ABSTRACT
This chapter explores the themes by comparing contemporary descriptions and examples of the art of the Northumbrian Anglo-Saxon Romani with the art of the Insular gospel books. Cassiodorus had voiced a major patristic theme when he argued that the divine authorship and authority of both Testaments, and consequently the unity and harmony of their constituent books, is reflected in the harmony underlying the diversity of inspired biblical translations and variety of exegesis made by orthodox commentators through the ages. Rather, it suggests that Ceolfrith ensured his monastery had complete copies of the Old Testament and the New in both the old translation and the new, which had radical implications for the study of Scripture. In responding to Nechtan’s three requests, Ceolfrith distinguished between the Roman celebration of Easter, derived from a spiritual interpretation of Scripture and bound up with orthodox belief, and the Roman tonsure.
