MS. Douce 293
Summary Catalogue no.: 21867
Secular Psalter; England, North, 12th century, third quarter
Contents
Fols. i–ix are paper fly-leaves, blank apart from early modern and modern notes.
[item 1 occupies quire I]
Calendar (published by Temple, 1985, pp. 36–8), laid out one month per page, approximately half full, not graded. The calendar is written alternately in red, green and blue, used decoratively, rather than for the grading of feasts. Vigils are included from June to December. The calendar contains many Flemish saints and largely corresponds to the calendar of Bruges (Temple, 1985). Among the saints particularly venerated in Bruges are Donatianus (14 October), titular saint of the parish and collegiate church in Bruges, which served as a cathedral in early modern times, and Basil (14 June), patron of the chapel of St Basil and the Holy Blood in Bruges. The calendar contains other saints venerated in the Bruges–Ghent region, such as Amand and Vedast (6 February), Ansbertus (9 February) and Macarius of Ghent (Antioch) (9 May). The Feast of the Transfiguration is on 26 July (according to Temple, 1985, p. 13, the celebration of this feast on this uncommon date is found in only three other 12th- and 13th-century English calendars, London, British Library, Cotton MS. Tiberius E. IV; Durham, University Library MS. Sel. 6; and Oxford, Bodleian Library MS. Douce 270, all produced for private patrons in the north of England and the Scottish borderland). The calendar also contains several English saints, particularly those venerated in the north of England, such as Wilfrid (24 April), John of Beverley (7 May), Paulinus (31 August) and Oswald (5 August). Cuthbert is commemorated twice (20 March and 4 September); Kentigern of Glasgow is on 13 January. The calendar also includes Alban (22 June), Edmund (20 November) and Swithin (2 July). The absence of Thomas Becket suggests a date before his canonization in 1173. Botulph and Etheldreda (17 and 23 June) are added in a contemporary hand. The titles ‘papae’ are erased and replaced with ‘episcopi’ in a 16th-century (?) hand.
[item 2 occupies quire II]
Prefatory miniatures, painted on both sides of each leaf, illustrating the life of Christ (see ‘Decoration’).
[items 3–7 occupy quires III–IX]
Psalms 1–150, without titles or numbers, written with each verse starting on a new line. The colour of ink changes with each line (see ‘Physical description’ (‘Script’)). Punctuated throughout with punctus elevatus used to mark metrum, and punctus used to mark the ends of verses and minor pauses. The psalms are in the biblical order; the subdivisions within the psalms are not indicated, apart from psalm 118, subdivided into eleven 16-verse units. The unit beginning with ‘Iniquos’ (118: 113) is further subdivided into two 8-verse units (‘Feci iudicium’, 118: 121, begins with a 3-line initial). Fol. 16r is occupied by a full-page Beatus-initial, but the first verse was never filled in (psalm 1 starts on fol. 16v with verse 2, ‘Sed in lege ...’). Many other omitted verses are added between the lines and in the margins in a contemporary hand (e.g. fols. 69r, 123v). Various errors are corrected throughout, probably in the same hand (e.g. substitution on fol. 71r, erasures on fols. 71v and 72r, etc.). Psalms 89–91 are omitted and there is a drypoint note in a 13th-century hand pointing this out in the lower margin on fol. 84r. These psalms are added on fols. 137v–139v in a contemporary hand which corrected the psalter. Psalms 148–150 are written as a single text, though the initial ‘L’ at the beginning of psalm 150 (fol. 125v) is indented, unlike other initials at the beginning of verses. There are textual divisions at psalms 21, 26, 38, 51, 52, 68, 80, 97, 109, 114, 121, 126, 131, 137 and 143 (see ‘Decoration’). The initials mark psalms appointed to be read first at Matins during the week in the secular use and, unusually, psalms appointed to be read first at Vespers during the week in the secular use (psalms 114, 121, 126, 131, 137 and 143). Psalm 51 is marked with an illuminated initial as is common in psalters from England and the Netherlands (see Carlvant, 1978, pp. 457–72). Psalm 21 was also sometimes marked with an illuminated initial in psalters from the Bruges–Ghent region, though this is found in later, 13th- and 14th-century psalters, such as MSS. Douce 5–6 (see Carlvant, 1985, p. 332, n. 21).
Weekly canticles, without titles:
- (1) Confitebor tibi domine (Isaiah 12);
- (2) Ego dixi (Isaiah 38: 10–21);
- (3) Exultauit cor meum (1 Samuel 2: 1–11);
- (4) Cantemus domino (Exodus 15: 1–20);
- (5) Domine audiui (Habakkuk 3);
- (6) Audite celi (Deuteronomy 32: 1–44).
Daily canticles, prayers and creeds, without titles:
- (1) Benedicite omnia opera (fol. 132r);
- (2) Benedictus dominus deus (fol. 132v);
- (3) Te deum laudamus (fol. 133r);
- (4) Magnificat (fol. 134r);
- (5) Nunc dimittis (fol. 134r);
- (6) Athanasian Creed (Quicumque uult ...) (fol. 134v).
Litany (published by Temple, 1985, p. 18), based on a Continental, northern French (?) model, rather than a litany from Bruges or Ghent. It includes Martial (last) among the apostles; Martin (first), Audomar, Bertin, Remigius, Vedast, Amand and Eligius among the confessors; Benedicta and Eusebia (last) among the virgins. The litany also includes insular saints: Oswald (in third place), Alban and Edmund (last) among the martyrs; Cuthbert (fourth) among the confessors; Brigid (of Kildare (?)) among the virgins. Followed by invocations (not a normal English series) and two collects (fol. 137r):
- (1) Omnipotens sempiterne deus dirige actus nostros in beneplacito tuo ...
- (2) Deus cui omne cor patet et omnis uoluntas loquitur et quem nullum latet secretum ...
Omitted psalms 89–91added in red ink in a contemporary hand.
Physical Description
Collation
Layout
Ruled in plummet with single vertical and horizontal bounding lines, extending the full height and width of page; prickings often survive; written above the top line; 22 lines per page; written space: c. 185 × 106 mm.
Hand(s)
Formal proto-Gothic book script. The colour of ink changes at each line throughout, alternating between red, green and blue, or red, green, blue and brown on some leaves (fols. 96v, 109r). The colour of initials contrasts with the colour of each line and also alternates between red, green and blue. Temple (1985, p. 23), gives London, British Library, Cotton MS. Tiberius E. IV from Winchcombe Abbey near Gloucester as another example of a psalter with colour used decoratively in the calendar, and interprets it as an artistic development within the context of the Anglo- Saxon tradition of inscribing pages with coloured inks
Decoration
Prefatory miniatures have English iconographical subjects, but the artist may have also used a Continental model of the 11th century (Kauffmann, 1975; Temple, 1984). Some iconography is untraditional, e.g. the angel holding a book in the Annunciation scene. The miniature cycle is related to the cycles in two other northern English psalters, MS. Gough Liturg. 2 and Copenhagen, Kongelige Bibliotek MS. Thott 143 2o, though it differs considerably in detail (Kauffmann, 1975; Temple, 1984).
- fol. 8r Annunciation: an angel pointing to a book which he holds in his left hand; the Virgin Mary stretches out her hands to receive the book; architectural background.
- fol. 8v Nativity: an angel swings censer over the Virgin Mary, who is lying on a bed; a midwife sits by her side; the infant with cruciform halo lies in the manger; heads of an ox and ass; sky with a star.
- fol. 9r Annunciation to the Shepherds: a barefoot angel with crossed wings appears to three shepherds with staffs, a goat and a sheep.
- fol. 9v Adoration of the Magi: three crowned kings with gifts walk towards the seated Virgin; the Child is in her lap with cruciform halo, one hand raised in blessing, the other holding a book; architectural background.
- fol. 10r Flight to Egypt: the Virgin and Child on a donkey; Joseph leading the way; stylized landscape in the background.
- fol. 10v Presentation in the Temple: the Virgin Mary giving the Child to Simeon; a male attendant (or Joseph?) stands by her side, holding two doves.
- fol. 11r The Last Supper: Christ and disciples at the table in the upper half of the miniature; Christ washing the feet of St Peter in the lower half.
- fol. 11v The Betrayal of Christ: Judas embraces Christ; two soldiers with a sword, axe and pike approach.
- fol. 12r Christ crowned with Thorns: the crown of thorns is placed on Christ’s head by two armed soldiers.
- fol. 12v Flagellation: Christ tied to a column, blindfolded; two soldiers with scourges on either side.
- fol. 13r Crucifixion: Christ on the Cross; the Virgin, arms crossed, and St John with beard, holding a book, stand on either side; above the arms of the Cross are two smaller half-figures holding the palms of martyrdom.
- fol. 13v Disciples at Christ’s Tomb: three apostles standing before the closed tomb; three soldiers in chainmail sleeping on the ground.
- fol. 14r The Harrowing of Hell: Christ, holding the Cross, stands before Hell’s mouth; naked souls emerge, stretching their arms towards him; Christ holds one of the souls by the hand; an angel appears from the clouds above.
- fol. 14v Resurrection: the holy women with ointments stand before an angel, seated on an open tomb.
- fol. 15r The Virgin enthroned: the Virgin, holding a lily, is seated on a throne (decorated with two animal figures); the Child on her lap, holding a book and blessing.
- fol. 15v Christ enthroned: Christ seated, holding a book and blessing; the symbols of the evangelists in the corners.
Most miniatures are rectangular frames, decorated with acanthus leaves, a few with dragons or grotesques.
6-line to full-page initials at liturgical divisions. Psalm 97 has an early example of the Annunciation to the Shepherds, though the iconography (the presence of the prophets) is unusual.
- Psalm 1 fol. 16r (initial B(eatus)) Full-page initial, decorated with interlace, acanthus-leaf and floral designs, a bird, a beast, an animal mask and animal heads; gold rectangular frame.
- Psalm 21 fol. 29r (initial D(evs)) Gold initial, decorated with plant scrolls and animal mask.
- Psalm 26 fol. 33r (initial D(ominus)) A young man seated under an arch flanked by two towers; gold background, interlace, animal heads.
- Psalm 38 fol. 44r (initial D(ixi)) Red initial, decorated with plant scrolls, a beast and a bird on gold background.
- Psalm 51 fol. 54r (initial Q(vid)) Pink initial, decorated with geometric and acanthus-leaf designs; a winged dragon forming the tail of Q.
- Psalm 52 fol. 54v (initial D(ixit)) Gold initial, decorated with plant scrolls, acanthus-leaf and floral designs.
- Psalm 68 fol. 65r (initial S(alvum)) Gold initial, decorated with plant scrolls, acanthus-leaf and floral designs, beasts and a bird.
- Psalm 80 fol. 78r (initial E(xultate)) Gold initial, decorated with plant scrolls, a beast, acanthus-leaf and floral designs (flaking).
- Psalm 97 fol. 87v (initial C(antate)) Annunciation to the Shepherds: an angel speaks from above to two shepherds, one holding a staff, flanked by two men, one young, one old, each holding books.
- Psalm 109 fol. 100v (initial D(ixit)) Christ, naked to the waist, holding the Cross, seated next to the Father, holding a book and blessing; their feet rest on a prostrate nude figure (‘enemies thy footstool’).
- Psalm 114 fol. 103r (initial D(ilexi)) Blue initial, decorated with plant scrolls, floral designs and animal mask on gold background.
- Psalm 121 fol. 113v (initial L(etatus)) Body of a winged dragon forming the initial.
- Psalm 126 fol. 115r (initial N(isi)) Gold initial, decorated with plant scrolls and floral designs.
- Psalm 131 fol. 116v (initial M(emento)) Gold initial, decorated with plant scrolls, acanthus-leaf and floral designs, and a winged dragon.
- Psalm 137 fol. 119v (initial C(onfitebor)) Gold initial, decorated with plant scrolls, a beast and a winged grotesque.
- Psalm 143 fol. 121*v (initial B(enedictus)) Gold initial, decorated with floral designs.
Minor initials at the beginning of psalms and verses.
3-line gold initials, with red, blue and green penwork, at the beginning of psalms, canticles and litany.
1-line alternating red, blue and green initials at the beginning of periods and verses.
Run-over signs in the form of animal heads (fols. 24r, 137v).
Binding
Red diced calf over pasteboards, 18th century. Single gilt fillet border round the outer edge of covers. Rebacked in the Bodleian in 1983 (‘L. J. L. 12/83’ on fol. 142r). The original spine is pasted to the lower pastedown (brown leather, five bands, five panels with double gilt borders and gilt floral decorations between the bands, gilt lettering ‘ANTIENT || PSALTER’). Marbled paper pastedowns and laid paper fly-leaves.
History
Provenance and Acquisition
Written in the north of England and modelled on both English and Continental exemplars: evidence of the calendar, litany and decoration (Temple, 1971, 1984, 1985). Produced in a well-organized scriptorium which had access to multiple exemplars and where the scribes’ work was checked and corrected. Probably made for a lay person: the calendar does not represent a liturgical use of any house or diocese, and the litany does not agree with the calendar; decorative approach to the presentation of the text and the calendar; psalms are subdivided according to the secular use. The manuscript is related to two other luxury psalters, the Hunterian Psalter (Glasgow, University Library MS. Hunter U. 3. 2) and the Copenhagen Psalter (Copenhagen, Kongelige Bibliotek MS. Thott 143 2o) (Kauffmann, 1975; Temple, 1984). All three psalters were produced around the same time (Thomas Becket is missing from all three calendars), probably in the north of England. The calendars and litanies are not identical, but similar, and all include saints venerated in the north, such as Cuthbert, Wilfrid, John of Beverley, Paulinus and Oswald. Most of the initials in the Hunterian Psalter are by an artist responsible for some of the initials in the Copenhagen Psalter. The iconography of the principal initials is similar in the Hunterian and Copenhagen psalters, whereas the miniature cycle in Douce 293 is related to that of the Hunterian Psalter. Temple (1985) compares MS. Douce 293 with London, British Library, Cotton MS. Tiberius E. IV from Winchcombe Abbey near Gloucester (Worcester diocese). It shares with Douce 293 the decorative use of colour in the calendar, the unusual date for the Feast of the Transfiguration and the presence of northern saints in the calendar, introduced when Worcester and York had the same bishop (972–1010 and again at intervals up to 1062).
Erasure of titles ‘papae’ from the calendar, presumably at the Reformation.
Francis Douce, 1757–1834, see ODNB: bookplate on the upper pastedown; autograph on fol. i verso; notes on fols. ii–ix. Watermark ‘1808’, fol. ii. ‘A 12’ on the upper pastedown.
Bequeathed to the Bodleian in 1834
Record Sources
Digital Images
Digital Bodleian (41 images from 35mm slides)
Bibliography
Select bibliography to 2004:
Abbreviations
View list of abbreviations and editorial conventions.
Last Substantive Revision
2024-03-06: Encode full description from Solopova catalogue.