The Melisende Psalter (London, British Library, Egerton MS 1139) is an illuminated manuscript commissioned around 1135 in the crusader Kingdom of Jerusalem, probably by King Fulk for his wife Queen Melisende. It is a notable example of Crusader art, which resulted from a merging of the artistic styles of Roman Catholic Europe, the Eastern Orthodox Byzantine Empire and the art of the Armenian illuminated manuscript.
Seven scribes and illuminators, working in the scriptorium built by the crusaders in the Church of the Holy Sepulchre in Jerusalem, were involved in the creation of the psalter. It measures 21.6 centimetres by 14 centimetres.
This manuscript forms part of the Egerton Collection in the British Library in London.
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. 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 (Latin for "Basilius made me"), and is the only named illuminator or scribe of this manuscript. Nothing is known about Basilius. Because of his Greek name it has been suggested that he was a Byzantine artist. It is also possible that he was a western artist who had been trained in a Greek style, maybe in Constantinople. Or, he may have been an Armenian Catholic, familiar with both Catholic and Orthodox traditions.
Folios 13-21 contain the calendar, which is strikingly similar to psalter calendars produced in England in the same period. It appears to be based on a calendar of St. Swithun's church in Winchester. The calendar is filled with English saint days rather than those more popular in Jerusalem. One name, St. Martin of Tours, a saint popular throughout Europe, is written in gold, for unknown reasons.
Three crusader-specific dates are mentioned in the calendar: the capture of Jerusalem on July 15, the death of Baldwin II on August 21, and the death of his wife Morphia on October 1. Each month has a medallion with a sign of the Zodiac, illustrated in a Romanesque style with heavy Islamic influences.
Folios 22-196 contain the Latin psalms written in a northern French script. A third illuminator painted the initial letters of each psalm. Some initials take up the entire side of a leaf, and are drawn with gold lettering on a purple background. They show influence from Italian and Islamic art, possibly suggesting that the artist was trained in Muslim-influenced southern Italy.
The scribe who wrote the psalms also wrote a series of prayers on folios 197–211, dedicated to nine saints: the Virgin Mary, St. Michael, St. John the Baptist, St. Peter, St. John the Evangelist, St. Stephen, St. Nicholas, St. Mary Magdalene, and St. Agnes. The prayers are accompanied by paintings of the saints by a fourth illuminator trained in a Romanesque style. His technique also shows an attempt to incorporate a Byzantine style. There are a few blank and undecorated spaces in this section of the psalter, and it may be incomplete.
The ivory covers, decorated with some small turquoise beads, show scenes from the life of King David and from the Psychomachia of Prudentius on the front side, and another king performing the six works of mercy from the Gospel of Matthew on the back side, both showing influence from Byzantine, Islamic, and western art. The geometric designs on the covers are especially influenced by Islamic art. [1]
The king on the back side is dressed in Byzantine imperial clothes, but most likely represents a crusader king, perhaps Fulk. There is a carving of a falcon above him, which is possibly a clue that the king is Fulk, as "falcon" and "Fulk" in Old French were both Fouque. Another bird name, fulica , was possibly also implied here as a pun on the king's name. [2] Underneath the falcon, the word herodius is carved, Latin for gyrfalcon. The artist has not signed in the same way Basilius has.
The spine of the psalter is decorated with Byzantine silk and silver thread, as well as red, blue, and green Greek crosses, which are found in the royal arms of the kingdom. The spine was stitched by an artisan who was perhaps a westerner trained in a Byzantine style, as his stitching is not as smooth as other examples of Byzantine silk spines made by native Greeks.
The exact date of the psalter, and for whom it was made, is unknown, although it is obviously made for a noblewoman of the kingdom, based on the use of Byzantine styles, considered to be aristocratic by the crusaders, the depictions of kings, and the use of feminine word endings in the Latin prayers. Through circumstantial evidence, Queen Melisende can probably be identified as the recipient. The English influence in the calendar and elsewhere likely comes from King Fulk, who was related to the English royal family by marriage.
It is also notable that aside from the capture of Jerusalem, the only crusader-specific dates in the calendar are the deaths of Melisende's parents, King Baldwin II and Queen Morphia. The mixture of Catholic and Orthodox elements in the psalter may reflect Melisende's mixed upbringing. Her father, Baldwin, was Catholic and her mother, Morphia, was an Armenian of the Greek Orthodox faith.
If Melisende was the recipient, then the psalter was most likely commissioned by Fulk, probably around 1135. Prior to this, Fulk and Melisende had been fighting for superiority in the kingdom, and Melisende had allied with rebels against Fulk. By 1134 they had reconciled, and the psalter had to have been written after 1131, the date of Baldwin II's death. On the other hand, it could have been written anytime before Melisende's death in 1161. Palaeographical comparisons to other texts produced in Jerusalem suggest it was written in the 1140s or even 50s, but the later texts may have used the Melisende Psalter as a source.
The manuscript was perhaps owned by Grande Chartreuse, Grenoble, in the early 19th century. By about 1840 it was owned by Ambroise Comarmond, director of the Museum of Fine Arts of Lyon. Its next owner was Guglielmo Libri (b. 1802, d. 1869), who is most famous for stealing medieval manuscripts from French public libraries. He sold it to the London bookdealers Payne and Foss, who sold to the British Museum in November 1845.
In the historical grand strategy simulation game, Crusader Kings III , the Melisende Psalter is an object the ruler can collect if their spouse or lover is cheating on them, as a reference to Fulk's attempt to win back Melisende's favor with the gift during her affair with Hugh II of Jaffa. It is called 'The Psalter of Cuckoldry', with a description of the detailing of the ivory front and its turquoise beads to define the object as the Melisende Psalter.
Amalric was the king of Jerusalem from 1163 until his death. He was, in the opinion of his Muslim adversaries, the bravest and cleverest of the crusader kings.
The Kingdom of Jerusalem, also known as the Crusader Kingdom, was one of the Crusader states established in the Levant immediately after the First Crusade. It lasted for almost two hundred years, from the accession of Godfrey of Bouillon in 1099 until the fall of Acre in 1291. Its history is divided into two periods with a brief interruption in its existence, beginning with its collapse after the siege of Jerusalem in 1187 and its restoration after the Third Crusade in 1192.
Year 1131 (MCXXXI) was a common year starting on Thursday of the Julian calendar.
Melisende was the queen of Jerusalem from 1131 to 1152. She was the first female ruler of the Kingdom of Jerusalem and the first woman to hold a public office in the crusader kingdom. She became legendary already in her lifetime for her generous support of the various Christian communities in her kingdom. Contemporary chronicler William of Tyre praised her wisdom and abilities, while modern historians differ in their assessment.
Baldwin III was King of Jerusalem from 1143 to 1163. He was the eldest son of Queen Melisende and King Fulk. He became king while still a child, and was at first overshadowed by his mother Melisende, whom he eventually defeated in a civil war. During his reign Jerusalem became more closely allied with the Byzantine Empire, and the Second Crusade tried and failed to conquer Damascus. Baldwin captured the important Egyptian fortress of Ascalon, but also had to deal with the increasing power of Nur ad-Din in Syria. He died childless and was succeeded by his brother Amalric.
Fulk, also known as Fulk the Younger, was King of Jerusalem with his wife, Queen Melisende, from 1131 until his death in 1143. Previously, he was Count of Anjou, as Fulk V, from 1109 to 1129. During Fulk's reign, the Kingdom of Jerusalem reached its largest territorial extent.
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.
Philip of Milly, also known as Philip of Nablus, was a baron in the Kingdom of Jerusalem and the seventh Grand Master of the Knights Templar. He briefly employed the troubadour Peire Bremon lo Tort in the Holy Land.
The king or queen of Jerusalem was the supreme ruler of the Kingdom of Jerusalem, a Crusader state founded in Jerusalem by the Latin Catholic leaders of the First Crusade, when the city was conquered in 1099. Most of them were men, but there were also five queens regnant of Jerusalem, either reigning alone suo jure, or as co-rulers of husbands who reigned as kings of Jerusalem jure uxoris.
Hodierna of Jerusalem was the countess of Tripoli through her marriage to Raymond II of Tripoli. She ruled the County of Tripoli as regent during the minority of their son Raymond III from 1152 until 1155.
Morphia of Melitene was the queen consort of the crusader Kingdom of Jerusalem from 1118 until her death. She was an Armenian by ethnicity and an adherent of the Greek Orthodox faith. Her father, Gabriel, was a warlord in northern Syria. He wished to marry her off to one of the crusade leaders who were carving out states in the Levant, and eventually chose Count Baldwin II of Edessa. They married around 1100 and had four daughters: Melisende, Alice, Hodierna, and Ioveta. In 1118, Baldwin was elected king of Jerusalem; the next year, Morphia became the first woman to be crowned queen of Jerusalem. She did not participate in the government but took initiative to liberate her husband after he was captured in 1123. She died a few years later. According to historian Bernard Hamilton, her religious practices left a lasting mark on the status of Orthodox Christians in the crusader kingdom.
Alice of Jerusalem was the princess of Antioch from 1126 to 1130 and, from 1130 to 1136, a contender for the regency of the principality. Because of her ambition to rule she is unfavorably portrayed by the chronicler William of Tyre, who is the main narrative source of information about her life. William's hostile account has affected the historiographical assessment of Alice's career.
Ioveta was a Latin princess from the crusader Kingdom of Jerusalem. Her name appears in various other forms, including Joveta, Yveta, Yvette, Ivetta, and Juditta. She headed the Convent of Saint Lazarus in Bethany, the richest abbey in the kingdom, from the late 1130s or early 1140s until her death.
The art of the Crusades, produced in the Levant under Latin rulership, spanned two artistic periods in Europe, the Romanesque and the Gothic, but in the Crusader states the Gothic style barely appeared. The military crusaders themselves were mostly interested in artistic and development matters, or sophisticated in their taste, and much of their art was destroyed in the loss of their kingdoms so that only a few pieces survive today. Probably their most notable and influential artistic achievement was the Crusader castles, many of which achieve a stark, massive beauty. They developed the Byzantine methods of city-fortification for stand-alone castles far larger than any constructed before, either locally or in Europe.
The Utrecht Psalter is a ninth-century illuminated psalter which is a key masterpiece of Carolingian art; it is probably the most valuable manuscript in the Netherlands. It is famous for its 166 lively pen illustrations, with one accompanying each psalm and the other texts in the manuscript. The precise purpose of these illustrations, and the extent of their dependence on earlier models, have been matters of art-historical controversy. The psalter spent the period between about 1000 to 1640 in England, where it had a profound influence on Anglo-Saxon art, giving rise to what is known as the "Utrecht style". It was copied at least three times in the Middle Ages. A complete facsimile edition of the psalter was made in 1875, and another in 1984 (Graz).
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Amalric of Nesle was a Catholic prelate who served as the Latin patriarch of Jerusalem from late 1157 or early 1158 until his death. Amalric focused chiefly on managing church property; he showed very little political initiative and, unlike many contemporary bishops in the crusader states, had no interest in military affairs.
The Westminster Psalter, British Library, MS Royal 2 A XXII, is an English illuminated psalter of about 1200, with some extra sheets with tinted drawings added around 1250. It is the oldest surviving psalter used at Westminster Abbey, and is presumed to have left Westminster after the Dissolution of the Monasteries. It joined the Old Royal Library as part of the collection of John Theyer, bought by Charles II of England in 1678. Both campaigns of decoration, both the illuminations of the original and the interpolated full-page drawings, are important examples of English manuscript painting from their respective periods.
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