London, British Library, Add. Ms. 47682

Holkham Bible Facsimile Edition

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From the number of pictures to the very reason the book was made, this manuscript is one of a kind. Its choice of language, stories and provenance are a puzzle, which scholars have pondered over for decades, even as they admire the skill and devotion which produced it. Unlike many illuminated manuscripts, the pictures form the entire bulk of the book – either full-page or two set one over the other. Words illustrate the pictures, not the other way round – and these scenes are magnificently drawn.

The Holkham Bible abounds with details from the medieval world - from new developments in technology (a jointed visor, ships depicted with innovatory rudders and bow-sprits) to familiar London landmarks in the Middle Ages. The centre of medieval manuscript production was Paternoster Row, beneath the spire of St Paul's (the medieval cathedral spire was taller than Wren's dome), and this is depicted by the artist when the devil tempts Christ to throw himself from the temple. Immediately afterwards Satan takes Christ to a high place, which seems to be the earliest depiction of Hampstead Heath with its newly acquired windmill. The entire book hums with the hubbub of city life, but underneath this delight in bustle runs a sincere dion that reminds the viewer of the enormous appetite for and popularity of sermons, miracle plays and religious frescoes among medieval audiences.

Delicate colouring, fresco-like naturalism

Instead of gilding in silver and gold, the artist has chosen to use a form of tinted wash which was popular in earlier manuscripts, but had almost disappeared in favour of heavier ornamentation. The subtlety and naturalistic poses are more reminiscent of the developments in fresco painting which were sweeping Italy than of the stylised figures of medieval illumination. The depiction of drapery, textiles and clothing throughout the manuscript is exceptionally well realised, and there are unusual diamond-patterned backgrounds (known as diaperwork) with figurative flowers and oak-leaves painted in red. In her Commentary, Professor Michelle P. Brown raises some fascinating suggestions, noting similarities to the needlepoint opus anglicarum for which London was famous. A unique insight into the medieval mind; combining piety with bawdy humour

Innovative and dramatic pictures

The artist uses time-lapsed compositions to enhance the dramatic nature of his story – rather as a film storyboard might do. He frequently conflates events into a single image for dramatic impact and to provide a wealth of naturalistic detail. Hence in the depiction of the Creator, overleaf, elements of the third, fifth and sixth days of the creation are presented as it were simultaneously, producing a sumptuous array of birds, beasts and bushes. Words have clearly been added after the painting was finished - the reverse of the normal method of manuscript production. Instead of classical Latin, the captions are written in Anglo-Norman, with a strong 'franglais' flavour, since English words and phrases occasionally slip in. This provides Michelle Brown with clues to unravel the secret of the book's making in her Commentary.

Appealing, populist stories

The artist seems to bring a strongly individual approach to which scenes he chooses to paint. Rather than following any known existing model, he combined a mixture of sources: Scripture, entertaining details from the mystery plays, episodes from an Anglo-Norman account of Christ's childhood, and Petrus Comestor's influential twelfth-century Historia Scholastica. This mixture gives us such appealing scenes as Christ playing on sunbeams as a child and God telling Noah to hurry up with the Ark so that he is forced to finish the top section in wicker rather than wood. There are moments, almost Chaucerian in their bawdy comedy, designed to appeal to a less than 'aristocratic' audience - Jesus tricks his master by doing all his work with a miracle and Herod peeps down Salome's skirt as she stands on her hands, her dance turned into a tumbling acrobatic display.

We have 1 facsimile edition of the manuscript "Holkham Bible": Holkham Bible facsimile edition, published by The Folio Society, 2007

Holkham Bible

London: The Folio Society, 2007

  • Commentary (English) by Brown, Michelle P.
  • Limited Edition: 1750 copies
  • This facsimile is complete (full-size color reproduction of the whole original document).

Printed on Swiss-made Furioso paper.

Presented together with the Commentary volume in a buckram-bound solander box with a leather title label.

Binding

Blue leather with buckram sides printed with diaperwork pattern.

Separate leather title label blocked with a design by David Eccles in gold, red and blue.

Gilded on all three edges, with a ribbon marker.

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