The Bible for the Abbey of Bury St. Edmunds that was illuminated by Master Hugo, ca. 1135. Cambridge, Corpus Christi College, MS 2. Image courtesy of the St. Edmundsbury Chronicle
Giant Bibles such as the Winchester Bible, the subject of the current exhibition at the Metropolitan, were among the most ambitious enterprises for major medieval scriptoria. They are massive volumes containing the Holy Scriptures as they were translated into Latin by Saint Jerome (ca. 342–60), and the great age of their creation was the later eleventh and twelfth centuries. Giant Bibles probably started out as prestigious papal gifts—several were produced in Rome itself—but they quickly became more widespread.
The production of a giant Bible was labor intensive, and it required hundreds of fine calfskins and the work of as many skilled scribes and illuminators. The massive scale of such a Bible necessitated that the work normally be bound in two volumes, each around 23 by 15 1/2 inches, and collectively weighing fifty pounds. (Perhaps the grandest is the Codex Gigas [Stockholm, Royal Library, cod. A.148], which is almost three feet high.)
The function of these manuscripts was not simply to impress the recipient—usually a bishop, but sometimes a king or pope; they were displayed on the church altar for special feast days, and were often read aloud in the monastic refectory during meals and in services. Many have accent marks in the text for oral emphasis. As the authority and accuracy of the text were critical, such Bibles were exemplars for copies to be made and dispersed, often as a founding gift to a new monastery or church.
England is blessed by the survival of a number of major giant Bibles produced in several major ecclesiastical centers; they include the Bury St. Edmunds Bible, circa 1135 (Cambridge, Corpus Christi College, MS 2); the Lambeth Bible, circa 1140–50, from Canterbury (Lambeth Palace, London, MS 3); and, of course, the Winchester Bible (Cathedral Library MS 17; ca. 1150–80). Each is a masterpiece of design, artistic accomplishment, and grandeur that ranks them among the greatest creations of Europe in the High Middle Ages. We know that one professional artist made the giant Bible for Bury St. Edmunds; a contemporary document notes that "it was beautifully illuminated by Master Hugo. As Hugo was unable to find any suitable calf hide in these parts, he bought some parchment in Ireland." Thus, some of these ambitious enterprises were of an international nature from the start.
Giant Bibles are distinguished by both the lavish use of historiated initials for the openings of each chapter and the use of full-page illuminations. The opening letter is greatly enlarged and elaborated to become an ingenious field for visually telling an episode described in the text. Thus, such great enterprises also became objects of admiration and desire.
Opening for the Book of Jeremiah: Verba Jeremie, from the Winchester Bible, fol. 148r, ca. 1150–80. Winchester Cathedral Priory of St, Swithun. Tempera and gold leaf on parchment. Lent by the Chapter of Winchester Cathedral. Image courtesy of the Chapter of Winchester Cathedral
Around 1180, the Winchester Bible was likely given by King Henry II (1133–89) to a new abbey at Witham (Somerset) upon its founding. Although the text was complete by then, the unexpectedness of the gift was the likely reason for its unfinished decoration. At the time, the Winchester Bible was hailed as a "masterpiece for the glory of God." One contemporary chronicler (Adam, Abbot of Eynsham) said: "The correctness of the text pleased the monks especially, even more the delicacy of the penmanship, and the general beauty of the manuscript." Prior Hugh (of Witham) continued: "Is it true that you think that you are much more in his [the king's] favor than usual, and do not regret that his goodwill towards you was purchased by the magnificent gift?" Hugh added: "To make your satisfaction lasting the restitution of your precious masterpiece shall be kept secret by all of us…This action demonstrated the heart of this saintly man, since for his own advantage he would not deprive the [Winchester] monks of a masterpiece created for the glory of God." The Bible was later returned to Winchester by Prior Hugh of Witham.