gibson margaret t t a heslop and richard william pfaff (1 Ergebnisse)

Hardcover. Black cloth boards with gilt spine lettering; black dust jacket with color illustration, tan and red lettering; mylar cover; color illustrated frontispiece; xvii, 228 pp, 49 unnumbered pages of bw and color plates. Text mainly in English, with some text in Latin. The Eadwine Psalter (Cambridge, Trinity College MS R.17.1) is arguably the most ambitious manuscript produced in England in the twelfth century. Over a dozen scribes and artists combined to produce a book which contains five different versions of the text of the Psalms, three in Latin, one in Old English, and one in Anglo-Norman, with a prologue, a commentary, and a concluding prayer to each Psalm. In addition, the most complex set of Psalter illustrations available, those from the ninth-century Utrecht Psalter, was adapted for the project; the largest known cycle of prefatory biblical pictorial narratives of the period was devised and appended as a pictorial preface; and every Psalm, prayer, and Canticle was given a set of fully illuminated major initials as well as gold and silver minor initials throughout. Several other noteworthy images feature in the book: a portrait of the 'Prince of Scribes', Eadwine himself, the depiction of a comet, and the two plans of the precinct waterworks of Canterbury Cathedral Priory installed c. 1160. In the past the various aspects of this complex compilation have been treated individually (or in some cases not at all). It is the aim of the present volume of studies to counteract the tendency of modern scholarship to fragment its subjects by bringing under scrutiny between two covers all the major components of the Eadwine Psalter. To this end, thirteen distinguished specialists representing all the fields of enquiry have collaborated over a number of years and have consulted each other, comparing notes and opinions. The result is a volume of communal endeavour which locates the manuscript within a particular milieu, at once monastic and proud, aware of contemporary scholarship but inherently conservative. Contents include: Introduction / Margaret Gibson -- Ch. I. Codicology and Palaeography / Nicholas Pickwoad and Teresa Webber. 1. Codicology / Nicholas Pickwoad. A. The Original Format. B. The Membrane. C. Collation Marks. D. Endleaves. E. Pricking. F. Sewing. G. Lacing-In. H. The Seventeenth-Century Binding. 2. The Script / Teresa Webber. A. Introduction. B. Mise-en-Page. C. Script and Scribes. I. The Latin Psalter and Canticle Texts. II. The Latin Gloss. III. Other Latin Texts. IV. The Anglo-Norman Version. V. The Old English Texts. D. The Sequence of Production. E. The Eadwine Psalter and Book Production at Christ Church, Canterbury -- Ch. II. Decoration and Illustration / George Henderson and T.A. Heslop. 1. Introduction / T.A. Heslop. 2. The Four Bible Picture Leaves. A. The Place of the Leaves in the Eadwine Psalter / T.A. Heslop. B. The Visual Sources of the Picture Leaves / T.A. Heslop.; C. The Textual Basis of the Picture Leaves / George Henderson. I. New York, Pierpont Morgan Library, MS M. 724. II. London, British Library, MS Add. 37472. III. New York, Pierpont Morgan Library, MS M. 521. IV. London, Victoria and Albert Museum, MS 661. 3. The Psalm Illustrations / T.A. Heslop. A. The First Seven Psalms. I. The Psalm I Illustrator: The Superbia Master. II. The Psalm 2 Illustrator: The Mount Sion Artist. III. Psalms 3, 5, 6, and 7: The Principal Illuminator. IV. The Psalm 4 Illustrator: The Corpus 4 Master. B. From Psalm 8 to the End of the Canticles. 4. The Illuminated Initials / T.A. Heslop. A. The Large Painted Initials. B. The Minor Initials. C. The Calendar Initials. 5. The Artistic Context / T.A. Heslop -- Ch. III. The Calendar / Richard W. Pfaff. 1. General Considerations. 2. The Layout of the Calendar. 3. The Contents. 4. The Eleventh-Century Basis. 5. Conclusion; The Possible Role of Eadui Basan -- Ch. IV. The Tituli, Collects, Canticles, and Creeds / Richard W. Pfaff.; 1. The Tituli. 2. The Psalter Collects. 3. The Canticles and Creeds -- Ch. V. The Latin Apparatus / Margaret Gibson. 1. Introduction. 2. The Parva Glosatura. 3. The Gloss to the Canticles and the Athanasian Creed. 4. The Prologues. 5. The Gallicanum. 6. Appendix of Texts -- Ch. VI. English Version / Patrick P. O'Neill. 1. Previous Scholarship. 2. The Relationship to Other Old English Psalter Glosses. 3. Sources and Composition. A. The Main Source, *Ead. B. Sources for Canticles 8-15. C. An English Gloss to Psalm 151. D. The Old English Metrical Psalms. E.A D-Type Psalter. F. Modernizations and Independent Glossing. G. Conclusions. 4. The Stages of Copying in the English Gloss. 5. The English Gloss in its Cultural Context. 6. The Romanum in the Eadwine Psalter -- Ch. VII. The Anglo-Norman Version / Dominique Markey. 1. The Text of the Hebraicum. 2. The Anglo-Norman Version: Introduction. 3. The Exemplar of the Eadwine Psalter. 4. The Corrections of the Eadwine Psalter.; 5. The Relation of the Eadwine Psalter to Paris, BN, MS lat. 8846. 6. Conclusions: The Hebraicum Texts of the Eadwine Psalter -- Ch. VIII. The Comet in the Eadwine Psalter / Simon Keynes -- Ch. IX. The Prognostications of the Eadwine Psalter / Charles Burnett -- Ch. X. The Waterworks Drawings of the Eadwine Psalter / Francis Woodman. 1. Introduction. 2. The Date of the Waterworks System. 3. The Small Waterworks Drawing. 4. The Large Waterworks Drawing. 5. The Hydraulic System. 6. The Architectural Evidence of the Large Waterworks Drawing. 7. Is the Large Drawing a Measured Plan? 8. The Artist of the Large Waterworks Drawing -- Ch. XI. Eadwine and his Portrait / T.A. Heslop -- Ch. XII. Paris, BN, MS lat. 8846 and the Eadwine Psalter / Patricia Stirnemann. 1. The Relationship with the Eadwine Psalter -- Direct or Indirect? 2. Ancient Models in the Late Twelfth Century. 3. Excursus: Paris, BN, MS lat. 8846 and the Bedford Master.; Ch. XIII. The History of the Eadwine Psalter / T.A. Heslop and David McKitterick. 1. The Eadwine Psalter at Canterbury a.