Folios 185v – 186r, Gospel of Mark

Caoimhe Ní Ghormáin
Caoimhe Ní Ghormáin

Manuscripts Curator, Research Collections

1 min read • 19 August 2025

Discover the intricate symbolism and artistry in Book of Kells folios 185 – 186r.

Folio 185v, Book of Kells

Book of Kells. Folio 185v: Mark

Vellum was a valuable commodity regardless of holes or flaws in the skin. Scribes had to work around holes in the vellum or execute repairs using patches. On the left-hand folio 185v, a patch can be seen stitched carefully around a hole in the vellum. A second hole in the vellum can be observed further along the page. The repair was executed by Roger Powell, a renowned bookbinder who worked on the rebinding of the Book of Kells and the Book of Durrow in 1953. The first hole was repaired as it is close to the edge of the binding and would have placed pressure on the binding structure if left untreated.

In 1568 Gerald Plunket of Dublin added the chapter numbers for the Gospel text – xvi (16) is visible in the margin at line 11 on the left-hand folio, 185v: et cum transisset sabbatum (‘And when the sabbath was past …’) Mark 16:1.

The final word on the left-hand folio 185v is dicebant (‘they said’). Here the scribe has rigidly held to the 17-line format dropping the final two letters (diceba/nt) so they hang below the word. He could easily have accommodated the word on the facing folio, 186r.

The scribe has again adhered to the 17-line format on folio 186r, this time isolating and elongating single words to fill the allotted space. The word obstipuerunt (‘were astonished’) has been split into two parts: obsti/puerunt straddling lines 8-9.

Folio 186r, Book of Kells

Book of Kells. Folio 186r: Mark

A peacock on line 9 of the right-hand folio 186r, is a visual marker for this important passage concerning the witnesses at the tomb of the resurrected Christ. Peacocks in early Christian art represent the incorruptible body of Christ because of the ancient belief that peacock flesh did not decay. Peacock tail feathers are regenerated each year, again symbolising resurrection.

Red dots highlighting the shape of a letter are used as a scribal device to add visual emphasis to a word or phrases. Red dots surround the decorative initials across this opening in the Book of Kells. They are also a feature in Codex Usserianus Primus, an early seventh-century Irish gospel book and in the early eight-century manuscript the Book of Durrow.

The scribe has again adhered to the 17-line format on folio 186r, this time isolating and elongating single words to fill the allotted space. The word obstipuerunt (‘were astonished’) has been split into two parts: obsti/puerunt straddling lines 8-9.

The peacock, symbol of resurrection, perched on line 9 of the right-hand folio 186r, looks back over his wing, with a somewhat surprised expression which echoes the astonishment of the women when they witnessed the risen Christ in the tomb (Mark 16:5). Another peacock perched on the hindleg of the contorted creature that forms the Q of Qui (‘Who’) on line 10 repeats the resurrection motif that relates to the text in this passage in Mark 16:1-7.

Explore the artwork

Explore the artwork

Red dots

Red dots highlighting the shape of a letter are used as a scribal device to add visual emphasis to a word or phrases. Red dots surround the decorative initials across this opening

Stitches in the vellum

Vellum was a valuable commodity regardless of holes or flaws in the skin. Scribes had to work around holes in the vellum or execute repairs using patches

Dicebant

The final word on folio 185v is dicebant (‘they said’). Here the scribe has rigidly held to the 17-line format dropping the final two letters (diceba/nt) so they hang below the word.

Surprised Peacock, folio 186r

The peacock, symbol of resurrection, looks back over his wing with a surprised expression which echoes the astonishment of the women when they witnessed the risen Christ in the tomb (Mark 16:5).

Qui, folio 186r

Another peacock perched on the hindleg of the contorted creature that forms the Q of Qui (‘Who’) repeats the resurrection motif that relates to the text in this passage in Mark 16:1-7.

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