This Psalter displays the piety, wealth and cosmopolitan tastes of its ducal patrons. It also exemplifies the movement of artists and styles across medieval Europe. The volume was produced in Breslau, Silesia (now Wrocław in Poland) by a team of German scribes and illuminators, but an Italian artist made a brief and brilliant guest appearance. The Psalter was made for a duchess of Breslau, the mother or wife of Duke Henry III (1248-1266). Henry’s brother Vladislav studied at the University of Padua and probably brought the Italian artist with him when he returned north of the Alps to become Archbishop of Salzburg in 1265. The liturgical content reveals that the manuscript was commissioned after 1255 and completed before 1267.
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This Psalter is the earliest and most richly illuminated in a group of manuscripts made in Salzburg and Breslau, but including images painted in an Italian style. Eleven illuminations painted by a Paduan artist and his Associate display the blend of Italian and Byzantine elements found in contemporary art from the Veneto. All remaining figural scenes – well over 200 – and the profuse ornamentation throughout the volume were provided by seven local artists and their assistants. Some of them worked in a similar style, but did not use the same palette. Others shared pigments, but retained their individual styles.
The manuscript was commissioned by a woman associated with Henry III, Duke of Breslau (1248-1266). It belonged to Bertram, IV Earl of Ashburnham (1797-1878). His heir, the Fifth Earl of Ashburnham, sold it to Henry Yates Thompson (1838-1928) in May 1897. It was purchased at Yates Thompson’s sale (Sotheby’s, London, 23 March 1920, lot 60) by Thomas H. Riches (1856-1935). He bequeathed it to the Fitzwilliam Museum and his widow presented it in 1950.
The manuscript contains the 150 Psalms. These Old Testament poems, central to liturgical, scholarly and devotional practices in the Middle Ages, were the most frequently and richly illuminated biblical texts. Figural scenes and profuse ornamentation grace every page in the Psalter. Twenty-seven full-page miniatures are grouped in ten sections. Each section introduces one of the standard text divisions of the Psalter. The first Psalm of each section also received a large historiated initial. 168 small miniatures adorn the margins beside the remaining Psalms and the Canticles (‘songs’ from the Old and New Testaments). The Calendar, Litany and collects (short prayers), and the borders throughout the volume are populated with hundreds of small scenes and marginal figures.
The numerous artists who contributed to the decoration of this manuscript shared a common palette of lead white, ultramarine, vermilion and verdigris, which has significantly degraded in some cases. They all used organic reds to obtain bright pink as well as tan hues, and generally mixed vermilion with woad in brown areas. However, their different choices regarding the use of yellow pigments, mixtures for flesh tone areas (see Artists’ Techniques), or specific hues, help us understand the division of labour and the practical organisation of the collaborative work.
Gold leaf, burnished to a high shine, was used extensively in the miniatures’ backgrounds. In some cases (e.g. fols. 18r, 73r, 74v) it was applied over a green ground containing verdigris, which has degraded considerably causing significant losses in the metallic layer.
This miniature painted by Hand A depicts a specific moment of the Crucifixion. Including the Virgin, St John and two adoring angles, it shows Christ’s side being pierced by the Roman centurion who would embrace the new faith as Jesus’ blood healed his blindness.