CUTTINGS FROM AN UNKNOWN COPY OF THE

MAGNA GLOSSATURA IN A WYCLIFFITE BIBLE

(BRITISH LIBRARY, ARUNDEL MS. 104)

STELLA PANAYOTOVA

THREE historiated initials from a Latin manuscript have been pasted as marginalillustrations in the Psalter section of an early fifteenth-century English Bible which isnow Arundel MS. 104 in the British Library.^ The manuscript, to which the initialsbelonged originally, is unknown or lost. On the basis of stylistic and iconographiccomparison with surviving manuscripts, it has been suggested that they came from anearly thirteenth-century English Psalter or Bible.^ Another aspect of the cuttingsprovides more precise evidence. The short sections of text which survive on the reverse

Fig. I. Arundel MS. 104, f. 35or {detail)

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... ^ B - a ^

Fig. 2. Arundel MS. 104, f. 354r (detail)

Fig. 3. Arundel MS. 104, f. 364V (detail)

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of the three extant images and on the off-sets of six more cuttings, now removed, revealthat the historiated initials belonged originally to a copy of Peter Lombard's MagnaGlossatura.^

The surviving initials are pasted onto the margins alongside the following Psalms:Psalm 52, f. 35or - Z)-initial: God casting down arrows on men (fig. i) ;Psalm 68, f. 354r - 5-initiaI: Crucifixion (fig. 2);Psalm 104, f 364V - C-initial; a monk reading from a book on a lectern, the dove of theHoly Ghost descending upon him (fig. 3).*

The latter may have illustrated the Canticle of Isaiah ('Confitebor', Isaiah 12) or theCanticle of Moses ('Cantemus domino', Exod. 15) in the original manuscript. The book,from which the monk is reading, is inscribed with the opening words of a hymn,attributed to Rabanus Maurus, Abbot of Fulda (784-856): 'Veni creator spiritus'.'^ Thereverse of the initial contains gloss, but no biblical text; the small script is renderedillegible by the rich pigments and does not allow the text to be identified.^

The other two cuttings are more revealing. The representation of God above men (fig.i) has been associated with Psalm 52 in thirteenth-century manuscripts.^ While thecomposition was probably suggested by the Psalm text (Psalm 52: 3-6), the intimidatinggesture of God's hand is best explained by Peter Lombard's commentary on Psalm 52.^That the Arundel cutting illustrated Psalm 52 in the original manuscript is confirmed bythe reverse of the initial which reveals Psalm 51: 8-9 and fragments of a commentary onit:

[Videbunt] iusti et timebunt et sup(er) eu(ni)[ridebunt] et dicent ecce homo qui no(n)[posuit deum] adiutore(m) suu(m).Videbunt iusti. t(er)tia [pars.. . deiectione] ei(us) a s(an)ctis irrisio f(a)cta ostenditur.Q(uasi) d(icat) h(aec) pa[tientur mali] sed no{n) si(ne) fructu piorum qu{ia) videbunt iusti[id est videbunt nunc iusti quid malis] eventurum f... f cadant f ... f flent f ••• t Petrusait...

The initial to Psalm 52 was painted on the verso of a folio whose recto contained the textof Psalm 51. The size of the cutting,^ the disposition and the number of words on eachline suggest that the page of the original manuscript was designed in two columns. Eachcolumn probably contained the commentary written in small glossing hand and runningcontinuously, with the biblical text inserted in a large display script on alternate lines.Since the beginning of the Psalm verses and the right ends of the gloss lines have beencut off, the biblical text must have been pushed to the left side of the column and thussurrounded by the commentary above, below and on the right. These features point toa particular page layout which was established in copies of Peter Lombard's MagnaGlossatura after the ii6os.^^ A collation of the gloss on the reverse of the initial on f. 35orwith the most influential commentaries of the time reveals that the manuscript fromwhich the cutting on f. 35or was excised was a copy of the Magna Glossatura}^

This conclusion is supported by the S(alvum)~im\i^\ pasted on f. 354r (fig. 2). The

87

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Fig. 4. Arundel MS. 104, f. 346V88

.̂ 5. Reversed image of off-set on Arundel MS. 104, f. 346V

Fig. 6. Reversed image of off-set on Arundel MS. 104, f. 348V

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bottom line of some small lettering can still be seen at the top edge of the cutting abovethe initial. Its reverse preserves Psalm 68: 5-6. ' ' A brief passage from the MagnaGlossatura separates verse 5 from verse 6, which is followed by another section of gloss:

inimici mei iniuste que non rapui tu(n)c exolvebamIniuste h(oc) e(st) q(uo)d di[xerat] g(ra)tis. laus [Christi et martyrum est] in cause

bonitate t ••• t n(on) pena f ••• t et p(er)diderunt felicitatem.

[De]us tu scis insipienciam meam et de[licta] mea a te non sunt absconditaDeus tu scis. sec(un)da pars u(b)i exp[onit] f •• t p(re)catur expectan[tes] f... f in se nonfrustrari...

The historiated initial encloses a Crucifixion scene. Peter Lombard's commentaryencapsulates a century-long tradition of interpreting Psalm 68 in the light of Christ sPassion and Resurrection.^^ Passion scenes have been paired with this Psalm in Psaltersand in copies of the Magna Glossatura}^ These examples may indicate that some of themost explicit visual parallels to the Christological interpretation of Psalm 68 wereassociated with, if not designed for copies of, the Magna Glossatura.

Apart from the three surviving initials, the unknown copy of Peter Lombard'scommentary may have provided more illustrations for the Wycliffite Bible. The off-setsof six cuttings, now missing, are discernible on the margins alongside Psalms 32 (f. 344r),38 (f. 346V; figs. 4, 5), 46 (f. 348V, fig. 6), 90 (f. 36ir, figs. 9, 10), 95 (f. 362r), and 109(f. 367r, figs. 7, 8). Faded traces of the small script typical of glossed Bibles survive onfF. 344r and 362r.̂ ^ The ofF-set on f. 346V, slightly better preserved, shows a fragmentof biblical text, surrounded by glosses. ̂ ^

Although large sections of the off-sets on ff. 348v^^ and 367r^^ are completely effaced,the few legible fragments reveal passages of the Magna Glossatura. The cutting on f. 348 Vwas most probably an initial to Psalm 26, since its reverse contains Peter Lombard'scommentary on Psalm 26: 4 (fig. 6): ' ... [cejlesti Ier(usa)l(e)m. Ait (er)go f ... aett(er)nain qua f •-• t ^nni tui t ••• t [mjanu facta f --• t [d]esiderabilis f ... f."" The off-set onf. 367r preserves the prologue to Peter Lombard's gloss on Psalm 110 (fig. 8): ' Intenftiomonfet ad laudem. Mod(us) t(ri)p(ar)titus [est. Primo populus fi]del(is) se f...contg(re)gac(i)o(n)e iustor(um) u(bi) et est [eterna laus. Secundo dicit fide]les spfiritualimtun(e)re t ••• t p(ro)mittens adventu(m) f ... -f et testamentu(m) novfum ... j A laude(er)go incipiens ait f • • • t confitebor t(ibi) i(d est) laudabo f • • • t h(ic) confessio f ... f '-"^The cutting which was appended to Psalm 109 in Arundel 104 (fig. 7) would havecontained an illustration to the same Psalm in the original manuscript.

The best preserved off-set, that on f. 36ir (figs. 9, 10), contains a fragment of biblicaltext: '[...]o et mundabor'. The gloss underneath, beginning with a painted blue initialand lemmata underlined in red ink, runs: ' Aspfer)ges me. h(ic) secu(n)du(m) quosda(m)[auctores...dicit]ur e(ss)e q(uae) est co(n)fidencia mi(sericord)ie d(e)i q(uae) [...des]p(er)ac(i)o q(uae) o(mn)ib(us) pec(cat)is est g(ra)vior f ... f sang(ui)ne f ... f.̂ '̂ Thetext is Psalm 50: 9 ('Asperges me domine hysopo et mundabor') with Peter Lombard'scommentary on it.̂ ''̂ The initial on the other side may have been a D{eus deorum)

91

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ig. 7. Arundel MS. 104, f. 3f>7i"

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Fig. 8. Reversed image of off-set on Arundel MS. 104, f.

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/o. Reversed image of off-set on Arundel MS. 104, f. 36ir

introducing Psalm 49, if the glossed text was written on the verso of the leaf, or aglonaris), if the gloss was on the recto. The opening verse of Psalm 90 to which theillustration was appended, was inscribed as a rubric beneath the cutting: ' ^ u i habitat inadiutorio altissimi'. It leaves no doubt that Psalm 90 in Arundel 104 was decorated witha iQ-initial of Psalm 51 which was commonly marked as a part of the three- and, lateron, of the ten-fold division ubiquitous in English manuscripts. Since Psalm 51 was rarely

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Fig. II. Arundel MS. 104, f, 353r (detail)

s,. 12. Arundel MS. 104, f. 372V (detail)96

marked in thirteenth-century French manuscripts, its presence in the copy of the MagnaGlossatura (or its absence from Arundel 104 at present) seems to indicate the Englishorigin of the Lombard manuscript. ̂ ^

As for the reasons why Psalm 90 was singled out in the Wycliffite text, there may beseveral explanations. On the one hand, it was part of the five-fold Hebrew division as wellas of the fifteen-fold division of the Psalter.^^ On the other, verse 13 ('Super aspidem etbasiliscum ambulabis et conculcabis leonem et draconem') gave rise to an iconographicformula with a long lasting tradition and diverse application: Christ treading on a lion,a dragon, or a basilisk. ̂ ^

The reasons for marking Psalms 32, 46, 66, 104, and 133 in the English Bible seemmore obscure. Psalm 32 ('Exultate iusti') may have been decorated with the initial toPsalm 80 ('Exultate Deo') from the early thirteenth-century Magna Glossatura^ whilethe initials appended to Psalms 66 and 133 most probably belonged to Psalms 26('Dominus illuminatio mea') and 80 ('Exultate Deo') in a later manuscript. Thus six outof eleven Psalms once decorated with initials point to the individual preferences of theperson who chose to append cuttings from two different manuscripts to the EnglishBible. Four Psalms belong to the ten-fold division common in England from thethirteenth century onwards. The original initials to Psalms 52 and 68 were reused for thesame Psalms in the EngHsh text; this was also the case for Psalms 109 and probably 38whose cuttings have been removed. The illustrations to Psalms 26 and 51 from the copyof the Magna Glossatura were appended to Psalms 46 and 90 in the English Bible. It ispossible that Psalm 38 in the Wycliffite text received an initial which belonged to Psalm80 in the Latin manuscript. The cutting once decorating Psalm 95 on f 362r may havecontained an initial to Psalm 97. It would have seemed most appropriate to append thecutting to Psalm 95, which is in close proximity to, and shares the same opening verse('Cantate Domino canticum novum') with Psalm 97, since the fully painted border onf 362V, where Psalm 97 is to be found, left no space for additional illustration.^'

Fully painted and gilded border decoration and ornamental initials, found at theopening of every book in Arundel 104, mark not only the beginning and the end of thePsalter, but also Psalms 26, 38, 52, 68, 80, 97, and 109. This eight-fold division ofthe Psalter, which made its way from French into English manuscripts in the courseof the thirteenth century, was adopted by Arundel 104 from its Latin predecessors.

The Latin tradition is even more evident in the marginal rubrics, which contain theopening words of each Psalm and function as a kind of concordantia between the Englishand the Latin text of the Psalms. The Psalm headings are supplied in English within thetext column by the same rubricator. Depending on space and page layout, the Latinrubrics either begin within the column and spill out into the margin or are written in themargin beside the English titulus (figs. 4, 7, 9). Although the rubrics were not originallyintended as captions, they were pressed into service by the appended images and seemto recall, if not to restore, the lost context of the cuttings. The initials illustrate theEnglish text, but refer to the Latin one. Whether they belonged to the same or to adifferent Psalm in the original manuscript, their use in Arundel 104 is determined by the

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Latin opening of the Psalm text. The connection between the verbal and visual elementsof Latinity is particularly obvious in the case of the two later surviving cuttings, whichillustrate Psalms 66 and 133 in a literal manner (figs. 11, 12). An initial to Psalm 26('Dominus illuminatio mea') was reused for Psalm 66 ('Deus misereatur nostri, etbenedicat nobis; Illuminet vultum suum super nos'); Psalm 133 ('Ecce nunc benediciteDominum') received an image which originally illustrated Psalm 80 ('Exultate Deo').

A direct connection between the rubrics and the cuttings from the Magna Glossaturais more difficult to establish. As already mentiqned, these images refer to theunderstanding of the entire Psalm rather than to its opening verse, and are representativeof the exegetical approach to the illustration of early thirteenth-century English Psalters.It is tempting to suppose that, alongside their decorative function, the surviving initialsretained some of the spirit of Peter Lombard's gloss by virtue of their inherentinterpretative nature. Yet, the rubrics could hardly have contributed to this visualcommentary. In fact, they do not always function as captions. For lack of space, theinitial to Psalm 52 was appended at the lower corner off. 35or, closer to Psalm 53 andits rubric, and the illustration to Psalm 68 was placed at the bottom off. 354r, completelydetached from the rubric in the inner margin. The limited space resulted in themutilation of both illustrations (figs, i, 2). The off-sets on fF. 362r and 364V reveal thatthe initials were cut at a slant so as to avoid overlapping with the pen flourishes of theEnglish text (fig. 3). The insertion of the cuttings cannot be seen, therefore, as a tokenof appreciation or pride on behalf of the owner. The fingerprints and the carelesslysmudged colours on some of the initials suggest that they were considered an additionalembellishment of the English text rather than a treasured possession in its own right.

Alongside the decorative function, the iconography of the initials may suggest adevotional use. The images of the Crucifixion and of David before Christ would haveprovided visual aids for the owner's prayer. Notably, the Psalter, a text crucial for privatedevotion, is the only part of Arundel 104 which received fully painted and gildeddecoration throughout the entire book. This is where the relationship between theillustrations and the rubrics, voicing the empathy of the prayer, may have come into play.The possibility of a devotional use raises the issue of the interaction between texts andimages beyond the confines of their historical and conceptual setting. Whoever the ownerof Arundel 104 may have been at the time when the cuttings were added, he or she hadno inhibitions about bringing together a Wycliffite text and images foreign to its spirit.

The remaining seven cuttings from the Magna Glossatura are placed immediatelyabove the Latin rubrics, but their relationship remains unclear, since the subject-matterof the initials is, with one exception, unknown. While the possibility that some of themcontained ornamental initials cannot be ruled out, the selection of historiated initialsfrom two different manuscripts makes the preference of the Arundel Bible's owner forthis type of illustration obvious. It may be inferred that in the original manuscript theimages marked at least eight of the ten division Psalms normally singled out inthirteenth-century English Psalters: 26, 38, 51, 52, 68, 80, 97, and 109. No Englishmanuscripts of the Magna Glossatura with more than five historiated initials survive

from the period before circa 1200."' Only three Enghsh copies of the thirteenth century,containing a complete set often historiated initials, are known to me; the earliest one isdated shortly after 1200.̂ ^

The comparison of the six off-sets with the reverse sides of the three survivingthirteenth-century initials in Arundel 104 reveals that they all belonged to the same copyof the Magna Glossatura. The texts and the images, studied in conjunction, confirm thedate and place of origin suggested by the stylistic analysis: England, at the turn of thetwelfth and thirteenth centuries. Another de luxe manuscript can be added, though inabsentia^ to the list of thirteenth-century English copies of the Magna Glossatura.

1 Arundel 104 is a complete Bible in two volumes.All folio references here relate to the first volume,which ends with the Psalter (fF. 337r-375v).

2 N. Morgan, Early Gothic Manuscripts., 2 vols.(London and Oxford, 1982-8), vol. i, pp. 64-5,ills. 56-7.

3 The reverse side of the cuttings was studiedunder fibre optic cable lamp. I am grateful tothe staff of the Manuscripts Reading Room inthe British Library for providing me with thenecessary equipment and permission to examinethe manuscript. In the transliteration the abbre-viations are expanded in round brackets and thelemmata are underlined. The biblical text istranscribed in bold; passages left out of thecuttings are supplied in square brackets; words,letters or dots surrounded by obeli {f) indicatetext obscured by the burnished gold and thepainting of the initials or an off-set renderedillegible by the removal of the cutting.

4 Two more initials, which show David pointingto his eyes before God and David playing bells(now effaced), and probably belonged to Psalms26 and 80 in the original, are appended to Psalms66 (f. 353r) and 133 (f 372V). They come froma later manuscript and have no relation to theremaining cuttings, both extant and removed, inthe Psalter section of Arundel 104.

5 J.-P. Migne, Patrologia Latina., vol. cxii, cols,1657-8.

6 The cutting, which contains the entire initial andits frame, preserves the original size of theillustration, 50 x 48 mm.

7 E.g., a series of sketches in Evreux, PublicLibrary, MS. 4; London, British Library, Add.MS. 44874, f 75r. L Ragusa, 'An IllustratedPsalter from Lyre Abbey', Speculum., xlvi(1971), PP- 267-81, fig. 11; L. M. Ayres,'Problems of Sources for the Iconography of the

Lyre Drawings', Speculum, xlix (1974), pp-61-8; N. Morgan, 'Psalter Illustration for theDiocese of Worcester in the Thirteenth Cen-tury', The British Archaeological Association.,Conference Transactions for the Year igjs(Leeds, 1978), pp. 91-104, pis. XVIIID andXIXB; idem, Gothic Manuscripts, vol. ii, pp.76-8.

8 PL cxci, col. 499 D: 'Sed David, id est Christusvere manu fortis eandem (sc. Ecclesiam) liberabitpercussis Amalechitis, id est Antichristo et suis'.

9 70 X 63 mm. (originally approximately 65 mm.since the right edge of the initial has beentrimmed); 19 hnes gloss.

10 C. F. R. De Hamel, Glossed Books of theBible and the Origins of the Paris Book Trade(Woodbridge, 1984), pp, 23-4.

11 The Psalter commentaries most widely dis-seminated in the late twelfth and early thir-teenth centuries were the Glossa Ordinaria.,Gilbert of Poitiers's Media Glossatura., and PeterLombard's Magna Glossatura. See N. R. Ker,Medieval Libraries of Great Britain., 2nd edn.(London, 1964); B. Smalley, The Study of theBible m the Middle Ages (Oxford, 1952), pp. 46—2iT,;DeHame\,GlossedBooks,pp. i—13;TheresaGross-Diaz, The Psalms Commentary of Gilbert ofPoitiers: From Lectio Divma to the Lecture Room(Leiden, 1996), pp. 97-148.

12 Nineteen lines gloss; 68 (originally 70 mm.,lower edge trimmed) x 63 mm.

13 PL cxci, col. 625 D: 'Et est psalmus iste quartuseorum qui latius de passione et resurrectioneChristi agunt amarus est transitus mortis perquem Christo coheremus et habemus fel etacetum quod in passione domino datum est'.

14 E.g., Cambridge, Trmity College, MS. B.i 1,4, f79r {c. 1220-^. 1230); London, BL, Add. MS.54179, f. 59V (c. 1250-C. 1260); Preston, Harris

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Museum, Psalter and Hymtial, f. 2iv (c. 1250-c.1255). Morgan, Gothic Manuscripts, vols. i, pp.98-9; ii, pp. 115-17, 124-5, ill- 180.

15 E.g., Bremen, Staats- und Universi-tatsbibliothek, MS. a.244, f. iigva (116...) andParis, Bibliotheque St Genevieve, MS. 56, f.ii6rb (r. 1200?), S. Wittekind, Kommentar mitBildern (Frankfurt am Main, 1994), pp. 35 and42, fig. 10.

16 The texts on ff. 344r and 362r occupy elevenlines. The sizes of the off-sets (though notnecessarily of the original initials) are 45 x57 mm. and 42 x 48 mm. respectively.

17 Twelve lines, 50 x 48 mm. The two pen-workinitials can still be seen at the left edge of theoff-set (fig. 4). They would have introducedPsalm verses in the right-hand column of text(reversed image on fig. 5).

18 Fourteen lines, 55 x 57 mm.19 Seventeen lines, 60 x 50 mm.20 PL cxci, cols. 270 D-271 A: 'Et accipit unam et

domum pro eodem, scilicet pro coelesti Ieru-salem...Haec una est domus aeterna, in quasemper maneatur, ubi sunt aeterni dies, dequibus dicitur: " Et anni tui non deficient."Unde subdit, ut inhabitem in domo Domini nonmanu facta... Alia littera, id est eo fine utdemum appareat mihi spes desiderabilis, quamfacie ad faciem videam, quod est verum bonum'.

21 PL cxci, col. 1005 A; 'Intentio: Monet adlaudem. Modus: Tripartitus est. Primo, populusfidelis se dicit contlneri in congregatione iusto-rum, ubi est aeterna laus. Secundo, dicit fidelesspirituali munere satiatos, promittens adventumChristi... Tertio, eosdem redemptos asserit, ettestamentum novum mansurum... A laude ergoincipiens, ait in persona fidelis populi; O,Domine, Confitebor tibi, id est laudabo te. Nonenim est hie confessio peccatorum, sed laudis'.

22 Eleven lines; 42 x 48 mm.2^ PL cxci, col. 488 C-D: 'Asperges me. Hie

secundum quosdam auctores, secunda partitiohuius psalmi dicitur esse, quae est confidentiamisericordiae Dei, quae multum est utilis ne

subrepat desperatio, quae omnibus peccatis estgravior ... asperges me, Domine, hyssopo, id estsanguine Christi, et charitatis humilitate...'.

24 On the various systems of Psalter division see R.Kahsnitz, Der Werdener Psalter in Berlin (Dussel-dorf, 1979), pp. 118-32. The set of ten his-toriated initials to Psalms i, 26, 38, 51, 52, 68,80, 97, IOI, and 109 became the norm in Psaltersand Bibles in early thirteenth-century England,whereas the majority of their French contem-poraries preserved the eight-fold, or liturgicaldivision of the Psalter, in which Psalms 51 andIOI were not marked. G. Haseloff, Die Psalter-illustration im IJ. Jahrhundert (Kiel, 1938), pp.8-18.

25 R. Kahsnitz, Werdener Psalter., pp. 123—32.26 E.g., Oxford, Bodleian Library, MS. Ashmole

1525, f 76V, initial to Psalm 90. O. Pacht andJ. J. G. Alexander, Illuminated Manuscripts inthe Bodleian Library., Oxford, 3 vols. (Oxford,1966-73), vol. iii, no. 355, 0. 34; Morgan, GothicManuscripts., vol. i, no. 33.

27 A less radical displacement, resulting from thelack of space, can be observed on f. 35or, wherethe initial to Psalm 52 is placed in the bottomcorner of the page, closer to Psalm 53.

28 The earliest English copies with rich historiation,Oxford, Bodleian Library, Auct. MS. D.2.8 (latetwelfth century) and Oxford, Merton College,MS. 208 (late twelfth or early thirteenthcentury), have five historiated initials. O. Pachtand J. J, G. Alexander, Illuminated Manuscriptsin the Bodleian Library., Oxford, vol. iii, no. 231,PI. XXIII, 23ia-b; H. O. Coxe, CatahgusGodicum Manuscriptorum qui in Collegtis AulisqueOxomensibus Hodie Adservantur, 2 vols. (Oxford,1852), vol. i, no. 81.

29 Liverpool, City Libraries, MS. f091.PSA {c.1200-c. 1210); Cambridge, Corpus Christi Col-lege, MS. 75 {c. 1220); Durham, CathedralLibrary, MS. A.II.io {c. 1260-f. 1270). Morgan,Gothic Manuscripts, vol. i, pp. 73-4, 87; vol. ii,PP- 133-4-

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