'', c. 1198,
National Library of Poland From the beginning the books used in the liturgy, and more particularly the Gospel manuscripts, were highly venerated, and therefore text and cover were often richly ornamented. From an artistic point of view the distinction between Evangeliaria strictly so called and Gospel manuscripts is of little importance and is generally disregarded. It consists merely in the fact that the illuminations of the Evangeliaria occur as a rule at those passages set apart for the greater festivals of the year. The coronation oath-book of Anglo-Saxon kings, which King
Athelstan received apparently from his brother-in-law
Otto I, and in turn presented to the cathedral church of Canterbury, is ornamented with figures of the Evangelists freely copied from those that adorn the Evangeliarium of Charlemagne preserved at Vienna. Gospels in rolls are known only from seeing them in miniatures, especially as emblems of the
Four Evangelists, until well into the Middle Ages. The roll of the
Book of Joshua (9th-10th century: Vatican Library) is a specimen of what Evangeliaria in this form with miniatures were like. The roll form remained long in use for liturgical manuscripts at Milan and in southern Italy. Costly Evangeliaria are noted above all for their clear and careful writing. They have helped to perpetuate and propagate certain styles of calligraphy. The Greek
uncial (lettering type) is used in many manuscripts of the 9th and 10th centuries; and the Latin uncial is also employed, especially in
Gaul, far into the Middle Ages for Gospel and liturgical works. The copying of the Gospels influenced largely the writings of Irish and Anglo-Saxon scribes, and effected the spread of these characters over the European continent and the development of the
Caroline minuscule and the
semi-uncial of the school of Tours. The copyists of the Gospels made great use of other helps to beautify their penmanship, such as the use of purple parchment, liquid gold and silver and various coloured inks. The part played by Evangeliaria in the history of miniature painting until the twelfth and thirteenth centuries is very great. Especially noteworthy are the miniature insets to the
Canons of Eusebius, or tables of Gospel concordance. Illuminated initial letters differed according to the various schools of writing; the Irish scribes used artistic knots and loops, the Merovingian and Lombard writers preferred animal forms, especially fish. Illuminated scenes, of interest to the iconographist, are often to be met in these copies of the Gospel text. Frequently it is the figure of the Evangelist that stands at the head of his Gospel; the donor, or rather a sketch showing the donation of the book, is often found in miniatures from the days of Charlemagne to the end of the Middle Ages. The prince is shown receiving from the hands of the abbot the Evangeliarium he will use whenever he assists at the holy offices in the abbey church (e.g. the picture of
Charles the Bald in the Vivien Bible, Bibliothèque Nationale, Paris). But in the 10th and 11th centuries the prince is shown offering the precious manuscript to Christ or to the patron saint of the church or abbey (cf. the Evangeliarium at
Bamberg State Library showing the
Emperor Henry II offering the book to Christ). ==Precious examples==