Elsewhere, an iridescent illuminated manuscript of Latin psalters sits across a banal display of plastic BIC pens.
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You might also collect new words, like osculatory (a spot on a page, often designated with a red cross, where worshippers may kiss), uncial (a script in all capitals), rubric (a section written red ink), and all the different kinds of books: breviaries, pontificals, missals, antiphonals, graduals, psalters, Books of Hours, lectionaries, and passionals (not to mention Bibles and gospels).
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Rhymed psalters are translations of the Psalms from Hebrew or Latin into poetry in some other language. Rhymed psalters include metrical psalters designed for singing, but are not limited to that use.
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While singing was not the original purpose of rhymed psalters, these psalters make up the bulk of the existing rhymed versions of Bible passages. The Book of Proverbs is one of the few other Biblical books having verse translations.
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In 2011, the building was renovated and was opened as an NHS centre "Kimberworth Place Psalters Centre".
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Two of these psalters stand apart as independent translations from the Hebrew: Jerome's juxta Hebraicum and the Pian version (1945).
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The art within the Byzantine psalters were specifically unique because of the history surrounding the creation and use of images two centuries before during opposition to icons in the Iconoclastic controversy. A psalter is a book made specifically to contain the 150 psalms from the book of Psalms. Psalters have also included the odes or canticles, which are songs or prayers in song form from the Old Testament. Psalters were created purely for liturgical purposes, and the Psalms were the most popular books of the Old Testament in Byzantium.
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This fashion has also been used by Folk Punk fans and musicians, notably Days N Daze, Blackbird Raum, and The Psalters.
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The psalters offer a systematic program of illuminations corresponding to the individual psalms. These images are linked together, but are not in the numerical order of the psalter. This emphasizes the idea of the abbreviated psalter, where each psalm is illustrated once (Manion 1995). The miniatures are not modeled on any specific visual or literary precedence when compared with other fourteenth century psalters.
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From the late 11th century onwards they became particularly widespread - Psalms were recited by the clergy at various points in the liturgy, so psalters were a key part of the liturgical equipment in major churches. Various different schemes existed for the arrangement of the Psalms into groups (see Latin Psalters). As well as the 150 Psalms, medieval psalters often included a calendar, a litany of saints, canticles from the Old and New Testaments, and other devotional texts. The selection of saints mentioned in the calendar and litany varied greatly and can often give clues as to the original ownership of the manuscript, since monasteries and private patrons alike would choose those saints that had particular significance for them.
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This new regard for the letter of the Biblical text diminished the appeal of the psalters' previous versions; those who sang them no longer felt they were singing Scripture. The success of these newer hymns has largely displaced the belief that each hymn must be a direct translation of Scripture. Now, many hymnals contain Biblical references to the passages that inspired the authors, but few are direct translations of Scripture like the metrical psalters were.
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In the Middle Ages, psalters were often lavish illuminated manuscripts, and in the Romanesque and early Gothic period were the type of book most often chosen to be richly illuminated.
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The stadium was constructed in 1933 in an area known as Holmes on the east side of Psalters Lane and the west side of Hartington Road and north of Holmes railway station.
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Orthodox psalters usually also contain the Biblical canticles, which are read at the canon of Matins during Great Lent. The established Orthodox tradition of Christian burial has included reading the Psalms in the church throughout the vigil, where the deceased remains the night before the funeral (a reflection of the vigil of Holy Friday). Some Orthodox psalters also contain special prayers for the departed for this purpose. While the full tradition is showing signs of diminishing in practice, the psalter is still sometimes used during a wake.
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Organs were forbidden, though trumpets were gradually introduced. Works like the 1562 English Sternhold and Hopkins Psalter were very popular among the Reformed. Literal translations of the Psalms began to be preferred by the Reformed over the looser translations of the Genevan and Sternhold and Hopkins psalters in the latter part of the sixteenth century. Some of the most influential psalters of the seventeenth century were the Scottish Psalter of 1635 and the Bay Psalm Book of 1640, which was the first book printed in America.
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Carolingian Psalter (facsimile) Folio 15b of the Utrecht Psalter illustrates Psalm 27 A psalter is a volume containing the Book of Psalms, often with other devotional material bound in as well, such as a liturgical calendar and litany of the Saints. Until the emergence of the book of hours in the Late Middle Ages, psalters were the books most widely owned by wealthy lay persons. They were commonly used for learning to read. Many Psalters were richly illuminated, and they include some of the most spectacular surviving examples of medieval book art.
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The Macclesfield Psalter belongs in the "central tradition of the so-called East Anglian manuscripts, as exemplified by the Gorleston Psalter." Like other luxury psalters, the Macclesfield Psalter was probably intended for private reading instead of public use in church. The scribe is believed to be the same one who executed two other psalters from the East Anglian group, the Stowe Breviary and the Douai Psalter. This ornament shows Doeg the Edomite beheading the priests of Nob The chief splendour of the Psalter, however, is indisputably the illumination, which is unusually lavish.
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The spiritual context, however, builds on the concept of imperial organization being sanctioned by God. The painting can also be viewed as an allusion to Christ's triumph over Satan (spiritual) or the victory of a ruler over an adversary (secular). The Paris Psalter is very famous within ancient Byzantine art, and although there are other psalters, this is the most famous out of the seventy five illuminated Byzantine psalters. A common theme in the Paris Psalter is the portrayal of ideal rulers, this portrayal is meant to signify their importance in their era and to glorify them.
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Trinity The Hebrew version was "a scholarly rather than a liturgical text", and related more to continental scholarly interests, especially those at Fleury Abbey.Karkov, 292 There are a number of Psalters with comparable Latin texts, and a number of luxury illuminated psalters, but the combination in a single manuscript of the scholarly psalterium triplex with a very large programme of illumination, and translations into two vernacular languages, is unique.See Karkov, 292, PUEM on multi-lingual MS., and Gibson, 26 on prefatory cycles in pasalters. The psalter was "a tool for study and teaching" rather than a display manuscript for the altar.
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Poets and composers have used long metre for more than a millennium: Venantius Fortunatus (c.530-c.600/609) wrote "Vexilla regis", and probably also wrote "Quem terra, pontus, aethera", both of which are in long metre. Metrical psalters include many such tunes, some of which are still sung today, such as "All people that on Earth do dwell", a paraphrase of Psalm 100 sung to a tune that first appeared in the Genevan Psalters of 16th century. Many church hymns are also based on long metre tunes, such as the Good Friday hymn When I Survey the Wondrous Cross.
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The earliest English psalters included a few tunes in regular meters, which could be used to sing all the psalms in the psalter. Which tune was sung was determined by the fit of the meter. The Ravenscroft Psalter of 1621 was the first English book which "married," specified by name, which tune should set each text. In that early time of defining text/tune marriages, editors of different psalters sometimes used different names for the same tune. For example, The French Tune, in the Scottish Psalter (1564), is the same tune as Dundee in the Ravenscroft Psalter.
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In Elizabethan England, music printing was regulated by two royal patents issued by the queen: one for metrical psalters (psalms set to music) and one for all other types of music and music paper. The patent-holders thus held a monopoly—only they or their assignees could legally print music.Smith 77 After printer John Day's death in 1584, the patent for metrical psalters transferred to his son Richard Day and was administered by his assignees, who were members of the Stationers' Company. The more general one was awarded to composers Thomas Tallis and William Byrd in January 1575.
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Dedicated psalters, as distinct from copies of the Psalms in other formats, e.g. as part of a full edition of the Old Testament, were first developed in the Latin West in the 6th century in Ireland and from about 700 on the continent. The extensively illustrated Utrecht Psalter is one of the most important surviving Carolingian manuscripts and exercised a major influence on the later development of Anglo-Saxon art.Francis Wormald, The Utrecht Psalter, Utrecht, 1953 In the Middle Ages psalters were among the most popular types of illuminated manuscripts, rivaled only by the Gospel Books, from which they gradually took over as the type of manuscript chosen for lavish illumination.
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The Oxford Dictionary of Byzantium observed, "Like a garden, the book of Psalms contains, and puts in musical form everything that is to be found in other books, and shows, in addition, its own particular qualities." Additionally, psalters could be used as a form of guided prayer or meditation.
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There are several major initials which are historiated, zoomorphic, or decorated. Major initials are found at the beginning of Psalms 1, 51 and 101. This tripartite division is typical of Insular Psalters. In addition, the psalms beginning each of the liturgical divisions of the Psalter are given major initials.
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Mercy and Truth in the Cambridge MS The Peterborough Psalter is a name given to two different illuminated manuscripts psalters produced in the scriptorium of Peterborough Abbey. One, from the early 13th century, is now in the Fitzwilliam Museum, Cambridge; the other, from the early 14th century, in the Royal Library of Belgium.
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Exhibits include a 15th- century silver-gilt cross and silver thurible, an 18th-century crucifix from Jerusalem, a martyrology (1541) by Bemardin Gucetic and illuminated Psalters. Dubrovnik's most famous church is St Blaise's church, built in the 18th century in honor of Dubrovnik's patron saint. Dubrovnik's baroque Cathedral houses relics of Saint Blaise.
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There was a movement to correct Psalters, Gospel books, and other works to provide easier understanding of texts that had become unclear over time.Robb (1973), 104. The Godescalc Evangelistary is written in gold and silver ink on purple vellum in uncial characters except the dedication, which is written in Caroline minuscule.Diringer (1967), 203.
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In the Latin Psalters used by the Roman liturgy it forms the invitatory which is sung daily before matins. It may be sung as a canticle in the Anglican and Lutheran liturgy of Morning Prayer, when it is referred to by its incipit as the Venite or Venite, exultemus Domino (also A Song of Triumph).
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The origins of the rhymed psalter lie in twelfth-century translations from the Latin Vulgate into French. These were made in England for the French-speaking Anglo- Normans.William W. Kibler, Medieval France: An Encyclopedia (1995), p. 127. Following the Protestant Reformation rhymed metrical psalters like the Dutch Souterliedekens came into popular use for congregational singing.
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The Bucharest Psalter (also known in Romanian as Psaltirii sârbeşti, "Serbian Psalter") was written for Branko Mladenović in 1346, and is indexed as "MS 205" in the Library of the Romanian Academy of Sciences. It is one of the Slavonic basis for 16th-century Romanian psalters. The illuminated manuscript includes an image of the Temple of Sophia.
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There are many examples in Medieval psalters, because of the relation to King David, son of Jesse, and writer of the Psalms. Other examples are in stained glass windows, stone carvings around the portals of medieval cathedrals and painting on walls and ceilings. The Tree of Jesse also appears in smaller art forms such as embroideries and ivories.
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John Playford portrait by David Loggan John Playford (1623–1686/7) was a London bookseller, publisher, minor composer, and member of the Stationers' Company, who published books on music theory, instruction books for several instruments, and psalters with tunes for singing in churches. He is perhaps best known today for his publication of The English Dancing Master in 1651.
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His printing patent for the metrical psalter passed to his son, Richard Day. In an effort to make amends, Richard Day appointed Wolfe as one of five assigns to administer the patent. Between 1585 and 1591, Wolfe was the sole printer of metrical psalters for Day.Hoppe, 263. On 23 July 1587, Wolfe was appointed Beadle of the Stationers' Company.
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Music in Crowley's The Psalter of Dauid (1549)The first complete English metrical psalter and the first to include musical notation was The Psalter of Dauid newely translated into Englysh metre in such sort that it maye the more decently, and wyth more delyte of the mynde, be reade and songe of al men. Printed in 1549, it was the work of Robert Crowley and was printed by him, Richard Grafton and/or Stephen Mierdman. Crowley's psalter is a rare example of two-color printing (red and black on the first four leaves) in this era, which makes it visually resemble medieval manuscript psalters. (Christopher Tye and Francis Seager later included musical notation in their psalters, and the Sternhold and Hopkins psalter eventually incorporated a basic tune with the Anglo-Genevan edition of 1556.
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The worn state of many pages is evidence of continuous use throughout centuries. Chludov Psalter (; Moscow, Hist. Mus. MS. D.129) is an illuminated marginal Psalter made in the middle of the 9th Century. It is a unique monument of Byzantine art at the time of the Iconoclasm, one of only three illuminated Byzantine Psalters to survive from the 9th century.
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King David playing harp. A miniature from the 15th-century Georgian Psalters manuscript. The legend originated in the Armenian–Georgian milieu in the latter half of the 8th century. A Hebrew provenance is first ascribed to the Armenian Bagratids (Bagratuni) by the early medieval Armenian historian Movses Khorenatsi, but he in no way suggests that the family descended from King David.
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This skill allowed him to translate a number of documents, most famously Greek Psalters. It is suggested by several sources that Sedulius may even have had an entire Bible translated for or by himself. He was a student of Greek, and, according to Bernard de Montfaucon, it was he who copied the Greek Psalter (now no. 8047 in the "Bibliothèque de l'Arsenal", Paris).
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Despite this move, Wolfe continued his penchant for piracy, and began pirating Day's lucrative metrical psalters. His former master, on discovering Wolfe's roguery, led a raid on Wolfe's premises and confiscated printing materials. Wolfe challenged the raid in the Court of Star Chamber: on 18 May 1584, he issued a bill of complaint accusing Day of illegally damaging his property.Hoppe, 255.
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The Psalters are a Christian band which began in Philadelphia, in 1997. Their music is sometimes described as folk punk. Notable not only for their music, but also for their radical lifestyle, the group is semi-nomadic (at one point living on the road for five years), and functions as an intentional Christian community. The group have labeled themselves as anarchists several times.
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The nine versions summarized below are dealt with in separate articles. With the exception of Tyndale's Bible, all are complete Bibles, although usually the New Testament was also issued separately. The Apocrypha were normally included in Bibles of the Reformation period, although sometimes omitted if the book was subsequently re-bound. Psalters and prayer-books were often bound with the Bible.
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The Psalms are a book within the Old Testament, written in metered verse, or twelve-syllable poetic lines, and are thought to be musical. They have been compared to a harp, or other instruments of music. Byzantine psalters stand out in historically because of the religious and spiritual artistic qualities the Byzantine Empire was known for. This includes images and icons painted by hand.
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260px Large Beatus initial from the Leiden Psalter of Saint Louis, with inscription in French recording Louis' use. Two lavishly illustrated illuminated manuscript psalters are known as the Psalter of Saint Louis (and variants) as they belonged to the canonized King Louis IX of France. They are now in Paris and Leiden, and are respectively good examples of French Gothic and English Romanesque illumination.
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To a wide knowledge of Greek, he united the study of Ethiopic, Arabic, Syriac, Aramaic and Hebrew—converting his teacher, a Jewish rabbi, to Christianity. From the Psalters in these different languages, he collected the titles of the Psalms. He devoted himself to the study of Scripture and the Fathers. Searching the chief libraries, archives, and monuments, he retraced the ancient ecclesiastical discipline and liturgy.
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Eleven other Anglo-Saxon (and two later) psalters with Old English glosses are known. The earliest are probably the early-9th-century red glosses of the Blickling Psalter (Pierpont Morgan Library, M.776). The latest Old English gloss is contained in the 12th-century Eadwine Psalter. The Old English material in the Tiberius Psalter of around 1050 includes a continuous interlinear gloss of the psalms.
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Kraus quite understandably was very proud of his success as a businessman, amassing a fortune from the rare book and manuscript trade. He described his "philosophy of success in business" as: "Push on, hit hard, follow through."RBS, p. 36. Besides being the only dealer to own, as inventory, the Gutenberg Bible and the 1457 and 1459 Psalters at the same time, he "owned most of the major incunabula,"RBS, p.
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Related too is Jerome's Gallican psalter (versio gallicana), made between 386 and 389, which was translated from the Greek text of the Hexaplar Septuagint. Later, ca. 392, Jerome translated the book of psalms from Hebrew, this translation is called the versio juxta Hebraicum. The Nova Vulgata psalter (1979), though stylistically similar to these, diverges rather more from these traditional psalters insofar as it more closely follows the Hebrew Masoretic text.
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Van Nuffel set many Latin texts to music, including ten psalms, for the liturgy and also concert at the Sint Rombouts Kathedraal in Mechelen, where he served as cantor, while Flor Peeters was organist. In the Latin Psalters the psalms are numbered differently. Psalm 121 there is Psalm 122 in the King James Bible. Van Nuffel set the psalm in April 1935 for a mixed four-part choir and organ.
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This followed the procedure used for the first time in the 1616 Scottish Psalter. In this early time of defining text/tune marriages, editors of different psalters were apt to use different names for the same tune. For example, The French Tune, in the Scottish Psalter (1564), was the same tune as Dundee in the Ravenscroft Psalter. Common practice nowadays is for the composer of a tune to name it.
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The Book of Psalms has sometimes been called the first hymn book. Some psalms are headed with instructions relating to their musical performance, music to which they were "married," even though no music is included with the texts. Psalters contained metrical versifications of the psalms. Using a regular meter, authors would translate the psalms into the vernacular, and create versions which could be set to music for the people to sing.
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The Douai Psalter is an East Anglian Nigel Saul, Fourteenth century England Volume 1, p 189] illuminated manuscript, severely damaged during World War I.Eric George Millar, "The Luttrell Psalter and the Bedford Book of Hours" The British Museum Quarterly Vol. 4, No. 3 - Dec 1929, pp. 63-66 The psalter, or Book of Psalms, was produced in the 1330s. The artwork was produced by the same scribe who illuminated the Macclesfield and Gorleston Psalters.
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Van Nuffel set many Latin texts to music, including ten psalms, for the liturgy and also concert at the Sint Rombouts Kathedraal in Mechelen, where he served as cantor, while Flor Peeters was organist. In the Latin Psalters the psalms are numbered differently. Psalm 136 there is Psalm 137 in the King James Bible. Van Nuffel set the psalm in 1916 for a mixed choir of four to six parts and organ (or orchestra).
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The rule of St. Augustine of Hippo says: "Subdue your flesh by fasting from meat and drink, so far as your health permits. But if anyone is not able to fast, at least let him take no food out of meal time, unless he is sick." (Citation?) St. Dominic Loricatus (995–1060) is said to have performed "One Hundred Years Penance" by chanting 20 psalters accompanied by 300,000 lashes over six days.
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The psalms of communal lament are a group of Psalm Forms from the Hebrew Bible, classified by their focus on laments expressing deep sorrow for the travails of a nation and as a group asking for God's blessing or intervention. Psalms of communal laments were more commonly found in printed Psalters following major natural disasters, plague, or oppression by surrounding nations.Michael D. Coogan, A Brief Introduction to the Old Testament (New York: Oxford, 2009), 370.
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The contents indicate that it was probably made for a woman. Comparisons to psalters that focus on women and were known to have been owned by women (such as the Isabella Psalter, the Munich Psalter, and the Imola Psalter) are drawn. Especially the Isabella Psalter is similar in content and style to the Queen Mary Psalter, strengthening the case for identifying the original patron or owner as Isabella of France.Stanton 184-86.
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Van Nuffel set many Latin texts to music, including ten psalms, for the liturgy and also concert at the Sint Rombouts Kathedraal in Mechelen, where he served as cantor, while Flor Peeters was organist. In the Latin Psalters the psalms are numbered differently. Psalm 125 there is Psalm 126 in the King James Bible. Van Nuffel set the psalm in 1926 for a mixed choir of four to eight parts and organ.
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Dijon, Public Library, Ms 12-15, and BnF, Paris Ms. lat 16746, f 7v, respectively. Both illustrated in Cahn, Walter, Romanesque Bible Illumination, Cornell UP, 1982, The Tree is also often found in Psalters, especially English manuscripts, illustrating the B initial of Beatus Vir, the beginning of Psalm 1, which often occupies a whole page. Sometimes this is the only fully illuminated page, and if it is historiated (i.e. contains a pictured scene) the Tree is the usual subject.
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Illuminated manuscripts represent the most complete record of Gothic painting, providing a record of styles in places where no monumental works have otherwise survived. The earliest full manuscripts with French Gothic illustrations date to the middle of the 13th century.Stokstad (2005), 540. Many such illuminated manuscripts were royal bibles, although psalters also included illustrations; the Parisian Psalter of Saint Louis, dating from 1253 to 1270, features 78 full-page illuminations in tempera paint and gold leaf.
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Internally, the icon screen is made as a mosaic (intarsia) and it is completed by the embedded holy icons. The Psalters are wooden -an old making -as is the High Priest’s throne. There is no women’s loft but the holy icon dedicated to the saints (18th century) is placed on a special, sealed kneeling desk to the left of the icon screen and towards the corner. A liturgy takes place in it once or twice a month.
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The Mudil Psalter, the oldest complete psalter in the Coptic language (Coptic Museum, Egypt, Coptic Cairo). Non-illuminated psalters written in Coptic include some of the earliest surviving codices (bound books) altogether; the earliest Coptic psalter predates the earliest Western (Irish) one by more than a century. The Mudil Psalter, the oldest complete Coptic psalter, dates to the 5th century. It was found in the Al-Mudil Coptic cemetery in a small town near Beni Suef, Egypt.
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These and other pre-Reformation rhyming psalters demonstrate the popular use of the vernacular Scripture in England, contradicting the belief that the singing of psalms in English began only with the Reformation. "While Sir Thomas Wyat (died 1521) is said to have done the whole psalter, we have only Certayne Psalmes chosen out of the Psalter of David, commonly called the VII Penitential Psalmes, Drawen into English metre." The Catholic Encyclopedia, vol. 13 Henry Howard, Earl of Surrey (d.
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Like the Queen Mary and Tickhill psalters, and like the Egerton Gospel and the Holkham Picture Bible, some of its captions and illustrations can be traced to the 12th-century Historia scholastica; all these 14th-century manuscripts may have "a thirteenth-century Parisian antecedent, reflected in the Tours Genesis window" (in reference to a window in the clerestory of the Tours Cathedral).Papanicolaou 187. It is currently held in the Bavarian State Library, Munich.Egbert, The Tickhill psalter 11.
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Outside Romanesque architecture, the art of the period was characterised by a vigorous style in both sculpture and painting. The latter continued to follow essentially Byzantine iconographic models for the most common subjects in churches, which remained Christ in Majesty, the Last Judgment and scenes from the Life of Christ. In illuminated manuscripts more originality is seen, as new scenes needed to be depicted. The most lavishly decorated manuscripts of this period were bibles and psalters.
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Christ's entry into Jerusalem from the Melisende Psalter The first twenty-four illustrations (on each side of the first twelve folios) depict scenes from the New Testament. New Testament images were commonly found at the beginning of western psalters, unlike in eastern psalters, but in this case the images depict scenes more common in the Eastern Orthodox liturgy. The scenes depicted are the Annunciation, Visitation, the Nativity, the Adoration of the Magi, the Presentation of Jesus at the Temple, the Baptism of Jesus, the Temptation of Christ, the Transfiguration, the Raising of Lazarus, the Triumphal entry into Jerusalem (see illustration), the Last Supper, the Washing of the Feet, the Agony in the Garden, the Betrayal of Judas, the Crucifixion of Jesus, the Descent from the Cross, the Lamentation, the Harrowing of Hell, the Three Marys at the Tomb, and the Deesis. These illustrations were made by an illuminator named Basilius, who signed the last illustration (pictured above) Basilius me fecit, and is the only named illuminator or scribe of this manuscript.
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Instead, the word refers to the red lead of the pencils used in the 9th Century for these psalters. Throughout the psalter there are both red and blue lines connecting the miniatures to text, much like the way we today link text to photos or other websites. The Theodore Psalter miniatures convey allegorical meaning from the Psalms or the Odes, and have "an extra layer of meaning supplied by images displaying vigorous anti-Iconoclastic propaganda". One example is Mathew commenting on the Psalms.
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However, the Calvinism that came to dominate Scottish Protestantism led to the closure of song schools, disbanding of choirs, removal of organs and the destruction of music books and manuscripts. An emphasis was placed on the Psalms, resulting in the production of a series of Psalters and the creation of a tradition of unaccompanied singing. Despite the attempts of the Kirk to limit the tradition of secular popular music, it continued. This period saw the adoption of the highland bagpipes and the fiddle.
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Robert Lowth writing in James Merrick's 1768 Annotations on the Psalms said that "I am persuaded that the Masoretical correction […] is right: the construction and parallelism both favour it.". The Old English metrical form of Psalm 100, associated with the Paris Psalter, similarly gives "we his syndon" ("we belong to him"). Scholarship on this rests on the 19th century Ph.D. thesis of Helen Bartlett. Bartlett, like the parallel Old- English and Latin psalters of earlier in the 19th century (e.g.
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Psalm 1 naturally begins the text of the Book of Psalms. In illuminated manuscript psalters this start was traditionally marked by a large Beatus initial for the B of Beatus, and the two opening words are often much larger than the rest of the text. Between them these often take up a whole page. Beatus initials have been significant in the development of manuscript painting, as the location of several developments in the use of initials as the focus of painting.
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His publications are: The Psalms of David in Meter (1599) and An Hour's Recreation in musicke, apt for instruments and voyces (1606). His work also appears in Michael East's and Thomas Ravenscroft's psalters, and Thomas Morley's broken consort publication. He referred in the dedication of his Psalmes to the late Ambrose Dudley, 3rd Earl of Warwick as 'my good Lord and Master'. Allison is represented by thirteen compositions in a set of consort books (dated 1588), from the household of Sir Francis Walsingham.
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Page from the psalter The Queen Mary Psalter (British Library, Royal MS 2 B.vii) is a fourteenth-century English psalter named after Mary I of England, who gained possession of it in 1553.Davenport 56-57. The psalter is noted for its beauty and the lavishness of its illustration, and has been called "one of the most extensively illustrated psalters ever produced in Western Europe" and "one of the choicest treasures of the magnificent collection of illuminated MSS. in the British Museum".
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Bacon also paid for and helped write speeches for a number of entertainments, including masques and dumbshows, although he is not known to have authored a play. His only attributed verse consists of seven metrical psalters, following Sternhold and Hopkins.. Since Bacon was knowledgeable about ciphers,. early Baconians suspected that he left his signature encrypted in the Shakespeare canon. In the late 19th and early 20th centuries many Baconians claimed to have discovered ciphers throughout the works supporting Bacon as the true author.
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Saint George by Leonhard Beck Leonhard Beck (c. 1480 – 1542) was a painter and designer of woodcuts in Augsburg, Germany. He was the son of Georg Beck, who was active as a miniaturist in Augsburg c. 1490-1512/15.Bartrum, 147 He worked with his father on two Psalters for the Augsburg monastery in 1495. He was an assistant to Hans Holbein the Elder, working on a Holbein altarpiece now in the Städel in Frankfurt am Main in 1500-1501.
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672–735) produced a translation of the Gospel of John into Old English, which he is said to have prepared shortly before his death. This translation is lost; we know of its existence from Cuthbert of Jarrow's account of Bede's death. The Vespasian Psalter (~850–875) is an interlinear gloss of the Book of Psalms in the Mercian dialect.See also , which looks at three Anglo-Saxon glossed psalters and how layers of gloss and text, language and layout, speak to the meditative reader.
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This section is composed of a selection of abbreviated Old Testament Psalm verses that are that are so ordered as to form a continuous prayer. The Book of Cerne only contains 272 verses, not the full 365 verses that are commonly found in these early Psalters. Psalms 118 to 136 are missing from this book, which may be due to errors in the exemplar from which it was copied, or these missing verses may not have suited the scribe’s or patron’s intentions.Dumville1972, pp.
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Although nothing much is left of the wall paintings, evidence of their pictorial art is found in Bibles and Psalters, in illuminated manuscripts. The poem The Dream of the Rood is an example how symbolism of trees was fused into Christian symbolism. Richard North suggests that the sacrifice of the tree was in accordance with pagan virtues and "the image of Christ's death was constructed in this poem with reference to an Anglian ideology of the world tree".North, Richard.
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Bestiaries influenced early heraldry in the Middle Ages, giving ideas for charges and also for the artistic form. Bestiaries continue to give inspiration to coats of arms created in our time. Two illuminated Psalters, the Queen Mary Psalter (British Library Ms. Royal 2B, vii) and the Isabella Psalter (State Library, Munich), contain full Bestiary cycles. The bestiary in the Queen Mary Psalter is found in the "marginal" decorations that occupy about the bottom quarter of the page, and are unusually extensive and coherent in this work.
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In 1736 William Dicey took over the London printing, publishing and medicine selling business formerly operated by John Cluer, and sent his son to operate it whilst he managed the business in Northampton. Following Cluer’s grant of freedom of the Leathersellers Company on 12 September 1739 the business became William and Cluer Dicey. In March 1738 William and Cluer were sued in the Court of Chancery by the London Stationers Company for breaching their monopoly of 'Psalters, Primmers, Almanacs, Prognostications and Predictions.PRO C11/1550/50.
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Many psalters, particularly from the 12th century onwards, included a richly decorated "prefatory cycle" - a series of full-page illuminations preceding the Psalms, usually illustrating the Passion story, though some also featured Old Testament narratives. Such images helped to enhance the book's status, and also served as aids to contemplation in the practice of personal devotions. The psalter is also a part of either the Horologion or the breviary, used to say the Liturgy of the Hours in the Eastern and Western Christian worlds respectively.
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The overall style of the human figures as well as color usage is very reminiscent of Roman mosaic art especially with the attention to detail in the drapery. Circles and ovals semi-realistically depict highlights throughout the manuscript. The way that animals are shaded in a Romanesque fashion with the use of bands to depict volume and form, which is similar to an earlier 12th- century Bury Bible made at Bury St.Edmunds. This Bestiary also shows stylistic similarities with the Paris Psalters of Canterbury.
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Use of Latin continued in the Roman Catholic Church long after it ceased to be the vernacular. By the time of Martin Luther in the early 16th century, the singing was still in Latin but was done by choirs of priests and monks, although the choirs sometimes included a few lay musicians as well. Hymnals evolved from psalters, in that hymns are songs for the congregation and choir to sing, but go beyond metrical recasting of only psalm texts. In early hymnals, only texts were printed.
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Start of Psalm 102 After the Psalms, like many psalters the manuscript includes various canticles and other material, including the Canticles of Isaiah the Prophet ( and ), and a third Canticle of Isaiah (). The canticle of Moses the Prophet () includes 17-20 added on the lower margin. The canticle of Habakkuk () follows with the canticle of Moses to the children of Israel (). The following canticle is the blessing of the three children, then the Te Deum attributed to St. Ambrose of Milan, the Benedictus of Zachary () with a nativity group, and the Magnificat ().
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Comberbach, his wife and the curate of St Oswald's taught in the school until 1722 when they endowed £300 in the school trust. Profit from a further £100 investment was to be used for maintenance of the building and the purchasing of spelling books, Psalters, New Testaments and Bibles, any surplus was used in the encouragement of Latin or buying books for scholars. The original syllabus consisted of the teaching of English catechism. The St Oswald's curate continued to act as the headmaster with the aid of an assistant until the Education Act of 1870.
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Christian punk is a subgenre of punk rock with some degree of Christian lyrical content. Some Christian punk bands are associated with the Christian music industry, while others reject that association. Ideologies within Christian punk vary, though a number of bands lean towards traditional left-wing politics, most prominently Crashdog, Ballydowse and The Psalters, the latter two of whom identified as Christian anarchists. Further examples of notable Christian punk bands include Altar Boys, The Crucified, Five Iron Frenzy, Flatfoot 56, and pop-punk band MxPx, who earned a gold record in 1998.
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Portions of the Bible were translated into the Sogdian language in the 9th and 10th centuries. All surviving manuscripts are incomplete Christian liturgical texts (psalters and lectionaries), intended for reading on Sundays and holy days. It is unknown if a whole translation of any single book of the Bible was made, although the text known as C13 may be a fragment of a complete Gospel of Matthew. All but one text are written in Syriac script; only a few pages of the Book of Psalms written in Sogdian script are extant.
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The "Golden psalter" open to Psalm 51(52), Quid gloriaris in malitia, qui potens es in iniquitate? The Latin Psalters are the translations of the Book of Psalms into the Latin language. They are the premier liturgical resource used in the Liturgy of the Hours of the Latin Rites of the Roman Catholic Church. These translations are typically placed in a separate volume or a section of the breviary called the psalter, in which the psalms are arranged to be prayed at the canonical hours of the day.
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The Latin Church has a diverse selection of more-or- less different full translations of the psalms. Three of these translations, the Romana, Gallicana, and juxta Hebraicum, have been traditionally ascribed to Jerome, the author of the Latin Vulgate. Two other translations, the Pian and Nova Vulgata versions, were made in the 20th century. Many of these translations are actually quite similar to each other, especially in style: the Roman, Ambrosian, and Mozarabic psalters have relatively few differences between them, such that the same settings can generally be applied to sing all three.
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Once the Genevan Psalter was translated into German in 1573, exclusive psalmody became the dominant mode of Reformed congregational singing for 200 years following John Calvin everywhere but in Hungary. Anglicans had no theological objection to hymns, but they failed to nurture a tradition of English-language hymnody. Works like the 1562 English Sternhold and Hopkins Psalter were very popular among the Reformed. Literal translations of the Psalms began to be preferred by the Reformed over the looser translations of the Genevan and Sternhold and Hopkins psalters in the latter part of the sixteenth century.
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Books of all kinds were illustrated, and sacred books, Bibles and Psalters and liturgical books, were no longer the chief, if not the only, manuscripts which were illuminated. And yet there was one class of manuscript which came into the greatest prominence and which was at the same time liturgical. This was the Horae, or Book of Hours, devotional books for individual use, which were multiplied in vast numbers and contained some of the finest work of the miniaturists. The decoration of these little volumes escaped in great measure from the conventional restraints which their religious character might have imposed.
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As the "initial par excellence it stimulated the ornamentalizing impulse of the medieval artist to ever-increasing heights of fantasy".Pächt, 85–90, 85 quoted The 10th-century Anglo-Saxon Ramsey Psalter initial illustrated here is the first known to use the "lion mask" on the bar of the "B".Webster, Leslie, Anglo-Saxon Art, p. 177, 2012, British Museum Press, In psalters of the Early and High Middle Ages there were often similarly large initials at the start of Psalm 52 ("Q" for "Quid gloriaris") and Psalm 102 ("D" for "Domine"), marking traditional groupings of the psalms.
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Currently, the Matenadaran contains a total of some 23,000 manuscripts and scrolls—including fragments. It is, by far, the single largest collection of Armenian manuscripts in the world. Furthermore, over 500,000 documents such as imperial and decrees of catholicoi, various documents related to Armenian studies, and archival periodicals. The manuscripts cover a wide array of subjects: religious and theological works (Gospels, Bibles, lectionaries, psalters, hymnals, homilies, and liturgical books), texts on history, mathematics, geography, astronomy, cosmology, philosophy, jurisprudence, medicine, alchemy, astrology, music, grammar, rhetoric, philology, pedagogy, collections of poetry, literary texts, and translations from Greek and Syriac.
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The early residents of the Massachusetts Bay Colony brought with them several books of psalms: the Ainsworth Psalter (1612), compiled by Henry Ainsworth for use by Puritan "separatists" in Holland; the Ravenscroft Psalter (1621); and the Sternhold and Hopkins Psalter (1562), of which there were several editions. Evidently they were dissatisfied with the translations from Hebrew in these several psalters and wished for some that were closer to the original. They hired "thirty pious and learned Ministers", including Richard Mather, Thomas Mayhew, and John Eliot, to undertake a new translation, which they presented here.(2003) Bay Psalm Book.
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In Encarta Encyclopedia 2004. Microsoft. The tunes to be sung to the new translations were the familiar ones from their existing psalters. The first printing was the third product of the Stephen Day (sometimes spelled Daye) press, and consisted of a 148 small quarto leaves, including a 12-page preface, "The Psalmes in Metre", "An Admonition to the Reader", and an extensive list of errata headed "Faults escaped in printing". As with subsequent editions of the book, Day printed the book for sale by the first bookseller in British America, Hezekiah Usher, whose shop at that time was also located in Cambridge.
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Beatus vir, "Blessed is the man ..." in Latin, are the first words in the Vulgate Bible of both Psalm 1 and Psalm 112 (111). In illuminated manuscript psalters the start of the main psalms text was traditionally marked by a large Beatus initial for the "B" of "Beatus", and the two opening words are often much larger than the rest of the text. Between them these often take up a whole page. Beatus initials have been significant in the development of manuscript painting, as the location of several developments in the use of initials as the focus of painting.
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The New England Psalter was an early reading textbook for children which was first published in the late 17th century. It was preceded by the hornbook and the primer as early reading texts and by a variety of psalters which were used in religious services. The contents of the New England Psalter included: the Psalms, some of the stories of the Old and New Testament, rules for reading, lessons in spelling, instructions for printing letters, reading verse and the use of capitals. It is significant that during this period of time the laws of England forbade the printing of Bibles outside of Britain.
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One of the greatest metrical psalters produced during the Reformation, the Genevan Psalter, was authored for the Protestant churches of France and Geneva (called the Huguenots). It has been in uninterrupted use to the present day by the Huguenot and other French-speaking Protestant churches. The texts of the French Psalter were brought together from two independent sources: the poet Clément Marot and the theologian Théodore de Bèze. Marot and Beza's psalms appeared in a number of different collections, published between 1533 and 1543; in the latter year Marot published Cinquante Pseaumes, a collection of 50 psalms rendered into French verse.
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Under the Commonwealth (1649–60), and for some years of Charles II's reign, Playford almost monopolised the business of music publishing in England. His shop was the meeting-place of musical enthusiasts; Samuel Pepys was a frequent customer. Bookseller, publisher, and member of the Stationers' Company, Playford published books on music theory, instruction books for several instruments, and psalters with tunes for singing in churches. He is perhaps best known today for his publication of The English Dancing Master in 1651, during the period of the Puritan-dominated Commonwealth (later editions were known as 'The Dancing Master').
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Some of the most influential psalters of the seventeenth century were the Scottish Psalter of 1635 and the Bay Psalm Book of 1640, which was the first book printed in America. Seventeenth-century Reformed theologians did not reach a consensus on the propriety of hymns in worship, and several argued that they were permissible, including John Ball and Edward Leigh. Thomas Ford also seems to have favored an inclusive rather than exclusive psalmody, while clearly preferring biblical psalms. Benjamin Keach, a Particular Baptist, introduced hymn-singing in his congregation in 1673, leading to a debate with Isaac Marlow, who opposed congregational singing altogether.
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When the school closed in 1913, the contents of the schoolroom were left untouched. Miss Squire’s reading books, Bibles and sets of psalters were still in the cupboard and the desks and benches, blackboard and pointer remained just where she had left them. Two of the girls’ straw bonnets, donated by the Neeld family, hung on a peg by the door and the inkwells were arranged on the side, awaiting the attention of the ink monitor. In 1987, the owner, Mr Ralph Neeld approached the local education authority to discuss the possibility of renting the property for use as a history resource.
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The range of sources is much wider than in aforementioned works, whose editors used only psalters containing the prayers following each psalm. The sources of LOP include the Mozarabic psalter preserved in an 11th-century manuscript from the Spanish Abbey of Santo Domingo de Silos, Liber Misticus or Mixtus (10th–11th century), Liber Orationum Festivus (8th–9th century), Liber Ordinum (11th century), Liber Horarum (11th century). Pinell considered early modern printed books from such as Breviarium secundum regulam beati Isidori (Toledo 1502) or Breviarium Gothicum (Madrid 1775). LOP's diversity of sources explain the presence of the word 're-composition' in its subtitle.
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The Reformed pastor wrote new texts in German to the Genevan melodies, published first as Neue Bereimung der Psalmen in 1798, paying closer attention to the biblical originals than the Genevan Psalter, expanded in 1806 to Die Psalmen Davids neu übersetzt und in Reime gebracht. He wrote Psalm 138 in four stanzas, which became part of the Protestant hymnal Evangelisches Kirchengesangbuch as EKG 470. Grunewald, Eckhard, Henning P. Jürgens and Jan R. Luth (eds.) (2004). "Die deutsche Neutextierung des Genfer Psalters durch Matthias Jorissen (1798)." in Der Genfer Psalter und seine Rezeption in Deutschland, der Schweiz und den Niederlanden.
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Comparison of the Crucifixion miniatures in the St. Gall Gospel Book and the Southampton Psalter The Southampton Psalter (Cambridge St John's College MS C.9) is an Insular illuminated Psalter from Ireland. It is asserted by some to be from ninth-century in date, while other scholars have argued for a tenth- or even early eleventh-century dating. It has illuminations including three full page miniatures and also contains numerous annotations in both Latin and Old Irish. In the tradition of Irish psalters, the 150 psalms are divided into three groups of fifty, each headed by a full-page miniature facing a text page with decorated initial and border.
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Martianay published (1695) a separate collation of this text in his edition of the old Latin version of St. Matthew's Gospel and of the Epistle of St. James. This collation, reproduced by Bianchini in his "Evangelium Quadruplex", was considered faulty; a correction of it is in the first volume of Wordsworth and White, "Old Latin Biblical Texts". Ziegelbauer mentions also another work of Martianay, never printed, namely, an edition of the Vulgate with variant readings suggested by the Hebrew and Greek texts, and furnished with a series of references to the parallel passages. He also published the three psalters of St. Jerome; these appeared in French.
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61-79, which looks at three Anglo-Saxon glossed psalters and how layers of gloss and text, language and layout, speak to the meditative reader, or Marsden, Richard (2011), "The Bible in English in the Middle Ages", in The Practice of the Bible in the Middle Ages: Production, Reception and Performance in Western Christianity (New York: Columbia University Press, 2011), pp. 272-295. Over time, biblical translations and adaptations were produced both within and outside the church, some as personal copies for religious or lay nobility, others for liturgical or pedagogical purposes.Deanesly, Margaret (1920) The Lollard Bible and Other Medieval Biblical Versions. Cambridge University Press, p.
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Early medieval block-printed Catholic prayer books or psalters contained many illustrations of pairings of prefigurings of the events of the New Testament in the Old Testament, a form known as biblical typology. In an age when most Christians were illiterate, these visual depictions came to be known as biblia pauperum, or poor man's bibles. The Bible itself was predominantly a liturgical book used at Mass, costly to produce and illuminate by hand. The custom of praying the Liturgy of the Hours spread to those who could afford the prayer books required to follow the textual cycle that mirrored the pastoral seasons of Jewish temple worship.
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The icon screen, which cost quite a lot, is woodcut and made of walnut. The Psalters are also made of walnut-wood and were donated by the sculptor and constructor. The fabulous and convenient women’s loft, constructed in a semicircular fashion, allows the faithful of comfortably viewing and enjoying the services every Sunday and on holidays. Externally, there are plans to enrich and complete the yard by paving it with slates. The church celebrates on the 23rd of April, a day when the saint’s Holy icon is carried about in procession and many believers from the surrounding regions come to honour the day of Saint George.
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While living in seclusion at Old Connell on the River Liffey in what is now Newbridge Conleth was persuaded by Saint Brigid to make sacred vessels for her convent. Conleth, Tassach of Elphin (Saint Patrick's craftsman), and Daigh (craftsman of Kieran of Saigher were acclaimed the "three chief artisans of Ireland" during their period. Conleth was head of the Kildare school of metal-work and penmanship. According to Brigid's biographer, Cogitosus, a community of monks grew up which, under his guidance, excelled in the making of beautiful chalices and other metal objects needed in the church, and in the writing and ornamentation of missals, gospels, and psalters.
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But the 767 Council of Tours canon 23 allowed the use of the Ambrosian hymns. Though the Psalter of the second recension of Jerome, now used in all the churches of the Roman Rite except St. Peter's Basilica, Vatican City, is known as the "Gallican", while the older, is known as the "Roman", it does not seem that the Gallican Psalter was used even in Gaul until a comparatively later date, though it spread thence over nearly all the West. At present the Mozarabic and Ambrosian Psalters are variants of the "Roman", with peculiarities of their own. Probably the decadence of the Gallican Divine Office was very gradual.
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The Romanesque period saw the creation of many large illuminated complete Bibles – one in Sweden requires three librarians to lift it. Many Psalters were also heavily illuminated in both this and the Gothic period. Single cards or posters of vellum, leather or paper were in wider circulation with short stories or legends on them about the lives of saints, chivalry knights or other mythological figures, even criminal, social or miraculous occurrences; popular events much freely used by story tellers and itinerant actors to support their plays. Finally, the Book of Hours, very commonly the personal devotional book of a wealthy layperson, was often richly illuminated in the Gothic period.
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The late 1911 reform of the Roman Breviary by Pope Pius X changed the psalmody radically, dividing several psalms into shorter portions. To Prime it assigned each day three psalms or portions of psalms, each day different.Table comparing the 1568 and the 1911 psalters To these elements, which make Prime similar to the other Little Hours, Prime adds some prayers that are called the office of the chapter: the reading of the martyrology, the prayer "Sancta Maria et omnes sancti" ("May holy Mary and all the Saints..."), a prayer concerning work, "Respice in servos tuos . . . Dirigere et sanctificare" ("Look upon thy servants... Direct and sanctify"), and a blessing.
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Concerning the practice of psalm recitation, the recitation by a congregation of educated chanters is already testified by the soloistic recitation of abridged psalms by the end of the 4th century. Later it was called prokeimenon. Hence, there was an early practice of simple psalmody, which was used for the recitation of canticles and the psalter, and usually Byzantine psalters have the 15 canticles in an appendix, but the simple psalmody itself was not notated before the 13th century, in dialogue or papadikai treatises preceding the book sticheraria. Later books, like the akolouthiai and some psaltika, also contain the elaborated psalmody, when a protopsaltes recited just one or two psalm verses.
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This choice of metre became the predominant metre (common metre) not only of the old and new versions of England and Scotland, but of other metrical psalters and English hymns in general. Sternhold is said to have sung his psalms to his organ for his own solace. (Strype). The only edition which Sternhold lived to publish he dedicated to the young king Edward VI. In this dedication he expresses a hope of ‘travayling further,’ and ‘performing the residue’ of the Psalter; but his total contribution to the old version consists of only forty psalms. Sternhold is remembered as the originator of the first metrical version of the Psalms which obtained general currency alike in England and Scotland.
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Vukotić, the civil governor of Montenegro, repulsed him, and such was the zeal of the Montenegrins for the Christian cause, that they marched into Bosnia and raised the siege of Jajce, where the Hungarian garrison was closely hemmed in by Ottoman troops. The Turks were too much occupied with the Hungarian war to take revenge, and it was not till 1570 that Montenegro had to face another Ottoman invasion. The next three vladikas, Paul, Nicodin, and Makarios, availed themselves of this long period of repose to increase the publications of the press, and numerous psalters and translations of the Gospels were produced in this small and remote Principality. In 1570, large-scale invasions were renewed.
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Harbison (1995), 27 From the 12th century, specialist monastery- based workshops (in French libraires) produced books of hours (collections of prayers to be said at canonical hours), psalters, prayer books and histories, as well as romance and poetry books. At the start of the 15th century, Gothic manuscripts from Paris dominated the northern European market. Their popularity was in part due to the production of more affordable, single leaf miniatures which could be inserted into unillustrated books of hours. These were at times offered in a serial manner designed to encourage patrons to "include as many pictures as they could afford", which clearly presented them as an item of fashion but also as a form of indulgence.
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Many psalters were lavishly illuminated with full-page miniatures as well as decorated initials. Of the initials the most important is normally the so-called "Beatus initial", based on the "B" of the words Beatus vir... ("Blessed is the man...") at the start of Psalm 1. This was usually given the most elaborate decoration in an illuminated psalter, often taking a whole page for the initial letter or first two words. Historiated initials or full-page illuminations were also used to mark the beginnings of the three major divisions of the Psalms, or the various daily readings, and may have helped users navigate to the relevant part of the text (medieval books almost never had page numbers).
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The library has been coveted by the House of Este: smuggled into exile both in 1598 with Cesare I and in 1859 with Francesco V providing a testament to the quality of its collection. Sheet music dating from the Renaissance, evangelical texts written in Greek Unical font, various French manuscripts from the 14th century, a family tree of the Byzantine theologian Joannes Zonaras, a Persian picture book of Romeo and Juliet by Nizami (Layla and Manjun) as well as several other psalters, encyclopaedias and maps of a regal, political and theological nature, each exclusive to the European dukes and duchesses of Emilia-Romagna, may be consulted, some of which require official permission.
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In 1952, Kraus purchased a copy of an extremely rare incunabula, the Constance Missal, then known in only two copies. Bearing no date, it was printed with type nearly identical to, but seemingly more primitive than, that used in the 1457 and 1459 Psalters, and some scholars believed that it might be the first printed book, pre-dating the Gutenberg Bible. Kraus sold it as a major bibliographical prize to the Morgan Library. Several years later, Allan Stevenson, by a brilliant and painstaking comparison of the different states of wear in the watermarks in the Constance Missal with those in dated books, conclusively established that it was printed in 1473, nearly 20 years after the Gutenberg Bible.
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Unlike the edition of Rome, it standardizes the spelling of proper names rather than attempting to reproduce the idiosyncrasies of each passage. It also follows the medieval manuscripts in using line breaks, rather than the modern system of punctuation marks, to indicate the structure of each verse, following the practice of the Oxford and Rome editions, though it initially presents an unfamiliar appearance to readers accustomed to the Clementine text. It contains two Psalters, both the traditional Gallicanum and the juxta Hebraicum, which are printed on facing pages to allow easy comparison and contrast between the two versions. It has an expanded Apocrypha, containing Psalm 151 and the Epistle to the Laodiceans in addition to 3 and 4 Esdras and the Prayer of Manasses.
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It also follows the medieval manuscripts in using line breaks, rather than the modern system of punctuation marks, to indicate the structure of each verse, following the practise of the Oxford and Rome editions, though it initially presents an unfamiliar appearance to readers accustomed to the Clementine text. It contains two Psalters, both the traditional Gallicanum and the juxta Hebraicum, which are printed on facing pages to allow easy comparison and contrast between the two versions. It has an expanded Apocrypha, containing Psalm 151 and the Epistle to the Laodiceans in addition to 3 and 4 Esdras and the Prayer of Manasses. In addition, its modern prefaces in Latin, German, French, and English are a source of valuable information about the history of the Vulgate.
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The Psalter is the earliest and most fully illustrated of a "narrative" group of Carolingian Psalters and other manuscripts; the much greater freedom of their illustrations may represent a different, probably monastic, audience for them from the more hieratic productions for the court and the altar. Images are unframed, often varied and original in iconography, showing a "liveliness of mind and independence of convention" not found in the more formal books (Hinks, 117). Other members of the group are the Golden Psalter of St. Gall and the Drogo Sacramentary, which made the important innovation of placing most illustrations in inhabited initials. The Byzantine Chludov Psalter represents a comparable tradition in the East (Hinks, 115-119), and the Reims style was also influenced by artists fleeing Byzantine iconoclasm (Berenson, 163).
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De Keyser issued many works by the French humanist Jacques Lefèvre d'Étaples: his French Psalter (1525), his French Old Testament (1528), his French New Testament (1529, 1531, 1532, 1535) and his complete French Bible (1530 and 1534), the first French Bible ever in print. De Keyser published the second edition of Lefèvre's fivefold Psalter, the Quincuplex Psalterium, which contained the Psalms in five different Latin versions. His Dutch publications included New Testaments (e.g. Dat nieuwe testament ons heeren Jesu Christi met alder neersticheyt oversien, ende verduytst in 1525), Psalters, partial biblical translations and other religious works. His printer's device is included in the second complete Dutch Bible, published by his colleague Willem Vorsterman in 1528 in Antwerp, hinting at some kind of co-operation between the two printers working in the same street.
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Many churches continue to use metrical psalters today. For example, the Reformed Presbyterian Church of North America (RPCNA) produced psalm books based on the Scots Metrical Psalter, with the intention of making the words more modern and the translation more accurate. These were produced in 1889 (a split-leaf brown book), 1911 (unpopular due to musical complexity), 1920 (a green book) and 1929 (also green, an expanded version of the 1920 one), 1950 (a blue book), and 1973 (a maroon one) called The Book of Psalms for Singing. A further revision has been undertaken by the RPCNA, again for the purposes of making the words more modern, and also to replace some of the more difficult-to-sing tunes, such as Psalm 62B, with tunes that are easier to sing.
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This new issue of the book was published by William Swayne, who seems to have undertaken the expense of the work in consequence of the former edition not having received its due. This psalter has a special interest for musicians, in that its two parts present respectively the ancient and the modern methods of harmonising tunes for congregational use; the first section of the book gives the tune to the tenor, the second, according to modern usage, to the treble voice. It would appear that the innovation did not at once appeal to the public, for in the following year East brought out a psalter on his own account, of which he seems to have been the editor, and in which the tenor part has the tune, as in all the older psalters.
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Title page of manuscript of Rameau's In convertendo. (1751 version)''' (When the Lord turned [the captivity of Zion]), sometimes referred to as ''''', is the Latin version of Psalm 126 (thus numbered in the King James Bible, number 125 in the Latin psalters). It has been set in full for a cappella choir by, amongst others, George de La Hèle (1547-1586)Lavern J. Wagner, "La Hèle [Hele], George de", in Oxford Music Online, accessed 1 January 2015, and Jean-Noël Marchand (1666-1710),David Fuller and Bruce Gustafson, "Marchand (i)", in Oxford Music Online, accessed 1 January 2015, by Dmitri Bortnyansky (1777) and Jean-Philippe Rameau (In convertendo Dominus, c. 1710), by 16th century Scottish priest Patrick DouglasGordon Munro, "Patrick Douglas: In convertendo", in Musica Scotica, accessed 5 October 2018.
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All the metrical psalms in the volume were expanded with a trinitarian doxology which the Psalter had printed separately; as a result, these suddenly came to be used far more frequently than ever before. The volume is structured thematically under eight sections, each (except the last) with a number of subsections: # Approach to God # The Word of God: His mighty acts # Response to the Word of God # The sacraments # Other ordinances # Times and seasons # Close of service # Personal faith and devotion The distinctive plain red cover set CH3 apart from the previous hymnbooks and psalters, which all had dark blue-black bindings. Like RCH, CH3 also had a handbook: John Barkley, Handbook to the Church Hymnary Third Edition, OUP 1979. Its commentaries are less full and scholarly than those of Moffatt and Patrick, but more closely tailored to the needs of worship preparation.
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He proceeded B.D. in 1568, and was admitted Master of St John's 17 December 1569. He was admitted archdeacon of Northampton in 1571; but his tenure of the mastership was cut short, for reasons that remain partly obscure, and he left the position in 1574. Subsequent proceedings and articles preferred against him appear to point to non-residence as the only charge that was actually substantiated; there was a later college tradition that he had tried to enrich himself by college business; and there may also have been religious tensions, since according to John Strype he was brought into the mastership by the party which supported John Whitgift, and Thomas Baker points to the discontinuation of the Genevan psalters during his tenure. But Strype adduces evidence suggesting at a later time his views were more Calvinist or puritan.
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Roland Greene states that "the Psalters deserve a central location in our understanding of what sixteenth-century poets did – for they certainly wrote a prodigious volume of psalmic translations – and of what they thought about what they did." He goes on to argue "that a striking development in sixteenth-century English lyric poetry is the sustained effort by often dissimilar poets to explore the boundaries between what we might call the ritual and the fictional dimensions of lyric. By the ritual element, I mean the poem's office as directions for a performance: a script compounded of sounds that serve referential or expressive purposes in non-poetic". This could support the idea of Sidney's Psalter creating a more aesthetic approach in a context for rewriting them in more beautiful wording that is found in the original Hebrew.
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As neither Amiatinus nor Cavensis presented the Gallican psalter, the selected primary sources for the Book of Psalms were three of a series of 8th-10th-century psalters which presented both Jerome's Gallican and Hebraic translations in parallel columns. Following the Codex Amiatinus and the Vulgate texts of Alcuin and Theodulf the Roman Vulgate reunited the Book of Ezra and the Book of Nehemiah into a single book; reversing the decisions of the Sixto-Clementine Vulgate. In 1933, Pope Pius XI established the Pontifical Abbey of St Jerome-in-the-City to complete the work. By the 1970s, as a result of liturgical changes that had spurred the Vatican to produce a new translation of the Latin Bible, the Nova Vulgata, the Benedictine edition was no longer required for official purposes, and the abbey was suppressed in 1984.
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As neither Amiatinus nor Cavensis presented the Gallican Psalter, the selected primary sources for the Book of Psalms were three of a series of 8th-10th century psalters which presented both Jerome's Gallican and Hebraic translations in parallel columns. Following the Codex Amiatinus and the Vulgate texts of Alcuin and Theodulf, the Roman Vulgate reunited the Book of Ezra and the Book of Nehemiah into a single book, reversing the decisions of the Sixto-Clementine Vulgate. In 1933, Pope Pius XI established the Pontifical Abbey of St Jerome-in-the-City to complete the work. By the 1970s, as a result of liturgical changes that had spurred the Vatican to produce a new translation of the Latin Bible, the Nova Vulgata, the Benedictine edition was no longer required for official purposes, and the abbey was suppressed in 1984.
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Nau thinks that they may represent a personal rule of conduct drawn up by some 2nd-century Christian (on the basis of Apostolic precepts) who miscopied Acts, xi, 26, into the form of the afore-mentioned canon 1, and then added the other precepts — canon 9 reproduces the decree of Acts, xv, 29. Dallæus (Daillé) charged Turrianus with downright forgery of all these canons, and deliberate corruption of the text of Ps. xvi, 14, "they are full of children" (hyion), making it read hyieon — i. e. "they are filled with pork". This reading of the fifth canon of Antioch is found not only in the oldest Latin Psalters, and in other reliable fourth to 6th century Latin witnesses to the Scripture-text, but also in the best Greek manuscripts (Codex Vaticanus, Sinaiticus, manuscripts dated by scholars to the 4th century).
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Mary Magdalene announces the Risen Christ The St Albans Psalter, also known as the Albani Psalter or the Psalter of Christina of Markyate, is an English illuminated manuscript, one of several psalters known to have been created at or for St Albans Abbey in the 12th century.Rodney M. Thomson, Manuscripts from St. Albans Abbey, 1066-1235, 2 vols (Woodbridge, published for the University of Tasmania by D. S. Brewer, 1982). It is widely considered to be one of the most important examples of English Romanesque book production; it is of almost unprecedented lavishness of decoration, with over forty full-page miniatures, and contains a number of iconographic innovations that would endure throughout the Middle Ages. It also contains the earliest surviving example of French literature, the Chanson de St Alexis or Vie de St Alexis, and it was probably commissioned by an identifiable man and owned by an identifiable woman.
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The division of gendered labour may be due to women's being at risk of danger, like being attacked, raped and losing their virginity, in doing work in the fields or outside of the home and village. Three main activities performed by peasant men and women were planting foods, keeping livestock, and making textiles, as depicted in Psalters from southern Germany and England. Women of different classes performed different activities: rich urban women could be merchants like their husbands or even became money lenders; middle-class women worked in the textile, inn-keeping, shop-keeping, and brewing industries; while poorer women often peddled and huckstered foods and other merchandise in the market places, or worked in richer households as domestic servants, day laborers, or laundresses. Modern historians assumed that only women were assigned childcare and thus had to work near their home, yet childcare responsibilities could be fulfilled far from the home and -except breastfeeding- were not exclusive to women.
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Miniature illustration of King David in the Montpellier Psalter Miniature illustration of Jesus Christ The Montpellier Psalter (Montpellier, Bibliothèque Interuniversitaire, Faculté de Médecine, H.409, also known as Tassilopsalter, formerly also Psalter of Charlemagne) is one of the oldest Psalters from the Carolingian era and was made in the 8th century in the then- Bavarian Mondsee Abbey during the reign of the Agilolfings and was supposedly originally dedicated to the Bavarian ducal family of Tassilo III of Bavaria. The book saw a turbulent history and is now held at the Bibliothèque Interuniversitaire in the medicine faculty building at Montpellier, under the shelfmark H. 409. This small sized psalter contains two miniature illustrations that picture Jesus Christ and King David, 165 larger initials in gold and silver and more than 2000 smaller initials in the colours yellow, red and green. This generously illuminated manuscript is influenced by an imagery from Roman Late Antiquity and is most like based on sixth-century models from Ravenna.
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A major aspect of the Daily Office before the Reformation was the saying or singing of the Psalms, and this was maintained in the reformed offices of Morning and Evening Prayer. Whereas for hundreds of years the church recited the entire psalter on a weekly basis (see the article on Latin psalters), the traditional Book of Common Prayer foresees the whole psalter said over the longer time period of one month; more recently, some Anglican churches have adopted even longer cycles of seven weeks or two months. At Morning Prayer, the first psalm said every day is Venite, exultemus Domino, Psalm 95, either in its entirety or with a shortened or altered ending. During Easter, the Easter Anthems typically replace it; other recent prayer books, following the example of the Roman Catholic Liturgy of the Hours as revised following the Vatican II council, allow other psalms such as Psalm 100 to be used instead of the classical Venite.
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Schiller, I, 154 Although this was the period when the Gospel book was the main type of manuscript to receive lavish illumination in this period, the emphasis was on depicting Evangelist portraits, and relatively few contained narrative cycles; these are in fact more common in psalters and other types of book, especially from the Romanesque period. Where there were cycles of illustrations in illuminated manuscripts, these were normally collected together at the start of the book, or of the Gospels, rather than appearing throughout the text at the relevant places, something hardly found in Western manuscripts at all, and slow to develop in printed bibles. In the East this was more common; the 6th-century Byzantine Sinope Gospels has an unframed miniature at the bottom of every surviving page, and this style of illustrating the Gospels continued to be found in later Greek Gospel books, compelling the artist to devote more pictures to the Works. Scenes with miracles were more often found in cycles of the life of Saint Peter and other apostles, from late antique sarcophagi to the Raphael Cartoons.
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There has been an educational facility at the current site of the school since at least the early thirteenth century - established by the Guild of the Holy Cross, the School can trace its origins to May 1295, when in the Register of Deacons of the Diocese of Worcester there is the record of the ordination of Richard as rector scholarum, to teach the basics of learning the alphabet, psalters, and religious rites to boys. A schoolroom, schoolhouse and payment of £20 per annum for a master was one of the provisions of King Edward VI's charter which established Stratford-upon-Avon as a borough in June, 1553.King Edward VI School website The school was re-founded as one of King Edward's schools nine days before the young king died of tuberculosis and is believed to be the last of the King Edward VI Schools. A history of the early years of the school has been published by the former chairman of the governors Levi Fox It is likely that the playwright and poet William Shakespeare attended the school between the ages of seven and fourteen.
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The National Library of Wales possesses a photographic facsimile of a small part of the manuscript (NLW Facsimile 196). CCCC 199 is the work of the scribal artist Ieuan ap Sulien, who both copied the text of Augustine's treatise and vigorously decorated it with over 150 coloured initials in a version of Irish zoomorphic interlace style. Francoise Henry stated that Ieuan was "the scribe and probably also the painter, of CCCC 199" ("Remarks on the decoration of three Irish psalters" (1960) 61C Proceedings of the Royal Irish Academy pp. 23–40, at p. 39). The close interrelationship between the initials and the text of the manuscript, the stylistic match between the decoration of CCCC 199 and Ieuan's artistic work in the Psalter and Martyrology made for his brother Rhigyfarch, and Ieuan's failure, in his concluding poem in CCCC 199, to mention anyone other than himself as having had a hand in producing the manuscript, establish that the initials are his work. See Timothy Graham, "The poetic, scribal, and artistic work of Ieuan ap Sulien in Corpus Christi College, Cambridge, MS 199: addenda and assessment" (1996) 29(3) National Library of Wales Journal 241–256.
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Thierry considers it to be a 10th- century foundation, perhaps by Greeks from Cappadocia. Although the monastery was destroyed during the Armenian Genocide, Thierry, in the 1980s, noted that a transmitted form of the legend still existed among local Muslim Kurds who talked of a "deer of light" appearing at the site.THIERRY, M., "Deux couvents gréco-arméniens sur l'Euphrate taurique", Byzantion, 61 (1991): 499–506. In the West, an early-medieval church dedicated to him that existed in Rome is mentioned in a letter of Pope Gregory II (731–741).Krautheimer, R., Corpus basilicarum christianarum Romae (1940) vol. I:216f and Krautheimer, Rome: Profile of a City 1980:80f, 252, 271. His iconography may have passed to the 12th-century West, before which time European examples are scarce, in psalters, where the vision of Eustace, kneeling before a stag, illustrated Psalm 96, ii-12: "Light is risen to the just..."Kirk Thomas Ambrose, The Nave Sculpture of Vézelay: The Art of Monastic Viewing (Pontifical Institute of Mediaeval Studies) 2006:45 gives examples. An early European depiction of Eustace, the earliest one noted in the Duchy of Burgundy, is carved on a Romanesque capital at Vézelay Abbey.
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