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[caption id="attachment_466" align="alignnone" width="243"] Sacramentary of Henry II, Clm. 4456, Regensburg, 1002-1014 360 leaves: parchment, illuminations; 30 x 24 centimeters[/caption]Borrowing patterns from the mid-Eighth century Carolingian Codex Aureus of Charles the Bald (Clm. 14000), the Ottonian Sacramentary of Henry II was likely produced before Henry II (973–1024) became Holy Roman Emperor. The borders and frontispieces in the manuscript are filled with elaborate and dizzying abstractions. Many are arboreal or floral, while others are solely geometric. A prime example of the abstractions found within the entire codex is folio 16v, which begins what is now known as the Missale Romanum 1962 and reads in near-invisible Latin uncials, “TE IGITVR CLEMENTISSIME PATER” (“Therefore, most gracious Father”). The word “TE” is incorporated into swirls of golden and orange-lined vines over a background filled with varying points of red, blue, and green. The “T” occupies most of the space; the “E” is smaller and relegated to the right side. The “T” is filled with Celtic-like knots, and it intimates heavily the shape of the Cross. Illusionistic and maze-like shapes occupy the borders, with windmill patterns (wreath and clipeus-esque) at the center right, left, top, and bottom margins. Taken in at once, the folio is bewildering. No single detail overpowers at first, and then the words suddenly emerge from the page, as if from ether.Questions: While borrowing from the Codex Aureus perhaps implies a desire by the illuminator to emphasize an imperial lineage for Henry II, why reuse and expand the abstracted elements? What are the implications of the geometric and arboreal patterns intertwining or appearing side-by-side? How is abstraction used to suggest natural matter (hyle or silva) and perhaps Genesis? Why might these be important to the imperial provenance of the manuscript? How do arboreal and floral designs interact and relate to the materials of the manuscript (ink, paint, gold, and animal skin)? Does this kind of design prompt a certain reaction from the viewer? How and when is the viewer to interact with the codex? How was the page laid out? Is there a geometric root to the seemingly free-drawn designs?- Reed O’Mara