NOTES
1. A Troper is a manuscript containing accretions to the sung parts of the
standard liturgy, usually the Mass. See: P. Evans, The Early Trope Repertory at S. Martial de
Limoges (Princeton, 1970) and A. E. Planchart, The Repertory of Tropes at Winchester
(Princeton, 1977).
2. On Paris MS. 9448 see: S. Beissel, "Miniaturen aus Prüm," Zeitschrift für
christliche Kunst, XIX (1906): cols. 11-22,43-54; M. R. Lagerloef, "A Book of Songs
Placed Upon the Altar of the Saviour giving Praise to the Virgin Mary and Homage to The
Emperor" in: G. Iversen, ed., Research on Tropes: Proceedings of a Symposium Organized
by the Royal Academy of Literature, History and Antiquities and Corpus Troporum
(Stockholm, 1983); J. Marquardt, Illustrations of Troper Texts: The Painted Miniatures
in the Prüm Troper-Gradual, Paris, Bibliothèque Nationale, fonds latin MS. 9448
(Dissertation, University of California, Los Angeles, 1986). The colophon on folio 48v
established the manuscript's production at the monastery of Prüm between the years 990
and 1001. It reads:
"Codicem istum cantus modulamine plenum, Domini Hilderici venerabilis abbatis tempore eiusque
licentia Wickingi fidelis monachi impensis atque precatum scribere coeptum Domini viro Stephano
successoris prefati abbatis tempore atque benedicitione diligentissime. Sancti Salvatoris Domini
nostri Jesu Christi altari impositum. Huic sancto prumiensi coenobio perhenni memoria novimus
traditum."
The other three illustrated Tropers are: London, B.L., Cotton MS. Caligula A.xiv (England, c.
1050) [See E. Temple, Anglo-Saxon Manuscripts 900-1066 (London, 1976), no. 97
with bibliography p. 115]; Bamberg, Staatsbibliothek, Lit. 5, (Reichenau, 1001-1002) [See P.
Klein, "Zu einigen Reichenauer Handschriften Heinrichs II. für Bamberg," Bericht
des Historischen Vereins Bamberg, 120 (1984), 417-422, with bibliography in note 4]; and
Paris, Bibl. de l'Arsenal, MS. 1169 (Autun, 1050) [See E. Palazzo, "Le tropaire d'Autun,"
Mémoires de la Societé Eduenne, LIV/5 (1985-87) with bibliography in note
21.
3. On the Werden Psalter see R. Kahsnitz, Der Werdener Psalter in Berlin: MS. Theol. lat. fol. 358: eine Untersuchung zu Problemen mittelalterlicher Psalterillustration
(Düsseldorf, 1979). In fact, the lower figure in the Werden Psalter image of King David
may
not necessarily represent the king himself, rather one of his musicians performing the psalms as
commonly appear in many other David illustrations. The significance of this identification is
unimportant to the point regarding the Prüm artist's knowledge of this type of composition.
However, by placing the crown
page 51
on the lower figure, he shows that his conception includes King David in both registers.
4. S. Beissel, "Miniaturen aus Prüm" nr. 1, cols. 11-22.
5. P. Lauer, Les enluminures romanes des manuscrits de la Bibliothèque
Nationale (Paris, 1927), pp. 17, 116ff.
6. Lagerloef, "A Book of Songs," p. 132.
7. One of the Romanesque frescoes still in the main apse of the church at Münstereifel at
Prüm shows a standing, full-length figure with a harp which has been identified as King
David. See Ruth Schmitz-Emke, "Zum Program der Apsismalerei in der ehemaligen Stiftskirche
St. Chrysanthus und Daria in Münstereifel," Beiträge zur Rheinischen
Kunstgeschichte und Denkmalpflege [Festschrift Rudolf Wesenberg] (Düsseldorf,
1970). However, since the figure is one of four musicians (the figure on the far right clearly plays
eight bells above his head) I would suggest that, rather than King David, this figure is comparable
to the choir capital depicting the "third tone" in Cluny III. See Kathi Meyer, "The Eight Gregorian
Modes on the Cluny Capitals," Art Bulletin, XXXIV (1952).
8. On the Florence ivory see A. Goldschmidt, Elfenbeinskulpture (Berlin, 1914), vol. 1,
no. 113; also H. Kessler, The Illustrated Bibles from Tours (Princeton, 1977), fig. 164.
The Utrecht Psalter image is also reproduced in Kessler, Bibles, fig. 165. On the
Utrecht Psalter see: E. T. Dewald, The Illustrations of the Utrecht Psalter (Princeton,
1933); D. T. Tselos, The Sources of the Utrecht Psalter (Minneapolis, 1960); S.
Dufrenne, Les illustrations du Psautier d'Utrecht (Paris, 1978); N. Duval, "La
representation du palais dans l'art du bas-empire du haut moyen age d'apres le psautier d'Utrecht,"
Cahiers Archeologiques, xv (1965).
9. Although the upper register shows damage, the underlines of the crown are still visible.
10. The dedication page is fol. 423r. It is reproduced in John Beckwith, Early Medieval Art
(New York, 1964), plate 49. On the Vivian Bible see W. Köhler, Die Karolingische
Miniaturen (Berlin, 1960). vol. 1, pp. 33ff., 238ff. P. Lauer, "Iconographie Carolingienne,
Vivian et Charlemagne," Méglanges en hommages a la mémoire de Fr.
Martroye (Paris, 1940) and Kessler, Bibles, pp. 128-135, 149-151.
11. Folio 215 is reproduced in Beckwith, Early Medieval Art
, plate 47. On the school of Tours, see Köhler,
Karolingische, vol. I and Kessler, Bibles.
page 52
12. The Charles the Bald image is reproduced in A. Boitiet, La miniature Carolingienne
(Paris, 1913), plate CXIV (A). On the Psalter of Charles the Bald see V. Leroquais, Les
psautiers (Macon, 1940-41), pp. 11, 67ff; P.E. Schramm and F. Mütherich,
Denkmale der deutschen Könige und Kaiser (Munich, 1962), 131. King Solomon's
image is reproduced in F. Mütherich and J. Gaehde, Carolingian Painting (New
York, 1976), plate 44. On the San Paolo Bible see J. E. Gaehde, Frühmittelalterliche
Studien, V (1971), 359-400; VIII (1974), 351-384, IX (1975), 359-389.
13. Reproduced in Kessler, Bibles, fig.170. On the Foulchard Psalter see
F. Landsberger, Der St. Galler Foulchard Psalter (St. Gall, 1912).
14. See, for instance, an Ottonian psalter now in Munich reproduced in L. Kobell, Kunstvolle
Miniaturen und Initialen aus Handschriften des 4. bis 16. Jahrhunderts (Munich, 1892), plate
10; or a Carolingian ivory now in the Louvre reproduced in Kessler, Bibles, fig. 163.
15. On the Prüm Evangeliary see H. Leclerc, "Prüm (Evangeliare de)," in F. Cabrol,
ed.,
Dictionaire d'archéologie chrétien et de liturgie (Paris, 1907-53); L.
Déslisle, "Les évangiles de l'abbaye de Prüm," Journal des Savants
(1902), 461-475; H. Degering, "Das Prümer Evangeliar in Berlin, ms. lat. theol. fol.
733,"
Neues Archiv der Gesellschaft für ältere deutsche Geschichtskunde, XLIV
(1921), 628; K. Strecker, "Ist der Parisinus 266 der von Lothar dem Kloster Prüm
geschenkte
Codex? Neues Archiv der Gesellschaft für ältere deutsche Geschichtskunde
XLIV (1922), 135-137; P. Schramm and F. Mütherich, Denkmale, no. 29; W.
Köhler, Karolingische, vol. 1, pt. 1, pp. 402-403; and reproduced in vol. 1, pt. 3,
plate 96a; B. Fischer, Lateinische Bibelhandschriftten im frühen Mittelalter
(Freiburg, 1985), p. 267.
16. On the Codex Aureus Eptemacensis see A. Boeckler, Evangelianbuch Heinrichs III
(Berlin, 1933), plate 171. On S. Maria im Kapitol see R. Hamann, Die Holztüre
der Pfarrkirche zu S. Maria im Kapitol (Marburg, 1926); P. Bloch, Die
Türflügel von Maria im K (Mönchen-Gladbach, 1959). Also reproduced
in G. Schiller, Iconography of Christian Art (Guterslöh, 1966 and Greenwich,
Connecticut, 1971), vol. 1, fig. 312. On the Regensburg manuscripts see G. Swarzenske,
Regensburger Buchmalerei (Leipzig, 1901), XXIX (77) and XXIII (57).
17. The Lothar Gospels held at that time in Prüm's own library have this type of star in the
Nativity scene (fol. 23, see note 14).
18. Schiller, Iconography, vol. 1, p. 67.
19. My thanks to Ioli Kalavrezou for pointing out this fact.
20. See Schiller, Iconography, vol. 1, pp. 58-88 for a complete discussion of Nativity
images.
21. On the Fulda Sacramentary see Gregor Richter and Albert Schoenfelder, Sacramentarium
Fuldense [Volume 9 of Quellen und Abhandlung zur Geschichte der Abtei in der
Diozese Fulda] (Fulda, 1912).
page 53
22. See S. Beissel, Geschichte des Evangelienbuches in der ersten Hälfte des Mittelalters
(Freiburg, 1906), and "Miniaturen aus Prüm," nr. 1, col. 15, where he refers to these
figuers as authors
"who may be prophets." in P. Lauer, Les enluminures, they are called Evangelists, and in
M. Rosshold Lagerhoef, "Book of Songs," p. 148, they are again prophets. On the Early Christian
manuscript tradition of this type of representation, see A. Grabar, Christian Iconography
(London, 1968), p. 141.
23. See, for example, P. Schramm, Die deutschen Kaiser und Könige in Bildern ihrer
Zeit (Leipzig, 1928), vol, pp. 1-70; Kaiser, Könige und Päpste
(Stuttgart,
1968), vol 1, Part B, "Kaiser der Karl der Kahle, der Stifter des Thrones in St. Peter, in La
cattedra lignea di S. Pietro in Vaticani Atti della Pontificia Accademia Romana di
Archaeologia, series II, vol. X, pp. 292-93. See also H. Steger, David Rex et Propheta
(Nürnberg, 1961).
24. E. Kantorwicz, The King's Two Bodies: A Study in Medieval Political Thelogy
(Princeton, 1957), pp. 42-96.
25. See, for example, G. Henderson, Early Medieval (New York, 1972), pp. 107-109.
26. R. Schilling, "Das Ruopertus-Evangelistar aus Prüm, Ms.7 der John Rylands Library in
Manchester, Studien zur Buchmalerei und Goldschmiedkunst des Mittelalters [Festschrift
für Karl Hermann Usener] (1965), pp. 143-54.
27. For a record of the 1003 inventory, see A. Digot, "Inventaire du trésor de l'abbaye de
Prüm," Bulletin monumentale, XV (1849), pp. 289-300. On the influence of
manuscripts from Tours in and near Prüm, as well as a comprehensive discussion of the
images of David from that workshop, see Kesler, Bibles, pp. 6-8.
28. The nearest script relative, according to G. Swarzenski (Die Regensburger Buchmalerei
des X. und XI. Jahrhunderts (Leipzig, 1901), p. 116, n.*), is the Vita S. Remalci from the
Stavelot-Malmedy atelier in Liège, now Bamberg, Cod. E,III.1. Liège was very
close to Prüm, though perhaps the road to Trier was more passable. However, it is quite
possible that either a scribe from that atelier visited for this work or that Prüm's own monks
received calligraphic training there.
29. Primary Sources: "Annales necrologie Prumienses," in Monumenta Germanica historica.
Scriptores (Hannover, 1881), vol. 13, pp. 219-59; "Annales Prumienses," ibid.,, 1887,
vol. 15, pp. 1289-93; "Notae Prumienses," ibid., 1934, vol. 30, pp. 766-67;
Martène and Durand,
Voyage litterature de deux benedictins (Paris, 1718-1724). Secondary sources: A. Digot,
"Inventaire du tré de l'abbaye de Prüm," pp. 289-300; C. Willems, Prüm
und seine Heiligthümer (Triest, 1896). H.
Forst, "Geschichte der Abtei Prüm von der Grundung im Jahre 721 bis zur Aufhebung im
Jahre 1802," Bonner Jahrbücher des Vereins von Altertumsfreunden im Rheinlande,
XXII
page 54
(Bonn, 1912), pp. 98-110; W. Levison, "Zur ältesten Urkunde des Kloster Prüm,"
ibid., pp. 383-385.
30. On the Ottonian dynasty and monastic reform see: Kassius Hallinger, Gorze-Cluny
(Rome, 1950/51), vols. 1-2.
31. Hanns Swarzenski, "The Role of Copies in the Formation of Styles of the 11th century,"
Studies in Western Art: Acts of the Twentieth International Congress of the History of Art
(Princeton, 1963), p. 12.
32. The colophon is transcribed in note 2. The form of the manuscript actually makes it more than
just a Troper, since all the sung parts of the mass, standard as well as accretions, are copied out in
order of performance and liturgical calendar year. Thus it should really be referred to as
"Troper-Gradual," but since there are so many of these and other type of combinations among
Tropers, it is most common generally to refer to all forms simply as Tropers.
33. J. Marquardt-Cherry, "Ottonian Imperial Saints in the Prüm Troper," Manuscripta,
XXXIII (1989), 129-136.
34. Janet Marquardt-Cherry, "Ascension Sundays in Tropers: The Innovative Scenes in the
Prüm and Canterbury Tropers and Their Relationship the Accompanying Texts,"
Essays in Medieval Studies: Proceedings the Illinois Medieval Association, VI (1989),
pp. 68-78.
