Manuscript: Royal MS 2 B. vii
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British Library, Royal MS 2 B. vii
(The Queen Mary Psalter)
 

Produced: England, c 1310-1320

Language: Latin/French

Author: 
Illustrator: 
Scribe: 

Binding: 
Media: Vellum
Script: Textualis Prescissa/Textualis Rotunda

Folios: 319  Height: 27.7 cm   Width: 17.5 cm

Manuscript type: Psalter

Location: British Library, London, England, United Kingdom

Family: First; Transitional

 



Source: George Warner, 1912 (Queen Mary's Psalter) | Copyright 2003-2004 David Badke | Folio 2r


 
Description

"The rich decoration of the Queen Mary Psalter includes a bestiary in pictures: 90 tinted drawings forming part of the series of illustrations that adorns the lower margins of the pages. ... The order of beasts follows almost exactly that of Guillame le Clerc with nine animals then added. ... Although his work is found in other books little is known about the anonymous artist..." - Medieval Beasts (New York, 1990) Payne, p.16

"Psalter, in Latin, with the Canticles, Litany, &c., executed in England, and profusely illustrated. From f.85 b onwards the lower margins contain a series of exquisite little tinted drawings... They include illustrations of the Bestiary... " - British Library

"The earliest note of ownership appears in a sixteenth-century hand on a page originally left blank between the Calendar and Psalms. ... 'This boke was sume tyme the Erle of Rutelands, and it was his wil that it shulde by successioun all way go to the lande of Ruteland or to him that linyally succedis by reson-of inheritaunce in the saide lande.' It is not made quite clear which Earl of Rutland is here meant. ... the reference is more probably to Thomas Manners, Lord Roos, in whose favour the earldom was revived in 1525, or to Henry his son, who succeeded him in 1543. The latter, like his father, belonged to the Protestant party, and on the accession of Queen Mary in July, 1553, he was immediately imprisoned... If the Psalter belonged to him, whether by inheritance or otherwise, this fact, though he was soon released, may have had something to do with its subsequent fate; for a second note, written in Latin by a different hand on a fly-leaf at the end, records that, when on the point of being conveyed abroad, it was stopped by Baldwin Smith, a London customs-officer, and presented by him in October of the same year to the Queen. ... Its modern title being thus henceforth justified, the volume remained in the possession of Queen Mary and her successors down to 1757, when the whole royal library at St. James's Palace was made over to the nation... Queen Mary's Psalter may ... fairly claim to stand in a class by itself, for, although less splendid than some others in its purely decorative work, it excels them all not only from the unusual number and beauty of its coloured miniatures, but still more on account of the multitude of exquisite tinted drawings which are its most remarkable feature. Its text, apart from the descriptions in French attached to the series of Old Testament drawings, represents an ordinary form of the liturgical Psalter, the hundred and fifty Psalms being preceded by a Calendar and followed by the twelve Canticles...

"...the artist evidently had recourse to the thirteenth-century Norman-French poem of Guillaume le Clerc, printed under the title Le Bestiaire. But although, in the main, he follows this poem closely and with the same order of subjects, he adds a few others which do not appear in the published text, so that he either used a fuller MS. than any now known or supplemented Guillaume le Clerc from some other authority. This was probably the same Latin prose moralized Bestiary which seems to have furnished Guillaume himself with his materials, and which is contained in the first two of four books forming a composite collection on natural history printed as an appendix to the works of Hugh of St. Victor. This well-known author, however, was only responsible for the second book (the one most used by Guillaume), the first being by Hugh Foliot, while the other two are anonymous." Queen Mary's Psalter (London, 1912) Warner, 1912

The artist of the bestiary sequence does not seem to have understood the nature of some of the beasts he was illustrating. He has a penchant for drawing any unknown animal as a dog, ass, or deer. The panther looks like an ass, with cloven hooves; the asp, viper, serra, Ethiopian ants, crocodile and tiger look like dogs; and the serpent fleeing the naked man is a deer. Other creatures, particulalry birds, are drawn more realistically.


Additional description


 
Editions and Facsimiles


Printed facsimiles: Queen Mary's Psalter (London, 1912) Warner, 1912

 

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