In this third and final article about the Golden Codex of Echternach (Codex Aureus Epternacensis), an illuminated gospel book made at the abbey of Echternach circa 1030-50, we cover the images related to the Gospels of Luke and John; the first part covered the prefatory materials, and the second the Gospels of Matthew and Mark. The pictures of stories from the Gospels, its most interesting feature, are not spread through the book, placed with the corresponding text, but grouped together in four sets of four pages each, one set before each Gospel, and arranged in bands. These images run in the chronological order of Our Lord’s life (roughly), and are taken from all four Gospels simultaneously. The manuscript is now kept at the Germanisches Nationalmuseum in Nuremberg, and may be viewed at the following link in full: https://dlib.gnm.de/item/Hs156142.
The beginning of an introduction to the Gospel of Luke...
and the first word of it, the Evangelist’s name in Latin, Lucas.
Each Gospel has a pair of pages before it which reproduces the appearance of a very rich textile. The lion motif would perhaps be more appropriate for the Gospel of Mark rather than Luke.
The four pages of Gospel stories before the text of Luke are each dedicated to an extended treatment of a single parable; here we have the workmen in the vineyard, Matthew 20, 1-16, the Gospel of Septuagesima Sunday.
The parable of the man who sends his servants, and last of all his son, to collect the rent of his tenant farmers, Matthew 21, 33-46, the Gospel of Friday in the second week of Lent.
The parable of the great banquet, Luke 14, 16-24, the Gospel of the Sunday within the octave of Corpus Christi.
Between the third and fourth is added this page with a moral message about being sons of the light, based on John 12, 36, and punning on Luke’s name in Latin (luce vs. Lucae). The four elements are placed in the corners, as a symbol of the four evangelists.
The story of Dives and Lazarus, Luke 16, 19-31, the Gospel of Thursday of the second week of Lent.
The portrait of St Luke.
The incipit of the Gospel...
and the first two words in Latin.
As with the other Gospels, the beginning of the Passion is highlighted by a larger decorative letter.
The beginning of an introduction to John.
The beginning of the list of chapters.
The textile pages, with a floral motif.
The first page of Gospel stories: Christ’s triumphal entry into Jerusalem; His arrest and trial before Pilate; St Peter with the serving girl and the rooster, and the flagellation at the column.
Second page: the crowning with thorns, and Simeon carrying the cross; the Crucifixion; the deposition and burial.
Third page: the woman at the tomb; the road to Emmaus; the appearances to Mary Magdalene in the garden, and doubting Thomas.
Four page: the Ascension; Pentecost; the common life of the early Christians, above which, the inscription in the bar says that they are the 120 who were present when St Matthias was elected to be an Apostle.
The portrait of St John.
A prefatory inscription which refers to the four cardinal points of the compass as a symbol of the four evangelists.
The incipit.
The first two words of the Gospel.
A special decorative letter for the first verse of the Gospel of Pentecost, John 14, 23...
and another for the beginning of the Passion.
