarcophagus of Junius Bassus
1115:Translation by Peter McBrine
1105:Springer, same page and link
1079:Page from the Morgan Library
464:meaning also "young man").
818:The manuscripts of Sedulius
536:(left, 4th down, Luke 5, 8)
530:(left, 3rd down, Luke 5, 3)
440:sits the winged ox, Luke's
423:Evangelist portrait of Luke
88:since 1575. It was made in
1602:
1094:Trinity College, Cambridge
640:from the 6th century, the
448:has an inscription with a
223:The book was certainly at
47:Gospels of Saint Augustine
862:, the oldest copy of the
759:Christ carrying the Cross
646:Christ carrying the Cross
214:. The additions included
736:Sanhedrin Trial of Jesus
517:Christ among the Doctors
242:Archbishop of Canterbury
1419:Grove Dictionary of Art
1404:De Hamel, Christopher.
1015:De Hamel (2016), p.33-6
751:Christ led from Pilate,
194:– like other scholars,
1423:online concise edition
848:. Penguin. p. 19.
820:, Carl P. E. Springer
766:Christ led from Pilate
609:
472:
409:Stockholm Codex Aureus
321:
67:Corpus Christi College
54:
33:under the inscription
1561:Christian iconography
1395:De Hamel, Christopher
1310:Schiller,I 183, II 14
1006:De Hamel (2016), p.18
604:
470:
372:Ashburnham Pentateuch
319:
24:
1566:Canterbury Cathedral
1408:. Allen Lane, 2016,
534:The Calling of Peter
507:The Annunciation to
326:evangelist portraits
254:Canterbury Cathedral
186:to England with the
172:Canterbury Cathedral
59:St Augustine Gospels
1576:Early Christian art
1183:Francis Wormold in
947:Catherine Pepinster
864:Rule of St Benedict
799:Agony in the Garden
707:Agony in the Garden
497:Santa Maria Antiqua
442:evangelist's symbol
413:St Gall Gospel Book
405:Bible of St Gregory
382:, and some others.
154:calls the book the
27:evangelist portrait
1161:Margaret T. Gibson
1153:See Schiller, and
1120:2011-07-15 at the
1084:2009-02-19 at the
927:2009-12-03 at the
786:Raising of Lazarus
726:Betrayal of Christ
716:Raising of Lazarus
629:Raising of Lazarus
610:
473:
388:Vienna Dioscurides
322:
156:Canterbury Gospels
55:
1571:Gregorian mission
1441:Lewine, Carol F;
1414:978-0-241-00304-6
1346:Schiller, II 64-5
1232:978-0-521-62153-3
1201:978-0-521-29017-3
1177:978-0-947623-46-3
974:Independent, 1997
963:978-0-86012-404-7
741:Mocking of Christ
471:Right-hand scenes
358:. The equivalent
296:Gregory the Great
192:Gregory the Great
188:Gregorian mission
152:Church of England
1593:
1494:Wilson, David M.
1380:Beckwith, John,
1369:
1368:Schiller, II, 49
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986:"Fit for a King"
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860:Bodleian Library
856:
850:
849:
841:
835:
830:
824:
815:
748:washes his hands
458:Coelius Sedulius
92:and has been in
43:Coelius Sedulius
1601:
1600:
1596:
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1594:
1592:
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1517:Further reading
1507:
1484:Weitzmann, Kurt
1429:Carolingian Art
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1337:Schiller, II 33
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1144:Schiller, I 155
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1131:
1127:
1122:Wayback Machine
1113:
1109:
1104:
1100:
1090:Utrecht Psalter
1086:Wayback Machine
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929:Wayback Machine
920:
916:
907:
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889:See Lewine, 487
888:
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880:Schiller, II 14
879:
872:
857:
853:
843:
842:
838:
831:
827:
816:
812:
808:
782:Maundy Thursday
755:Simon of Cyrene
731:Arrest of Jesus
721:Washing of feet
622:, all from the
599:
579:The Calling of
549:The Calling of
477:Works of Christ
454:Carmen Paschale
425:
417:Eadwine Psalter
395:Anglo-Saxon art
356:Rabbula Gospels
345:Rossano Gospels
314:
280:
180:
168:Royal MS 1 E VI
164:British Library
39:Carmen paschale
17:
12:
11:
5:
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1530:External links
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1427:Hinks, Roger.
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746:Pontius Pilate
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690:
650:Gospel of John
619:Life of Christ
598:
597:Passion scenes
595:
586:
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575:(Luke 14, 2–5)
570:
567:
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558:
555:
546:
537:
531:
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493:Life of Christ
424:
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368:Cotton Genesis
364:Vienna Genesis
349:Sinope Gospels
341:Western Empire
332:Life of Christ
313:
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279:
276:
238:Matthew Parker
196:Kurt Weitzmann
179:
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135:, who died in
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115:(rather than
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1556:Gospel Books
1505:Bibliography
1497:
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1469:G Schiller,
1456:
1455:Otto Pächt,
1450:Art Bulletin
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1132:Hinks, 69–70
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376:Quedlinburg
370:, the Latin
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292:Vetus Latina
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258:John Paul II
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212:insular hand
184:St Augustine
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147:are to us."
145:Emily Brontë
141:Walter Scott
110:
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1262:Lewine, 489
794:Hand of God
693:Last Supper
642:Crucifixion
626:except the
337:iconography
160:Anglo-Saxon
129:art history
78:Gospel Book
75:illuminated
1550:Categories
1375:References
1060:Wilson, 94
774:feast-days
711:Gethsemane
663:Temptation
312:Miniatures
125:miniatures
106:miniatures
98:Canterbury
1159:, p. 29,
945:, p. 36,
697:Eucharist
634:Sanhedrin
581:Zacchaeus
509:Zechariah
499:in Rome.
452:from the
450:hexameter
351:, or the
234:Cambridge
63:Cambridge
1118:Archived
1092:, is at
1082:Archived
992:29 April
925:Archived
655:Nativity
462:iuvencus
446:pediment
411:and the
380:fragment
272:goatskin
796:in the
778:Passion
678:Ravenna
672:at the
659:Baptism
624:Passion
607:Passion
590:Vulgate
551:Matthew
438:cornice
347:, and
301:Moralia
288:Vulgate
178:History
94:England
69:, Lib.
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757:helps
670:mosaic
489:fresco
444:. The
374:, the
353:Syriac
284:Jerome
217:tituli
200:uncial
133:Jerome
121:Syriac
102:leaves
1443:JSTOR
806:Notes
770:Works
701:Judas
485:ivory
378:Itala
269:tawed
117:Greek
113:Latin
90:Italy
37:from
1475:ISBN
1461:ISBN
1433:ISBN
1410:ISBN
1386:ISBN
1228:ISBN
1220:ISBN
1197:ISBN
1189:ISBN
1173:ISBN
1165:ISBN
994:2023
959:ISBN
951:ISBN
661:and
638:Life
614:Luke
542:Naim
481:halo
429:Luke
366:and
278:Text
204:Rome
150:The
57:The
53:129v
51:fol.
31:Luke
25:The
709:of
676:in
495:in
206:or
166:as
143:or
137:420
119:or
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41:by
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