NOTE TO USERS Page(s) missing in number only; text follows. Page(s) were scanned as received. 284 -288 This reproduction is the best copy available. ® UMI THE ALEXIS QUIRE IN THE ST ALBANS PSALTER AND THE MONASTIC COMMUNITY OF ST ALBANS By Kathryn B. Gerry A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland December 2007 © 2007 Kathryn B. Gerry All Rights Reserved UMI Number: 3309659 Copyright 2008 by Gerry, Kathryn B. All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3309659 Copyright 2008 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 Abstract Examining the Alexis Quire as a discrete object produced at the St Albans monastery leads to a clearer understanding of the manuscript and its position within the St Albans Psalter. This study of a single booklet, or libellus, provides a close look at each of the individual components of the manuscript and questions why the various parts were brought together into such an unusual grouping. It examines the circumstances surrounding the production of the quire and the use of the quire before it was bound into the volume known as the St Albans Psalter and it attempts to uncover how the creators and contemporary viewers of the manuscript would have understood this unusual book. Rather than attempting to argue in favor of a single purpose for this manuscript and a single patron, or a single interpretation of its pictures and texts, I instead consider the book as an object intended for a number of viewers. As is often the case in the sphere of visual and literary arts during the medieval period, a number of ideas and meanings can be found in the Alexis Quire and the makers of this manuscript anticipated several different audiences. Contemporary theological developments, the concerns of lay viewers, and sophisticated comments on the role of performative art were brought together throughout the pages of the gathering, allowing it to reach many viewers, and to be understood on a number of levels. Advisor: Herbert L. Kessler Second Reader: William G. Noel 11 Acknowledgements Many people have provided the support, assistance and collaboration required to carry out this project, and I am grateful for the generosity of individuals and institutions at every step. This dissertation would certainly not have been possible without the guidance, patience and encouragement of my advisor, Herbert Kessler. The support and expertise of my second reader, William Noel, has been invaluable. I am grateful to the other members of my dissertation committee, Henry Maguire, Stephen Nichols and Gabrielle Spiegel, for their insights regarding the current project and thoughtful suggestions of possible directions for future exploration. The History of Art Department of Johns Hopkins University provided the financial support necessary for the first year and a half of this project, and preliminary research was funded in part by an Adolf Katzenellenbogen Prize and a Sadie and Louis Roth Fellowship from that department. A generous fellowship from the Samuel H. Kress Foundation allowed me to spend two years at the Courtauld Institute of Art, enabling me to study a large number of manuscripts in English collections, as well as the St Albans Psalter itself. During my stay in London, I met many colleagues and friends, at the Courtauld and other institutions, who have helped me to carry this project forward. I am especially grateful to John Lowden who served as my supervisor while I was at the Courtauld and who has since continued to offer his advice and assistance. The comments and support of the members of the Earlier Middle Ages Seminar at the Institute of Historical Research, particularly Stephen Baxter, John Gillingham, Janet Nelson and Alan Thacker, have been greatly appreciated. iii A number of friends and colleagues, too many to name individually, have helped me along the way. In particular, I would like to thank Renana Bartal, Douglas Brine, Laura Cleaver, Beatrice Keefe, Richard Leson, Lisa Mahoney, Jessica Richardson, Theo Riches, Anthea Stevens and Benjamin Tilghman for their helpful comments and willingness to read endless drafts at short notice. Daniel Hadas has given me a great deal of help in sorting out several Latin passages and I am grateful for his time, persistence and attention to detail. Jane Geddes and Peter Kidd have both been willing to discuss a number of aspects of the St Albans Psalter with me, and these conversations have been motivating and thought-provoking. Martina Bagnoli helped me through the final stages of writing by reminding me, whenever necessary, that footnotes cannot go on forever. Much of the research for this project was only possible with the help of the librarians, manuscript keepers and other staff of the British Library, the Courtauld Institute, the Institute of Historical Research, and the Senate House Library in London, the J. Pierpont Morgan Library in New York, the Bodleian Library at Oxford, the University, Parker and Kings College Libraries at Cambridge, the Hereford Cathedral Library, and, above all, the Dombibliothek at Hildesheim, where Jochen Bepler kindly facilitated my examination of the St Albans Psalter. The staff of the History of Art Department at Johns Hopkins has been instrumental, especially Ann Woodward and K. Meghan Gross who graciously handled all of my image requests. I owe a huge debt of gratitude to Don Juedes and the staff of the Milton S. Eisenhower Library at Johns Hopkins, particularly the Interlibrary Services staff, who were able to get me a copy of just about anything. There is no adequate way for me to express my thanks to my family, especially my parents, for their steadfast support and love. iv Table of Contents Abstract ii Acknowledgements iii List of Illustrations vi Abbreviations xiii Introduction 1 Chapter 1 Patronage and Structure of the Manuscript 11 Chapter 2 Paleography, Style and Production 44 Chapter 3 Components of the Manuscript 80 A. Alexis Illustration 81 B. Alexis Text 98 C. Gregory's Letter 125 D. Emmaus Miniatures 138 E.Page 72 154 Chapter 4 St Albans and the Cult of Alexis 183 Chapter 5 Understanding the Alexis Quire 208 A. Alexis, Emmaus and the Visibility of Christ 210 B. Pictures and Performance 224 C. Spiritual Battle, and a Bridge to the Psalter 237 Chapter 6 Conclusion 259 Appendix A Inscription, page 69 265 Appendix B Marginal Text, page 72 267 Illustrations 273 Bibliography 359 Vita 383 v List of Illustrations Fig. 1 Hildesheim, Dombibliothek MS St Godehard 1, p. 10 Calendar, August 273 Fig. 2 Hildesheim, Dombibliothek MS St Godehard 1, p. 11 Calendar, September (detail) 274 Fig. 3 Hildesheim, Dombibliothek MS St Godehard 1, p. 23 Magi before Herod 275 Fig. 4 Hildesheim, Dombibliothek MS St Godehard 1, p. 25 Adoration 276 Fig. 5 Hildesheim, Dombibliothek MS St Godehard 1, p. 50 Three Marys at the Tomb 277 Fig. 6 Hildesheim, Dombibliothek MS St Godehard 1, p. 53 Legend of St Martin 278 Fig. 7 Hildesheim, Dombibliothek MS St Godehard 1, p. 54 Ascension 279 Fig. 8 Hildesheim, Dombibliothek MS St Godehard 1, p. 56 David as a Musician with Sheep and Goat 280 Fig. 9 Hildesheim, Dombibliothek MS St Godehard 1, p. 57 Alexis Quire, opening illustration 281 Fig. 10 Hildesheim, Dombibliothek MS St Godehard 1, p. 68 End of Vie de Saint Alexis, Gregory the Great's second letter to Serenus 282 Fig. 11 Hildesheim, Dombibliothek MS St Godehard 1, p. 68 End of Vie de Saint Alexis, Gregory the Great's second letter to Serenus (detail) 283 VI Fig. 12 Hildesheim, Dombibliothek MS St Godehard 1, p. 69 Christ and the Disciples on the Road to Emmaus 289 Fig. 13 Hildesheim, Dombibliothek MS St Godehard 1, p. 70, Supper at Emmaus 290 Fig. 14 Hildesheim, Dombibliothek MS St Godehard 1, p. 71 Christ Disappears from Emmaus 291 Fig. 15 Hildesheim, Dombibliothek MS St Godehard 1, p. 71 Marginal inscription (detail) 292 Fig. 16 Hildesheim, Dombibliothek MS St Godehard 1, p. 72 Beatus initial with David and marginal drawing of fighting knights 293 Fig. 17 Hildesheim, Dombibliothek MS St Godehard 1, p. 72 Beatus initial and marginal inscription (detail) 294 Fig. 18 Hildesheim, Dombibliothek MS St Godehard 1, p. 72 Marginal drawing (detail) 294 Fig. 19 Hildesheim, Dombibliothek MS St Godehard 1, p. 73 Psalm 1 295 Fig. 20 Hildesheim, Dombibliothek MS St Godehard 1, p. 92 Psalm 13 (detail) 296 Fig. 21 Hildesheim, Dombibliothek MS St Godehard 1, p. 96 Psalm 16 (detail) 297 Fig. 22 Hildesheim, Dombibliothek MS St Godehard 1, p. 98 Psalm 17 (detail) 298 vn