It can fill out the space around other types of illumination, as well as initials, frames, margins, and carpet pages. But the use of this pattern in Insular manuscripts is almost systematic from the middle of the 7th century onwards. 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 Sutton Hoo. This decoration, however, is not limited to Celtic art of Insular illumination. The interlace is the best-known motif of Insular art. It enables both calligraphy and ornamentation. This treatment was applied to both veal-skin and sheep. The treatment of the parchment creates a suede-like appearance, which makes it very receptive to ink and colour. Characteristics ĭespite the great diversity of origins of manuscripts of the Insular style, several common characteristics can be identified. Often referred to as " Franco-Saxon ", the manuscripts made in northern France in the Carolingian period also show a direct Insular influence. All these establishments helped to spread the Insular calligraphy and decorative techniques to manuscripts produced on the continent in this period. Columbanus' disciple, Saint Gall, took part in the foundation of an abbey in Switzerland and St Kilian of Würzburg was active in southern Germany. Īt the end of the 7th century, several Irish missionaries led by Columbanus travelled to the continent and contributed to the creation of several monasteries in France, Switzerland and Northern Italy. The scriptoria of Lindisfarne and Iona were the most prolific at the end of the 8th century. 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. In turn, the major centres of production were concentrated first in Northumbria, then in southern England and Kent over the 7th and 8th centuries. Some Italian and Byzantine manuscripts came to the island as a result, influencing the development of Insular illumination as well. Over the course of the 6th and 7th centuries, especially after the Gregorian mission, the south of Britain came under the direct influence of continental Christianity, mainly Italian. The Irish missionaries brought their art to Britain along with their religion. The Irish monks took part in the conversion of Scotland and the north of Great Britain, establishing numerous monasteries, such as Iona Abbey, founded by Columba in Scotland in 563 and Lindisfarne, founded by Aidan in Northumbria in 635. the Book of Dimma and the Book of Mulling), and large works, reserved for the liturgical services of the monasteries (such as the Book of Kells). Two types of manuscripts dominated: small format gospels to be used by preachers and missionaries or in private worship (e.g. The new religious institutions of Celtic Christianity, mostly organised around monasteries, ordered the creation of numerous works of art, liturgical objects and vestments, and also manuscripts. The Insular artistic style began after the conversion of Ireland by St Patrick in the 4th and 5th centuries AD. Around sixty manuscripts are known from this period. The most celebrated books of this sort are largely gospel books. It is characterised by decoration strongly influenced by metalwork, the constant use of interlacing, and the importance assigned to calligraphy. Insular illumination refers to the production of illuminated manuscripts 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. Folio 27 of the Lindisfarne Gospels, British Library, Cotton MS Nero D.IV
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