Student Research Papers #2 examples

Analysis of: Chi Rho Iota, The Book of Kells

Ox Gall Inks and Pigment on Vellum, 8th/9ths Century, Iona, Scotland

One of the pages in this noteworthy illuminated manuscript, commonly known as The Book

of Kells, depicts the Ancient Roman symbol; Chi Rho Iota. Made by Irish Monks in a monastery

in Iona, an island off the western coast of Scotland, the cherished book was constructed around

the concept of Christianity and was created to celebrate the “word of god” in the eyes of its

religious followers. The 12 3/4” x 9 1/2” ceremonial book is just a little bit larger than the

average sized piece of college ruled paper, but it holds major historical significance. Fleeing in

the arms of its Irish keepers in response to Viking attacks, the book was transported from Iona to

the mainland of Kells, Ireland for safekeeping. Printed on calfskin vellum and dyed with

pigments from plants and minerals imported from Afghanistan, The Book of Kells is a highly

ornate, incredibly detailed masterpiece that contains the gospels of Matthew, Mark, Luke and

John and still exists to this day.

Believed to be created by the hard work of seven dedicated monks, Chi Rho Iota is the

opening page for the book of Matthew within the major work. First used by Roman Emperor,

Constantine The Great, Chi Rho Iota, written as letters X, P, and I are symbolic of the word

“Christ” in Greek. The night prior to battle against the forces of Maxentius, it has been said that

Constantine saw a flaming cross in the sky, then went on to win the next day at the battle of

Milvian Bridge in Rome, 312. The flaming cross became the iconic symbol, Chi Rho and was

found repeatedly in late Ancient Roman design.

Considered an abstraction to the concept of god, the two-dimensional form was made, as

previously stated, using ox gall inks and imported pigments all the way from Afghanistan. Given

the location of the city of Iona, trade with the Byzantine world was extensive and there was a

wide variety of materials for artists and craftsmen to experiment with. Also, given the

development of thinly laid animal skin as a form of writing surface, calfskin vellum, from

roughly 185 calves helped compose into The Book of Kells. Derived from the Latin word

vitulinum, meaning “made from calf,” vellum is a durable, smooth writing material that's use

dates back to the 5th century BCE (Lubbock). Through the additional use of stencils and precise

detailing, the Chi Rho Iota page, and the book as a whole, truly comes to life.

This illuminated manuscript, and all others that are constructed in the same manner, hold

both conceptual and symbolic significance. First, the codex book is considered to “illuminate”

because the cover is physically plated with gold leaf and encrusted with gems and, in effect,

sparkles in the eyes of its beholder. Second, these illuminated manuscripts are thought to

“illuminate the minds” of their readers because they will learn something about the sacred

religion by the end. Both meanings are a major part of the power that this devotional object

holds.

On the Chi Rho Iota page, in particular, countless principles of design impact the overall

aesthetic of the piece, including notable features like line, color, pattern, and space. From

looking at the page for only a few minutes one can distinctly recognize the significant impact the

element of line contributes. Making up the letters XPI of Chi Rho, a curvilinear outlined X is the

dominant form supported by a P withholding the I in its spiral appearance. All three letters are

highly ornate and include lines drawn into circle discs, spirals, and even spiritual symbols, like

the trinity knot and triskele, within and beside them. Also, a series of linear movements make up

the phrase “autem generatio” in the bottom right corner, meaning “the beginning” (of Christ’s

life.) Besides to outline and decorate the letters, line is also an important aspect of the

background ornamentation in the form of dense tracery. Medium-thick lines outline the small,

embedded head of Matthew at the center of the P-I overlap and makeup all surrounding animal

motifs, angel figures, vast spirals and geometric forms.

The element of color also plays a major role in the piece. The use of imported ox gall inks

and pigment resulted in quite a few colors being used on the Chi Rho Iota page. The high

contrast piece includes black, brown, primary hues of red, blue, yellow and secondary colors;

green and purple. Used on the Monogram page, as well as on other pages in The Book of Kells,

the extremely rare, lapis lazuli pigment was imported from the mines of Afghanistan. The

permanent, natural blue pigment of lapis lazuli was first employed in Ancient times as a simple,

ground up mineral with weak color intensity. However, after Persian craftsmen discovered a way

to extract the coloring agent, it became a widely desired, highly important art material. The main

X in the piece is outlined in black, then inner-lined with purplish-red and yellow and the other

letters follow with similar use of stacked outlining. Thoughtful use of color results in an overall,

complex design that is visually engaging for its readers.

Pattern is also one of the most prominent elements featured on the Chi Rho Iota page of

The Book of Kells. Created to be just as complex as the Christian religion, the repetition of

spirals and curvilinear forms on the intricate page create an illusionistic effect and keep the eyes

moving for as long as they’re focused on the piece. As respectfully one of the most powerful

examples of medieval painting, this manuscript page features incredible interlacing patterning of

the spiral form makes the piece appear active. This element of design creates unity within the

work of art as a whole.

Pattern plays along with the last element, space, since the image is scattered with spiraling motifs in all shapes and sizes, circles, and even diamonds, so that no gap is left unfilled. The general space is impeccably designed and nearly every detail can be found in multiple areas

throughout. The scale between objects is minute and the image space is created by use of thick outlining, changes in color saturation, and the varying scale of detailing. The main letters, XPI, are larger, darker in color, and contain greater scaled detailing than the rest of the piece, thus making them “pop out” from the background as depth of field increases.

In essence, the compositional balance of the Chi Rho Iota page of The Book of Kells is asymmetrical in all regards. The large scale XP is left justified, therefore that part of the design is emphasized and draws the viewer’s attention immediately at first glance. Chi Rho is the overall focal point and maintains hierarchical scale, but the painting as a whole is made to be visually satisfying as a result of repeating shapes and color usage in all areas. This early medieval piece, respectfully considered one of the greatest achievements of Hiberno-Saxon art, is incredibly ornate and was relatively costly to create (Coleman). The Chi Rho Iota page illustrates the beginning of Jesus in the Bible, but overall, The Book of Kells is a celebrated piece that is, not only important to the Christian religion, but to the development of art culture as a whole.

Works Cited

Coleman, Sally W. "The Book of Kells: The Mother of All Monograms." Short Lessons in Art History. N.p., 19 June 2011. Web. 04 Dec. 2017.

Lubbock, Tom. "Anonymous: The 'Chi-Rho' from 'The Book of Kells' (c.800)." The Independent. Independent Digital News and Media, 15 May 2008. Web. 04 Dec. 2017.

Stokstad, Marilyn, and Michael W. Cothren. ART HISTORY. 5th ed. Vol. 1. N.p.: Pearson, 2013. Print.

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FA 111.02 Final Essay:

The Seventh and Eighth Centuries C.E. were turbulent periods of time in the history of Scotland and Ireland in particular. Therefore it is an enduring wonder that a manuscript on the scale of the Book of Kells was ever completed, let alone to such a high standard of artistic quality. It contains 340 folios (680 pages) made from calfskin vellum held inside one of the oldest surviving codex style binding -- but at least 30 folios are missing from it (“The Book…” [Trinity College] 1). Its remaining illuminations are a pinnacle of Celtic knotwork traditions and it also contains masterful examples of insular majuscule text (“The Book…” [Trinity College] 1). Beyond that, it also draws upon a variety of visual inspirations including Christian and Islamic art. It also contains arguably one of the most famous images from the early Medieval time period on its 34th folio: the Chi Rho Iotapage. This page marks the beginning of the Evangelist Matthew’s narrative in the Book of Kells starting with the birth of Christ. More importantly, it masterfully combines the artistic concepts of actual and implied line, color, pattern and rhythm, and space in such a way that makes it comprehensively unique. However, it is also important to note that while the Book of Kells is a stunning manuscript, it also ushered in the beginning of an era of other remarkable illuminations.

The Book of Kells was created around the year 800 C.E. by a team of three distinct artists and four scribes -- whether or not some of the artists multi-tasked as scribes is unknown (Stokstad 429). The source material for the Book is from the St. Jerome Vulgate version of the Four Gospels, along with additional summaries and minor narratives (“The Book…” [Trinity College] 3). Its creation began in the Saint Colum Cille scriptorium on Iona off the coast of Scotland but after a Viking attack the Columban monks fled to the monastery at Kells in County Meath (“The Book…” [Trinity College] 2). According to the Trinity College Library, it is unclear how much work was completed at each location respectively. The book was created not only as a work of supreme devotion dedicated to the Christian God but the process of its creation also served as an intensely spiritual act of meditation and concentration on the glories of God. As a manuscript, it was created to preserve knowledge for future generations, as well as educate new monks, and remind elder monks of the mysteries of the faith. It would be exceptionally limiting to assume that the reason the Book of Kells was created only as a reflection of monastic life.

Due to some small but beautifully covered up errors such as missing or repeated words, scholars have inferred that the Book was primarily used for display during major rituals of the Christian calendar -- and not for everyday study (“The Book…” [Trinity College] 6). In 1006 C.E., the highly decorative cumdach or shrine that the Book was kept in was stolen and remains lost to this day (“The Book…” [WCPL] 14). According to records kept in the Annals of Ulster, the cumdach was made of gold and encrusted with precious stones, and was perhaps even fused with various bone relics (“The Book…” [WCPL] 14). The Bookremained at Kells until 1090 C.E., and up until that time empty sections of the folios were also used for more mundane purposes like recording important financial transactions for the monastery (“The Book…” [Trinity College] 6). After 1090, it was moved to Donegal and from there it was then brought to Trinity College in Dublin in 1661 where it has resided ever since. It was rebound into four separate volumes in 1953, only two of which are put on display at a time (“The Book…” [Trinity College] 7).

Over 185 calves were killed to make the smoothest vellum for this work of glorification devoted to God (Stokstad 429). The sheer magnitude of such a slaughter illustrates to both medieval and modern audiences the extent of the resources the church had at its disposal. Such a sacrifice of calves also mirrors the Old Testament burnt offerings given to God by the families of the early patriarchs like Jacob and Isaac; it also reflects the perception of man’s dominion over animals. The inks used combined the monks’ knowledge of the natural world around them -- oxgall from the livers of cows that was then mixed with alcohol, woad, and other organic dyes -- and also demonstrated the resources of the church, with other pigments made from lapis lazuli and other precious materials from around the globe (“The Book…” [Trinity College] 5; Stokstad 428). These inks and dyes were added onto the pages using feather quills likely, and researcher Robert Stevick suggests that compasses, basic magnifying lenses and a strict set of mathematical ratios were also used by the monks. (Raw par. 4). The edges of the Book of Kells are also gilded (“The Book…” [Trinity College] 1). The actual texture of the Chi Rho Iota page is therefore mostly smooth, with slight differences due to wear and tear, or raised inks. The implied texture as seen in reproductions or in digital scans is also smooth, with slight weathering producing a mottled effect.

The symbolic significance behind the Book of Kells is just as important as its historical significance. Its illuminations are not just illustrations of the word of God, but they also bestow meaning and beauty upon the reader and literally light up the mind. Likely, on a dark night in the monastery the right flash of light would cause the gold used in the illustrations to light up the creators’ faces -- literally illuminating and highlighting. The Book also represented the shift from pagan to Christian thought while still honoring the influence of pagan traditions and stories that continued to shape the Medieval Irish way of life. The Chi Rho Iota page in particularly accomplished this fusion by juxtaposing the image of the Apostle Matthew’s head -- notably transfigured to be Irish in his appearance, ignoring his possibly darker complexion as a native of Galilee in the Middle East -- with trefoils and triskelions that represented the triple goddesses (the three Brigids or the mother, the maiden and the crone) of Celtic pagan tradition. These knots were also adopted by the church to represent the Holy Trinity of the Father, the Son and the Holy Ghost.

The depiction of Matthew’s head is one of the few representations of the human form in the entirety of the Book of Kells: there are a few humans as illustrative pieces forming borders of letters on the Chi Rho Iota page and others. The lack of representation of other saints, apostles, or even Jesus Christ himself has direct roots in the artistic heritages of Islam wherein the representation of any human or the divine is strictly prohibited. This is due to the belief that the perfection of Allah and his creations is intangible and can never fully be captured properly by artists and to attempt to do so violates the tenets of the religion. The Chi Rho itself represents the name, the entire being, and the concept of Jesus Christ without representing him physically -- it is a symbol. This cultural diffusion was likely brought to the monastery at Kells alongside the various pigments used to create the Book, like the lapis lazuli from Afghanistan (Stokstad 429).

The elements and principles of design that went into the creation of the Chi Rho Iota page are primarily line, color, space and pattern. However, the balance and symmetry of the piece are also particularly intriguing to contemplate. On a large scale, the Chi Rho Iota symbols are lopsided across the page, with the main emphasis on the convergence point of the stylized Chi. But upon taking a closer examination at the separate elements of the page, the internal tondos are impeccably symmetrical (whether along a horizontal or vertical axis varies just as much as the tondos themselves) and proportional. The backwards “L” shaped feature which is perhaps the intensely stylized Iota does help to offset the visual weight of the Chi Rho to an extent. Overall, the composition of the page is aesthetically pleasing and requires a dedicated eye to truly appreciate its arrangement. Like its arcane text, the images in the Book of Kells are not designed to be overwhelmingly accessible to its potential audiences.

The colors used to create this page are predominantly primary and overwhelmingly red and gold. Royal purple, varying shades of green from emerald to a lighter teal, and black also make appearances. The analogous colors of the yellow/gold and green are used in the knotwork to create contrasts between the undulating and curvilinear forms. The significance of the usage of the imperial purple also reinforces the power of the Chi Rho Iota as the literal word of God, and the gold leaf that appears yellow also serves as saturated color fit for divinity as well as the complementary color of purple. Due to age and exposure to the elements, some colors have faded away to leave nothing but slightly tinted vellum, but the vast majority remain incredibly saturated and of a high value which speaks highly of the quality of the binder used in the pigments. For those areas lacking distinguishable color, the lightness creates a point of rest of the eye, working alongside the concept of emphasis. In particular, the empty space at the center of the Chi Rho gives a point of much needed relaxation for the viewer in comparison to the rest of the intricate page.

There is an extremely diverse sample of line at work in the Chi Rho Iota page. There is a greater prevalence of curving lines and knotwork than there is straight lines. Due to this, the piece is by no means a static one: It is constantly shifting and flowing, using newly noticed lines to direct vision with each glance. The diagonal arms of the Chi Rho also imply visual speed and movement to compliment the dancing forms of the rest of the work. The lack of line is just as telling as the presence of it and the implication of such directs the eye from color to color or to tondo to tondo. Another example of line would be the small amount of text at the bottom right of the page. This is another example of artistic stylization and abbreviation in order to create an aesthetically pleasing work -- it is just the word “generatio” from the phrase “Christi autem generatio” which is the start of Matthew 1:18 (Stokstad 429). It is also one of the earliest examples of a bold insular majuscule text, used only for the most important documents and letters (“The Book…” [Trinity College] 1). It serves as a simple and subtle element on the page, almost a palate cleanser for the viewer’s mind. Lines are also used to create flowing patterns inspired by aspects of nature that influenced the Celts daily.

Vine motifs and representations of the knotwork that made Celtic metalsmiths the premier artists of their age repeat in patterns along the page, forming borders as well as the Chi Rho Iota letters themselves. These sinuous patterns contribute to the rhythm and movement of the piece just as much as linework does. Vines were also important Druidic symbols of nature and growth, and the usage of these patterns also represents the fusion of past and present Celtic ideas. Space is utilized with a taste for the lavish and a desire to fit in as many patterns as possible. Patterns are overlaid across flat washes of color and there are minute amounts of negative space in between the loops of the knotwork. However, this page alongside the rest of the Book of Kells has a distinctly flattened perspective that does not create much of a sense of depth.

In conclusion, the Book of Kells is a masterpiece on many levels from both the historical and artistic points of view. The Chi Rho Iota page in particular is a distillation of every element in the Book executed to near perfection. It is a wonder that this manuscript survived in such a perfect state of detail for so long. The creation of the Book of Kells was a turning point in the artistic history of the Celts and still influences artists all around the globe to this day with its majesty and light.

Work Cited:

Stokstad, Marilyn, and Michael W. Cothren. ART HISTORY. 5th ed. Vol. 1. N.p.: Pearson, 2013. Print.

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Chi Rho Iota is the most well-known painting in The Book of Kells. The Book of Kells is an illuminated manuscript, text enhanced with lettering, borders and illustrations, of Matthew, Luke, John, and Mark. The four Christian gospels. The Chi Rho Iota was made in Iona, Scotland at around the late 8^th or early 9^th century. It was made by Irish monks whom belonged to the Columban movement. The dimensions of this piece are 13” x 9.5”. It is currently conserved at the Trinity College Dublin, Ireland.

The Chi Rho Iota was created for the start of Saint Matthew’s Gospel. The art piece is created on vellum, soft animal skin used as a material for writing. It was creating using materials such as ink and pigment. According to Susan Benford of Masterpiece Cards, “The first three letters of “Christ” in Greek are Chi-Rho-iota (XPI)” (Benford 17). The lower right corner has two words, one represented by an h and the other word, “generatio”. Together they make the phrase, “Now this is how the birth of Christ came about.” This piece is symbolic for the coming of Christ.

Many principles and formal elements of art work together to create overall compositional balance. Formal elements of art are operating together to form the Chi Rho Iota. The formal elements that make up this work are; line, color, space and shape. There are actual lines and implied lines throughout this piece of art work. Many of the lines in this piece are curvilinear. The lines outlining the chi rho iota symbols are thin and black with a thicker line inside of that line. The line creating the X curve inward at each ending point. The end of the P curves inside of itself almost creating a circle inside of it, however; the line is stopped by a head. The lines used to create the L are all straight. Between each of the letters there are lines creating many different designs. Inside of each of the letters there are thick, thin, straight, slanted, and curvy lines. In the X where the right side is combined with the left side, there appears to be a diamond shape right in the center. There is an implied vertical line going directly through the diamond stretching to the top and the bottom of the center of the x. There is a larger diamond shape at the middle of the X. It looks like a diamond with four small rectangles added on to each side. This shape is symmetrical. There are a few colors being repeating throughout this whole piece. The colors consist of; tan, yellow, orange, dark blue, black, and shades of violet. Warm colors make up the majority of the piece, causing the piece as a whole to appear warm. The background base color is tan with lighter and darker tan throughout. The entire piece is outlined in a dark violet line. There is more positive space in this piece than there is negative space. A great amount of space is being taken up with designs and objects. Positive space is inside and around each letter. There is only negative space between each design, therefore; there is not much negative space. The negative space that is there, however; is filled in with a solid color. Many different shapes can be found throughout this piece of art. There is a great amount of abstract designs, including; circles within circles separated with swirls, lines intertwined with other lines, squares, and dots. There are many objects throughout the piece that are not abstract. In the upper left-hand corner of the X, just outside and under the curve is a moth. Below that are three angels, the middle one is larger than the other two. Below those angels, along the same side of the X, are two more angels. At the end of the P is a human head. It gives the impression to be the center of the P. Inside of the X three quarters down the left side of the symbol is a square. Inside of that square are sixteen flowers. There are many intricate shapes all through this piece.

Principles of art came together to form Chi Rho Iota. The principles that make up this piece of art are; movement, rhythm, balance, and emphasis. The artists incorporated movement through the use of curvilinear lines. The viewers eyes move through the X from the top to the bottom. The top left side of the X starts curved inward then goes around to the center diamond of the X, then proceeds to go down the right side and curves at the bottom. That creates movement throughout the X. At the bottom of the X there is a thin yellow line that separates into two lines going in two different directions. One line is going left and following the X, the other line is going right and into a circle design. That creates movement to the P. The P itself creates movement. The viewers eyes start at the bottom of the P and go up and around until reaching its head. It gives off the impression as if the head is pointing towards the L. Which, finally, draws attention to the L. There is a lot of rhythm throughout this piece. There is rhythm in the use of colors. There is also rhythm in the designs. All through this piece there is a design that is being repeated. This design is a circle with three smaller circles inside of it, and three smaller circles inside of those circles, and the same designs within them. Rhythm is found inside of each of the letters. Each letter has their own different repeating design in them. Another principle of art that is being used throughout the art piece is balance. This piece has a great amount of balance because the designs are distributed evenly throughout the whole piece. There is hardly any negative space in the center of the piece. More towards the outsides of the piece, the designs begin to separate and less space is being used. There is also a good balance in the use of colors all through this piece. Evidently there is a lot of tan in this piece, but that is only because tan is the background color and the main design is not taking up the entire piece of vellum. This piece also uses the principle of art, emphasis. It is clear that the letters are emphasized because they are larger than any other design. The letters themselves are the focal point. As stated by Tom Lubbock, of Independent, “it sounds as if the letters came first and the decoration after. The three letters, though visually distinct, are nowhere just letters. They have been shaped with a view to the patterns they will be part of, and they are themselves filled and formed by ornamental elements” (Lubbock, 10).

The elements of design and principles of design come together to form the overall compositional balance of this piece. This piece of art work is very intricate and detailed. It comes as no surprise that the Chi Rho Iota is the most well- known art work in The Book of Kells.

Benford, Susan. “Famous Paintings Reviewed.” Medieval Art: Book of Kells,

www.themasterpiececards.com/famous-paintings-reviewed/bid/91866/Medieval-Art

Book-of-Kells.

“Christ's Monogram Page, Book of Kells (800).” Monogram Page (Chi Rho), Book of Kells:

Analysis, www.visual-arts-cork.com/famous-paintings/monogram-page

kells.htm#analysis.

Lubbock, Tom. “Anonymous: The 'Chi-Rho' from 'The Book of Kells' (C.800).” The

Independent, Independent Digital News and Media, 15 May 2008,

www.independent.co.uk/arts-entertainment/art/great-works/anonymous-the-chi-rho-from

the-book-of-kells-c800-828951.html.

“Vocabulary of Art - Elements Handout.” Incredible Art Department,

www.incredibleart.org/files/vocab.htm.

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The Chi Rho Iota Page from The Book of Kells was made in Iona, Scotland in the late 8th and early 9th century. It is an early Medieval manuscript that contains four different biblical accounts, Matthew, John, Luke, and Mark, about Christ’s life and it helps show Christ presence at the altar for all to see (Cothren 441). This famous book could have been carried by a deacon in Justinian’s procession into San Vitale (Cothren 441). This book was made by four scribes and three painters who are all unknown. This was created using pigments of vellum and different ox gall inks. The vellum was made with 185 calves and the colors came from multiple different places including Afghanistan (Cothren 441). It is 32.5 cm by 24 and can be found in the Trinity Library in Dublin today.
The symbolic chi-rho centers its meaning around Christ. The two letters of the Greek alphabet spell out Christ together. The illumination of the page help shows the importance of god. Its significance is to depict the four; Mark by the lion, Luke by the Calf, John by the Eagle, and Matthew the man. It is significant because it was treasured and prayed to by many. This book had an important meaning to those who wanted to celebrate the life of Christ and his sacrifice for them. The formal elements that can be seen throughout the Book Of Kells page above include color, pattern, shape, line, and balance.
There are multiple different colors seen throughout the page of this manuscript. The most apparent color is gold. Gold is in all the letters and the background of the designs. The gold and illumination of the pages represent protection and symbolizes Christ. Gold represents the perfection of Christ and his journey through life. Gold represents perfection and because people always wanted to be cleansed. Gold is satisfaction for many. Many think of gold when they think of Heaven and it represents the perfection they need to reach.

The color purple can also be seen surrounding the Greek letters. Purple symbolizes royalty and wealth. Since purple was expensive to produce it became associated with those who were higher up in society. Purple stands for sacrifice as well because it was used during the killing of Jesus and many people go to altars today to receive justice from God for our sins (Patterson 1). It has an important meaning to this day for many people throughout the world. It is symbolic of Christ and all that was sacrificed for those around him.
Other colors used in this manuscript include red, green, and yellow. Red can stand for life because the flesh and blood that was sacrificed by the savior of many. Christ's blood protects people from sin due to his death and sacrifice for others (Patterson 1).Yellow represents character because people do the things they do base on the Holy Spirit and those who they want to please for a chance at a “good” afterlife (Patterson 1). These were all small little things that people followed in their life. Green symbolizes eternal life since it is a combination of both blue and yellow, it helps produce harmony, unity, and happiness (Patterson 1). Everybody wants peace among one another because it causes less violence. These were the small morals that the lives of many people revolved around and these small colors in the Gospel have a lot more meaning than what appears.
There is very little space that can be seen. Almost all the space is filled with decorations. The letters take up the most space and are the most dominant in the picture. This is similar to the hierarchic scale that was used in Ancient Egyptian art. The spirals and lacing patterns that fill the letters get smaller and fainter. Some compare these to fractals (Lubbock 1). Matthew 1:18 is written in the bottom right corner of the page and shares the meaning of Christ being born. It is the only spot on the entire page that has no excess detail surrounding it, that shows a special meaning in the Gospel and the main point of the image that was drawn. The Chi takes up the most space and looks as if they are curved pillars, and pillars were seen on important buildings usually (Lubbock 1). Pillars are tall and point upward towards the sky where it is believed that Christ is. The Chi shelters over the other two letters. The rho is spiraled and laced in shape along with the iota letter. Having shelter makes people feel safe and that sense of security come over people when they enter a church because they are housed under the roof of God. Like mentioned before, the spirals and lacing, curving lines are patterned throughout the piece to add to the illumination effect and the royalty of this book to those who made it and believed in it.

The space has many different hidden animals and peoples. Animals are important to how the earth was made up. The animals show power and could represent the four Evangelists that the Gospel book is all about. They can be seen in the bible multiple times in many different stories. Matthew’s head can be seen and helps to add to the meaning of what was written in verse. It helps bring the point across of whos life is being celebrated. Three angels are hidden as well. The spirals were not just there for ornamentation, they were there to help in the illumination of the piece and show the importance of Christ in the piece. These spirals and knots were just starting to come as design during this time period of the medieval period. These patterns of the lace and spirals look as if the work was done by an angel and they add the divine complex meaning of Christs life of sacrifice.
Lines play an important part in the design of the manuscript. The lines are geometric in most places, creating circles, diamonds, and rectangles. Circles could represent halos which show the eternal life and perfection that all seek to reach. Diamonds are very natural and like to reflect light. Many people used diamonds to show their commitment to a significant other when it comes to the time when someone finds “the one”. Comparatively many people have a commitment to god and there are a few diamond-like shapes apparent. Rectangles are stable and supportive and show a sense of trust or honesty which Christ can offer you if you choose to follow his ways. There are organic lines that outline the chi-rho iota. Many spirals, lacing patterns, and knots are seen throughout and this helps incorporate different shapes and patterns into the piece. There are many different overlapping lines and shapes which help add depth to the piece, similar to how Christ's life was complex.

Overall, balance can be viewed. The letters are offset by the distribution of the various spirals and lacing effect. The colors are varied which add a sense of unity and significance to the piece. Even though the piece overall is asymmetrical, the designs inside the letters could show some symmetry amongst them. A lot of weight can be viewed by the letters due to the dominance and black outline of them. The emphasis is clearly on the letters to show the point among the manuscript.
The Book Of Kells Chi Rho Iota added a significant meaning to the monks and those who celebrated the life of Christ. They were looked at on an altar with a high point of view. They illuminated and added meaning. Even though we may not know all the meaning behind it we can use formal elements to try and get the significance and meaning that they felt to this piece.

Works Cited
“Christ's Monogram Page, Book of Kells (800).” Monogram Page (Chi Rho), Book of Kells: Analysis , www.visual-arts-cork.com/famous-paintings/monogram-page-kells.htm.

COTHREN, MICHAEL. A RT HISTORY: Volume 1 . PEARSON, 2017.
Patterson, L. E. “What Color Is God? The Use Of Color in Bible Symbolism.” The Gospel In The Colors Of God, www.teachinghearts.org/dre17httcolor.html .

Lubbock, Tom. “Anonymous: The 'Chi-Rho' from 'The Book of Kells' (C.800).” The Independent , Independent Digital News and Media, 15 May 2008, www.independent.co.uk/arts-entertainment/art/great-works/anonymous-the-chi-rho-from-the-bo ok-of-kells-c800-828951.html.

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Essay Two- Chi Rho page from The Book of Kells

"The Chi Rho Page from The Book of Kells" Essay

Throughout history there are many art works that are created, by many people and with many different materials. With every piece comes a background, meaning, and a reason to why it was created. One example of an art work is, the Chi Rho Iota page. The Chi Rho Iota page is a piece of art work that was made in Iona, Scotland. This has said to be made during the late eighth or early ninth century. This piece is the "most celebrated page" in The Book of Kells (Stockstad 449). The Book of Kells is an illuminated manuscript of the four Christian gospels (Lubbock). The Book of Kells is in Latin and is also known as The Book of Colombia. This important work of art has a lot of background to it.

This art work was created for many reasons. The Chi Rho page was created to symbolize, resemble, and celebrate the Chi Rho. The Chi Rho was very popular and extremely important to the time period and Christianity. The Chi Rho page was created by people of Scotland and possible people who practiced Christianity. This work was made in the period of Early Medieval. It has been said that the symbol has been used before. "Prior to Christianity the symbol may have been used by scribes to abbreviate the word chrēstos (good or useful), but it wasn’t until Constantine that it received a much deeper meaning" (The Miraculous Story). This quote is saying that Constantine made the Chi Rho more symbolic and important. The Chi Rho was created because The Roman Empire leader, Constantine. Constantine had a dream or what was described as a vison about the figure. Then Constantine claimed that, Jesus came to him and commanded him to make the symbol known. Many people now-a-days have trouble believing that this actually, happened to Constantine. "While some historians debate the authenticity of this tale, what is certain is after this event the Chi-Rho symbol spread like wildfire and was used in Christian art"(The Miraculous Story). This quote is saying that even if it did not happen, the Chi Rho, still spread uncontrollably. The importance of the Chi Rho made the Chi Rho page from The Book of Kells much more relevant and important. really This art piece is well-known, and was very popular during the Early Medieval time period.

All art forms and works have many formal design elements and principles. The Chi Rho Iota page form The Book of Kells as well, has many. The Chi Rho page is approximately 13" x 9.5". This work was made with Oxgall inks and pigments. The Chi Rho page was created on vellum. Vellum is a smooth, fine parchment made originally form calf skin. This piece includes line, color, pattern, space, and balance. Starting with line, this piece is full of line, however, it is all implied. Implied line is when the line is not actually there. The lines in this work are made by value and color with in the work itself, none that are actually on the paper that you can feel. These lines consist of a verity including long, short, twisted, curled, thick and thin. This piece also has a lot of color. The colors with in this piece all work together quite nicely. The colors are earth tones and natural type colors. Along with the earth tones, this art work includes somewhat of a primary color scheme. The browns and nude colors work well with the faced blue, yellow, and red lines imbedded in this work. These colors create a beautiful harmony. Along with color the next element that this piece includes is pattern. This item includes an abundant of patterns. "...it is a dense thicket of patterns derived from metalworking traditions that embellish.." (Stockstad 449). The patterns that are in this piece are very detailed. These patterns make this piece look really full and finished. The detail in the pattern shows that the artist had much patience and took their time with the piece. The must have taken a very long time to create. This could be inferred because of the precise line and different types of lines and ways the lines move. The patterns remind me of doodles in some way, besides more neatly composed. Along with these promising elements, this piece also uses great space. There is barely any negative space with in the Chi Rho page from The Book of Kells. The only negative space is the very small boarder behind the letters. However, that “negative space” can barely be considered negative space. The space consists of two shades of brown and tan, making the negative space not so boring, and quite beautiful. The letters itself would have had plenty of negative space if the detailed patterns did not make that space positive. This work is very compositionally strong and balanced. This piece is not one sided, it is really balanced in color, line, and pattern. The page is fully being used, and the composition is composed very successfully. The Chi Rho page from The Book of Kells is a wonderful, beautiful, and insightful two-dimensional piece.

This symbolic art piece made during the eighth or ninth century is a very successfully composed work and has many of the formal elements. To be an art piece it need to have the formal elements making it unified and mean something. Along with the Chi Rho page from The Book of Kells throughout the Medieval period most of the art works included great detail, had an earth tones, and some included the Chi Rho itself. Constantine, the ruler of the Romain Empire is the person who single handedly made this symbol what it is now, very important and beyond well-known. Constantine was encouraged, driven, and helped by his visons/ dreams and visits from Jesus. Religion, faith and hope can make a lot happen, and make overwhelming amounts of people do overwhelming amounts of things. The Chi Rho page was created for many reasons, however, the popularity of Christianity during the medieval time period is the strongest reason why it was made.

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Chi Rho Iota

The Book of Kells

Collection: The Board of Trinity College, Dublin, IR

In the 5th Century, Roman power in the Western Empire starts to dissolve with the rise of the Barbarian culture among other massive imperial powers. At this time, the Barbarians start to reshape what once belonged to the Romans and later, the Vikings begin to patrol the seas in their impressive ships with every intention of conquering what once belonged to another society. During all of this war and conquering, an island sits quietly off the Scottish coast. On this island, a religious monastery was the home of vocational monks, known for their teachings, art production, and havens for those who sought to learn the word of God. This holy place was home to an individual who would soon be known as one of the most influential Christian saints of all time, St. Columba. St. Columba was an Irish abbot and missionary, credited with spreading Christianity in what is modern day Scotland, at the start of the Hiberno-Scottish mission. Accompanying St. Columba, were numerous Celtic monks, who were responsible for the writing and artistry involved in the creation of what is known as The Book of Kells. This religious artifact contains the four Gospels written by the apostles Matthew, Mark, Luke, and John. With the help of divine inspiration, each apostle relays the stories of Christ’s life, ministry, and death through his own personal experiences. These gospels were translated in Latin based on the Vulgate text which St. Jerome completed in 384 AD, intermixed with readings from the earlier Old Latin translation (www.tcd.ie). The real point of The Book of Kells seems not so much the text, as it is the art work that houses it, and the embellishments applied to the calligraphic text (1 Lubbock). Even with limited materials, these Celtic Monks created one of the most beautiful works in all of religious art. With God as the author, these monks skillfully illustrated what is known to be a tabernacle for the Word of God.

Throughout the whole text, historians find delicate and ornate designs accompanied by intricate swirling and complex detail, but the most famous of all is said to be The Book of Kell’s, Chi Rho Iota page. This page in The Book of Kells is based on the verse from Matthew 1:18 that in English in the 1611 version begins “Now the birth of Jesus Christ was on this wise: When as his mother Mary was espoused to Joseph, before they came together, she was found with child of the Holy Ghost.” This passage is often referred to as the second beginning of Matthew. The Latin text, the one used most commonly in medieval manuscripts, begins “XPI autem generatio . . .” (1 Spangenberg).

The creators of this piece used line to give the illusions of movement and majesty. Line placement, along with color, captures a grand design composing Greek letters. Chi and Rho are two letters of the Greek alphabet, the first two letters of "Christ". Chi gives a hard Ch sound. Rho is an R. Chi is written as an X. Rho is roughly a P (1 Lubbock). In this piece letter placement is obviously extremely important. Chi is the dominant form, an X contributes an asymmetrical design being uneven in nature. All three letters are decorated with remarkable embellishments, discs, and spirals. Throughout the piece we see animals and angels within the letters. With the depiction of four separate beasts, historians note these images to be symbolic and representational of the four evangelists (Matthew, Mark, Luke, and John) responsible for the scripture within the book itself. Another aspect of this work of art that historians think to be symbolic is how the letters were shaped in general. According to Tom Lubbock from Independent Art, “They have been shaped with a view to the patterns they will be part of, and they are themselves filled and formed by ornamental elements, like the diamond that makes the hinge of the X, and the head of Matthew that oddly finishes the P's spiral”. The use of diagonal, horizontal, and curved lines suggest a tranquil yet regal balanced appearance to this piece. The artists also utilize the formal element of scale. The fact that the Chi Rho itself is immense, using the space of the entire page, alludes to the fact that God is universally all encompassing. One could look at this as hierarchical scale simply using letters.

These manuscripts were referred to as illuminated in view of the fact that they captured light and reflections so well due to the artist’s particular use of extraordinary color. The color pigments used, such as yellow, red ochre, indigo, green copper, and an extremely rare lapis lazuli (which came from Afghanistan) gave this piece a superb characteristic that is hard to compare (1 Kearney). The intention of the artists in employing such a high value of pigments was to give the observer the experience that he/she was looking at a piece of sacred art, actually aglow with light from within (Pepper Notes). As stated before, within these pages reflected the Word of God. Christians believe Christ’s first coming was when God made the Word flesh (Pepper Notes). Interpreting this scriptural story, The Father said He would send His Son to bring about the kingdom of God and therefore, the prophesy was fulfilled; Christ was born. In a similar way, these beautiful pages needed to be equivalent to the majestic throne that God sits on. In the eyes of the Christians, these pages needed to be worthy enough to house the Word of God. Meaning, the monks spared no expense of money or time in using the worthiest of colors in creating these pages.

Some historians tend to call this work abstract; however, others would disagree. These forms are not autonomous; they are decorations and devotional pieces of what they encompass all together, God (1 Lu). The monks’ way of honoring, or in this case worshiping someone, was through their sacred art. Since God is so good, so fulfilling, and omnipotent not one single space should be left undecorated. The artists used space to represent how loving and worthy their God was. Form, space, and line collaborate together to show a never-ending, somewhat doodling effect, causing the viewer to see no beginning and no end (Pepper Notes). Through the use of these formal elements, the monks told the story of how God has no beginning and no end. Their format reinforces their belief that God is the Alpha and the Omega. His reign is eternal and continues on even past the end of time. This aspect of infinity is seen throughout the whole manuscript. Due to the fact that this form is so intricate in nature, some art historians and those who study art in general seemed to believe that this work was the work of angels and not of man. Their reason being, the colors being so vivid yet the design being so small, full of turns, twists, and swirls.

It is clear that the monks creating this wonderful page had a plan and strict purpose. During this time and still today, when religious artists begin to capture their craft, they look at their abilities as gifts from God and try to channel God’s beauty in all they create. St. Columba’s monastic community truly captured the majestic nature of their God through intricate design, space, and color.

Works Cited

Kearney, Martha. “Culture - The Book of Kells: Medieval Europe's Greatest Treasure?” BBC, BBC, 26 Apr. 2016, www.bbc.com/culture/story/20160425-the-book-of-kells-medieval-europes-greatest- treasure.

Lu, Alan. “Understanding Art 1: Western Art (Learning Log).” Unit 4: Annotation: Chi Rho Page (Folio 34r) Book of Kells, 1 Jan. 1970, alanarthistory1.blogspot.com/2011/03/unit-4-annotation- chi-rho-page-folio.html.

Lubbock, Tom. “Anonymous: The 'Chi-Rho' from 'The Book of Kells' (C.800).” The Independent, Independent Digital News and Media, 15 May 2008, www.independent.co.uk/arts- entertainment/art/great-works/anonymous-the-chi-rho-from-the-book-of-kells-c800- 828951.html.

Spangenberg, Lisa. “XPI Autem Generatio: The Book of Kells and the Chi-Rho Page — Celtic Studies Resources.” Celtic Studies Resources, 28 Apr. 2017, www.digitalmedievalist.com/2010/12/25/xpi-autem-generatio-the-book-of-kells-and-the-chi-rho- page/.

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