The Roll is in the form of a continuous horizontal scroll or rotulus, common in Chinese art, but all but unique in surviving examples of medieval Christian art. It is made of several joined pieces of sheep vellum, is 31 cm high and about 10 metres long, and may be incomplete, as it starts with Chapter II and ends with Chapter X. The Roll covers the early part of the Old TestamentBook of Joshua using a reduced version of the Septuagint text; it includes Joshua's main military successes, ending with conquered kings paying him homage. At roughly this time, the Byzantine empire was enjoying military success in its campaigns in the Holy Land. It was originally painted in grisaille, by several artists, with partial coloring added later in a separate stage. The lettering is in majuscule and minuscule forms.
Style
Like the Paris Psalter, with which it is usually discussed, it is heavily classicising in style, though the extent to which this represents a revival or copying from a much earlier model is the subject of much debate. Its origins have been much debated by art historians, and the roll is considered to be "one of the most important and difficult problems of Byzantine art." The roll itself is usually acknowledged to be of the 10th century AD, but the images are felt by most art historians to derive from one or more earlier works, perhaps going back as far as Late Antiquity. The subject produced a sharp disagreement between Kurt Weitzmann, who thought the form of the roll was a classicising invention of the Macedonian Renaissance, and Meyer Schapiro, who, whilst agreeing with Weitzmann on a 10th-century date, held to the more traditional view that painted rotuli existed in Late Antiquity, and that the roll was essentially copied from such a work, perhaps through intermediaries. The images are clearly closely related to later manuscripts of the Octateuch or first eight books of the Old Testament, but where and when the compositions for the cycle originated is controversial. Steven Wander, professor at the University of Connecticut, claims the images are slanted at ten degrees, in a continuous frieze along the ten meters of the roll. He suggests this may be because the roll was a copy of the actual preparatory sketches or working drawings for a real column, possibly to scale, like the bronze Easter column for Bishop Bernward in Hildesheim.
