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A monastery founded around by St Colum Cille on Iona, an island off Mull in western Scotland, became the principal house of a large monastic confederation.
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In , following a Viking raid on the island which left 68 of the community dead, the Columban monks took refuge in a new monastery at Kells, County Meath, and for many years the two monasteries were governed as a single community. It must have been close to the year that the Book of Kells was written, although there is no way of knowing if the book was produced wholly at Iona or at Kells, or partially at each location.
There are full pages of decoration for the canon tables; symbols of the evangelists Matthew the Man , Mark the Lion , Luke the Calf and John the Eagle ; the opening words of the Gospels; the Virgin and Child; a portrait of Christ; complex narrative scenes, the earliest to survive in gospel manuscripts, representing the arrest of Christ and his temptation by the Devil. There are portraits of Matthew and John, but no portrait of Mark or Luke survives.
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These were probably executed, like other major pages of the manuscript, on single leaves and they are presumed to have become detached over time and lost. In all, around 30 folios went missing in the medieval and early modern periods.
Three artists seem to have produced the major decorated pages. One of them, whose work can be seen on the Chi Rho page, was capable of ornament of such extraordinary fineness and delicacy that his skills have been likened to those of a goldsmith. Four major scribes copied the text. Each displayed characteristics and stylistic traits while working within a scriptorium style.
One, for example, was responsible only for text, and was in the habit of leaving the decoration of letters at the beginning of verses to an artist; while another scribe, who may have been the last in date, tended to use bright colours - red, purple, yellow - for the text, and to fill blank spaces with the unnecessary repetition of certain passages. The extent to which there was an identity between scribe and artist is among the key unanswered questions about the manuscript.
A range of pigments was employed, including blue made from indigo or woad, native to northern Europe. Recent research in the Library of Trinity College Dublin has indicated that blue from lapis lazuli was probably not used in the manuscript as had previously been thought. Orpiment yellow arsenic sulphide was used to produce a vibrant yellow pigment. Red came from red lead or from organic sources which are difficult at present to identify.