This essay explores the connection between Genesis iconography and manuscript illumination in early Frankish books, suggesting artistic implications for readers and makers.
With reference to the commentary tradition on Genesis 1:11–2:1, the paper proposes that the ornamental visual language developed in early Frankish manuscript illumination can be understood as an artistic statement about the work of art-making in the context of a book. The essay explores the implications of Genesis iconography for a manuscript’s reader as well as its maker, taking the Luxeuil Homilies collection, Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 99 Weiss as its focal example.
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Beatrice Kitzinger (2025) studied this question.
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