Gospel Harmony of Eusebius

This 11th century masterpiece from Reichenau Abbey presents the 4th century work by Eusebius (ca. 260/65 - ca. 340)
With all the hallmarks of Ottonian art: classical architecture, bright colors, and the generous use of gold leaf
Its 42 miniatures and initials, all executed in glittering gold, are among the finest of the period

Gospel Harmony of Eusebius

Codex F. II. 1 Biblioteca Queriniana (Brescia, Italy)

Description

Gospel Harmony of Eusebius

The Reichenau school of book illumination was one of the most important centers of manuscript production during the Middle Ages and greatly influenced and in many ways shaped the style of Ottonian book art. The so called Gospel Harmony of Eusebius is a wonderful evangelistary and a prime example of the late phase of Reichenau book illumination. The 19 ornate canon tables, each unique with respect to its design, are followed by Gospel pericopes featuring magnificent miniatures depicting the various works and events in the life of Jesus Christ. The monumental illumination is characterized by classical-appearing architecture, gleaming gold backgrounds, bright colors and expressive, static figures. The 11 full-page miniatures are accompanied by opulently framed incipit pages with beautiful golden initials with scroll ornaments and precious silver lettering on a purple background, giving the manuscript a truly solemn and royal splendor.

Gospel Harmony of Eusebius

Among the irreplaceable masterpieces of the school of Reichenau is the manuscript Queriniana in Brescia, composed almost exclusively of full-page miniatures, initials and elaborate canon tables. The codex is introduced by 19 leaves, portraying 19 architectural, artfully executed canon arches that frame the Gospel Harmony created by Eusebius in the 4th century. For centuries, this late antique work served as a quick and systematic tool for finding corresponding biblical passages. The canon tables of this Splendid manuscript are ornate with a variety of luxurious decorations and none of the many colorful columns are identical; architectural gables and arches, inspired by the classical style, alternate to form a perfectly harmonious composition. Little is known about the origins of the manuscript. By the 14th century at the latest, the codex was in the possession of the upper Italian Lamberti Family, whose coat of arms adorns the very first page of the manuscript. The question today is whether its current contents were assembled from two manuscripts, and might be answered by future research.

Gorgeous Ottonian Illumination

This first section is followed by the Gospel Pericopes and includes eleven full-page miniatures as well as twelve luxury initials facing each other and introducing the readings for the different feast days. The solemn character of the book is further underlined by a number of initials set on purple ground and preceding the individual readings. The vivid orange fillings further enhance the colorfulness so typical of Ottonian illumination from Reichenau. This unique manuscript is rarely mentioned in the expert literature, perhaps because of its remote repository, but whoever does so, describes it with the greatest esteem. Its 42 miniatures and initials, all executed in glittering gold, are among the finest examples ever created by artists of the Ottonian period. The monumental feast day Gospels document the beauty and quality of Reichenau book illumination in its heyday.

Codicology

Alternative Titles: Evangelienharmonie des Eusebius
Festtagsevangelistar mit Kanontafeln
Le concordanze di Eusebio
Eusebio di Cesarea
Concordantiae Evangelicae of Eusebius Caesariensis
Type: Manuscript on parchment
Size / Format: 84 pages / 35.0 × 25.0 cm
Origin: Germany
Date: Second quarter of the 11th century
Epochs: High Middle Ages
Early Middle Ages
Style: Ottonian
Genre: Bibles / Gospels
Language: Latin
Script: Carolingian minuscule Square capitals Uncial
Illustrations: 19 canon-tables, 11 full-page miniatures, and 12 full-page initials with rich gold ornaments
Content: Eusebius' canon tables followed by a Gospel Pericopes

Available facsimile editions:

Akademische Druck- u. Verlagsanstalt (ADEVA) – Graz, 1991

De Agostini/UTET – Rome/Turin, 2006

Limited Edition: 345 copies

Detail Picture

Gospel Harmony of Eusebius

Harrowing of Hell

Between the Crucifixion and the Resurrection, Christ descended into Hell to proclaim good tidings to the dead and bring salvation to all the righteous who have died since the beginning of the world. In front of a timeless and spaceless golden background, Christ stands in a blue mandorla upheld by angels. He holds a scroll in his left hand while reaching out with his right and takes the hand of one of the denizens of Hell to pull them up from the flames and take them to Heaven.

Single Page

Gospel Harmony of Eusebius

Baptism of Jesus

This miniature page is a splendid example of the Reichenau school of illumination and of the Ottonian style in general. At the same time, the influences of Byzantine illumination are obvious: a magnificently polished background, grand aesthetic, exaggerated gestures, flat facial features with piercing eyes, and strong symbolism.

As the Holy Spirit descends from above in the form of a bird, Christ is depicted rising from the River Jordan with the assistance of John the Baptist and gives the sign of benediction. Two of his disciples wait to dry him off on the right bank. The gold background gives the scene a feeling of the divine, as though it was lifted out of time and space for a moment because of the gravity of this event in the Vita Christi.

Facsimile Editions

#1 Die Evangelienharmonie des Eusebius

Akademische Druck- u. Verlagsanstalt (ADEVA) – Graz, 1991

Publisher: Akademische Druck- u. Verlagsanstalt (ADEVA) – Graz, 1991

Binding: Linen over board with a leather spine. All folios are cut according to the original. Protected in a slipcase with the commentary volume.

Commentary: 1 volume (160 pages) by Satako I. Parker and Wolfgang Milde
Languages: English, German

1 volume: Exact reproduction of the original document (extent, color and size) Reproduction of the entire original document as detailed as possible (scope, format, colors). The binding may not correspond to the original or current document binding.

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