Book of Testaments

Book of Testaments

In the Middle Ages, France and Belgium were considered to be true strongholds of European painting and book art. Nevertheless in Spain in the early 12th century, there arose a few breath-taking codices that were in no way inferior to French and Belgian works of art. One of these masterpieces is the Book of Testaments, which has earned the gifted anonymous artist responsible for it the name of convenience Master of the Book of Testaments among art historians. This magnificent manuscript has remained in the archives of the Cathedral of Oviedo in Asturias for more than 900 years, greatly simplifying the manuscript’s history of ownership. Aside from records concerning Oviedo specifically, the cartulary is also a precious record that presents information about life in medieval Spain in the most detailed manner.

At the Behest of the Bishop

The illuminated manuscript was commissioned in the early-12th century by Bishop Pelagius of Oviedo (d. 1153), also known as Pelayo. It cannot be said for certain today who was responsible for the design of the codex but there is evidence of two copyists at work, one of which must have been one of the cathedral canons who was also, confusingly, named Pelagius: Pelagius Rosello, Pelagius Viello, or Pelagius Enniguiz. In terms of codicology and artistry, it seems likely that the work was undertaken as Oviedo Cathedral itself, the library holdings of which would have provided numerous templates for its creation.

The Important of Oviedo

The Book of Testaments contains information from documents spanning the years 808 to 1118, which are concerned with the diocese of Oviedo, which had previously enjoyed power and influence as the spiritual capital of Spain and political capital of the Kingdom of Asturias. These documents were written in a variety of Insular and continental scripts. In the codex, the donations of the congregation, tax exemptions, privileges of the church, and additional legal documents were recorded. The register of wealthy inhabitants of Oviedo who made the construction of the splendid cathedral possible through their generous donations is also very interesting. However, many of the royal charters from the kings of Asturias and León were forgeries created by Bishop Pelagius, earning him the nickname el Fabulador or "the Fabulist", as part of an effort to assert the independence of Oviedo from the archbishops of Toledo and Santiago. This does not appear to have been done for his own benefit but to restore the privileged status of the diocese of Oviedo.

Innovative Illustrations

This manuscript contains 17 high quality miniatures including 8 full-pages and 9 half-pages and is embellished with numerous historiated initials and décor in the margins. Alongside its historically significant content, the codex impresses through its miniatures, true masterpieces of Spanish Romanesque illumination. They display a characteristic painting style as is seen in no other manuscript from Europe. Modelled on Evangelist portraits, full-page miniatures depict King Alfonso II of Asturias (ca. 760 – 842), a certain Archbishop Adolfo, King Ordoño I of Asturias (ca. 821–866), King Ordoño II of Galicia and León (ca. 873–924), and Alfonso V of León (ca. 994–1028) but the portraits of King Ferdinand I of León (c. 1015–65) and King Alfonso VI of León and Castile (1040/41–1109) are missing. The Book of Testaments already caused a stir at its creation – its influence can be seen in Tumbo A of Santiago de Compostela and the Libro de las Estampas of León – and has lost none of its artistic appeal today.