This English manuscript is an early example of a Psalter with the
Hours of the Virgin Mary attached (see Donovan, The de Brailes
Hours (1991), p. 201 (no. 2). p. 201). The manuscript’s origin is
unknown, but probably has a connection with Oxford since its
Calendar contains three feasts of St Frideswide (d. 727): the
latter was abbess at Oxford and venerated there as local saint by
the 10th century; her relics were discovered and elevated in 1180
and preserved at the Augustinian Priory of St Frideswide at Oxford.
The manuscript also contains the ‘Psalter of the Virgin Mary’
that has been attributed to St Anselm (b. c. 1033, d. 1109), abbot
of Bec and archbishop of Canterbury. This relatively rare
attribution can also be found in the 13th century Oscott Psalter
(Add MS 50000) which has also been associated with Oxford because
of its inclusion of St Frideswide in its Litany of Saints.
Contents: ff. 1v-2r: A prayer to the Veil of Veronica ( Sudarium ),
with indulgences, beginning: ‘Hec oracia composita est in honore
effigiei vultus de Dominici que Rome habita Veronica nuncupatur’.
ff. 3r-12v: Two-panel pages with scenes from the life of Christ.
ff. 13r-18v: A Calendar of Saints, including feasts for the English
saints Edward the Confessor, Cuthbert, Ælfheah of Canterbury,
Dunstan, Augustine of Canterbury, Botwulf of Thorney, Alban,
Etheldreda, Mildrith, Kenelm, Edward the Martyr, Neot, Oswald,
Thomas of Canterbury, Ethelburga, Frideswide, and Thomas of
Canterbury [features Anglo-Norman captions for the roundels with
the Labours of the Months]. ff. 19r-116r: The Book of Psalms. ff.
116r-124r: Canticles: Confitebor tibi (Isaiah), Ego dixi (Ezekiel),
Exultavit cor meum (Anne), Cantemus domino gloriose (Moses), Domine
audivi (Habakkuk), Audite celi (Moses), Te deum (St Ambrose),
Benedicite (Three Holy Children), Benedictus (Zechariah),
Magnificat (Virgin Mary), Nunc dimittis (Simeon). ff. 124r-126v:
Gloria in excelsis Deo (Angelic Hymn), Pater noster (Lord’s
Prayer), Symbolum Apostolorum (Apostles’ Creed), Quicumque Vult
(Athanasian Creed). ff. 126v-128v: A Litany of Saints, including
the English saints Edmund the Martyr, Thomas of Canterbury, Alban,
Augustine of Canterbury, Cuthbert, Cedd, and Swithun. ff.
126v-131r: Prayers for sinners, the congregation, benefactors,
peace, against temptations, for Christian souls, family members,
the Father, Son and Holy Spirit.ff. 132r-145v: The Office of the
Dead. ff. 146r-159r: Pseudo-Anselm of Canterbury, Psalterium Beate
Marie (The Psalter of the Virgin Mary): a poem, also known as Ave
porta paradysi , in which a verse from each of the 150 Psalms
alternates with a Marian verse salutation of four lines, beginning:
‘Incipit psalterium beate marie virginis editum a sancto anselmo
archipiscopo cantuariensi’. ff. 159v-185r: The Little Office of
the Virgin Mary, containing collects for the Virgin Mary, the
Trinity, the Holy Cross, and saints Michael the Archangel, John the
Baptist, Peter, Andrew, James the Greater, Bartholomew, Thomas the
Apostle, Stephen, Thomas of Canterbury, Lawrence, Edmund the
Martyr, Vincent, Leodegar, George, Blaise, Eustace, Nicholas,
Augustine of Hippo, Dunstan, Giles, Leonard, Anne, Mary Magdalene,
Katherine of Alexandria, Margaret of Antioch, Agnes, Radegund, and
Frideswide.[ff. 1r, [1a] recto, [1a] verso, 2v, [2a] recto, [2a]
verso, [3a] recto, [3a] verso, [4a] recto, [4a] verso, [5a] recto,
[5a] verso, [6a] recto, [6a] verso, [7a] recto, [7a] verso, [8a]
recto, [8a] verso, [9a] recto, [9a] verso, [10a] recto, [10a]
verso, [11a] recto, [11a] verso, [12a] recto, [12a] verso, 19v,
20r, [34a] recto, [34a] verso, [43a] recto, [43a] verso, [51a]
recto, [51] verso, [60a] recto, [60a] verso, [71a] recto, [71a]
verso, [81a] recto, [81a] verso, [82a] recto, [82a] verso, [92a]
recto, [92a] verso, [115a] recto, [115] verso, 131v, and 185v are
blank].Decoration: 20 full-page two-panel miniatures in colours and
gold with frames in colours (largely as described by Morgan, Early
Gothic Manuscripts , I (1982), pp. 72-73 (no. 24)): f. 3r: The
Annunciation; and Visitation. f. 3v: The Nativity; and the
Annunciation to the Shepherds. f. 4r: The Magi before Herod; and
Adoration of the Magi. f. 4v: The Dream of the Magi; and
Presentation in the Temple. f. 5r: The Flight into Egypt; and
Massacre of the Innocents. f. 5v: The Baptism; and First
Temptation. f. 6r: The Second Temptation; and Third Temptation. f.
6v: The Marriage at Cana; and Expulsion from the Temple. f. 7r: The
Feast of Herod, Beheading of John the Baptist; and Feeding of the
Five Thousand. f. 7v: Christ walking on water; and the
Transfiguration. f. 8r: The Raising of Lazarus; The Meal at the
house of Lazarus. f. 8v: The Entry into Jerusalem; The Last Supper.
f. 9r: The Washing of the Feet; Christ waking the Apostles in the
Garden of Gethsemane. f. 9v: The Betrayal of Judas; Peter’s
Denial and Trial of Christ. f. 10r: Judas leaves the High Priest
and hangs himself; and the Flagellation. f. 10v: The Crucifixion;
and Deposition. f. 11r: The Harrowing of Hell; and lamenting women
at the Tomb. f. 11v: Christ appears to Mary Magdalene (‘Noli me
tangere’); and the Supper at Emmaus. f. 12r: Doubting Thomas; and
the Ascension. f. 12v: Pentecost; Christ in Majesty. 1 half-page
miniature of the Veil of Veronica in colours and gold (f. 2r);
perhaps the earliest extant image of the Veronica (Morgan, Early
Gothic Manuscripts , I (1982), p. 73). Scholars have argued that
the miniature was executed by Matthew Paris (b. c. 1200, d. 1259),
historian, and Benedictine monk at St Albans Abbey (e.g. see Lewis,
The Art of Matthew Paris (1987), pp. 29, 127-9, 381, 419, 420, 426,
441, 471, 489 n. 199, pl. 5); Morgan, however, has demonstrated
that its style and iconography differ significantly from Paris’s
work (see Morgan, ‘“Veronica” Images’ (2018), pp. 84-101).
The manuscript perhaps was produced by a workshop that was active
at the beginning of the 13th century and whose work survives in a
number of luxury Psalters: the manuscript’s scenes of the life of
Christ, for example, were executed by the same artist as the
so-called ‘Munich Psalter’ (Munich, Bayerische
Staatsbibliothek, Clm. 835). 24 roundels with the Labours of the
Months and the Signs of the Zodiac in colours and frames in gold
(ff. 13r-18v). 1 large full-page initial ‘B’ for Psalm 1 (
Beatus Vir ) in colours and gold, with interlace inhabited by white
lions, a frame in colours with four medallions at the corners:
David rescuing the lamb from the lion; the Anointing of David;
David casting his sling at Goliath; David beheading Goliath. 10
large historiated initials in colours in frames with colours and
gold (some featuring grotesque figures): 9 at the other major
divisions of the Psalter; and 1 at the first of the Canticles: f.
34v: The Anointing of David (Psalm 26). f. 43v: The Judgement of
Solomon (Psalm 38). f. 51v: Doeg beheading the priests (Psalm 51).
f. 52r: The Temptation of Christ (Psalm 52). f. 60v: Christ between
Peter and Paul; a man in the water between two devils (Psalm 68).
f. 71v: Five musicians (Psalm 80). f. 82r: The Nativity (Psalm 97).
f. 83r: Woman with a halo holding a chalice and Host, and Christ
blessing (Psalm 101). f. 93r: The Trinity (Psalm 109). f. 116r: The
Martyrdom of Isaiah ( Confitebor ). 13 medium historiated initials
in colours in frames with colours and gold for the Canticles, Pater
noster and Apostles’ Creed: f. 116v: Isaiah with the sick
Hezekiah ( Ego dixi ). f. 117r: Hannah standing ( Exultavit cor
meum ). f. 117r: Moses holding the tables of the Law ( Cantemus
domino ) f. 118v: Habakkuk standing ( Domine audivi ). f. 119v:
Moses seated with a scroll ( Audite celi ). f. 122r: St Ambrose (
Te deum ). f. 122v: The Three Hebrews in the Fiery Furnace (
Benedicite ). f. 123v: Zacharias standing ( Benedictus ). f. 124r:
The Virgin seated ( Magnificat ). f. 124r: Simeon standing ( Nunc
dimittis ). f. 124v: The Annunciation to the Shepherds ( Gloria in
excelsis Deo ). f. 124v: Christ blessing ( Pater Noster ). f. 124v:
The Virgin and the Apostles ( Symbolum Apostolorum ). Numerous
medium initials in colours or gold, with or without frames in gold
or colours; some have been decorated with ornamental motifs:
foliate interlace inhabited by anthropomorphic, hybrid and
zoomorphic figures; others have been decorated only with
anthropomorphic, hybrid figures or zoomorphic figures and heads.
The latter sometimes contain biblical figures and scenes: e.g. the
Virgin Mary (f. 130v); 12 medium ‘KL’ initials in gold in blue
and purple frames ('Champ' initials) in the Calendar (ff. 13r-18v);
1 medium gold initial with red pen-flourishing (f. 163v); numerous
small initials alternating between blue and red for Calendar
entries and verses; or between blue and gold; the latter with red
or green penwork decoration and pen-flourishing (only on ff.
146r-158v). Display script in gold capitals against a purple or
blue background at the major Psalm divisions. Rubrics in red.
Line-fillers alternating between red and blue, featuring
anthropomorphic, hybrid and zoomorphic figures (ff. 20v-131r).
Paraph markers alternating between red and blue. Roman numerals in
red and blue in the Calendar.
