339:
235:, which lack colour. There are also the four painted leaves, now detached, with the biblical cycle, with some 130 scenes; there may have been at least one more page originally. These may be referred to as the "Picture Leaves". At the end of the book there is the full-page portrait of Eadwine, followed by drawings with colour showing Christ Church, Canterbury and its water channels, one over a full opening, and the other more schematic and on a single page. These are thought to be at least afterthoughts, added to what were intended as blank flyleaves, as found in a number of other manuscripts. Throughout the text very many initials are decorated, with over 500 "major" initials fully painted with gold highlights, mostly at the first letter of each of the three text versions of each psalm.
30:
527:
730:
718:
706:
464:
22:
347:
742:
316:
300:
155:
423:
confidently identified. However, at least according to T. A. Heslop, the bulk of the illumination, over 80% of the prefatory cycle and over 90% of the miniatures in the psalms and canticles, is by a single artist, who he calls the "Principal
Illuminator". To Heslop, the diverse styles and limited "guest appearances" of the other artists suggests that they are mobile laymen employed for the task by the monastery, of the sort who were even at this early date beginning to take over the illumination of manuscripts.
487:'s print curator and a significant art collector, but no admirer of medieval art. At the sale in 1838, after his death in 1836, the sheets were individual lots and bought by different buyers. The Victoria and Albert Museum's sheet fetched two guineas (£2 and 2 shillings). It was bought by the museum in 1894. One of the two sheets in the
262:, where it then was, though it has also since found its way to a Cambridge college. This has one surviving page (of an original three, at least) with compartmented scenes of the life of Christ, which include many miracles and incidents from the ministry of Jesus rarely depicted by the High Middle Ages. The
546:
still show the miracles and parables, but the cycle here has more scenes than any
Ottonian one. Sources for the selection of scenes are probably considerably older than the 12th century, and might possibly go back as far as the St Augustine Gospels, of about 600, which were then at Canterbury, and no
459:
The book is included in the catalogue of the library of Christ Church made in Prior Eastry's inventory in the early fourteenth century. It was given by Thomas Nevile, Dean of
Canterbury Cathedral, to Trinity College, Cambridge in the early seventeenth century, presumably without the prefatory folios,
550:
On the other hand George
Henderson argued that the cycle may have been planned specially for the Eadwine Psalter, based on direct reading of the bible, with the New Testament scenes sometimes "following the sequence of a particular gospel, at times constructing an intelligent first-hand synthesis of
439:
in 1145, but another of 14 May 1147 is recorded in the Christ Church Annals, and the 1145 one is not. There were further comets recorded in 1165 and 1167, so the evidence from astronomy has not settled the question. Such a large undertaking would have taken many years to complete; the Anglo-Catalan
404:
Scribe: I am the chief of scribes, and neither my praise nor fame shall die; shout out, oh my letter, who I may be. Letter: By its fame your script proclaims you, Eadwine, whom the painted figure represents, alive through the ages, whose genius the beauty of this book demonstrates. Receive, O God,
266:
pages include one of these scenes, from the start of Luke 9, 58 (and
Matthew 8, 20): "et ait illi Iesus vulpes foveas habent et volucres caeli nidos Filius autem hominis non habet ubi caput reclinet" – "Jesus said to him: The foxes have holes, and the birds of the air nests: but the Son of man hath
569:
All the pages use a basic framework of twelve square compartments divided by borders, which may contain a single scene, or several. In the latter case, usually they are divided horizontally to give two wide spaces. Within these two or more scenes may be contained without formally interrupting the
537:
These pages "contain by far the largest New
Testament cycle produced in England or anywhere else in the 12th century", with some 150 scenes. The emphasis on the miracles and parables of Christ was most untypical in Romanesque cycles in general, which concentrated almost exclusively on the events
409:
The portrait, and the waterworks drawings that follow it, have sometimes been seen as later additions, though more recent scholarship is moving away from this view. The portrait might then be a memorial added to commemorate a notable figure of the monastery in a book he had been closely associated
170:
folios or leaves (two-sided) in
Cambridge, measuring an average 455 by 326 millimetres (17.9 in × 12.8 in). The four detached leaves have presumably been trimmed and are now 400–405 mm x 292–300 mm. The texts are: "a calendar, triple Metrical Psalms ... canticles, two
354:
It is unclear who
Eadwine was and what role he played in the creation of the manuscript; the documentary traces of monastic Eadwines (and Edwins and Adwins etc) of about the right time and place are few, and hard to fit to the facts and statements of the manuscript. The inscription around the
321:
Eadwine, folio 108v. The psalm begins (NIV): "Hear me, my God, as I voice my complaint; protect my life from the threat of the enemy. 2 Hide me from the conspiracy of the wicked, from the plots of evildoers. 3 They sharpen their tongues like swords and aim cruel words like deadly arrows." The
422:
At least ten scribes contributed to the texts, at least five of them contributing to the Old
English text, and at least six artists, who may overlap with the scribes. It is difficult to tell many of these apart. It seems likely that Eadwine contributed to the scribing, but his hand cannot be
282:
commented that "the
Utrecht Psalter is full of landscape motives taken from Hellenistic painting, and its impressionistic scribbles still imply a sense of light and space. There is no simpler way to show the triumph of symbol over sensation in the middle ages than to compare its pages with ."
392:
SCRIPTOR (supply loquitur). SRIPTORUM (sic) PRINCEPS EGO NEC OBITURA DEINCEPS LAVS MEA NEC FAMA. QVIS SIM MEA LITTERA CLAMA. LITTERA. TE TVA SRIPTVRA QUEM SIGNAT PICTA FIGURA Ɵ- (top L. again). -Ɵ PREDICAT EADWINVM FAMA PER SECULA VIVUM. INGENIUM CVIVS LIBRI DECUS INDICAT HVIVS.
359:(sic), "prince of scribes" (or "first among scribes"), so he was probably one of the many scribes working on the manuscript, but probably also playing the main role in deciding the contents and organizing the work. He may also have paid for it, though he was certainly not the
443:
The current broad consensus is to date most of the book to 1155–60, but the portrait of Eadwine and the waterworks drawings to perhaps a decade later. The large waterworks drawing shows the cathedral as it was before the major fire of 1174, which provoked the introduction of
238:
The prefatory miniature cycle is divided stylistically. Of the eight pages, six and a half are in one style, but most of the Victoria and Albert folio in another. This is usually thought to mark a change of artist. The two styles can be related to those of the
198:, Jerome's translation from the Hebrew Bible. The columns reverse their sequence on recto pages, so that the Gallican column, which has a larger text size, is always nearest the edge of the page, and the Hebrew nearest the bound edge.
124:
It was produced around the mid-century, perhaps 1155–60, and perhaps in two main campaigns of work, one in the 1150s and the other the decade after. It was sometimes called the "Canterbury Psalter" in the past, as in the 1935
1150:
1146:
84:
translations, and has been called the most ambitious manuscript produced in England in the twelfth century. As far as the images are concerned, most of the book is an adapted copy, using a more contemporary style, of the
414:, the most famous of English scribes (and perhaps also the artist of the miniatures in his manuscripts), who was a monk at Christ Church Canterbury over a century earlier, in the last decades of Anglo-Saxon England.
426:
The dating of the manuscript has been much discussed, mainly on stylistic grounds (regarding both the script and the illustrations), within the broad range 1130–1170. On folio 10 there is a marginal drawing of a
1487:. Digital edition to facsimile and modern translation of the interlineal Old English metrical glosses of Psalms 90-95; ed. Foys, Martin et al. Center for the History of Print and Digital Culture. Madison, 2019-.
1445:
410:
with, with the waterworks drawings also acting as a memorial to Prior Wibert, who had done considerable work on the water system. Some scholars see both aspects of the script and the portrait as evoking
220:
with a very large programme of illumination, and translations into two vernacular languages, is unique. The psalter was "a tool for study and teaching" rather than a display manuscript for the altar.
223:
The Old English translation contains a number of errors which "have been explained as the result of uncritical copying of an archaic text at a time when the language was no longer in current use".
231:
The manuscript is the most extensively decorated 12th-century English manuscript. There are 166 pen drawings with watercolour (a traditional Anglo-Saxon style), based on their counterparts in
209:, and the "Gallican" version has Latin notes. The Hebrew version was "a scholarly rather than a liturgical text", and related more to continental scholarly interests, especially those at
1467:
251:-derived images in Cambridge is complicated by the different technique and the many stylistic features retained from the original, the first artist seems closest to these.
378:. These look right or forward to the pages following containing their work. Eadwine's is placed at the end of the book, after the text, so he looks left, back over it.
1442:
216:
There are a number of Psalters with comparable Latin texts, and a number of luxury illuminated psalters, but the combination in a single manuscript of the scholarly
1538:
96:
for a period in the Middle Ages. There is also a very famous full-page miniature showing Eadwine at work, which is highly unusual and possibly a self-portrait.
338:
1533:
1528:
99:
In addition to this, there is a prefatory cycle of four folios, so eight pages, fully decorated with a series of miniatures in compartments showing the
511:
363:
of Canterbury at the time, as these are all known, and Wybert or Wibert (r. 1153–1167) was prior for the most likely periods for the book's creation.
1433:
1523:
278:
images are compressed to fit the different format, but generally rather close. However, the sense of the landscape setting suffers considerably.
194:, which was used by churches in Rome, but was also an Anglo-Saxon favourite, especially at Canterbury. Last comes the "Hebrew" version, or
1503:
1354:
1464:
729:
717:
705:
566:, who appears in 5 scenes, as well as the Tree of Jesse, is appropriate for the figure regarded as the author of the psalms.
109:
scenes. These pages, and perhaps at least one other, were removed from the main manuscript at some point and are now in the
1417:
The Appended Images of the Eadwine Psalter: A New Appraisal of Their Commemorative, Documentary, and Institutional Functions
1372:
435:; following the comet of 1066 the English evidently took comets seriously. This was thought to relate to the appearance of
29:
1518:
259:
1324:
1477:
1458:
1198:
Zarnecki, 111–112; V&A. However Dodwell, 336–337 allows for a good deal of originality from the Canterbury artists.
526:
773:
Gerry: "New York, Morgan Lib., MSS M.521 and M.724; London, British Library, Add MS 37472; London, V&A, MS. 661"
741:
1508:
205:, which represents the oldest surviving text of the psalms in French, the "Roman" version has a translation into
1386:
1341:
1307:
1273:
674:
648:
456:
in 1170, and his rapid canonization as a saint in 1173; however his feast day is not included in the calendar.
1513:
629:
141:(or Anglo-Catalan Psalter, Paris Psalter), which are also copies made in Canterbury of the Utrecht Psalter.
133:, but this is now avoided, if only to avoid confusion with other manuscripts, including the closely related
1430:
309:
copied in the Eadwine Psalter. Psalm 63 (Vulg.), 64 (AV): "Exaudi, Deus...". Click on images to enlarge.
25:
A typical page, with the start of Psalm 136/7 "By the rivers of Babylon.." ("Super flumina Babylonis...")
633:
1362:
1283:
987:
543:
114:
65:
64:), who was perhaps the "project manager" for the large and exceptional book. The manuscript belongs to
1293:
389:"The following inscription in green and red capitals surrounds the picture beginning at the top on L.
254:
The idea of such a cycle was already about, and one key exemplar was probably the 6th-century Italian
201:
Between the lines of the text of the psalms, the "Hebrew" version has a translation into contemporary
698:, though there is no Resurrection scene as such, a sign of the early origin of this choice of scenes.
613:
57:
138:
1415:
21:
186:
which was used by most of the Western church, the "Roman", the Gallican version as corrected by
360:
1311:
600:
Verso: 7 scenes, six squares and a large compartment. 1–2 David. 3 a large compartment with a
463:
1345:
559:
346:
101:
81:
1351:
881:
See Karkov, 292, PUEM on multi-lingual MS., and Gibson, 26 on prefatory cycles in pasalters.
689:
480:
255:
61:
8:
445:
371:
1317:
609:
460:
which are thought to have been removed around this time. The binding is 17th-century.
440:
Psalter was left unfinished in England, like many other ambitious manuscript projects.
1298:
Karkov, C., "The Scribe Looks Back; Anglo-Saxon England and the Eadwine Psalter", in:
1453:
1382:
1337:
1303:
1269:
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507:
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240:
159:
38:
1290:
The Eadwine Psalter: Text, Image, and Monastic Culture in Twelfth-Century Canterbury
315:
299:
1452:, with similar sections on the Utrecht Psalter and its other derivatives, from the
1279:
998:
673:
Verso: 12 squares, but each with at least two scenes: 1–7 miracles and parables. 8
644:
643:
Verso: 12 squares, some with 2 scenes, all showing the ministry of Jesus, from the
617:
502:
All the surviving parts of the original manuscript were reunited in the exhibition
1410:
The Cambridge Illuminations; Ten Centuries of Book Production in the Medieval West
1100:
Karkov, 289; V&A; Gerry; PUEM; Dodwell, 357 – some with variations of phrasing
452:
was brought in to rebuild the choir. The period also saw the momentous murder of
154:
1471:
1449:
1437:
1358:
694:
Verso: 12 squares, most with two scenes: the burial through to the Ascension and
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555:
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306:
110:
89:
86:
496:
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118:
73:
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515:
510:, did not relate the loose sheets to the main Cambridge manuscript, although
453:
279:
244:
202:
106:
658:
Recto: 12 squares, but each with at least two scenes, all with miracles and
663:
605:
539:
531:
472:
431:, with a note in Old English (in which it is a "hairy star") that it is an
411:
210:
191:
187:
69:
1420:, Baker, Katherine S. (2008), Master's Thesis (78 pages) Emory University
1398:
1366:
492:
382:
268:
206:
130:
77:
577:
Recto: 12 squares, several with more than 1 scene. 1–7 are the story of
479:
By the early 19th century the detached folios were in the collection of
183:
93:
1302:, Eds. Martin Brett, David A. Woodman, 2015, Ashgate Publishing Ltd.,
1282:, Oxford Art Online. Oxford University Press, accessed June 28, 2015,
688:
Recto: 12 squares, most with two scenes: the Passion continues to the
182:
pages, these are the "Gallican" version, a translation from the Greek
695:
126:
764:
Gerry; Trinity Coll., MS. R.17.1; on its fame: Ross, 45; Karkov, 299
1001:
in Zarnecki, 119 translates as "prince"; below P. Heslop as "chief"
637:
586:
323:
562:, which has a closely similar cycle. The emphasis on the life of
1482:
1381:, 1984, Arts Council of Great Britain, (Catalogue #s 47–50, 62),
554:
There is usually thought to have been a fifth sheet covering the
53:
34:
1028:
Translation by P. Heslop in Gibson, p.180, quoted by Karkov, 302
590:
432:
375:
167:
495:
in 1911 and the other was added in 1927, after his death. The
1431:
Full view of Eadwine Psalter, with turn-the-pages, & zoom
1064:
PUEM, Karkov, 289, who has been followed where counts differ.
578:
563:
547:
doubt more complete than now, or a similar very early cycle.
428:
326:
is a characteristic of the Utrecht tradition of illustration.
179:
1474:
Canterbury Cathedral website, published on February 1, 2014
1326:
The Production and Use of English Manuscripts, 1060 to 1220
1288:
Gibson, Margaret, Heslop, T. A., Pfaff, Richard W. (Eds.),
1046:
Karkov, 304–306; Ross, 49; Dodwell, 357 argues against this
1010:
Gibson, 184; Ross, Chapter 3; Karkov, 289; Dodwell, 355–359
594:
538:
commemorated by the feast days of the liturgical calendar.
628:
Recto: 12 scenes completing the Nativity cycle, from the
530:
Morgan leaf M.521 (recto), detail with the story of the
178:
are given side by side. In the order they occur on the
662:. The last (bottom right) square has the story of the
366:
His portrait is clearly of the conventional type of an
570:
picture space. The scenes shown can be summarized as:
258:, a key relic of the founder of the cathedral's rival
1300:
The Long Twelfth-Century View of the Anglo-Saxon Past
558:, especially as there is one in the Great Canterbury/
521:
16:
12th-century manuscript in Trinity College, Cambridge
506:
in London in 1984, though the catalogue entries, by
636:, an uncommon scene (and a medieval distortion of
76:in three languages: three versions in Latin, with
1465:"The Waterworks Drawing from the Eadwine Psalter"
350:The large Canterbury waterworks plan, f.284v-285r
1495:
396:QVEM TIBI SEQUE DATVM MVNVS DEUS ACCIPE GRATVM."
171:continuous commentaries, two prognostications".
1539:Manuscripts held by the University of Cambridge
491:passed through various hands and was bought by
417:
1529:Collection of the Morgan Library & Museum
1443:All illustrated pages, black and white images
405:the book and its donor as an acceptable gift.
1534:Collection of the Victoria and Albert Museum
1320:, PDF of curators file notes on their sheets
666:in 8 scenes, the bottom centre the story of
1412:, London, 2005, cat. no. 25, pp. 90–92
333:
292:Comparison of Utrecht and Eadwine Psalters
247:respectively. Though comparison with the
56:named after the scribe Eadwine, a monk of
1266:The Pictorial arts of the West, 800–1200
612:, and the wedding of Mary and Joseph. 4
525:
471:. The last square has the story of the
467:Morgan leaf M.521 (recto); miracles and
462:
345:
337:
162:on the recto of the British Library page
153:
28:
20:
1484:Old English Poetry in Facsimile Project
1145:Morgan Library CORSAIR online entries,
1524:British Library additional manuscripts
1496:
1278:Gerry, Kathryn B., "Eadwine Psalter."
978:, 1949, p. 17 (in Penguin edn of 1961)
953:Gibson, 25–27, 59–60; Dodwell, 336–338
52:is a heavily illuminated 12th-century
1329:, Universities of Leicester and Leeds
1292:, 1992, Penn State University Press,
267:not where to lay his head." For the
33:Detail from the prefatory cycle; the
1336:, 2003, Greenwood Publishing Group,
1234:Zarnecki, 111–112, lists all of them
370:, at this period most often seen in
518:in 1954 had already proposed this.
271:of the prefatory cycle, see below.
13:
1408:P. Binski and S. Panayotova, eds,
1392:
1055:Karkov, 295–299; Gibson, 24, 85–87
585:, "a Jewish legend popularized by
583:Moses trampling on Pharaoh's Crown
522:Scenes in the prefatory miniatures
14:
1550:
1504:12th-century illuminated psalters
1478:Morgan Library, page on MS M.521v
1424:
1379:English Romanesque Art, 1066–1200
1091:Dodwell, 338–340; Gibson, 61, 164
504:English Romanesque Art, 1066–1200
1318:Morgan Library, Corsair database
1019:Gibson, 183–184; Karkov, 299–300
740:
728:
716:
704:
314:
305:One of the illustrations in the
298:
260:St Augustine's Abbey, Canterbury
117:(with one each), and two in the
1373:The V&A's page on its sheet
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675:Triumphal entry into Jerusalem
1:
1377:Zarnecki, George and others;
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630:Annunciation to the Shepherds
355:portrait declares that he is
499:bought their sheet in 1857.
418:Scribes, artists and history
176:Latin versions of the Psalms
166:The book is large, with 281
7:
684:Victoria and Albert Museum
649:Raising of Jairus' daughter
542:cycles such as that in the
144:
10:
1555:
1519:Trinity College, Cambridge
1363:Trinity College, Cambridge
1334:Artists of the Middle Ages
616:, 5–6 Birth and naming of
544:Codex Aureus of Echternach
115:Victoria and Albert Museum
66:Trinity College, Cambridge
1357:13 September 2014 at the
735:Morgan leaf M.521 (verso)
723:Morgan leaf M.724 (verso)
711:Morgan leaf M.724 (recto)
174:The three main different
105:, with parables and some
58:Christ Church, Canterbury
1037:Karkov, 299–301, 304–306
962:Gibson, 29; Dodwell, 338
908:Gibson, 25; Dodwell, 338
782:Karkov, 289; Gibson, 209
752:
334:Eadwine and his portrait
139:Great Canterbury Psalter
1436:27 October 2016 at the
551:more than one gospel."
448:to the cathedral, when
149:
1509:Old English literature
1403:The Canterbury Psalter
1361:of the manuscripts of
1171:Zarnecki, #s 47–50, 62
677:, 9–12 Passion to the
654:Morgan Library, M 521
620:, 7 Nativity of Jesus.
573:Morgan Library, M 724
534:
476:
407:
400:which translates as:
398:
351:
343:
196:Versio juxta Hebraicum
163:
41:
26:
1284:Subscription required
604:, which includes the
560:Anglo-Catalan Psalter
529:
466:
402:
387:
349:
341:
322:literal rendering of
157:
32:
24:
1514:Canterbury Cathedral
1448:3 March 2016 at the
747:V&A leaf (recto)
690:Deposition of Christ
481:William Young Ottley
374:at the start of the
372:evangelist portraits
256:St Augustine Gospels
62:Canterbury Cathedral
1470:16 May 2016 at the
1461:, page on its sheet
1153:; Zarnecki, 111–112
446:Gothic architecture
342:Eadwine at his desk
72:. It contains the
976:Landscape into Art
608:, Annunciation to
535:
477:
357:sriptorum princeps
352:
344:
218:psalterium triplex
164:
42:
27:
1454:Warburg Institute
1344:, 9780313319037,
1310:, 9781472428196,
1268:, 1993, Yale UP,
1127:Zarnecki, 111–112
809:Zarnecki, 111–112
668:Dives and Lazarus
660:parables of Jesus
508:Michael Kauffmann
469:parables of Jesus
241:St Albans Psalter
160:Nativity of Jesus
39:Dives and Lazarus
1546:
1352:Online catalogue
1280:Grove Art Online
1253:
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1207:in Gibson, 35–42
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645:Baptism of Jesus
624:British Library
618:John the Baptist
512:Hanns Swarzenski
318:
302:
1554:
1553:
1549:
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1491:
1472:Wayback Machine
1459:British Library
1450:Wayback Machine
1438:Wayback Machine
1427:
1395:
1393:Further reading
1359:Wayback Machine
1264:Dodwell, C.R.;
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1086:
1081:
1077:
1072:
1068:
1063:
1059:
1054:
1050:
1045:
1041:
1036:
1032:
1027:
1023:
1018:
1014:
1009:
1005:
997:
993:
988:Utrecht version
986:
982:
970:
966:
961:
957:
952:
948:
943:
939:
934:
930:
925:
921:
916:
912:
907:
903:
898:
894:
889:
885:
880:
876:
871:
867:
862:
858:
853:
849:
844:
840:
835:
831:
826:
822:
817:
813:
808:
804:
799:
795:
790:
786:
781:
777:
772:
768:
763:
759:
755:
748:
745:
736:
733:
724:
721:
712:
709:
679:Arrest of Jesus
634:Herod's suicide
556:Book of Genesis
524:
450:William of Sens
420:
381:As recorded by
368:author portrait
336:
331:
330:
329:
328:
327:
319:
311:
310:
307:Utrecht Psalter
303:
294:
293:
286:
229:
152:
147:
111:British Library
92:, which was at
90:Utrecht Psalter
46:Eadwine Psalter
17:
12:
11:
5:
1552:
1542:
1541:
1536:
1531:
1526:
1521:
1516:
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1506:
1489:
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1475:
1462:
1456:
1440:
1426:
1425:External links
1423:
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1421:
1413:
1406:
1405:, London, 1935
1394:
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1348:
1332:Ross, Leslie,
1330:
1321:
1314:
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1191:
1182:
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1129:
1120:
1111:
1102:
1093:
1084:
1075:
1066:
1057:
1048:
1039:
1030:
1021:
1012:
1003:
991:
980:
972:Clark, Kenneth
964:
955:
946:
937:
928:
926:Gibson, 26, 43
919:
910:
901:
892:
883:
874:
865:
856:
847:
838:
829:
820:
811:
802:
793:
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766:
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739:
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734:
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671:
652:
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622:
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497:British Museum
489:Morgan Library
485:British Museum
437:Halley's Comet
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274:The copies of
228:
225:
151:
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135:Harley Psalter
119:Morgan Library
102:Life of Christ
74:Book of Psalms
50:Eadwin Psalter
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1281:
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1275:
1271:
1267:
1263:
1262:
1249:
1240:
1231:
1222:
1216:Zarnecki, 111
1213:
1204:
1195:
1189:Zarnecki, 111
1186:
1180:Gibson, 25–27
1177:
1168:
1162:Zarnecki, 111
1159:
1152:
1148:
1142:
1133:
1124:
1118:PUEM; V&A
1115:
1106:
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989:
984:
977:
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968:
959:
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941:
932:
923:
914:
905:
899:Zarnecki, 119
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833:
824:
815:
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757:
743:
738:
731:
726:
719:
714:
707:
702:
701:
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686:
685:
680:
676:
672:
669:
665:
661:
657:
656:
655:
650:
646:
642:
639:
635:
631:
627:
626:
625:
619:
615:
611:
607:
603:
602:Tree of Jesse
599:
596:
592:
588:
584:
580:
576:
575:
574:
571:
567:
565:
561:
557:
552:
548:
545:
541:
533:
528:
519:
517:
516:C. R. Dodwell
513:
509:
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494:
490:
486:
482:
474:
470:
465:
461:
457:
455:
454:Thomas Becket
451:
447:
441:
438:
434:
430:
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415:
413:
406:
401:
397:
394:
390:
386:
384:
379:
377:
373:
369:
364:
362:
358:
348:
340:
325:
317:
308:
301:
287:
284:
281:
280:Kenneth Clark
277:
272:
270:
265:
261:
257:
252:
250:
246:
245:Lambeth Bible
242:
236:
234:
224:
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214:
212:
208:
204:
203:Norman-French
199:
197:
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189:
185:
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177:
172:
169:
161:
156:
142:
140:
136:
132:
128:
122:
121:in New York.
120:
116:
112:
108:
107:Old Testament
104:
103:
97:
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91:
88:
83:
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71:
67:
63:
59:
55:
51:
47:
40:
36:
31:
23:
19:
1490:
1483:
1416:
1409:
1402:
1378:
1350:"Trinity" =
1346:Google books
1333:
1325:
1312:Google Books
1299:
1294:Google Books
1289:
1265:
1248:
1239:
1230:
1225:Dodwell, 336
1221:
1212:
1203:
1194:
1185:
1176:
1167:
1158:
1141:
1132:
1123:
1114:
1109:Dodwell, 357
1105:
1096:
1087:
1078:
1069:
1060:
1051:
1042:
1033:
1024:
1015:
1006:
994:
983:
975:
967:
958:
949:
940:
935:Dodwell, 357
931:
922:
913:
904:
895:
890:Dodwell, 338
886:
877:
868:
859:
850:
841:
832:
823:
814:
805:
796:
787:
778:
769:
760:
683:
664:Prodigal Son
653:
623:
606:Annunciation
582:
581:, including
572:
568:
553:
549:
536:
532:Prodigal son
514:in 1938 and
503:
501:
478:
475:in 8 scenes.
473:Prodigal Son
458:
442:
425:
421:
412:Eadwig Basan
408:
403:
399:
395:
391:
388:
380:
365:
356:
353:
285:
275:
273:
263:
253:
248:
237:
232:
230:
227:Illumination
222:
217:
215:
211:Fleury Abbey
200:
195:
192:Hebrew Bible
188:Saint Jerome
173:
165:
123:
100:
98:
82:Anglo-Norman
70:Wren Library
49:
45:
43:
18:
1399:M. R. James
1371:"V&A"=
1367:M. R. James
1316:"Morgan" =
872:Karkov, 292
836:Karkov, 292
493:J.P. Morgan
383:M. R. James
269:iconography
207:Old English
131:M. R. James
87:Carolingian
78:Old English
1498:Categories
1387:0728703866
1342:0313319030
1308:1472428196
1274:0300064934
1259:References
1082:Gibson, 61
1073:Gibson, 59
944:Gibson, 25
917:Gibson, 25
614:Visitation
184:Septuagint
94:Canterbury
696:Pentecost
610:Zacharias
597:and David
190:from the
127:monograph
1468:Archived
1446:Archived
1434:Archived
1355:Archived
1323:"PUEM"=
670:in four.
638:Josephus
589:". 8 is
587:Josephus
540:Ottonian
324:metaphor
243:and the
145:Contents
137:and the
1401:, ed.,
1136:V&A
863:Trinity
854:Trinity
845:Trinity
827:Trinity
647:to the
593:, 9–12
376:Gospels
276:Utrecht
264:Eadwine
249:Utrecht
233:Utrecht
54:psalter
35:parable
1385:
1340:
1306:
1272:
1252:Morgan
1243:Morgan
591:Joshua
483:, the
433:augury
168:vellum
1365:, by
791:Gerry
753:Notes
579:Moses
564:David
429:comet
361:prior
180:verso
60:(now
1383:ISBN
1338:ISBN
1304:ISBN
1270:ISBN
1151:M724
1149:and
1147:M521
818:PUEM
800:PUEM
595:Saul
158:The
150:Text
80:and
44:The
632:to
129:by
48:or
37:of
1500::
974:,
640:).
213:.
113:,
385::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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