As the name implies, the illuminated manuscripts of the so-called Ada group or the Court School of Charlemagne belong to the historical period during the rule of the Emperor Charlemagne, and the work of this group, ie. the school, is set in the time frame from 781 or 783 up to the end of the third decade of the 9th century, that is, not later than 827. However, the entire group of manuscripts was probably created during Charlemagne's life, that is, before his death in 814, so it is the oldest confirmed group of illuminated manuscripts in Carolingian art. It is believed that the place of origin of all these codes was the court script of the city of Aachen. There are currently seven manuscripts belonging to the Ada group: the Godescalk Evangelistary, Ada Gospels, Dagulf Psalter, St. Riquier Gospels, Lorsch Gospels, the Harley Golden Gospels and the Gospels of Saint-Médard de Soissons, and one fragment that is not yet established to be the member of this group surely, it is a fragment from the British Museum in London depicting the Annunciation to Zechariah. The stylistic expression of the group is largely based on the linear character of the basic drawing and the rich and saturated colour tones. The development of the style can be traced from the first representative displays in the Godescalk Evangelistary, characterized by clear linearity and strict geometrical forms, down to symbolic representations of the allegories in the Gospel of Saint-Médard de Soissons, where the master tried to establish the illusion of spatial depth by using a linear, not inverted perspective. The entire developmental path of this school's style is reflected in the combination of earlier influences and models, thus bringing to Western Europe a new expression created on the basis of the old formal shapes. Behind the creation of all these manuscripts, one can always feel the character of the ruler himself, who played the role of the main driving force, which he proved by his commitment to the art and culture of the time, which is best seen in the phenomenon of the so-called Carolingian Renaissance.