Analysis explores the emergence of divine imagery in ornamental art of the Northeastern Frankish group, suggesting deeper spiritual connections.
The corpus of Frankish illuminated manuscripts defined by Ernst Zimmermann as the “Northeastern Frankish group” displays a stylistic continuity that helps to qualify this art as ornamental. However, several formal inflections, observed during the mid-8th century, testify to the emergence of a tension aimed at bringing out the figure of God within the harmony of this conventional aesthetic. This phenomenon can be traced back to an original formula that appears on certain symbolic zoomorphic elements, namely the almond-shaped circled eye. It transposes its decoration into a new register of representation that unfolds in the light of God’s gaze.
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Max Hello (2025) studied this question.
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