A Latin psalter from Ireland. Preceding the psalter is a page containing Expositio sancti Augustini in psalmis (f. 1), Absolutio Bernardi (f. 1v) and a prayer: Ante psalmos oremus (f. 1 v). The music is an afterthought on f. 59 after Psalm 50, a natural division of the psalter. The first accolade contains a three-part composition. The second accolade is musically the same as the first, though the text demands a different arrangement of the note-groups.

German binding of brown leather over wooden boards with blind tooling; 17th century. On the spine are the following more recent title labels in gilt lettering on a dark green background: PSALTERIUM || LATINUM, || SAEC. XIII and below it: BRIT. MUS. || ADDITIONAL || 36,929. ||

square

2 accolades of 3 red four-line staves in score; red barlines

59

numbered in modern pencil at t.r.r.

attractive coloured initials: some are elaborate, in yellow, pink and mauve, with some use of green and blue

Vellum

RISM B/IV 2 A 13th century vellum manuscript meas. 176 x 130 mm. and containing 179 folios numbered in modern pencil at t.r.r. The apparently 17th century German binding is of brown leather over wooden boards with blind tooling. On the spine are the following more recent title labels in gilt lettering on a dark green background: PSALTERIUM || LATINUM, || SAEC. XIII and below it: BRIT. MUS. || ADDITIONAL || 36,929. || This manuscript is a Latin psalter, clearly Irish in origin. The attractive coloured initials are often very elaborate and are generally yellow, pink and mauve, with some use of green and blue. Preceding the psalter is a page containing Expositio sancti Augustini in psalmis (f. 1), Absolutio Bernardi (f. 1v) and a prayer: Ante psalmos oremus (f. 1 v). The music is an afterthought on f. 59 after Psalm 50, a natural division of the psalter. It doubtless dates from the early 13th century. There are 2 accolades of 3 red four-line staves in score, containing a three-part composition in a very delicate but clear square notation. The second accolade is musically the same as the first, though the text demands a different arrangement of the note-groups. The use of score notation doubtless accounts for the red barlines employed here.

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