ABSTRACT
As has been indicated, the primary aim of this study is the elucidation of the meaning of the miniatures of the Stavelot Bible in relation to contemporary intellectual and historieal concerns. The stress falls more on the side of iconography than of style. Yet a necessary preliminary to the main part of the present investigation is an examination of the whole body of miniatures in the light of the individual styles of the artists involved. In this way something of the character of the whole can be grasped. Moreover, from a methodological standpoint the danger of attributing purely formal divergences to differences of content, rather than to variations in artistic emphasis (though of course the two cannot be totally separated), is minimized.
