Editing Quedlinburg Itala fragment (section)

==Style and context==
Much of the paint surface is lost revealing the underlying writing that gives instructions to the artist who would execute the pictures, such as: "Make the tomb [by which] Saul and his servant stand and two men, jumping over pits, speak to him and [announce that the asses have been found]. Make Saul by a tree and [his] servant [and three men who talk] to him, one carrying three goats, one [three loaves of bread, one] a wine-skin."  This suggests that the programme of images was newly devised for this volume, rather than merely copying an earlier work.  This, the usual conclusion, was disputed by [[Ernst Kitzinger]], who argued that they were to aid the artist who was copying images from the different format of a [[scroll]].  However Walter Cahn sees the instructions as far more detailed than would be needed for that.<ref>Williams, 99 and Cahn, 22 thinks the designs are original, the latter describing Kitzinger's view in a different work from that cited here.</ref> Whether original or not, the images are "the fruit of what we must imagine to have been a thoroughly rationalized and quasi-industrial method of production", in "a stable craft with settled routines".<ref name=autogenerated1>Cahn, 22</ref> They are painted in "an illusionistic style with an emphasis on imperial imagery" (Saul and David are dressed as emperors in military costume), and gold is used for highlights and the [[titulus (inscription)|''tituli'']] or captions to the images.<ref>Williams, 99 (quoted); Kitzinger, 68, 71</ref>  The text is in a "superior [[uncial]] script", while the instructions to the artist are in "an eccentric Roman cursive".<ref>Williams, 99</ref>

The full extent of the original manuscript is not known.  Some of the episodes illustrated are very minor, suggesting that the whole manuscript may have been illustrated at this density, which is greater than any later Biblical manuscript; according to [[Kurt Weitzmann]] "It staggers the imagination to picture what a fully illustrated manuscript of the two books of Samuel and the two books of Kings must have looked like".  The style suggests it may have been made by the same workshop responsible for the [[Vergilius Vaticanus]], and has links with the mosaics of [[Santa Maria Maggiore]].<ref>Kitzinger, 68-72 (fullest comparison with the mosaics and Virgil MS); Weitzmann, 15, 40 (quoted); Williams, 99; Cahn, 22</ref>  According to Kitzinger: "Evidently this book was commissioned by a patron who belonged to the same social stratum as the sponsors of ''de luxe'' editions of the classics and who shared many of the same cultural values".<ref>Kitzinger, 71</ref>  The other very early illustrated biblical manuscripts that have survived are similar densely illustrated texts of specific books from the [[Old Testament]], mostly the [[Book of Genesis]] ([[Vienna Genesis]], [[Cotton Genesis]]), which, with some specific details of the illustrations, leads scholars to postulate an earlier tradition of Jewish luxury manuscripts, perhaps in scroll format, in the Hellenized Jewish world. The Books of Kings feature strongly in the uniquely extensive wall-paintings of the [[Dura-Europos Synagogue]] from the 3rd century.<ref>Weitzmann, 15</ref>

The figures have landscape backgrounds, "atmospheric, autumnal settings, with softly shaded skies of pink and light blue", that are "very close" to those of the Vergilius Vaticanus,<ref name=autogenerated1 /> whereas the Santa Maria Maggiore mosaics see the beginning of the use of a plain [[gold background]] in some scenes, the start of what was to become a very common feature in religious art for the next thousand years.  But in many respects, the mosaics look (at the expense of visibility, given their high placement) like enlarged miniatures, just as the miniatures of both manuscripts draw on the styles of larger paintings.<ref>Kitzinger, 68-69</ref>