Augustine’s commentary on the Psalms, composed over a long period, was both the most extensive and influential of Augustine’s exegetical works and came to be regarded as an essential component of a monastic library. Due to its extent, the text was usually copied, like at Lambach, in several volumes. The manuscript at hand is the second volume of a set that was produced by the Lambach monks after the third quarter of the 12th century when they turned their attention to the creation of a theological library. The Enarrationes was one of the few patristic works specifically prescribed in the Lambach Customary for reading by the monks, and has been described as the greatest achievement of the Lambach scriptorium.
One figure dominated manuscript production at Lambach during the second half of the 12th century: the scribe and artist identified as Gottschalk, who acted in various roles for the monastery such as librarian, cantor, and schoolmaster besides being an accomplished poet and musician. In her recent study, Lisa Davis included this codex amongst those illuminated by Gottschalk himself.
The delightful ochre and purple penwork initials of this volume are sublime examples of Gottschalk’s work. Characteristic features that distinguish his style from that of his followers can all be found here – such as stem bands with rows of circles, ring-like buds or berries, halos outlined with circles, and red dots on cheeks. The figures of Solomon and Ecclesia, each serving as a letter ‘I’, have a claim to be regarded as some of his finest initials; each of them engaging and direct while appropriate to the titulus or incipit of the texts they open. Gottschalk’s artistry had a far reaching influence, with manuscripts from Kremsmünster, Garsten, and Melk paying homage to his distinct style.
Due to its fascinating production context, influential text, and identifiable artist, this copy of Augustine’s Enarrationes bears witness to the high level of manuscript production at Lambach Abbey.