The Gospels of Charlemagne manuscripts are painted in the Carolingian illumination style, which revives classical Roman and Byzantine painting while blending in some Insular (British–Irish) decorative elements.

Core style in a nutshell

  • The evangelist and Christ portraits aim for classical naturalism : three‑dimensional, modeled bodies seated like ancient philosophers, with attempts at real spatial depth.
  • At the same time, the manuscripts keep medieval features such as ornamental initials and interlace patterns derived from Insular art.

What “Carolingian illumination” means

  • Carolingian illumination developed at Charlemagne’s court schools around 780 and became the hallmark style of his manuscripts.
  • It combines Late Antique and Byzantine figural art (plastic, volumetric bodies, architectural backgrounds) with decorative borrowing from Insular manuscripts (dynamic ornament, some interlace).

Specifics in Charlemagne’s Gospel books

  • In works like the Coronation Gospels, the evangelists sit in spacious landscapes, painted with soft modeling and drapery that consciously imitate ancient Roman painting techniques.
  • Luxury features—purple‑dyed parchment, gold and silver ink, and full‑page miniatures of Christ and the four Evangelists—became templates for later court‑school manuscripts.

How it differs from other medieval styles

  • Unlike the more abstract, pattern‑driven Insular style, Carolingian Gospel painting tries to look “classical”: calm poses, balanced compositions, and convincing volume.
  • Compared with later Romanesque art, figures here are generally softer and more classically proportioned, reflecting a deliberate “renaissance” of antique art under Charlemagne.

TL;DR: The Gospels of Charlemagne use early Carolingian illumination, a courtly, classical‑revival style that fuses Roman/Byzantine naturalism with Insular decorative elements.

Information gathered from public forums or data available on the internet and portrayed here.