The Latin text includes a calendar, psalter, and additional devotional texts. Penned by a single scribe but with the hand of at least four artists, the Luttrell Psalter contain images from all aspects of life from the toil of agriculture to fantastic expressions of the medieval imagination making it the most remarkable of manuscripts. Detailed Depictions of Everyday Life The role of the book as a cultural medium. The palaeography, codicology, art history and socio-historical context of medieval manuscripts. Late antique and early medieval history, archaeology and the material culture of Europe and the Levant. Art and spirituality, historic and contemporary. Publication Details Related publications/articles: Date J. Attwood and M. P. Brown, ‘Medieval Christian Biblical Manuscripts: the Art of Writing and Illumination’ in J. Pattengale et al, eds, The Book of Books: Biblical Canon, Dissemination and its People (Bible Lands Museum, Jerusalem, 2013), pp. 82-99. The Tower of Babel: the architecture of the early western written vernaculars', in A. J. Duggan, J. Greatrex and B. Bolton, eds, Omnia Disce. Medieval Studies in Memory of Leonard Boyle, O.P. (Ashgate, Aldershot , 2005). This produced 2-4 monographs or electronic publications per annum which set the book in its broader historical and social context (from late Antiquity to the Renaissance; northern Europe, the Mediterranean and near East).

The Luttrell Psalter was composed by one scribe and at least five different artists, [9] all of them with slightly different styles. The first Luttrell artist is referred to as "the decorator". He used a linear style of drawing rather than a two-dimensional approach. The second Luttrell artist, "the Colourist", often drew images that were more sculptural and modelled by light and shade. He took more notice of human form and posture in his drawings. The third Luttrell artist, "the Illustrator", favoured a two-dimensional style. The fourth Luttrell artist, "the Luttrell Master", was skilled in rural themes and outlandish grotesques. He also drew the depictions of the Luttrell family. He shows great skill at producing effects of shadow and texture. His technique is very similar to the style used in most of the East Anglian manuscripts of the period. [10] Manuscripts from the Anglo-Saxon Age ( British Library & Toronto University Press: London & Toronto , 2008)It was planned by Geoffrey and by at least one cleric, perhaps one of his chaplains or his confessor. Their planning of the details was highly intricate, the illustrations being carefully chosen to link to the text and bring out the meaning of the text. The words were written by a single scribe but six artists contributed the illustrations over time, one of whom knew the family well or came to stay at Irnham (suggested by the quality of the likenesses of individuals). The artists may have come from the local monastic houses of Stamford and Bourne but historians have also suggested the involvement of artists from religious houses at Lincoln, Norwich or York. Why was it created?

Mercian Manuscripts: the implications of the Staffordshire Hoard, other recent discoveries, and the ‘new materiality Fifty Years of Insular Palaeography, 1953-2003: an Outline of some Landmarks and Issues', in W. Koch & T. Kölzer, eds, Archiv fur Diplomatik: Schriftgeschichte Siegel- und Wappenkunde (Proceedings of the CIPL conference, 2003) (Böhlau Verlag: Cologne, Weimar & Vienna, 2005), pp. 277-325.In R. G. Gameson, ed., A History of the Book in Britain Volume 1: From the Romans to the Normans(Cambridge University Press: Cambridge, forthcoming).

He owned estates in Yorkshire, Lincolnshire, Nottinghamshire, and Leicestershire. It has been suggested that the emphasis of the manuscript on natural landscapes could be connected to the lands that Lord Luttrellmight have often seen. The psalter’s lively and often humorous images provide a running documentary of work and play during a year on Sir Geoffrey’s estate. As well as servants preparing food and scenes of farming, the margins of the psalter also show images of medieval medicine, archery, dancing, bear baiting, wrestling, game playing, hawkers and beggars – and even a wife beating her husband! In Listen, O Isles, unto me: Studies in Medieval Word and Image in honour of Jennifer O’Reilly, ed. E. Mullins and D. Scully (Cork: University College Cork, 2011), pp. 278-290.Bearded Sages and Beautiful Boys: Insular and Anglo-Saxon Attitudes to the Iconography of the Beard’ The Old English Gloss to the Lindisfarne Gospels (ANGB 51), ed. by Julia Fernández Cuesta and Sara M. Pons-Sanz (de Gruyter, 2016)

worship’– what we would call having the respect of other people. Geoffrey was clearly proud of his military career and his service to Edward I and the crown in general. The Luttrell Psalter is illuminated throughout, although the final eighty folios are sparsely decorated especially in comparison to the rest. The major text divisions are demarcated with ten historiated initials and another thirty-nine smaller versions make further subdivisions. Over 230 additional marginalia occupy the first 180 folios. A range of subjects from biblical to fantastical are represented. The most valuable for the understanding of medieval life are the dozens of scenes of farming, hunting, entertainment and music-making. The illuminations may have been left unfinished due to Geoffrey’s death in 1345. A Book of Personal Devotion and Eternal Prayerfor distribution to the poor on the day of his burial and on his week and month’s mind (7th and 30th days after his burial) His war horse and its trappings were also given to Irnham church –in Michelle P Brown’s words ‘the equivalent of leaving the parish priest your Ferrari’. You're History: How People Make the Difference, M. P. Brown and R. J. Kelly, eds, (Continuum: London, 2006). Authored introduction and own essay, 'It's Positively Medieval'. The Eastwardness of Things: Relationships between the Christian Cultures of the Middle East and the Insular World '