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The Ormesby Psalter is perhaps the most magnificent yet enigmatic of the great Gothic psalters produced in East Anglia in the first half of the fourteenth century. Its pages boast a wealth of decoration picked out in rich colours and burnished gold, and its margins are inhabited by a vibrant crew of beasts, birds and insects. Fantastic imagery proliferates: musicians, mermaids, lovers and warriors are juxtaposed with scenes from everyday life, from chivalric legend, and from folk-tales, fables and riddles. The psalter takes its name from Robert of Ormesby, subprior at Norwich Cathedral Priory in the 1330s. He was not the first owner, however, and it has long been acknowledged that the writing, decoration and binding of the book took place in a series of distinct phases from the late thirteenth to the mid-fourteenth century. The final result was the work of four or five scribes and up to seven illuminators and its pages show a panorama of stylistic development. Unravelling its complexities has sometimes been thought to hold the key to understanding the 'East Anglian School', a group of large, luxury manuscripts connected with Norwich Cathedral and Norfolk churches and patrons. This book casts an entirely new light on its history, not only clarifying and dating the successive phases of production, but associating the main work on the manuscript with the patronage of John de Warenne, Earl of Surrey, one of the greatest magnates of the time. It is extensively illustrated with full-page colour reproductions of the manuscript's main decorated folios, as well as many smaller initials and numerous comparative illustrations.
The liturgical psalter is one of the most important medieval Christian books and the most frequently and richly illuminated of medieval liturgical manuscripts. In its simplest form the psalter included 150 psalms, preceded by a calendar and followed by the canticles for the daily offices, the litany of saints and collects. This basic structure was very stable throughout the Middle Ages and is found in an overwhelming majority of psalters from different countries. In spite of the similarity of core content, psalters were very variable in their size, decoration, choice of supplementary texts and style of presentation, reflecting the interests and requirements of a wide range of lay and religious patrons.Latin Liturgical Psalters in the Bodleian Library contains descriptions of 111 psalters from Britain, France, the Netherlands, Germany, Austria, Italy and Spain, ranging in date from the ninth to the sixteenth century. Each entry includes a description of contents, decoration, physical makeup and provenance, together with a bibliography. The entries are supplemented by comparative tables and indices to assist the study of illumination, manuscript presentation and the liturgical use of the psalms. Full colour images of pages from each of the manuscripts are also included, some of which are reproduced here for the first time. This catalogue brings together important information on a stunning selection of manuscripts held in the Bodleian Library, providing an invaluable resource for scholars.
Having rested unknown for centuries in the Library of the Earls of Macclesfield at Shirburn Castle, Oxfordshire, the Macclesfield Psalter is the most important medieval manuscript discovered in living memory and has captured the nation's imagination.
One of the most important medieval writers studied in historical and literary context.
What do they all mean – the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protruding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished. Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.
Illuminated manuscripts are among the more intimate works of art surviving from the medieval period. The Queen Mary Psalter (c. 1316?-21) has long been recognized as one of the most outstanding English Gothic manuscripts. Its devotional texts are framed by an encyclopedic series of narrative images painted in a delicate and courtly style. The psalms are introduced by an Old Testament preface in which tinted drawings are explained by French captions. The psalm decoration incorp. a combination of framed illuminations of the life of Christ at the beginnings of important psalms, and tinted drawings in the bottom margin of every page that tell stories ranging from the bestiary to the lives of the saints. Winner of the 2000 Millennium Award. 100+ illus.
This volume is framed by articles that throw interesting light on the achievement and reputation of the greatest of Anglo-Saxon kings - Alfred.