Cambridge, University Library, MS Ll. 1. 10 2, ff. 2-99 = Book of Cerne prayerbook
  • s. ix1
Brown, Michelle P., “The Lichfield Angel and the manuscript context: Lichfield as a centre of Insular art”, Journal of the British Archaeological Association 160 (2007): 8–19.  
It has long been surmised that Lichfield, which at the end of the 8th and beginning of the 9th centuries even served as England's third archbishopric for a time, may have been a notable centre of religious culture. None the less, the site's traumatic history of despoliation by Viking and puritanical Civil War forces has led to an absence of artworks in situ or of early archives. The recent excavation by Warwick Rodwell of what is thought to be the shrine of St Chad, including the carefully deposited remains of an imposing sculptural slab depicting an angel has gone some considerable way towards rectifying such lacunae. The angel probably formed half of an Annunciation panel which acted as a gable end from a stone house-shaped tomb, for which formal and stylistic parallels are here adduced. These would suggest a date for the piece of late 8th or early 9th century, a time when kings Offa and Coenwulf of Mercia were both patronising Lichfield. Remarkably, the angel retains much of its original polychrome pigmentation and the unusual palette, consisting of shades of purple, white and black—not the most obvious colours to use for stone sculpture—raises interesting connections with two manuscripts that have been associated with early Lichfield: the Lichfield Gospels and the Book of Cerne. This paper goes on to explore the relationship between these works and concludes that the Lichfield Gospels was made during the mid-8th century, probably at Lindisfarne but for another centre which is likely to have been Chad of Lindisfarne's shrine at his foundation of Lichfield. This book features a palette of purples and white, perhaps prompted by Bedan exegesis, and the stone sculptures added to Chad's shrine around 800 may have been coloured similarly to complement the Gospelbook. The Book of Cerne, probably made for Bishop Aethelwald of Lichfield (818–30) also features these colours, inter alia, and its St John evangelist symbol offers the closest analogy for the treatment of the angel's plumage, further reinforcing the likelihood of a Lichfield origin for this important prayerbook.
Gretsch, Mechthild, and Helmut Gneuss, “Anglo-Saxon glosses to a Theodorean poem?”, in: Katherine OʼBrien OʼKeeffe, and Andy Orchard (eds), Latin learning and English lore: studies in Anglo-Saxon literature for Michael Lapidge, 2 vols, vol. 1, Toronto: University of Toronto Press, 2005. 9–46.
Howlett, David, “Hiberno-Latin syllabic poems in the Book of Cerne”, Peritia 15 (2001): 1–21.  
Proceeding from internal evidence the editor reconstructs texts of poems in the Book of Cerne, hexasyllabic, heptasyllabic, octosyllabic, hendecasyllabic, and infers from prosodic features similar to those of Old-Irish verse that all were composed in Ireland during the seventh century.
Brown, Michelle P., The Book of Cerne: prayer, patronage, and power in ninth-century England, The British Library Studies in Medieval Culture, London: British Library, 1996.
Howlett, David, “Seven studies in seventh-century texts”, Peritia 10 (1996): 1–70.  
The following works are examined here: Versus de annis a principio [beg. Deus a quo facta fuit]; Ailerán’s Interpretatio mystica and Canon euangeliorum; three verse prayers from the Book of Cerne; seven works by and for Cummianus Longus (†662), including Celebra Iuda, which is here edited; three works by Virgilius Maro Grammaticus; the Oratio Gildae and a verse paraphrase of Carmen paschale, taken as examples of Hiberno-Latin hendecasyllables; and the Lorica of Laidcenn mac Baíth (†661), for which a date of AD 659 is suggested. On the basis of these texts, two inferences may be made of Irish culture of the period: the intellectual agility and acuity exhibited in this precisely constructed prose and verse was not the achievement of a few isolated clerics; and the title sapiens was not given lightly or loosely by the monastic annalists.
Dumville, David N., “Liturgical drama and panegyric responsory from the eighth century? A re-examination of the origin and contents of the ninth-century section of the Book of Cerne”, The Journal of Theological Studies NS 23 (October, 1972): 374–400.
Kuypers, Arthur B., The prayer book of Aedeluald the bishop, commonly called the Book of Cerne, Cambridge: at the University Press, 1902.
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Results for Psalter (23)

Illuminated Gallican psalter, with additional material.

  • s. ix1
Not yet published.

9th-century manuscript of a Greek psalter, with interlinear Latin text, and additional devotional material. It was written by multiple Irish hands, possibly in northern Italy.

  • s. ix2/3/3/3

Gallican Psalter, and some canticles and prayers. It is accompanied by glosses in Latin and Irish.

  • s. x/xiin

Southumbrian, probably Mercian liturgical manuscript of the early 9th century containing extracts from the four Gospels, a collection of hymns and prayers, and an abbreviated Psalter. It is introduced by an Old English exhortation to prayer and concludes with a dramatic piece about the Harrowing of Hell. Signs of Irish influence in the style and contents of the manuscript have led scholars to regard the Book of Cerne as a witness to a shared Hiberno-Saxon monastic culture, although some of the details are disputed.

  • s. ix1

Three initial leaves: one leaf with legal commentaries (f. i) and a fragment of a double psalter (ff. ii-iii).

  • s. xvi

Fragmentary Irish manuscript containing verses from Psalm 118, the so-called Beati. It is not known if the original manuscript was a Psalter containing all or most of the psalms.

  • s. xiex-xiiin
  • Mícheál Ó Cléirigh
Not yet published.
  • s. viiiex/ixin

Psalter of bishop Warmund of Ivrea, written in c.1000 (cf. MS 86, Warmund’s Sacramentary). While most often cited in the literature for its miniatures reminiscent of Ottonian art and the connection to Warmund, it may be known to Celticists for the 11th-century additions of hymns in honour of Irish saints, Patrick, Brigit, Kilian and Brendan.

  • c.1000