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The manuscript art of the early medieval West was intimately connected to the textual cultures associated with Christian monasticism. The act of pairing illuminations and written content opens up myriad possibilities for meaningful correspondences to be made between image and text. Such opportunities were regularly exploited in the illuminated manuscripts produced in Britain and Ireland between the sixth and ninth centuries.1 The illuminators of such manuscripts, who were often well acquainted with the Christian Latin culture of late antiquity, produced art that was typically allusive, multivalent, and deliberately complex.2 The simultaneous presentation of text and image in a manuscript allows the visual material and written words to join together to create something dynamic that is more than the sum of its parts. In such cases even familiar texts and established iconographies can take on new meanings through simple yet meaningful juxtapositions. The process of producing a manuscript involved making a series of conscious choices regarding content, layout, and design. Making a Bible or part-Bible brought the additional considerations of which books to include and omit and which version (or in some cases versions) of the scriptures to follow. Once such choices had been made, the textual content presented within an early medieval Bible was heavily influenced by the exemplars at the copyists’ disposal. The surviving body of evidence suggests that the practice of adorning manuscripts of the Holy Scriptures with images emerged as a major intellectual concern from the fifth century onwards.3 This development introduced an expressive element into the process of bookmaking, which counterbalanced the more routine, if no less important,

The Codex Amiatinus Maiestas Domini and the Gospel Prefaces of Jerome