origin to all Hiberno-Saxon style manuscripts. The Trier Gospels, as well as many other Hiberno-Saxon manuscripts, offers an example of how the borrowed tradition in Britain and abroad widens the scope of the “Insular orbit.” a.b. Figure 4.5a: Two archangels with title tablet, Trier Gospels, Paris, Bibliothèque nationale de France, ms. lat. 8851, f. 10, eighth century; Figure 4.5b: Canon table, Trier Gospels, Paris, Bibliothèque nationale de France, ms. lat. 8851, f. 12, eighth century. Nancy Netzer has attributed the blended nature of the Trier Gospels to collaboration between two scribes, one Merovingian and one Insular. She states that upon closer analysis of the script, the two hands found are an Insular half-uncial that evolved in the sixth and seventh centuries in Britain and an eighth–century Merovingian uncial that is derived from a Late Antique miniscule. According to Carl Nordenfalk, the illuminations share elements of both the Hiberno-Saxon and Merovingian styles, as well as some Greek and Byzantine influences. The many influences that are blended in the Trier Gospels reflect the complicated problem of defining the Insular style. Benedict Biscop Besides infusing the Continental style of art into the Insular framework through mission work, Benedict Biscop (d. 690 C.E.) directly brought Continental works and the Continental style to Northumbria. Born a nobleman in Northumbria, Biscop left military life at age twenty-five to pursue a religious vocation. Instead of following a standard monastic education, Biscop left Britain to learn on the Continent, first traveling to Rome in 653 C.E. According to Neuman de Vegvar, he returned to Britain with images and
origin to all Hiberno-Saxon style manuscripts. The Trier Gospels, as well as many other Hiberno-Saxon manuscripts, offers an example of how the borrowed tradition in Britain and abroad widens the scope of the “Insular orbit.” a.b. Figure 4.5a: Two archangels with title tablet, Trier Gospels, Paris, Bibliothèque nationale de France, ms. lat. 8851, f. 10, eighth century; Figure 4.5b: Canon table, Trier Gospels, Paris, Bibliothèque nationale de France, ms. lat. 8851, f. 12, eighth century. Nancy Netzer has attributed the blended nature of the Trier Gospels to collaboration between two scribes, one Merovingian and one Insular. She states that upon closer analysis of the script, the two hands found are an Insular half-uncial that evolved in the sixth and seventh centuries in Britain and an eighth–century Merovingian uncial that is derived from a Late Antique miniscule. According to Carl Nordenfalk, the illuminations share elements of both the Hiberno-Saxon and Merovingian styles, as well as some Greek and Byzantine influences. The many influences that are blended in the Trier Gospels reflect the complicated problem of defining the Insular style. Benedict Biscop Besides infusing the Continental style of art into the Insular framework through mission work, Benedict Biscop (d. 690 C.E.) directly brought Continental works and the Continental style to Northumbria. Born a nobleman in Northumbria, Biscop left military life at age twenty-five to pursue a religious vocation. Instead of following a standard monastic education, Biscop left Britain to learn on the Continent, first traveling to Rome in 653 C.E. According to Neuman de Vegvar, he returned to Britain with images and
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