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The Morgan Beatus, Part II

© George R. Hoelzeman

Most scholars agree that the book was probably created c.945. A colophon on f.293 gives a cryptic reference to a date of 926, but this is considered stylistically impossible. The question of dating is important because the Morgan Beatus is so unique in the illuminated Apocalypse tradition. Standing, as it does, at the beginning of this tradition, this issue deserves further consideration.

The colophon of f.293 is translated: "This book is completed from beginning to end in the era of twice two (and) three times three hundred and three times twice ten." Figuring this equation provides a date of 964. However, the calendar in Spanish use at the time was thirty-eight years in advance of the general Christian calendar. By subtracting this number a date of 926 is produced. By comparing the Morgan Beatus with the Leon Bible of 920 it becomes clear that the Morgan Beatus is far more advanced than could be expected for only six years. A comparison of two folios makes this point exceptionally well.

The Leon Bible depicts a cross on f. 1v, and depicts the Evangelist Luke on f.211r. The Morgan Beatus has similar images on f.219 and f.2v-3. Morgan has greatly simplified the cross, eliminating the bullseye motif in the arms, removing the corner accents to the outer edge of the arm ends, enlarging the support and adding florals to the central rosette. The border is also eliminated and the Morgan cross occupies only a single column, not an entire folio like the Leon model. The Leon cross could, therefore, be considered more advanced due to its more prominent and decorative depiction. Against this must be considered the Morgan's richer use of color. Additionally, it has been suggested that the Morgan Beatus originated the use of a cross in the commentary. The Morgan cross is used to fill space and as a prelude to the Judgement folios which follow. In this way the reader is prepared for the Judgement, literally and figuratively, by encountering the cross. Theoretically, 926 would have been too early to make the iconographical leap involved in this arrangement.

The St. Luke folios display even more graphically the extent of development which separate the Leon Bible from the Morgan Beatus. The Leon Luke consists of only five colors: red, green, yellow, blue and black. It is limited to one page, late in the book (f.211), and is remarkable for its unique approach to an evangelist page. Lacking a tradition to work from, Ioannes, painter of the Leon Bible, adds wings to the figure of Luke while a fullbodied ox rides his shoulders. The circular motif and attached fish is also seen in the LaCava Bible, although is significantly different form. The Evangelist form depicted in the Leon Bible seems to be unique. By contrast the Morgan Beatus makes extensive use of color, utilizes a horseshoe arch framework, and spreads the Evangelist over two folios. It also makes use of the typical Spanish approach of showing the Evangelists symbol as an ox-headed man. The horseshoe arches are obviously Islamic in origin and indicate greater contact with Mozarabs and Muslim culture. The more mainstream use of the angel/messenger who inspires the Evangelist in a architectural framework also indicates a significantly later date than 926.