The Lindisfarne Gospels is a rather unusual topic for a quilt. Not your traditional style, although traditional means were used to make it.
First, we need a little history and context. Lindisfarne is a small tidal island off England’s Northumbrian Coast; a peninsula at low-tide, an island at high-tide. If Iona, founded by Columba (Collum-kille), off the west coast of Scotland was the heart of Celtic Christianity, then Lindisfarne, as founded and settled by Aiden, was its soul. They were each, anchors of spirituality for the Celtic peoples of their time… and continue so today.
Legend has it that many aeons ago, Satan raised his giant battle axe against Heaven’s gate, whereupon God sent a shaft of lightening striking it from his hand. The axe, now blazing with fire, fell into the North Sea and became known as Lindisfarne, or Holy Island. It is considered one of the most sacred places on earth, and is where the Lindisfarne Gospels originated. In a time when people could not read, these beautifully drawn manuscripts from the Celtic world, told the story of Christ and his Apostles far better than words (or sermons) ever could. It became the inspiration behind this quilt, which depicts the four Evangelists as they are rendered in the actual codex, written sometime between 715-720 CE.
I have always had a fascination with Celtic forms of art. The intricate knotwork, the zoomorphic illustrations incorporating various birds and animals; and the open, wide-eyed depiction of the human figures. The way they seem to stare right at you. All combined, it can’t help but draw your attention.
There are several of these Celtic illuminated manuscripts preserved today, i.e., The Books of Kells, the Book of Durrow, etc. These manuscripts are known as Insular Art, being found only in Ireland, Wales, and Scotland. The four Evangelist pages of Lindisfarne were clear and distinct, and would therefore show well in a fabric-based rendition.
It was a given that this wouldn’t be your everyday, garden variety quilt. My mind’s eye ‘pictured’ the four gospel blocks positioned onto one large piece of fabric, which would symbolize the ‘cover’. These manuscripts were bound in leather to protect and preserve them, and were decorated with intricate knotwork designs, studded with jewels and precious metals. So, this was the direction the quilt was heading in… somehow. Often the necessary details present only as you go along. It’s a process, and you never quite know what you’re going to end up with – til you get there.
JOHN The Evangelist and the Eagle
Not only is this my favourite Gospel, but as depicted, it looked the easiest one to do. I figured ‘easy’ was the best place to begin. Taking what seems complicated, and reducing it to the simplest means possible is always a good idea. A textbook on the Lindisfarne Gospels was referenced, and used as a base to inform the quilt.
As aways, it begins with a sketch. This meant drawing out the four Evangelists, and in doing so, make whatever ‘adjustments’ were needed to translate the design onto material. The fabrics used were as near to the original in colour as possible. Above is a photo of the original folio page depicting the Evangelist John. Below left, the sketch to match.
In comparison to the other Evangelists, John was a fairly straightforward presentation. Using fusible web, the different shapes which form the design were cut out and placed onto fabric, beginning with the head/halo. The background material was chosen because it closely resembled the parchment of the original. In actuality, calfskins were used. 150 calfskins went into the making of this 516-page manuscript. No small task that.
Here you can see John being built one small piece at a time, and when arranged to satisfaction, ironed onto the background fabric. The next step is sewing the pieces into place with clear monofilament thread
The final step is to out-line and enhance the design with a machine satin-stitch. And then, add a little thread-painting to set in details… like the folds and drapes of the robes.
Pigma pens fill in the finer details, i.e., facial features, hands, feet, etc.
The Evangelist John is depicted with an eagle, which is considered his symbol. In the Celtic world, the eagle is understood to be the king of all birds. According to the venerable Bede, author of The Ecclesiastical History of the English People, John and the eagle are meant to symbolize the second-coming of Christ.
I relied on Bede as a primary historical source throughout the making of this quilt. His book was written during the same time period. This meant his interpretation was likely to more accurately reflect the original intent and meaning of the manuscript.
LUKE The Evangelist and the Bull-Calf
The 2nd block sketched and sewn was Luke. At right is a photo from the original folio which this was based on. The idea of doing the bull-calf which symbolized this Evangelist was intriguing. It had a lot of detail, and would require quite a bit of drawing, as opposed to sewing. There is just something about working with pigma-pens… it’s like being a kid again, playing with colouring books! And I was eager to give it a try.
It starts with the sketch to adapt the figure to fabric, which is then filled in with coloured pencils. This keeps me from losing my way when cutting the template apart to match with the appropriate materials.
At left, is Luke before the outline stitching and thread painting; and prior to inking in the details. The latter takes a lot of concentration, and sometimes just pure luck.
The ink is permanent, and to make an error on a nearly completed block, is to have to do the entire piece over again. You learn to think twice… and more, before putting pen to paper, as it were.
At right is the completed block. What a difference a little thread and ink can make!
Enhancing and outlining the figure with various coloured threads – including metallic gold – takes it to the next level. The finer details, inked in with the pigma pens, gives a sense of depth and dimension, which transcends the simplicity of mere fabric.
Luke is traditionally pictured with a bull-calf. According to Bede this is symbolic in keeping with the holy ritual of sacrifice. And traditionally, this in turn, became equated with Christ’s crucifixion on the Cross.
MARK The Evangelist and the Lion
Mark was the 3rd block in the line-up. This is called avoiding Matthew (or procrastinating) because it’s the most difficult -lol. Going forward now, the Evangelist depictions are getting a little more complicated. At right, a photo of the original; we have the lion, and also a writing table.
The easiest place to begin is with the head/halo area, and its accompanying symbol. When building the figures, an eye has to be kept on centering the design. This is so all four blocks have the same measure of border, or empty space surrounding them. The lion turned out to be fairly easy, and enjoyable to configure. It made a nice change from sewing.
Matching the colours was a challenge, to get the shades and hues just so. Except for the background, the quilt was made entirely with scraps of fabric from my stash of left-over materials.
Placement of the individual pieces is tricky, but fusible web makes this much easier. The design is simply too small for pins to hold it in place accurately until ready for sewing.
Mark’s symbol is the lion. As the eagle of John is considered the king of all birds, so the lion is viewed as the king of all animals. And in this case, paired with Mark, together they represent the triumphant Christ of the Resurrection. The trumpet in the lion’s mouth is heralding the return of the King of Kings.
MATTHEW The Evangelist and the Angel
And now we come to Matthew, the last of the four Evangelists. This is the most complicated block, and initially seemed intimidating. There is a lot of detail in the original folio page at right, which would overwhelm the given fabric block. So, when drawing a template, the portrayal is pared down to essentials.
In keeping with the ‘style’ of the previous four gospels, the sketch is ‘adjusted’ to simply Matthew, with his accompanying symbol. Nothing more is needed here. Piecing the block proceeds as before.
The angel with his trumpet had a lot of minute detail which required added concentration. It was difficult to determine the actual colour of the wings in the original, so a comparable shade was settled on.
Bede makes note of Matthew’s symbol as an angel, or winged man. This is to represent the Incarnation, or Jesus as Son of Man.
Since Bede’s time, some of these gospel symbols have been modified or amended over the centuries. And this is why I relied on a Bede, as a direct source of interpretation. His seemed to be the most accurate; better reflecting the understanding of that particular time.
Once the four blocks are completed, they need to be ‘tied’ together as one whole piece. A background fabric of deep burgundy velour was used. Its rich colour, and raised nap, was in distinct contrast to the simple, parchment-like presentation of the blocks. Keeping in mind these manuscripts were bound with very elaborate covers, and the background presentation needed to reflect this. And of course, that meant knotwork of some form. It is, after all, a Celtic manuscript.
The blocks were placed and sewn onto the background in applique form. They needed a little border to help make that transition. So, dark green bias tape was used to ‘frame’ the blocks; with a loop design employed at each of the four corners.
These loops would hold ‘gems’ of differing colours, to reflect the use of jewels on the original manuscript cover. Trinity knots, also made of dark green bias tape, were placed at the four corners of the piece.
And a simple knotwork design filled the remaining spaces. All were studded with ‘gems’ hot-glued into place. The bias tape was stitched with gold metallic thread in a zig-zag formation, adding a touch of glitter to the piece. Keeping it simple, so as not to detract from the gospel blocks, but yet emphasizing them. Triskele designs were then hand-quilted to fill the spaces between knots.
A Celtic cross of gold lame fabric, studded with a red gem, was placed at the very heart of the quilt… a fitting symbol in keeping with the overall theme
Dark brown marbled fabric was used to frame the quilt overall, and help tone down the brighter colours. This further ‘represents’ the leather within which the manuscript was bound. The completed quilt was then finished off with a corded binding.
And that is the story of how a Celtic illuminated manuscript became a simple, albeit unusual quilt. Its Christian symbolism and reflections of Celtic spirituality is very special, as part of my own heritage.
Lindisfarne now hangs in my living room above a bookcase which holds photographs of family and friends. I like to think the Evangelists are looking down and watching over them.
And sometimes, on special occasions such as All-Saints (Samhuinn), light a candle in reverence… and remembrance.
I have been very blessed by the people who have walked this life’s journey with me. And so… give thanks.
Note: the textbook referenced in the making of this quilt was The Lindisfarne Gospels: Society, Spirituality, and the Scribe. The author is Michelle Brown.