Editing Book of Kells (section)

===Decoration===
The text is accompanied by many full-page [[Miniature (illuminated manuscript)|miniature]] illustrations, while smaller painted decorations appear throughout the text in unprecedented quantities. The decoration of the book is famous for combining intricate detail with bold and energetic compositions. The characteristics of the insular manuscript initial, as described by Carl Nordenfalk, here reach their most extreme realisation: "the initials ... are conceived as elastic forms expanding and contracting with a pulsating rhythm. The kinetic energy of their contours escapes into freely drawn appendices, a spiral line which in turn generates new curvilinear motifs...".<ref>Nordenfalk 1977, 13.</ref> The illustrations feature a broad range of colours, with purple, lilac, red, pink, green, and yellow being the colours most often used. Earlier manuscripts tend toward more narrow palettes: the Book of Durrow, for example, uses only four colours. As is usual with insular work, there was no use of [[Metal leaf#Gold Leaf|gold]] or [[Metal leaf|silver leaf]] in the manuscript. The [[pigment]]s for the illustrations included red and yellow ochre, green copper pigment (sometimes called ''[[verdigris]]''), indigo, and possibly [[lapis lazuli]].<ref name="ReferenceA">Fuchs and Oltrogge in O'Mahoney 1994, 134–135.</ref> These would have been imported from the Mediterranean region and, in the case of the lapis lazuli (also known as [[ultramarine]]), from northeast [[Afghanistan]].<ref>Meehan 1994, 88.</ref><ref name="Henry158">Henry 1974, 158.</ref> Though the presence of lapis lazuli has long been considered evidence of the great cost required to create the manuscript, recent examination of the pigments has shown that lapis lazuli was not used.<ref name="ReferenceA"/>

The lavish illumination programme is far greater than any other surviving Insular Gospel book.  Thirty-three of the surviving pages contain decorative elements which dominate the entire page.  These include ten full-page miniature illustrations: a portrait of the [[Virgin and Child]], three pages of [[evangelist symbol]]s informed by the [[tetramorph]]s described in [[Book of Ezekiel|Ezekiel]] and [[Book of Revelation|Revelation]], two [[evangelist portrait]]s, a portrait of Christ enthroned, a [[carpet page]], and scenes of the [[Arrest of Jesus]] and [[Temptation of Christ]].  Twelve fully decorated text pages embellish the book's verses, of which the most extreme examples are the four incipits beginning each Gospel, together with the Chi Rho monogram, a page receiving comparable treatment which heralds a "second beginning" of Matthew, the narrative of Christ's life following his genealogy.  Another six fully decorated text pages emphasize various points in the [[Passion of Jesus|Passion]] story, while a seventh corresponds to the Temptation.  The first eleven pages of the extant manuscript begin with a decorated list of Hebrew names, followed by ten pages of Eusebian canon tables framed by architectural elements.  Additionally, fourteen pages feature large decorative elements which do not extend throughout the entire page.<ref>Brown 1980, 83-91.</ref><ref>Meehan 1994, 22-24.</ref>

It is highly probable that there were other pages of miniature and decorated text that are now lost. Henry identified at least three distinct artists. The "Goldsmith" was responsible for the Chi Rho page, using colour to convey metallic hues. The "Illustrator" was given to idiosyncratic portraits, having produced the Temptation and the Arrest of Christ. The "Portrait Painter" executed the portraits of Christ and the Evangelists.<ref>Henry 1974, 211-212.</ref><ref>Brown 1980, 91.</ref> Almost every page contains a decorative element incorporating colour; throughout the text pages, these are commonly stylized capitals.  Only two pages—folios 29v and 301v—are devoid of pigment colouration or overt pictorial elements, but even they contain trace decorations in ink.<ref>Nordenfalk 1977, 108.</ref><ref>Henry 1974, 163, 194-198.</ref><ref>Brown 1980, 7, 84.</ref><ref>Meehan 1994, 22.</ref>
[[File:KellsFol002rCanonTable.jpg|thumb|Folio 2r contains one of the [[Eusebian Canons]].]]

The extant folios of the manuscript start with the fragment of the glossary of Hebrew names. This fragment occupies the left-hand column of folio 1r. A miniature of the four evangelist symbols, now much abraded, occupies the right-hand column. The miniature is oriented so that the volume must be turned ninety degrees to view it properly.<ref name="Henry167">Henry 1974, 167.</ref> The four evangelist symbols are a visual theme that runs throughout the book. They are almost always shown together to emphasise the doctrine of the four Gospels' unity of message.

The unity of the Gospels is further emphasised by the decoration of the Eusebian canon tables. The canon tables illustrate the unity of the Gospels by organising corresponding passages from the Gospels. The Eusebian canon tables normally require twelve pages. In the Book of Kells, the makers of the manuscript planned for twelve pages (folios 1v through 7r) but for unknown reasons, condensed them into ten, leaving folios 6v and 7r blank. This condensation rendered the canon tables unusable. The decoration of the first eight pages of the canon tables is heavily influenced by early Gospel Books from the Mediterranean, where it was traditional to enclose the tables within an [[Arcade (architecture)|arcade]] (as seen in the [[London Canon Tables]]).<ref name="Henry167"/> The Kells manuscript presents this [[Motif (visual arts)|motif]] in an Insular spirit, where the arcades are not seen as architectural elements but rather become stylised geometric patterns with Insular ornamentation. The four evangelist symbols occupy the spaces under and above the arches. The last two canon tables are presented within a grid. This presentation is limited to Insular manuscripts and was first seen in the Book of Durrow.<ref name="Calkins7982">Calkins 1983, 79–82.</ref>
[[File:KellsFol007vMadonnaChild V2.jpg|thumb|left|Folio 7v contains an image of the [[Virgin and Child]]. This is the oldest extant image of the Virgin Mary in a Western manuscript.<ref name=":0" />]]

The preliminary matter is introduced by an [[icon]]ic image of the Virgin and Child (folio 7v), the first representation of the [[Mary, mother of Jesus|Virgin Mary]] in a Western manuscript. Mary is shown in an odd mixture of frontal and three-quarter pose. This miniature also bears a stylistic similarity to the carved image on the lid of [[St. Cuthbert's coffin]] of 698. The iconography of the miniature seems to derive from Byzantine, Armenian or [[Copts|Coptic]] art.<ref>{{Cite book|last=Lyons|first=Martyn|title=Books: a Living History|publisher=Getty Publications|year=2011|isbn=9781606060834|location=Los Angeles, CA|page=43}}</ref><ref name="Calkins82">Calkins 1983, 82.</ref>

The miniature of the Virgin and Child faces the first page of the text, which begins the ''Breves causae'' of Matthew with the phrase ''Nativitas Christi in Bethlem'' (the birth of Christ in Bethlehem). The beginning page ([[:File:KellsFol008rBrevCausMatt.jpg|folio 8r]]) of the text of the ''Breves causae'' is decorated and contained within an elaborate frame. The two-page spread of the miniature and the text makes a vivid introductory statement for the prefatory material. The opening lines of six of the other seven pieces of preliminary matter are enlarged and decorated (see above for the ''Breves causae'' of Luke), but no other section of the preliminaries is given the same full-page treatment as the beginning of the ''Breves causae'' of Matthew.<ref name="Calkins82"/>

[[File:KellsFol291vPortJohn.jpg|thumb|Folio 291v contains a portrait of [[John the Evangelist]].]]
The book was designed so that each of the Gospels would have an elaborate introductory decorative programme. Each Gospel was originally prefaced by a full-page miniature containing the four evangelist symbols, followed by a blank page. Then came a portrait of the evangelist which faced the opening text of the Gospel, itself given an elaborate decorative treatment.<ref>Henry 1974, 172.</ref> The Gospel of Matthew retains both its Evangelist portrait ([[:File:KellsFol028vPortMatt.jpg|folio 28v]]) and its page of Evangelist symbols (folio 27v, see above). The Gospel of Mark is missing the Evangelist portrait but retains its Evangelist symbols page ([[:File:KellsFol129v4EvangelistSymbols.jpg|folio 129v]]). The Gospel of Luke is missing both the portrait and the Evangelist symbols page. The Gospel of John, like the Gospel of Matthew, retains both its portrait (folio 291v, see at right) and its Evangelist symbols page ([[:File:KellsFol290v4EvangelistSymbols.jpg|folio 290v]]). It can be assumed that the portraits for Mark and Luke and the symbols page for Luke at one time existed but have been lost.<ref>Henry 1974, 172–173.</ref>

[[File:KellsFol029rIncipitMatthew.jpg|thumb|left|Folio 29r contains the incipit to the [[Gospel of Matthew]].]]
The ornamentation of the opening few words of each Gospel is lavish; their decoration is so elaborate that the text itself is almost illegible. The opening page (folio 29r) of Matthew may stand as an example. (See illustration at left.) The page consists of only two words: ''Liber generationis'' ("The book of the generation"). The ''lib'' of ''Liber'' is turned into a giant monogram which dominates the entire page. The ''er'' of ''Liber'' is presented as an interlaced ornament within the ''b'' of the ''lib'' monogram. ''Generationis'' is broken into three lines and contained within an elaborate frame in the right lower quadrant of the page. The entire assemblage is contained within an elaborate border, further decorated with elaborate spirals and [[Celtic knot|knot work]], many of which are zoomorphic.<ref name="Calkins85">Calkins 1983, 85.</ref>

The opening words of the gospel of Mark, ''[[:File:KellsFol130rIncipitMark.jpg|Initium evangelii Iesu Christi]]'' ("The beginning of the Gospel of Jesus Christ"), Luke, ''[[:File:KellsFol188rQuoniam.gif|Quoniam]]'' ("Forasmuch"), and John, ''[[:File:KellsFol292rIncipJohn.jpg|In principio erat verbum verum]]'' ("In the beginning was the True Word"), are all given similar treatments. Although the decoration of these pages was most extensive in the Book of Kells, they are all decorated in the other Insular Gospel books.<ref>Calkins 1983, 82–85.</ref>

[[File:KellsFol034rChiRhoMonogram.jpg|thumb|Folio 34r contains the [[Labarum|Chi Rho]] monogram.<ref name=":0">Werner 1972, 129–139.</ref> [[Chi (letter)|Chi]] and [[Rho (letter)|rho]] are the first two letters of the word ''Christ'' in [[Greek language|Greek]].]]

The Gospel of Matthew begins with a [[genealogy of Jesus]], followed by his portrait.  Folio 32v (top of article) has a miniature of Christ enthroned, flanked by [[peacock]]s.  Peacocks function as symbols of Christ throughout the book.  According to earlier accounts given by [[Isidore of Seville]] and [[Augustine]] in ''[[The City of God]]'', the peacocks' flesh does not [[Putrefaction|putrefy]]; the animals therefore became associated with Christ via the [[Resurrection of Jesus|Resurrection]].<ref>Henry 1974, 208.</ref><ref>Meehan 1994, 57.</ref><ref>{{cite book |author-link=Augustine of Hippo |author=Augustine |title=The City of God |url=https://www.gutenberg.org/files/45305/45305-h/45305-h.htm |via=[[Project Gutenberg]]}} Book XXI, Section 4.</ref> Facing the portrait of Christ on [[:File:KellsFol033rCarpetPage.jpg|folio 33r]] is the only carpet page in the Book of Kells, which is rather anomalous; the Lindisfarne Gospels have five extant carpet pages and the Book of Durrow has six. The blank verso of folio 33 faces the single most lavish miniature of the early medieval period, the Book of Kells Chi Rho monogram, which serves as incipit for the narrative of the life of Christ.

At Matthew 1:18<ref>{{bibleverse|Matthew|1:18|KJV}} King James Version (Oxford Standard, 1769)</ref> (folio 34r), the actual narrative of [[Nativity of Jesus|Christ's life starts]]. This "second beginning" to Matthew was given emphasis in many early Gospel Books, so much so that the two sections were often treated as separate works. The second beginning starts with the word ''Christ''. The Greek letters [[Chi (letter)|chi]] and [[Rho (letter)|rho]] were normally used in medieval manuscripts to abbreviate the word ''Christ''. In Insular Gospel books, the initial [[Labarum|Chi Rho]] monogram was enlarged and decorated. In the Book of Kells, this second beginning was given a decorative programme equal to those prefacing the Gospels, its Chi Rho monogram having grown to consume the entire page.<ref name="Calkins85"/> The letter chi dominates the page with one arm swooping across the majority of the page. The letter rho is snuggled underneath the arms of the chi. Both letters are divided into compartments which are lavishly decorated with knotwork and other patterns. The background is likewise awash in a mass of swirling and knotted decoration. Within this mass of decoration are hidden animals and insects. Three angels arise from one of the cross arms of the chi. This miniature is the largest and most lavish extant Chi Rho monogram in any Insular Gospel book, the culmination of a tradition that started with the Book of Durrow.<ref name="Calkins85"/>

[[File:KellsDecoratedInitial.jpg|thumb|left|Folio 74r, detail.  Almost all of the folios of the Book of Kells contain small illuminations like this decorated initial.]]
The Book of Kells contains two other full-page illustrations, which depict episodes from the Passion story. The text of Matthew is illustrated with a full-page illumination of the Arrest of Christ ([[:File:KellsFol114rArrestOfChrist.jpg|folio 114r]]). Jesus is shown beneath a stylised arcade while being held by two much smaller figures.<ref>Nordenfalk 1977, 124.</ref> In the text of Luke, there is a full-sized miniature of the [[Temptation of Christ]] ([[:File:KellsFol202vTemptationOfChrist.jpg|folio 202v]]). Christ is shown from the waist up on top of the Temple. To his right is a crowd of people, perhaps representing his disciples. To his left and below him is a black figure of [[Satan]]. Above him hover two angels.<ref>Nordenfalk 1977, 123.</ref>

[[File:KellsFol034rXRhoDet3.jpeg|thumb|Folio 34r, detail.  The decorations of the Book of Kells can be stunningly complex, as seen in this small detail of the Chi Rho monogram page.]]

Throughout the body of the Gospels, six fully decorated text pages receive treatment comparable to that of the page which began the ''Breves causae'' of Matthew.  Of these, five correspond to episodes in the Passion story, and one refers to the Temptation.  The verso of the folio containing the Arrest of Christ ([[:File:KellsFol114vTuncDicit.gif|114v]]) has a full page of decorated text which reads "Tunc dicit illis Iesus omnes vos scan(dalum)" (Matthew 26:31<ref>{{bibleverse|Matthew|26:31|KJV}} King James Version (Oxford Standard, 1769)</ref>), where Jesus addresses his disciples immediately before his arrest.  A few pages later ([[:File:KellsFol124rTuncCrucixerant.jpg|folio 124r]]) is found a very similar decoration of the phrase "Tunc crucifixerant Xpi cum eo duos latrones" (Matthew 27:38<ref>{{bibleverse|Matthew|27:38|KJV}} King James Version (Oxford Standard, 1769)</ref>), Christ's crucifixion together with two thieves.  In the Gospel of Mark, another decorated page ([[:File:KellsFol183rEratAutem.jpg|folio 183r]]) gives a description of the Crucifixion (Mark 15:25<ref>{{bibleverse|Mark|15:25|KJV}} King James Version (Oxford Standard, 1769)</ref>), while the final (and decorated) page of Mark (folio 187v) describes Christ's Resurrection and Ascension (Mark 16:19<ref>{{bibleverse|Mark|16:19|KJV}} King James Version (Oxford Standard, 1769)</ref>–20<ref>{{bibleverse-nb|Mark|16:20|KJV}} King James Version (Oxford Standard, 1769)</ref>).  In the Gospel of Luke, folio 203r faces the illustration of the Temptation, itself an illumination of the text (Luke 4:1<ref>{{bibleverse|Luke|4:1|KJV}} King James Version (Oxford Standard, 1769)</ref>) beginning the Temptation narrative.  Finally, [[:File:KellsFol285rUnaAutem.jpg|folio 285r]] is a fully decorated page corresponding to another moment of the Passion, (Luke 23:56<ref>{{bibleverse|Luke|23:56|KJV}} King James Version (Oxford Standard, 1769)</ref>-Luke 24:1<ref>{{bibleverse|Luke|24:1|KJV}} King James Version (Oxford Standard, 1769)</ref>) between the Crucifixion and the Resurrection.  Since the missing folios of John contain another Passion narrative, it is likely that John contained full pages of decorated text that have been lost.<ref>Calkins 1983, 92.</ref>

Apart from the thirty-three fully illuminated pages, fourteen receive substantial decoration not extending over the entire page.  Among the Preliminaries and apart from the fully decorated page beginning the ''Breves causae'' of Matthew, six pages begin six of the eight sections of ''Breves causae'' and ''Argumenta'' with embellished names.  The exception is folio 24v which introduces the final section of the ''Breves causae'' of John without a comparable device.  Five pages (folios 200r-202v) give an organized decoration of Luke's genealogy of Christ, just before the Temptation narrative.  Another three pages contain large illuminated elements not extending throughout the entire page. [[:File:KellsFol040vBeatitudes.jpg|Folio 40v]] contains text of the [[Beatitudes]] in Matthew (Matthew 5:3<ref>{{bibleverse|Matthew|5:3|KJV}} King James Version (Oxford Standard, 1769)</ref>–10<ref>{{bibleverse-nb|Matthew|5:10|KJV}} King James Version (Oxford Standard, 1769)</ref>) where the letters ''B'' beginning each line are linked into an ornate chain along the left margin of the page.  Folio 127v has an embellished line beginning the final chapter of Matthew, which gives an account of the Resurrection.  A similar treatment is given to a line in folio 188v (Luke 1:5<ref>{{bibleverse|Luke|1:5|KJV}} King James Version (Oxford Standard, 1769)</ref>), which begins an account of the Nativity.