DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14714#0046
DESCRIPTION OF MS.
A PSALTER OF
PRESERVED
The peculiar style of the thirteenth century, of which the present specimen is an example, is one founded upon that of the twelfth, as
exhibited in our specimen from the Arnstein Bible. It is the same style carried into infinitely greater intricacy and slenderness
of detail. In this style, generally, as in our example, the variously coloured ground is commonly abandoned for one entirely of gold ; but
many other variations of treatment occur during the course of the thirteenth century, which it would be impossible to treat of separately in
the compass of this work. Yet it may be stated, that all the styles in the earlier portion of the century are characterised by a greater
degree of finish, and greater delicacy in the smaller ornaments, than are exhibited in the preceding periods. Towards the close of the
century, however, when the angular or Gothic feeling of ornament began to predominate, and the long-tailed letters to form themselves
into marginal bars, the execution, as well as design, was sometimes exceedingly coarse, and the interlaced work as a feature was
almost entirely abandoned. Indeed, the epoch of which our specimen is an example, may be considered the last stage of the
interlaced style, as a leading principle of ornament*
It first appeared in the Hibernian and Anglo-Hibernian manuscripts, was grafted upon the Charlemagne style of the eighth and
ninth centuries, formed itself into a new and peculiarly complete style in the twelfth century, and worked itself out in infini-
tesimal ramifications in the thirteenth.
Many of the small figures introduced in the composition of this style of ornament are allusive to the subject, whilst others
are merely decorative, as far as I have been able to discover. In our specimen, the two upper medallions represent—one, the ancient
law, with its banner broken; the other, the new law, its banner erect, surmounted by the cross. Many other devices of a similar
description were resorted to by the illuminators of this period to express the supremacy of the New Testament. Below, are two
compartments containing figures of David; one playing on the harp, the other on a sort of viol. The connecting border is highly
characteristic of the art of the period, and the different animals filling the interstices of the ornament are very carefully drawn. At the
four angles, within the border, are the four symbols of the Evangelists—the angel, the eagle, the lion, and the bull. Among the
small figures that appear in the convolutions of the great B, is that of David, in several different circumstances of his life.
Many of these figures are merely fanciful grotesques, such as the one holding a sort of dragon, which seizes the next figure as he
is endeavouring to escape among the intricacies of the interweaving lines. Fanciful devices of similar character began to prevail at this
period, especially towards the end of the centurv, when they were introduced profusely, and were not always of the most delicate
nature. Our specimen contains the commencement of the first Psalm (Blessed is the man that walketh not in the council of the
ungodly). The letters following the B make, with the great B, "BEAT VIE Q N ABUT IN COSILo IMPIOR," for
" Beatus vir qui non abiit in consilio impiorum."
The I of qui is contained within the Q, the U being omitted; N with a mark of abbreviation stands for non; the N is omitted in
consilio. the land L are joined, and the final I O appear in smaller letters above the lower limb of theL. The Psalter has been considered
the parent of the later Missal, and, from about the eleventh or twelfth century till the fourteenth, was almost as frequently produced
in a richly illuminated form' as the four Gospels. The first page is generally the only one illuminated in early manuscripts, but this
in general very magnificently. A series of the magnificent B's enriching the first pages of Psalters from the tenth to the fourteenth
century, would form a superb series, showing the progress of decorative art exercised upon one particular form in an interesting and
striking manner, and proving that the same groundwork, or skeleton, is capable of being filled up with endless variety of design,
even when of such marked character as in the instance of the letter B—which, at a glance, would appear to preclude the possibility
of much variety of treatment.
* Excepting, of course, its reappearance in the beautiful Italian borders of the fifteenth century, elsewhere alluded to.
THE THIRTEENTH CENTURY.
IN THE BRITISH MUSEUM.
A PSALTER OF
PRESERVED
The peculiar style of the thirteenth century, of which the present specimen is an example, is one founded upon that of the twelfth, as
exhibited in our specimen from the Arnstein Bible. It is the same style carried into infinitely greater intricacy and slenderness
of detail. In this style, generally, as in our example, the variously coloured ground is commonly abandoned for one entirely of gold ; but
many other variations of treatment occur during the course of the thirteenth century, which it would be impossible to treat of separately in
the compass of this work. Yet it may be stated, that all the styles in the earlier portion of the century are characterised by a greater
degree of finish, and greater delicacy in the smaller ornaments, than are exhibited in the preceding periods. Towards the close of the
century, however, when the angular or Gothic feeling of ornament began to predominate, and the long-tailed letters to form themselves
into marginal bars, the execution, as well as design, was sometimes exceedingly coarse, and the interlaced work as a feature was
almost entirely abandoned. Indeed, the epoch of which our specimen is an example, may be considered the last stage of the
interlaced style, as a leading principle of ornament*
It first appeared in the Hibernian and Anglo-Hibernian manuscripts, was grafted upon the Charlemagne style of the eighth and
ninth centuries, formed itself into a new and peculiarly complete style in the twelfth century, and worked itself out in infini-
tesimal ramifications in the thirteenth.
Many of the small figures introduced in the composition of this style of ornament are allusive to the subject, whilst others
are merely decorative, as far as I have been able to discover. In our specimen, the two upper medallions represent—one, the ancient
law, with its banner broken; the other, the new law, its banner erect, surmounted by the cross. Many other devices of a similar
description were resorted to by the illuminators of this period to express the supremacy of the New Testament. Below, are two
compartments containing figures of David; one playing on the harp, the other on a sort of viol. The connecting border is highly
characteristic of the art of the period, and the different animals filling the interstices of the ornament are very carefully drawn. At the
four angles, within the border, are the four symbols of the Evangelists—the angel, the eagle, the lion, and the bull. Among the
small figures that appear in the convolutions of the great B, is that of David, in several different circumstances of his life.
Many of these figures are merely fanciful grotesques, such as the one holding a sort of dragon, which seizes the next figure as he
is endeavouring to escape among the intricacies of the interweaving lines. Fanciful devices of similar character began to prevail at this
period, especially towards the end of the centurv, when they were introduced profusely, and were not always of the most delicate
nature. Our specimen contains the commencement of the first Psalm (Blessed is the man that walketh not in the council of the
ungodly). The letters following the B make, with the great B, "BEAT VIE Q N ABUT IN COSILo IMPIOR," for
" Beatus vir qui non abiit in consilio impiorum."
The I of qui is contained within the Q, the U being omitted; N with a mark of abbreviation stands for non; the N is omitted in
consilio. the land L are joined, and the final I O appear in smaller letters above the lower limb of theL. The Psalter has been considered
the parent of the later Missal, and, from about the eleventh or twelfth century till the fourteenth, was almost as frequently produced
in a richly illuminated form' as the four Gospels. The first page is generally the only one illuminated in early manuscripts, but this
in general very magnificently. A series of the magnificent B's enriching the first pages of Psalters from the tenth to the fourteenth
century, would form a superb series, showing the progress of decorative art exercised upon one particular form in an interesting and
striking manner, and proving that the same groundwork, or skeleton, is capable of being filled up with endless variety of design,
even when of such marked character as in the instance of the letter B—which, at a glance, would appear to preclude the possibility
of much variety of treatment.
* Excepting, of course, its reappearance in the beautiful Italian borders of the fifteenth century, elsewhere alluded to.
THE THIRTEENTH CENTURY.
IN THE BRITISH MUSEUM.