Abstract
The Journal for Late Antique Religion and Culture is a full text open access online journal, edited by members and associates of the Centre for Late Antique Religion and Culture and published by Cardiff University Press.
Highlights
From the second half of the first millennium A.D. the earliest extant illuminated gospel manuscripts began to be created in Britain
Red colour (39% (4 options) or 67% portrait only) Occasional wings (53% or 67% portrait only) Oriented to sinister (50% (3 options) or 67% portrait only) Ambiguous tongue (37% - 67% of all tongues) Stretched attitude (33% or 67% portrait only)
In the table above the reader will find the most distinctive features of insular British imago leonis figures summed up when compared to non-insular imago leonis figures
Summary
From the second half of the first millennium A.D. the earliest extant illuminated gospel manuscripts began to be created in Britain. These were the vulgate Latin synoptic gospel accounts of the four evangelists; Matthew, Mark, Luke and John; and they differed from the earlier-attested, smaller and non-illuminated gospels in that they were filled with colourful miniatures. Mark's symbol was called in Latin the imago leonis, which later became the symbol of Venice, and depictions of this creature make some of the very earliest British portrayals of lions These lions depicted in illuminated British gospel art share certain, peculiarly insular characteristics and tendencies which are rarely found outside of the sphere of insular artwork. The cross-page lions of the Book of Kells represents a hybrid between the continuum of the insular Irish with the insular British artistic tradition. All of the difficulties in provenance above do have some impact on the individual lions, but hopefully the reader will agree that the integrity of the insular British group as a whole is fairly strong upon seeing them compared
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