Commissioned by Charlemagne and completed in his Court School at Aachen by the scribe Godescalc: a Carolingian-Insular masterpiece in gold and purple
Godescalc Evangelistary
Germany — 781–783

Godescalc Evangelistary
Germany — 781–783
Charlemagne (742–814) and his wife Hildegard commissioned this Carolingian masterpiece between 781 and 783
Originating in the Palace School at Aachen, the manuscript's adornment is dominated purple, silver, and gold
Named after the scribe Godescalc, it masterfully combines Insular elements with those from late Antiquity

Godescalc Evangelistary
Incipit Page: Christmas Vigil
On the left, the huge gold leaf initials are a mesmerizing cosmos of interlace patterns. The neatly written text in the right column consists of alternating lines of gold and silver, the latter of which has tarnished black so that it is barely legible against the purple background, but would have shimmered brilliantly when it was made over 1,200 years ago. It is a phenomenal incipit page made with only the finest materials, even the backgrounds are dyed with incredibly expensive purple ink.
Godescalc Evangelistary
- Godescalc Sacramentary
- Godescalc Gospels
- Godescalc Gospel Lectionary
- Godescalc-Evangelistar
- Évangéliaire de Godescalc ou de Charlemagne
- Evangelistario di Godescalco
Short Description
Between 781 and 783, Charlemagne (747/8–814) personally commissioned the Godescalc Evangelistary together with his wife Hildegard (ca. 758–783) from the scriptorium of his Court School at Aachen. It came to be one of the most glorious manuscripts from the Carolingian period to survive today. The text of the Gospel readings is written in gold and silver ink on purple parchment and were accompanied by six full-page miniatures showing the four Evangelists, Christ, and a fountain of life. Glimmering initials and interesting ornamental borders additionally adorn the entire liturgical luxury manuscript. The easily recognizable transition between the Insular and antique-like illumination. Thus, one can find wave bands, acanthus ornaments and wickerwork patterns in the frames of the miniatures.
Godescalc Evangelistary
The Godescalc Evangelistary is one of the most beautiful and costly manuscripts from the Carolingian period to survive to the present. It was made at the behest of no less than Charlemagne (747/8–814) and his wife Hildegard (ca. 758–783) in the scriptorium of his Court School at Aachen between 781 and 783, and is furnished with particularly rich and noble materials. Stretching across 254 ages altogether, the text of the Gospel readings glimmers in precious gold and silver ink on purple parchment. The manuscript was introduced by six full-page miniatures showing the four Evangelists, Christ, and a fountain of life, while richly ornamented and sparkling initials accompany the entire text.
Noble Materials with Significance
A manuscript personally commissioned by Charlemagne is obviously going to be furnished with every art of painting and writing available at the time. Nevertheless, aside from its decorative purpose, the noble materials have a symbolic meaning: the splendid luminosity of gold, silver, and purple supposed to be reminiscent of the heavenly kingdom and eternal life.
First Class Miniatures Straight from Aachen
The luminous manuscript originated in the scriptorium of the Court School of Charlemagne in Aachen. Today, there are still eight complete manuscripts and a fragment originating from this scriptorium, of which the Godescalc Evangelistary is the oldest. The liturgical manuscript owes its name to the scribe Godescalc who accompanied Charlemagne on his journey to Italy.
Stylistic Variety of the Miniatures
The stylistic variety of the miniatures is extremely interesting to observe. One is able to find both Insular wickerwork patterns as well as antique-like wave bands and acanthus ornaments. This variety of motifs is appended by the already modeling use of color, which lends the figures and space more plasticity. This pursuit of a logical connection between the figures and the space in which they find themselves is style building for the subsequent works of the Aachen scriptorium.
Codicology
- Alternative Titles
- Godescalc Sacramentary
Godescalc Gospels
Godescalc Gospel Lectionary
Godescalc-Evangelistar
Évangéliaire de Godescalc ou de Charlemagne
Evangelistario di Godescalco - Size / Format
- 254 pages / 31.0 x 21.0 cm
- Origin
- Germany
- Date
- 781–783
- Epochs
- Style
- Language
- Illustrations
- Six full-page illuminations: The four Evangelists, Christ in Majesty and the Fountain of Life. The hole text is written in gold and silver on purple parchment.
- Content
- Readings from the Gospels for the Mass
- Artist / School
- Godescalc (scribe)

Godescalc Evangelistary
Portrait of John the Evangelist
This is simultaneously the earliest known Carolingian manuscript and one of the finest, as this Evangelist portrait can attest to. Only the richest materials – gold, silver, and purple parchment – were worthy of Charlemagne. John is given special status as his miniature is facing that of Christ in Majesty.
This sparkling composition is presented within a frame of Insular interlace. Holding a codex as he inks his stylus, John is depicted recording Christ’s life as a witness without adding his own creativity. John is seated on a throne – an allusion to Charlemagne’s authority over Rome, which he had recently saved from the Lombards, conquering them in 774 to claim the Iron Crown of Italy, an event commemorated by this commission.
2 available facsimile edition(s) of „Godescalc Evangelistary“
Godescalc Evangelistary - library edition
- Publisher
- Faksimile Verlag –
- Limited Edition
- 98 copies
- Binding
- Leather cover decorated with dry-stamped motif
- Commentary
- 1 volume by Fabrizio Crivello, Charlotte Denoël and Peter Orth
- More Information
- Reproduction of the entire original document as detailed as possible (scope, format, colors). The binding may not correspond to the original or current document binding.
Godescalc Evangelistar
- Publisher
- Faksimile Verlag –
- Binding
- Leather cover decorated with dry-stamped motif
- Commentary
- 1 volume by Fabrizio Crivello, Charlotte Denoël and Peter Orth
- More Information
- Reproduction of the entire original document as detailed as possible (scope, format, colors). The binding may not correspond to the original or current document binding.
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