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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.
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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
Description: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 manuscr
