The Golden Book of the Gospels from Echternach. Limited
Edition Facsimile.
Codex Aureus Epternacensis Hs 156142 from the Germanic
National Museum in Nuremberg.
A limited edition, boxed collection of 12 facsimile plates
under passepartout and commentary by Johannes Pommeranz (in German), from the
Codex Aureus of Echternach. In beautiful original box with replica of the
Crucifixion relief.
Published by Coron-Verlag, Kreuzlingen 2015. Number 59 of 995
copies.
Display Box Dimension: 38 x 52 x 9 cm
Condition: As New
The twelve facsimile sheets presented are gilded with 22
carat gold. The process used follows the gilding method of the medieval painter
monks and is mastered solely by the bookbindery Richard Mayer in Esslingen.
Each cassette is elaborately made individually by hand and is
covered with purple full-grain leather. The twelve images are presented in
bevel cut passe-partouts.
An important element of the cassette itself is the
crucifixion relief, which is also the focus of the ceremonial lid of the
Nuremberg original. The group in the crucifixion relief is shown in simplified
form: Christ in the centre, Longinus with the spear on one side, Stephaton with
the bucket of vinegar, with hyssop stalks and a sponge for the thirsting Christ
on the other. Unlike in the biblical account, Jesus stands firmly on the earth
(TERRA); Sun and moon mourn. Theologically it is interesting that according to
Augustine the opening of the Lord's side also means the flow of the sacraments
in a new church; the sponge carrier represents gall and vinegar of the ancient
(Jewish) Church. All in all, the scene has a lot that is special: Christ's feet
are not fixed, the burden of his death is not unbearable, in contrast to other
depictions.
About the original manuscript.
The Codex Aureus Epternacensis or The Golden Book of the
Gospels of Echternach is one of the most impressive manuscripts that have
survived to this day. It comes from the famous scriptorium of the Benedictine
Abbey of Echternach in Luxembourg, which produced dozens of masterpieces of
Carolingian and Ottonian illumination. Written entirely in gold ink, the text
is accompanied by 64 splendid miniatures, numerous purple pages, as well as
five portraits of the Evangelists, decorative canon tables and other ornamental
elements. Classic architecture with arches and columns, borders with geometric
and acanthus leaf ornaments, and braided initials adorn the text.