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Table of Contents
Intro
Acknowledgements
Introduction
Script
Introduction
The Script in the Book of Kells
Concluding Remarks
Illumination
Introduction
The Master-Artist
The Eight-Circle Cross Carpet Page, f. 33r
The Chi-Rho page - f. 34r
The Liber, Initium, and In Principio pages (ff. 29r, 130r, and 292r)
The Scribe-Artist as Illuminator
Additions by the Scribe-Artist to the illumination on ff. 29r, 130r, and 292r
The Quoniam page, f. 188r
Shared Features of Kells' four Incipit pages
The End of the Matthew list of Hebrew Names - f. 1r
The damage and 'restoration' of f. 34r and related damage to f. 33r
The 'Portrait' of Christ, f. 32v
The Temptation of Jesus on the Temple, f. 202v
Figurative Art
The Programme of Illumination
Canon Tables
Introduction
Part I The illuminated pages of Kells' Canon Tables
The first opening, ff. 1v-2r
The fourth opening, ff. 4v-5r
The Grid-Framework Pages, the Canon Tables, and the Script
The fifth opening, ff. 5v-6r
Alignment and Grouping of Numerals
The script of the canon numerals, ff. 1v-6r
Part II Two Hypotheses
Hypothesis A - a rationale for the arrangement of the numerals as they appear in the Book of Kells
Hypothesis B - a rationale for the arrangement of the numerals as they may have been planned in the original campaign
INITIALS and Display-Lettering
Introduction
Part I Initials
Et-ligature - Initials and script
a, a, and A Initials
A brief summary of Kells' Initials
Connections between Initials and Script
Hairstyles and Heads on Zoo- and Anthropomorphic Initials
Part II Display-lettering
Angular display-lettering
Curvilinear (outlined) display-lettering
COLOUR
Introduction
Distribution of colour in Kells' text pages
Overpainting
Paint which is more freely applied
Traces of offset paint
Concluding Remarks
ASPECTS of the Second Campaign and its Later Phase
Introduction
Red dotted outlines
Red Triple-Dots and other features
Doubling of markers and other motifs
Triple-dots added inside initials, and elsewhere
Miscellaneous additional features
Red-over-yellow
Concluding Remarks
Excavating Kells' Text Pages
6. Humour in the Book of Kells
5. Mise-en-Page and Related Features
4. Accents and Abbreviation Marks
3. Superscripts, Subscripts, and Turn-in-Path
2. Script-Related Decoration
1. Textual Issues
Introduction
Epilogue
Appendices
Appendix 1A
Appendix 1B
The earliest phase of the Scribe-Artist's work in the first campaign
Further work from the Scribe-Artist's first campaign
The Scribe-Artist's work in the episodes leading up to and including the Passion (first campaign)
f. 34v and f. 188v
The Scribe-Artist's work in the second campaign
Appendix 1C
The First Campaign
The Second Campaign
Appendix 1D
Appendix 2A
Acknowledgements
Introduction
Script
Introduction
The Script in the Book of Kells
Concluding Remarks
Illumination
Introduction
The Master-Artist
The Eight-Circle Cross Carpet Page, f. 33r
The Chi-Rho page - f. 34r
The Liber, Initium, and In Principio pages (ff. 29r, 130r, and 292r)
The Scribe-Artist as Illuminator
Additions by the Scribe-Artist to the illumination on ff. 29r, 130r, and 292r
The Quoniam page, f. 188r
Shared Features of Kells' four Incipit pages
The End of the Matthew list of Hebrew Names - f. 1r
The damage and 'restoration' of f. 34r and related damage to f. 33r
The 'Portrait' of Christ, f. 32v
The Temptation of Jesus on the Temple, f. 202v
Figurative Art
The Programme of Illumination
Canon Tables
Introduction
Part I The illuminated pages of Kells' Canon Tables
The first opening, ff. 1v-2r
The fourth opening, ff. 4v-5r
The Grid-Framework Pages, the Canon Tables, and the Script
The fifth opening, ff. 5v-6r
Alignment and Grouping of Numerals
The script of the canon numerals, ff. 1v-6r
Part II Two Hypotheses
Hypothesis A - a rationale for the arrangement of the numerals as they appear in the Book of Kells
Hypothesis B - a rationale for the arrangement of the numerals as they may have been planned in the original campaign
INITIALS and Display-Lettering
Introduction
Part I Initials
Et-ligature - Initials and script
a, a, and A Initials
A brief summary of Kells' Initials
Connections between Initials and Script
Hairstyles and Heads on Zoo- and Anthropomorphic Initials
Part II Display-lettering
Angular display-lettering
Curvilinear (outlined) display-lettering
COLOUR
Introduction
Distribution of colour in Kells' text pages
Overpainting
Paint which is more freely applied
Traces of offset paint
Concluding Remarks
ASPECTS of the Second Campaign and its Later Phase
Introduction
Red dotted outlines
Red Triple-Dots and other features
Doubling of markers and other motifs
Triple-dots added inside initials, and elsewhere
Miscellaneous additional features
Red-over-yellow
Concluding Remarks
Excavating Kells' Text Pages
6. Humour in the Book of Kells
5. Mise-en-Page and Related Features
4. Accents and Abbreviation Marks
3. Superscripts, Subscripts, and Turn-in-Path
2. Script-Related Decoration
1. Textual Issues
Introduction
Epilogue
Appendices
Appendix 1A
Appendix 1B
The earliest phase of the Scribe-Artist's work in the first campaign
Further work from the Scribe-Artist's first campaign
The Scribe-Artist's work in the episodes leading up to and including the Passion (first campaign)
f. 34v and f. 188v
The Scribe-Artist's work in the second campaign
Appendix 1C
The First Campaign
The Second Campaign
Appendix 1D
Appendix 2A