Item Details

Call Number: MS Hunter 229 (U.3.2)
Title: Hunterian Psalter
Images: [ MS Hunter 229 fol. 1r ] [ MS Hunter 229 fol. 13v ]
Associated Websites: Images and caption from English Language manuscripts course material web page.
MS Hunter 229: Book of the Month
The Hunterian Psalter: a selection of images
Date of Creation: Between 1099 and 1399
Level of Description: Item
Part of MS Hunter 1-658
Content: Kalendarivm.
Psalterivm.
Litania.
Preces Qvaedam.
Known as Hunterian Psalter, formerly as York Psalter.
The missing folio 14, 6. contained Ps. lxvii. 28-Ps. lxviii. 5 (in Auth. Vers. Pss. lxviii-lxix.), and was probably abstracted for the sake of the illuminated initial S.
CANTICLES, HYMNS, ETC.
Ps. cl. ends (25, 4 recto, line 3): laudet dominum. Thereafter come the following Canticles:
"Confitebor tibi domine... israhel" (25, 4 recto line 4-25, 4 verso line 3) = Is.xii.1-6.
"Ego dixi in dimidio... in domo domini" (25, 4 verso line 4-25, 5 verso line 5) = Is.xxxviii.10-20.
"Exultauit cor meum... cornu christi sui" (25, 5 verso line 6-25, 6 verso line 3) = 1 Sam.ii.1-10.
"Cantemus domino gloriose... medio eius" (25, 6 verso line 4-25, 8 recto line 10) = Ex.xv.1-19.
"Domine audiui... in psalmis canentem" (25, 8 recto line 11-26, 2 recto line 1) = Hab.iii.1-18.
"Audite celi... populi sui" (26, 2 recto line 2-26, 5 verso line 16) = Deut.xxxii.1-43.
"Benedicite omnia opera... exaltatus in secula" (26, 5 verso line 17-26, 7 recto line 1).
"Te deum laudamus... in eternum" (26, 7 recto line 2-26, 8 recto line 8).
"Benedictus... in viam pacis" (26, 8 recto line 9-26, 8 verso line 19).
"Magnificat... in secula" (26, 8 verso line 20-27, 1 recto line 19).
"Nunc dimittis... plebis tue israhel" (27, 1 recto line 20-27, 1 verso line 7).
"Pater noster... a malo Amen" (27, 1 verso line 8-27, 1 verso line 17).
"Credo in deum patrem... uitam eternam amen" (27, 1 verso line 18-27, 2 recto line 13).
"Quicvmque uult... saluus esse non poterit" (27, 2 recto line 14-27, 4 verso line 13).
"Gloria in excelsis... in gloria dei patris amen" (27, 4 verso line 14-27, 5 recto line 11).
ILLUMINATIONS.
On 1, 1 recto [fol 1 recto, January] in the historiated Kl a man, in green, sleeved mantle with wide, turned up, white edged cuffs, seated at a banquet table, removes with his right hand the conical cover from a golden goblet held in his left. In the background are castle turrets with vanes and pennons.
On the same page, within a gilt circular border, on a dark red background with white spirals, Aquarius, in a green tunic and rolled-up blue trousers, pours water from a bronze pitcher borne, inverted, on his shoulder.
On 1, 1 verso [fol 1 verso, February] in the historiated Kl a man in a pink, cowled garment warms his bare legs at a blazing fire under an arched chimney-mantle. Another figure in blue stoops under a heavy faggot.
On the same page, bordered as above, is the sign of Pisces, represented by gold and silver fish united with an S-like bond of red and white, on a green background with black diaper pattern and white dots.
On 1, 2 recto [fol 2 recto, March] in the historiated K a man, in red mantle, bare legs and black boots, digs at the root of a tree with a white wooden spade shod with iron.
On the same page, bordered as above, the sign of Aries presents a grey ram with green spiral horns, on a red background with white tracery.
On 1, 2 verso [fol 2 verso, April] in the historiated K are two figures, one with long fair hair and a conical gold crown, holding a white sceptre in his right hand, and dressed in a close fitting sleeved pink robe, holds in his left hand the long, hanging right cuff of the other person in a toque-shaped hat, whose left cuff is thrown over her shoulders. Both have crimson shoes laced with white. The background is blue with a fleur-de-lisé pattern in white.
On the same page is the sign of Taurus, within the same border, represented by a brown bull with green horns, on blue mountains (?). The background is orange with a white floral pattern.
On 1, 3 recto [fol. 3 recto, May] the K contains a mounted figure with a hawk on his right hand, who, dressed in pink robe, red hose, and pointed boots, issues from a castle's opened gate. The horse is dapple grey, with a brown mane. The saddle is gilt and the stirrups of silver. The quarry, a wild duck, flies in the margin.
On the same page the sign of Gemini shows the Twins wearing pink tunics reaching to the knees, red hose, and black, pointed boots, laced white, who hold silver-headed javelins and support between them a round-topped, tapering gold shield with blue bosses, on a blue background. [On the seventh of May is the memorial entry of the name of John, Archbishop "in beuerli" (Beverley, Yorkshire.)]
On 1, 3 verso [fol 3 verso, June] the K has a bearded man and a beardless youth cutting clover (?) with long, white-handled silver sickles and white forked sticks. The man has a wide brimmed hat and is dressed in a long slate coloured tunic, red hose and brown boots, while the youth is bareheaded and wears a green tunic, grey hose and black boots.
On the same page is the sign of Cancer. In this illumination the crab is red and breathes fire from a mouth at each end. The background is green with a chequer tracery of black.
On 1, 4 recto [fol 4 recto, July] the K contains two men mowing, one, with short curly hair, stripped to the waist, in blue, rolled-up trousers, the other with long hair and moustache, in slate-blue tunic, green hose and black boots.
On the same page the sign of Leo shows a tawny lion with brown mane, tufts and tail, on a background of blue with white spiral tracery and dots.
On 1, 4 verso [fol 4 verso, August] the K contains a white-bearded man in a pink girt-up garment and red and white hose, bareheaded, and a white capped woman in orange bodice and skirt with green hose, both cutting corn with silver sickles, on a blue background with tufts of green and a wheat sheaf in the rear.
On the same page the sign of Virgo presents the B.V.M. (see 5, 1 verso) dressed in blue sleeved mantle with enormous hanging crimson and white cuffs (as in 1, 1 verso), holding a palm in her right hand. The background is crimson with white floral tracery.
On 1, 5 recto [fol 5 recto, September] the K represents a village scene. A woman with plaited hair, in a slate-blue dress with green hose and black boots, stands holding a pink wicker basket full of grapes on her right shoulder, while she gathers a bunch with her left hand to drop into a second basket slung over her left arm. The other figure, with her head and shoulders muffled in a red and white hood, crouches and picks a bunch of grapes with her left to put into a similar handled basket held in her right. The grapes are green, and the vine and tree are extremely conventional.
On the same page the sign of Libra shows the balances, of gold, suspended by a ring on the right index of a barefooted Christlike figure in pink mantle over a long green robe, with wide sleeves which nearly covers a red and white undergarment.
On 1, 5 verso [fol 5 verso, October] the K contains a nude figure treading grapes in a two-handled tub and eating a bunch of green grapes. A woman receives a bottle from another figure to empty through a funnel into the tun which she bestrides.
On the same page in the sign of Scorpio, the scorpion is like a Chinese dragon, of dark grey and black, with pink wings and a red and white head for a tail. The background is green with black tracery.
On 1, 6 recto [fol 6 recto, November] the K shows a swineherd muffled in a slate-coloured cloak with red and white border, knocking down acorns with a forked stick (as in 1, 3 verso) for three brown pigs from a very conventional tree.
On the same page the sign of Sagittarius shows the Centaur with a gold-rimmed, red and white petasus, wearing a tufted girdle of red and white, and aiming a silver-headed arrow backwards on a white bow. The background is like that on 1, 4 recto.
On 1, 6 verso [fol 6 verso, December] the K represents a man with beard and moustache, in a slate-blue tunic, red hose, and black boots, with a butcher's knife-case at his girdle bestriding a brown pig which he fells with the head of a hatchet.
On the same page the sign of Capricornus shows a Chimaera-like monster. The head and forequarters are those of a brown goat which terminates in a serpentine spiral of pink and dark orange. The background is of deep blue with a tracery of still darker blue and white.
FULL-PAGE PICTURES, ETC.
On 2, 1 verso [fol 7 verso] a picture (9 3/8 x 4 7/8) in two compartments represents, in the upper (3 7/8 x 4), the Creation of Adam, in the lower (4¼ x 4), his Temptation.
On 2, 2 recto [fol 8 recto] a similar picture (9 1/8 x 5½) represents, in the upper half (3 7/8 x 4 3/4), the Expulsion from Eden, in the lower (3 7/8 x 4 3/4), Adam delving, Eve spinning.
On 2, 3 verso [fol 9 verso] a similar picture (9 5/8 x 6) has, in the upper half (3¼ x 5 1/8), the Angel ordering the sacrifice of Isaac, in the lower (5 1/8 x 5 1/8), the Angel arresting the sacrifice of Isaac.
On 3, 1 verso [fol 11 verso] a similar picture (9 1/8 x 5 5/8) has, in the upper half (4 x 4 3/4), Christ's Temptation, in the lower (3 7/8 x 4 3/4), His Raising of Lazarus.
On 3, 2 recto [fol 12 recto] a similar picture (9½ x 5¼) has, above (3 7/8 x 4 3/8), Christ's Breaking of Bread at Emmaus, below (4 3/8 x 4 3/8), His Appearance to the Disciples.
On 4, 1 verso [fol 13 verso] a similar picture (8 7/8 x 5 7/8) has, above (3 7/8 x 5), Thomas resolving his Doubt, below (4¼ x 5 5/8), Jesus on the Sea saving Peter.
On 4, 2 recto [fol 14 recto] a full-page picture (9 x 5 3/4) of the Ascension.
On 4, 3 verso [fol 15 verso] a full-page picture (9 x 5¼) of Pentecost.
On 4, 4 recto [fol 16 recto] a full-page picture (8½ x 5½) of Christ in Glory surrounded by Symbols of the Evangelists.
On 5, 1 verso [fol 17 verso] a picture (9 5/8 x 5¼) in two compartments represents, above (4 3/4 x 4 7/8), an Angel holding a vacant scroll and presenting a palm to the Blessed Virgin, below (4¼ x 4 5/8), the Virgin showing the palm to S. John and other Apostles.
On 5, 2 recto [fol 18 recto] a similar picture (9 7/8 x 7 1/8) represents, above (5¼ x 5 3/8), Christ blessing the Virgin on her death-bed, while S. Peter presents the palm, below (4 5/8 x 7 1/8), the Funeral of the Blessed Virgin, the bier being borne by Angels and Apostles, S. Peter with palm preceding.
On 5, 3 verso [fol 19 verso] a similar picture (11 1/8 x 5 7/8) represents, above (4 3/8 x 5 7/8), the Blessed Virgin's Entombment, four Angels censing, S. Peter bearing the palm, below (6½ x 5 7/8), the Assumption by fourteen Angels of the Blessed Virgin, Christ standing in the foreground, while two Angels cense the empty tomb.
On 6, 1 verso [fol 21 verso] is a full-page picture (9½ x 5 3/4) of David tuning his Harp. Circular medallions at the corners contain angels (top) and musicians (below). Between the angels is a view of the Temple and Jerusalem. The Heavenly Hand appears in benediction above a white bar, from which depend 15 bells hammered by two men in green and red, who stand on a blue bar, having mounted by ladders l. and r. On the white bar are these musical notes: ut re mi fa sol la fa mi la sol fa mi re ut. Beneath David's footstool, a man, in red and blue, plays on a four-stringed fiddle, and a woman, in a buff and white dress, plays on a three stringed bass viol. Two children between these play on pan-pipes (?) and a species of bag-pipe. The musicians on the left play on hand bells and on the zither and two quills. On the right a bearded man sings and plays at one end of a composite musical instrument which looks like a compound of musical glasses and a three-stringed hurdy-gurdy, which latter a youth works with a handle.
On 6, 2 recto [fol 22 recto] is a full-page illumination (9 5/8 x 6¼), with medallions representing angels at the corners. The initial [B] is designed in an elaborately twisted pattern with nude figures and grotesques, while the remaining capital letters [EATVS UIR] are gilt on a ground of Venetian red, with white flecks, perhaps intended to represent red granite or porphyry.
In the case of all these full-page pictures the background is gilt with elaborate patterns incised thereon. In the Kalendar the initial H's and borders round the illuminations of the signs of the Zodiac are gilt and similarly incised or stamped.
The illuminated initials are also exquisitely designed and coloured. Some historiated initials are specially fine, such as those beginning the following Psalms:
fol 46 recto Ps. xxvii. (A.V. 27) Samuel anointing David King.
fol 54 verso Ps. xxxv. (A.V. 35) A Mailed Crusader.
fol 75 recto Ps. lii. (A.V. 52) Doeg whispering to Saul and pointing to David, who threatens his enemies with Goliath's sword.
fol 86 verso Ps. lxvi. (A.V. 66) The Church Triumphant.
fol 87 verso Ps. lxvii. (A.V. 67) Christ nimbed.
fol 88 recto Ps. lxviii. (A.V. 68) An Ass seated playing a harp, a Goat on his hind legs singing.
fol 92 verso Ps. lxxi. (A.V. 71) A Man with mace and buckler assailed by two Dragons.
fol 94 recto Ps. lxxii. (A.V. 72) Mother Church (?)
fol 101 recto Ps. lxxviii. (A.V. 78) A Phrygian-capped Centaur spearing a warrior armed with a battle-axe.
fol 109 recto Ps. lxxxii. (A.V. 82) Christ gold-nimbed teaching.
fol 109 verso Ps. lxxxiii. (A.V. 83) Christ nimbed, with a golden Mound in His right hand, and a gold and blue volume in His left.
fol 112 recto Ps. lxxxvi. (A.V. 86) A Suppliant standing on a fox, with his right hand muffled and his left raised.
fol 119 verso Ps. xci. (A.V. 91) Christ nimbed, with a Cross in His right hand and a golden Mound in His left, trampling on the Lion and Dragon (v. 13).
fol 121 recto Ps. xciii. (A.V. 93) A Wild goat being tamed.
fol 124 recto Ps. xcvi. (A.V. 96) David, with a blank scroll, singing.
fol 125 verso Ps. xcviii. (A.V. 98) Nude figures and grotesques in a twisted pattern.
fol 127 recto Ps. c. (A.V. 100) Christ nimbed, in Glory, holding a blank scroll; David singing and pointing up to Him.
fol 128 recto Ps. cii. (A.V. 102) A Nude figure and grotesques; a Dragon spitting black venom [as in Ps. lxxix.]
fol 148 verso Ps. cxvi. (A.V. 116) A Woman, with long hair and holding a comb, rising from a Tomb.
fol 151 verso Ps. cxix. (A.V. 119) A Nude figure (white) and a grotesque Dragon.
The last two quires are numbered, in a late XVII. Cent. hand, 28, 29.
On the last page, after some five lines of erased and practically illegible writing, comes a form of Confession and Absolution in a XIII. or early XIV. Cent. hand: "Confiteor deo omnipotenti et beate MARIE | uirgini et omnibus sanctis et uobis fratres me grauiteR | peccasse per superbiam in lege dei mei. Cogitatione | delectatione . omissione . consensu . uerbo et opere | mea culpa. Ideo precor beatissimam et gloriosam uir- | ginem MARIAM . et omnes sanctos et sanctas dei et uos fratres orare pro me. | Misereatur tui omnipotens deus. et dimissis omnibus pecca- | tis perducat te ad vitam eternam. AmeN.
Dr. James notes the following names in the Litany:
S. Marcialis (with Apostles). SS. Albanus, Oswaldus, Edmundus (Martyrs). SS. Augustinus, Paulinus, Johannes, Wilfridus, Cuthbertus, Swithunus, Dunstanus (Confessors). Genovefa, Etheldrida, Maria Egyptiaca, Pelagia, Julitta (Virgins).
He has also noted the following names in the Kalendar:
Mar S. Cuthbert - in blue; Apl. S. Vuilfrid Ep. et Conf. - green; May. S. John Archiep. in beuerli - blue; S. Dunstani - red; S. Augustine Angl. Ep. - blue; June S. Botulfi Abb. - red; S. Albani Mar. - green; S. Ethelrithe V. - black; July. S. Suithun C. - black; Aug. Osuualdi R.M. - green; Sep. transl. S. Cuthberti - black; Nov. Aedmundi R. - red; Dec. no S. Thomas of Canterbury.
In the prayers (28, 5 recto-7 verso) the suppliant was originally feminine. The singular feminine forms have had, first, the corresponding singular masculine forms written over them, then, in a later hand, the plural masculine.
[Formerly R.4.6; R.4.42].
Mr. Cockerell assigns the Psalter to the School of York and dates it 1170 (Burlington Fine Arts Club Catalogue, 1908). -
Possible provenance: De Bure, Catalogue of the Gaignat Lib., no. 50 (N.R. Ker). -
English Romanesque Art, Hayward Gallery, 1984: Psalter (illustrated on p. 59) 290 x 184 mm; 210 ff. c.1170; northern England. Glasgow University Library, MS Hunter U.3.2. The inclusion of certain specifically northern saints in the calendar and Litany (John of Beverley; Paulinus - Litany only) suggests an origin in the north of England, possibly York, but P.D. Stirnemann has argued that both this manuscript and the Copenhagen Psalter (76) were probably produced at Lincoln for Nottingham use. The fact that there is no entry for Thomas Becket in the calendar suggests a date before his canonization in 1173, but this cannot be taken as firm evidence. Two of the 13 full-page miniatures preceding the text of the Psalms are exhibited (ff. 13-14): the Incredulity of Thomas, with Christ saving St Peter upon the waters below, and the Ascension. This order of scenes is curious, for whereas the Doubting Thomas is in its correct chronological position following the Resurrection, the scene of Christ walking on the waters should have preceded the Passion. Boase suggested that these two incidents were combined because both of them deal with the lack of faith on the part of an Apostle. In the upper scene, St Peter holds the keys and the Virgin stands behind the Apostles on the right. Below, a realistic touch is added by the manner in which the expanse of the lake spreads over the border of the frame; the rope rowlocks must reflect a contemporary practice. R.P. Hancock has drawn attention to a similar fitting in one of the small Viking boats in the Gokstad find, AD 900, which has oles in the top strake for lashing the oars against a projecting horn (A.W. Brogger, H. Shetelig, The Viking Ships, Oslo 1951, ill. p. 61). The Ascension follows a peculiarly English type, for which there are precedents in Anglo-Saxon art, in which Christ is shown disappearing into the clouds. The style of the figures represents a more rigid and stylized version of the mid-century damp-fold convention. Elongated and stiff with long faces and staring eyes, these figures are silhouetted against a tooled gold background. Compared to the figures in, for example, the Bury Bible and the Winchester Bible, they are somewhat lacking in sophistication, and yet they are among the most expressive in English Romanesque art. C.M.K. Provenance Louis-Jean Gaignat, sale Paris, 10 April 1769, Lot 50; Dr. William Hunter (1718-83), who left his museum to Glasgow University. Exhibition William Hunter Book Collector, Glasgow University Library, 1983, no. 1. Bibliography Boase, 1962; Kauffmann, 1975, no. 95; Stirnemann, 1976; N.R. Ker, Wm. Hunter as a collector of medieval manuscripts, Glasgow, 1983, p. 14. -
Treasures, Dublin, 1964: The York Psalter. Glasgow University, Hunterian Library, MS. 229 (U.3.2). Parchment, 202 ff., 291 x 186 mm. England, ca. 1175. The York Psalter, one of a small group of elaborately illuminated 12th-century English psalters, is among the most splendid surviving examples of Romanesque art. The script is a monumental upright late Caroline minuscule with some features which look forward to the Gothic textus prescissus. The kalendar Labours of the Months, beautifully conceived and executed within the initial of Habet dies (but unfortunately cropped), and the Signs of the Zodiac (in roundels) are by the same hand as the series of full-page pictures which are the chief glory of the book. Hardly less fine are the historiated initials which appear throughout the text of the psalms. The thirteen pages of illustrations which precede the psalter draw their subject-matter from the Old and New Testaments and from the events of the Death and Assumption of the Virgin. The Beatus page is immediately preceded by a superb David. The page is often divided into two parts planned as a single balanced design. The practice of prefacing the psalter with a series of illustrations is found in England from the 11th century. The striking feature of the York manuscript is the addition of a series of pictures of great iconographical interest concerning the Assumption of the Virgin to the more usual repertoire of biblical themes. The style of the illumination is a mixture of Byzantine modelling and English linear pattern. Thin, flat figures are set against grounds of burnished gold with little interest in spatial relation but much concern for surface design. The foreign techniques have been transformed to suit the preoccupations of the native tradition. Among other surviving manuscripts the closest similarities to the York Psalter are to be found in an English psalter now in the Royal Library at Copenhagen (MS. Thott. 143). The provenance of the manuscript is uncertain. The kalendar (which omits St Thomas Becket, canonised in 1173) and litany include saints associated with the north of England, but the title 'York Psalter' is not to be taken too strictly. It has been suggested both that it was intended for an Augustinian house and for a private family. The source from which Hunter obtained it is similarly uncertain, but there is a possibility that it can be identified with a manuscript in the Gaignat sale in 1769. -
Andreas Petzold - Romanesque Art, 1995: Assumption and Burial of the Virgin Mary from the York Psalter, c.1170. Illumination on parchment, 11½ x 7½" (29 x 18.5 cm). Glasgow University Library. This extraordinary image has been linked to a vision experienced by a twelfth-century German Benedictine nun, Elizabeth of Schonau (d. 1164), in which Mary was carried to heaven in body and spirit by a multitude of angels. In its highly patterned appearance and use of non-naturalistic colors the image typifies the late Romanesque book-illumination of northern England.
Arrangement: List Item Content
Physical Description: Bound volume.
Vellum, 11½ x 7½, ff. 202, originally ff. 204, beautifully written in one hand (except the last 33 folios, in XIV. Cent. hand), in single cols. of 21 lines (in Kalendar 35 lines), each 8½ x 4¼, ruled and margined with plummet, 13 full-page pictures, one full-page illumination, gilt, historiated or illuminated initials begin the first verse of each Psalm, small gilt initials (ornamented in Ps. xcvi.) begin the second and following verses, no signatures or catchwords, partial foliation, modern (in pencil), the Kalendar is written in black, red, blue and green, cropped, marginalia (first three folios only), fol. sec. Martis. Cents. XII. (and XIV.)
Binding: Millboards, covered crimson morocco, richly gilt-tooled inside margins, edges and sides (lines), panelled back, title (gilt): PSALTERIUM | UETUS | IN MEMBRANIS. Late Cent. XVII.
[For detailed collation see: John Young and P. Henderson Aitken, A Catalogue of the Manuscripts in the Library of The Hunterian Museum in The University of Glasgow. (Glasgow, 1908), p. 170.]
Access: Restricted - see notes for details.
Language: Latin
Material Type: Liturgy
Notes: Access to original restricted; microfiche edition should be used.
This manuscript has been exhibited on the following occasions: 'Exhibition of Illuminated Manuscripts', Burlington Fine Arts Club, 1908; Exhibition of British Primitive Paintings, Royal Academy of Arts, Oct.-Nov., 1923; Exhibition of English Mediaeval Art, Victoria and Albert Museum, Summer 1930; Exhibition of British Art, Royal Academy of Arts, Jan.-Mar., 1934; Exhibition of British Medieval Art, Burlington Fine Arts Club, June-Sep. 1939; 'Le Livre Anglais' exhibition, Bibliothèque Nationale, Paris, Nov. 1951-Jan. 1952; 'Treasures of Scottish Libraries', National Library of Scotland, 1961; 'Trésors des Bibliothèques d'Ecosse', Brussels, 1963; 'Treasures from Scottish Libraries', Trinity College Library, Dublin, 1964; 'William Hunter, Book Collector', Glasgow University Library, Apr.-Sep. 1983; 'The Glory of the Page', Art Gallery of Ontario, Toronto, Oct. 1987-Jan. 1988, Museum of Fine Arts, Houston, Feb.-Apr. 1988, Virginia Museum of Fine Arts, Richmond, Jun.-Aug. 1988, Burrell Collection, Glasgow, Nov. 1988-Jan. 1989; 'Romanesque Stone Sculpture from Medieval England', Henry Moore Institute, Leeds, 1993; 'The Magic of the Middle Ages, Part 1: Sacred Manuscripts', Glasgow University Library, Apr.-Jul. 1994; Moyen âge: entre ordre et désordre, Musée de la Musique, Paris, Mar.-Jun. 2004).
Bibliography: The Hunterian Psalter: Glasgow University Library MS Hunter 229, with two introductory essays ... by Jane Hetherington Brown ... [and] Nicholas Pickwoad, edited by Nigel Thorp (microfiches, Glasgow, 1983); Jack Baldwin, William Hunter, 1718-1783, book collector: catalogue of an exhibition (Glasgow, 1983), no. 1; James Blades, Percussion instruments and their history (London, 1970), p. 199 (fol. 21v); T.S.R. Boase, English art, 1100-1216 (Oxford, 1953), pp. 241-3; T.S.R. Boase, The York Psalter (London, 1962); Jane Hetherington Brown, 'The Assumption of the Virgin in the Hunterian Psalter: tradition and innovation', a paper read on 8 May 1981 at the 16th International Congress on Medieval Studies, Kalamazoo, Michigan (xerox copy of typescript filed with offprints); J.H. Brown & L.E. Voigts, Old English Newsletter, vol. 14 (1980), pp. 12-13 (inscription in Latin and O.E., fol. 210v); G.F de Bure, Supplément à la Bibliographie instructive, ou catalogue des livres du cabinet de feu M. Louis Jean Gaignat (Paris 1769), vol. 1, p. 16, possibly no. 50; Burlington Fine Arts Club, Catalogue of an exhibition of British medieval art (London, 1939); Burlington Fine Arts Club: Exhibition of illuminated manuscripts (London, 1908), no. 31; F.O. Büttner, 'Les heures d'Etienne Chevalier', Scriptorium, vol. 29 (1975), pp. 84-106, mention on p. 98; Clifford Davidson, Illustrations of the stage and acting in England to 1580 (Kalamazoo, 1991), pp. 112-113 and illus. p. 110; M.H. Armstrong Davison, 'A note on the history of the Northumbrian small pipes', The Galpin Society Journal, vol 22, (1969), pp. 78-80, discusses the bag-pipe from the David page, fol. 21v; D. Diringer, The illuminated book (London, 1967), p. 262, and colour plate of Beatus initial; English illuminated manuscripts from the Xth to the XIIIth century, (Paris, 1926); English Romanesque art, 1066-1200: Arts Council exhibition, Hayward Gallery (London, 1984), Manuscripts, no. 75, p. 127 and illus. p. 19; Andreas Fingernagel, Romanik, Geschichte der Buchkultur 4/2 (Graz, 2007), folio 9v reproduced on p.193; John Greenland, The iconography of the Hunterian Psalter (University of Glasgow MS Hunter 229), Ph.D. thesis, University of Cambridge, 1997; Groves' Dictionary of Music and Musicians (3rd ed., edited by H.C. Colles, 5 vols, London, 1927-28), plate; George Henderson, '"Abraham genuit Isaac": transitions from the Old Testament to the New Testament in the prefatory illustrations of some 12th-century English psalters', Gesta, 26/2 (1987), pp. 127-139; C.M. Kauffmann, Romanesque manuscripts, 1066-1190 (Survey of manuscripts illuminated in the British Isles, vol. 3, London, 1975), pp. 117-118; N.R. Ker, English manuscripts in the century after the Norman conquest (Oxford, 1960), p. 35; Isabelle Marchesin, 'L'harmonie du monde: nombres', Moyen âge: entre ordre et désordre, ed. Marion Challier and Bernadette Caille (Paris, 2004), pp 63-87, esp. pp 78-81; E.G. Millar, English illuminated manuscripts from the Xth to the XIIIth century (Paris & Brussels, 1926), pp. 41-42; National Library of Scotland, Treasures of Scottish libraries: catalogue (Edinburgh, 1961); New Palaeographical Society, Facsimiles of ancient manuscripts, First Series (London, 1903-12), pls 189-191; Andreas Petzold, Romanesque Art (New York, 1995); Mary Remnant, 'Musical instruments in early English drama', Material culture & medieval drama, ed. Clifford Davidson (Kalamazoo, 1999), pp 141-194, including reproduction of fol. 21v; Herbert Read, The meaning of art (3 ed., London, 1951), reproduction of fol. 9v; Roslyn Rensch, Harps and Harpists (London, 1989), pp. 53-4, 56-7 (fol. 21v); M. Rickert, Painting in Britain: the Middle Ages (London, 1954), p. 98; Romanesque stone sculpture from medieval England, Henry Moore Institute, Leeds, (Leeds, 1993), pp. 68-9; O.E. Saunders, English Art in the Middle Ages (Oxford, 1932), plate; O.E. Saunders, English Illumination (2 vols, Paris 1928), plate; P.D. Stirnemann, 'The Copenhagen Psalter', PhD. Thesis (unpublished), Columbia University, 1976, pp 160-180; P.D. Stirnemann, 'The Copenhagen Psalter', Living words and luminous pictures: medieval book culture in Denmark: essays, ed. Erik Petersen (Copenhagen, 1999), pp 67-77 - includes comparison with MS Hunter 229; P.D. Stirnemann, 'Histoire tripartite: un inventaire des livres de Pierre Lombard, un exemplaire de ses "Sentences" et le destinataire du Psautier de Copenhague', Bibliologia, xviii (1998), pp 301-318 and 15 plates; Treasures from Scottish libraries: catalogue of an exhibition held in the Library of Trinity College, Dublin (Edinburgh, 1964), p. 6; Trésors des bibliothèques d'Ecosse (Brussels, 1963), pp. 3-4; J. Wardrop, 'Early English illuminated manuscripts at South Kensington', Apollo, vol. 12 (1930), pp. 99-107; F. Wormald, 'The development of English illumination in the twelfth century', Journal of the British Archaeological Association, 3rd Series, viii, (1943), p. 44; John Young & P.H. Aitken, A catalogue of the manuscripts in the Library of the Hunterian Museum in the University of Glasgow (Glasgow, 1908), pp. 169-74; Figure of Virgo (folio 4v) is reproduced in Margaret Scott, Medieval Dress & Fashion (London: The British Library, 2007), p 47.
Accession Number: 2482
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Repository Code: GB 0247

Names associated with this item:

exhibition: British Art 1934
Exhibition of British Art, Royal Academy of Arts, Jan.-Mar., 1934.
exhibition: British Medieval Art
Exhibition, Burlington Fine Arts Club, London, June-September 1939.
exhibition: British Primitive Paintings 1923
Exhibition of British Primitive Paintings, Royal Academy of Arts, Oct.-Nov., 1923.
exhibition: English Mediaeval Art 1930
Exhibition of English Mediaeval Art, Victoria and Albert Museum, Summer 1930.
exhibition: Glory of the Page 1987-1989
Exhibition of medieval manuscripts from Glasgow University Library: Art Gallery of Ontario, Toronto, Oct. 1987-Jan. 1988, Museum of Fine Arts, Houston, Feb.-Apr. …
exhibition: Illuminated Manuscripts 1908
Exhibition of Illuminated Manuscripts, Burlington Fine Arts Club, London, 1908.
exhibition: Livre Anglais 1951-1952
'Le Livre Anglais' exhibition, Bibliothèque Nationale, Paris, Nov. 1951-Jan. 1952.
exhibition: Magic of the Middle Ages 1994-1995
Exhibition: The Magic of the Middle Ages: Manuscript Treasures of Glasgow University Library. Part 1: Sacred Manuscripts, Glasgow University Library, 21 April-30 …
exhibition: Moyen Age
Moyen âge: entre ordre et désordre.
exhibition: Romanesque Stone Sculpture from Medieval England 1993
Romanesque Stone Sculpture from Medieval England', Henry Moore Institute, Leeds, 1993.
exhibition: Treasures from Scottish Libraries 1964
Exhibition, Trinity College Library, Dublin, 1964.
exhibition: Treasures of Scottish Libraries 1961
Exhibition, National Library of Scotland, Edinburgh, 1961.
exhibition: Trésors des Bibliothèques d'Ecosse 1963
Exhibition, Brussels, 1963.
exhibition: William Hunter, Book Collector 1983
Exhibition, Glasgow University Library, 14 april-30 September 1983.
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