Confessor is the first EP from technical Doom Metal band Confessor, released in 1992. Label says 33rpm, but plays at 45rpm.
Art.com | We Are Art We exist so you can have the art you love. Art.com gives you easy access to incredible art images and top-notch craftsmanship. High-Quality Framed Art Prints Our high-end framed wall art is printed on premium paper using non-toxic, archival inks that protect against UV light to resist fading. Experience unmatched quality and style as you choose from a wide range of designs to enhance your room décor. Professionally Crafted Framed Wall Art Attention to detail is at the heart of our process, as we exclusively use 100% solid wood frames that include 4-ply white core matboard and durable, frame-grade clear acrylic for clarity, long-lasting protection of the artwork and unrivaled quality. With a thoughtfully selected frame and mat combination, this piece is designed to complement your art and create a visually appealing display. Easy-to-Hang & Ready-to-Display Artwork Each framed art piece comes with hanging hardware affixed to the back of the frame, allowing for easy and convenient installation. Ready to display right out of the box. Handcrafted in the USA. The Print This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world, giclée is a printing process where millions of ink droplets are “sprayed” onto high-quality paper. With the great degree of detail and smooth transitions of color gradients, giclée prints appear much more realistic than other reproduction prints. The high-quality paper (235 gsm) is acid free with a smooth surface. Paper Type: Giclee Print Finished Size: 16" x 16" Arrives by Sat, Apr 6 Product ID: 56694447456A
This is the only known surviving copy of an illustrated Anglo-Norman verse Life of St Edward the Confessor, written in England probably in the later 1230s or early 1240s and, as preserved in this manuscript, executed c. 1250-60. A masterpiece of mid thirteenth-century English illumination, the manuscript preserves vital evidence for the study of the hagiographical writings about Edward the Confessor that were sponsored by Henry III, and also for the complexity and sophistication of English pen and wash narrative art in this period. The text, entitled in the first rubric 'la estoire de seint aedward le rei translatee du latin' (f. 3r), is based upon Aelred of Rievaulx's Vita Sancti Edwardi regis et confessoris, which was composed in Latin around the time of the saint's canonisation in 1161. Aelred's Vita tells how Edward was exiled as a boy during the Danish occupation (see f. 4r), and how his rule proved of benefit to the English people; it describes his visions and miracles, his patronage of Westminster Abbey (f. 19r) and the manner of his death (f. 29r), before covering the downfall of his successor, Harold (f. 34v), and the eventual opening of the king's tomb (f. 36r). The present translation into verse was composed by someone either at Westminster, where the shrine of the saint lay, or more probably at St Albans. Numerous correspondences between the text and the historical works of Matthew Paris (1200-1259) suggest very strongly that Matthew was in fact the author. The text opens with a form of dedication to Queen Eleanor of Provence, and was thus composed after 1236, when Eleanor married Henry III. It was probably written before the birth of Prince Edward, later Edward I, in 1239, and certainly before the start of work on the rebuilding of Westminster Abbey by Henry III in 1245, which the passages in the poem about Edward the Confessor's own refoundation of the Abbey appear to anticipate. Consisting of thirty-seven folios and a total of sixty-four pictures, the present manuscript is a slightly later copy of the original. The script and illustrations demonstrate numerous points of contact with a number of stylistically and codicologically similar manuscripts produced not at St Albans but in London, or at Westminster itself: these include: the Getty (formerly Dyson Perrins) Apocalypse (Los Angeles, John Paul Getty Museum, MS Ludwig III) the Morgan Apocalypse (New York, Pierpont Morgan Library, MS M.524) and the Tanner Apocalypse (Oxford, Bodleian Library, MS. Tanner 184) A similarly delicate hand was employed on now fragmentary wall paintings in the Dean's Cloister at Windsor Castle, made for Henry III in the 1250s. The Life of St Edward is probably the latest of the series, since some of its illustrations are in the French-influenced 'broad-fold' style common from the later 1250s; these, and some of the pen and wash marginalia, also include naturalistic foliage common only from the 1250s. This indicates that the present copy was probably made on the basis of Matthew Paris's original by court illuminators working around 1255, possibly for the use of Eleanor of Castile, who married Prince Edward in 1254, and who is known to have later owned a manuscript Life of St Edward. The format of the manuscript, with framed illustrations at the head of the page, resembles such autograph works of Matthew Paris as his Life of St Alban (Dublin, Trinity College, MS 177), and also the stylistically related Apocalypses mentioned above. Here, however, the form of the poem, in octo-syllabic rhymed couplets that yield a short line and thus three columns of text per page, has shaped the appearance of each opening. As a rule the illustrations, accompanied by rubrics, cover all three columns, but occasionally occupy fewer. The marginalia are notable: that on f. 3r shows a semi-erased image of a man and woman kissing, perhaps a subversive reference to the substance of the main text, which stresses Edward's chastity. Paul Binski Professor of the History of Medieval Art University of Cambridge The manuscript featured in The moving word exhibition at Cambridge University Library, January-April 2014, and in the Library’s 600th anniversary exhibition Lines of Thought: Discoveries that changed the world, March-September 2016.
Wills's Cigarettes. Kings & Queens of England, 1898. Edward the Confessor 1042-1066.
Saint of the Day – 20 July – St Jerome Emiliani (1486–1537) Confessor, Layman, Founder of the Somascan Fathers, Apostle of the poor, orphans, the sick, Catechist, Founder of countless Orphanages, T…
Art.com | We Are Art We exist so you can have the art you love. Art.com gives you easy access to incredible art images and top-notch craftsmanship. High-Quality Framed Art Prints Our high-end framed wall art is printed on premium paper using non-toxic, archival inks that protect against UV light to resist fading. Experience unmatched quality and style as you choose from a wide range of designs to enhance your room décor. Professionally Crafted Framed Wall Art Attention to detail is at the heart of our process, as we exclusively use 100% solid wood frames that include 4-ply white core matboard and durable, frame-grade clear acrylic for clarity, long-lasting protection of the artwork and unrivaled quality. With a thoughtfully selected frame and mat combination, this piece is designed to complement your art and create a visually appealing display. Easy-to-Hang & Ready-to-Display Artwork Each framed art piece comes with hanging hardware affixed to the back of the frame, allowing for easy and convenient installation. Ready to display right out of the box. Handcrafted in the USA. The Print This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world, giclée is a printing process where millions of ink droplets are “sprayed” onto high-quality paper. With the great degree of detail and smooth transitions of color gradients, giclée prints appear much more realistic than other reproduction prints. The high-quality paper (235 gsm) is acid free with a smooth surface. Paper Type: Giclee Print Finished Size: 12" x 18" Arrives by Fri, May 10 Product ID: 56000225365A
Saint of the Day – 6 June – St Norbert (c 1080-1134) – also known as St Norbert of Xanten – Bishop, Confessor, Founder, “Defender of the Eucharist” and “Ap…
Saints have always played a key role in the lives of the faithful. And these five saints—though not very well known—have also changed the lives of many devotees in one way or another. You may know some of them, but for the most part, they are as obscure as they are! Here are the five little known patron saints below. 1
Art.com | We Are Art We exist so you can have the art you love. Art.com gives you easy access to incredible art images and top-notch craftsmanship. High-Quality Framed Art Prints Our high-end framed wall art is printed on premium paper using non-toxic, archival inks that protect against UV light to resist fading. Experience unmatched quality and style as you choose from a wide range of designs to enhance your room décor. Professionally Crafted Framed Wall Art Attention to detail is at the heart of our process, as we exclusively use 100% solid wood frames that include 4-ply white core matboard and durable, frame-grade clear acrylic for clarity, long-lasting protection of the artwork and unrivaled quality. With a thoughtfully selected frame and mat combination, this piece is designed to complement your art and create a visually appealing display. Easy-to-Hang & Ready-to-Display Artwork Each framed art piece comes with hanging hardware affixed to the back of the frame, allowing for easy and convenient installation. Ready to display right out of the box. Handcrafted in the USA. The Print This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world, giclée is a printing process where millions of ink droplets are “sprayed” onto high-quality paper. With the great degree of detail and smooth transitions of color gradients, giclée prints appear much more realistic than other reproduction prints. The high-quality paper (235 gsm) is acid free with a smooth surface. Paper Type: Giclee Print Finished Size: 9" x 12" Arrives by Sat, May 11 Product ID: 56420864276A
Saint of the Day – 6 October – St Bruno (c 1030-1101) – Priest, Confessor, Hermit, Monk, Mystic, Founder, Philosopher, Theologian, Teacher, Advisor, Writer (c 1030 at Cologne, Ger…
St. Edward the Confessor by Aidan Hart www.aidanharticons.com * Today, October 13th, is the feast of St. Edward the Confessor, King of England from 1042 to 1066. A 'confessor' is one who suffers for the faith but is not called upon to die for it. Edward is so-called to distinguish himself from St. Edward the Martyr, the boy king whose three year reign was brutally terminated by jealous nobles in 978. Edward was born around 1005 in Islip, Oxfordshire. His mother was Emma of Normandy and his father Edward the Martyr's infamous successor, Ethelred the Unready (978-1016). Ethelred was a weak and vacillating king. Under his disastrous stewardship, the country lay exposed to sustained and ferocious Viking attack and was eventually conquered by Canute the Dane in 1016. Edward and his mother took refuge in Normandy, remaining there until 1041 when invited to return by Hardicanute (1040-1042), Canute's son and last representative of the Danish conqueror's English dynasty. Edward became king in 1042 upon Hardicanute's premature death. He reigned for 24 years, a long time by Anglo Saxon standards. Opinion is divided as to the merits of his reign. Some historians view him as an astute, sharp-minded ruler, while others criticise the passivity and indecisiveness that created such confusion around the succession paving the way for the William the Conquerors's seizure of the crown nine months after Edward's death. Edward did little during the first half of his reign to endear himself to the English nobility. He surrounded himself with Norman advisers, excluding the powerful Anglo-Danish Earls from his inner circle. In 1051 a party of Norman visitors sparked a riot in Dover. Edward ordered Godwin, Earl of Wessex, to punish the English offenders. When Godwin refused, Edward sent him into exile along with his family. The following year Godwin returned at the head of an army. The Witan (the Anglo Saxon parliament) declined to support the king and Edward was forced to back down. His Norman advisers were sent home and Edward began to withdraw from public affairs, leaving the administration of the realm - including a series of wars against the Welsh - first to Godwin and then, after his death in 1053, to his son, Harold. He focused his energies instead on the construction of a great church in the heart of London. Dedicated to St. Peter, it became known as Westminster Abbey and stands today as Edward's lasting legacy to his kingdom. Edward, first and foremost, was a man of God. Religion was his passion and he may, in many respects, have found greater fulfilment as a monk than a king. His wife, Godwin's daughter, Edith, might have concurred. Edward had taken a vow of celibacy in his youth and this, extraordinarily, appears to have remained in place even after his marriage in 1045. He had a great reputation for holiness amongst the people, however, as illustrated in this legend. Edward, it is said, was riding one day to a chapel dedicated to St. John the Evangelist when a beggar asked for alms. Edward had no money with him so he took off his ring and gave it to the man instead. A few years later, in the summer of 1065, two English pilgrims were travelling through the Holy Land and became stranded. They were helped by an old man who told him he was St. John the Evangelist. He was carrying the ring Edward had given to the beggar some years previously. He asked the pilgrims to return it to the king, telling him that in six months time he would meet St. John in Heaven. Edward was also believed to have been blessed with the gift of healing. He began the royal custom of touching sick people to cure them, a tradition which continued for nearly 700 years until the advent of George I in 1714. In Shakespeare's Macbeth, written some 550 years after Edward's reign, we see this exact property discussed by Malcolm and Macduff as they plot their return to Scotland from the safe harbour of Edward's court: MALCOLM: Comes the king forth, I pray you? DOCTOR: Ay, sir; there are a crew of wretched souls That stay his cure: their malady convinces The great assay of art; but at his touch - Such sanctity hath heaven given his hand - They presently amend. MALCOLM: I thank you, doctor. MACDUFF: What's the disease he means? MALCOLM: 'Tis called the evil: A most miraculous work in this good king; Which often, since my home-remain in England, I have seen him do. How he solicits heaven, Himself best knows: but stranegly-visited people, All swoln and ulcerous, pitiful to the eye, The mere despair of surgery, he cures, Hanging a golden stamp about their necks, Put on with holy prayers; and 'tis spoken, To the succeeding royalty he leaves The healing benediction. With this strange virtue, He hath a heavenly gift of prophecy, And sundry blessings hang about his throne, That speak him full of grace. (Act IV, Scene III) Shakespeare's perception, as always, is razor sharp here. It isn't so much what Edward did or didn't do as a political leader that counts, but the impression he made on the hearts and minds around him. Something in his person, some quality of his being, spoke to people on a deep and meaningful level, bringing a measure of healing and serenity to those he met. He exuded peace, and by his very presence made others feel close to God. The legends surrounding him grew, therefore, out of this innate spiritual radiance. Edward was canonised in 1161 and was considered one of England's patron saints until Edward III adopted St. George in 1351. Like ourselves, he lived and acted in challenging and uncertain times. In many ways, however, our situation feels more precipitous. Contemporary England no longer knows or enjoys the protecting, nurturing shelter of a shared faith. The idea of a common good, guaranteed by the monarch, in which everyone has a stake, is fast disappearing. English society is atomised and fragmented. People are losing faith - in God, in their country, in themselves. Politics and culture grow increasingly polarised, while all manner of instability - financial, emotional, intellectual - runs amok across the land. Let us turn to St. Edward then, today especially, that he may bless our country and pray for her inhabitants, ourselves - that our hurts may be healed, our hearts softened and our minds redirected towards that abiding Truth which animated him in his life and brought such solace and such an indelible sense of the holy to the men and women he encountered. This is the reorientation our fractured society cries out for - a restoration and restatement of what is eternal and real - the natural pattern, order and harmony of God's creation. St. Edward the Confessor, pray for us. St. Edward the Confessor, pray for England.
This garment is meant to reproduce the split-front tunics that are ubiquitous in 13th century illustrations. Maciejowski Bible. [1] Life of Edward the Confessor. [2] Murthly Hours, folio 4r and 18v…
She was called the "Mother-Confessor of Hollywood" for her talent at extracting sob-stories from starlets
Saint of the Day – 7 August – St Cajetan – Founder of the Theatine Order – Priest, Confessor, Reformer, Doctor of Civil and Canon Law, Diplomat, Mystic, Miracle Worker, Apos…
Edward was crowned in 1327. Monuments to him and his wife Philippa of Hainault are in the chapel of St Edward the Confessor, Westminster Abbey.
Saint of the Day – 6 December – St Nicholas (270-343) Confessor, Bishop, Miracle-Worker, Apostle of Charity. Also known as – • Nicholas of Bari• Nicholas of Lpnenskij • Nichola…
Saint of the Day – 9 October – Saint Denis of Paris (Died c 258) and Companions, the First Bishop of Paris, Martyr, Missionary, Confessor. St Denis was Bishop of Paris (then Lutetia) in…
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Saint Edward the Confessor, known as Good King Edward, was raised to the throne of England when he was forty years old, on Easter Sunday in 1042. To satisfy his nobles and his people, and so that E…
Tonight we come to the end of our 13 Night Sword of Truth Marathon. It has been a glorious ride down memory lane, as we started with Miranda's review o ...
This is the only known surviving copy of an illustrated Anglo-Norman verse Life of St Edward the Confessor, written in England probably in the later 1230s or early 1240s and, as preserved in this manuscript, executed c. 1250-60. A masterpiece of mid thirteenth-century English illumination, the manuscript preserves vital evidence for the study of the hagiographical writings about Edward the Confessor that were sponsored by Henry III, and also for the complexity and sophistication of English pen and wash narrative art in this period. The text, entitled in the first rubric 'la estoire de seint aedward le rei translatee du latin' (f. 3r), is based upon Aelred of Rievaulx's Vita Sancti Edwardi regis et confessoris, which was composed in Latin around the time of the saint's canonisation in 1161. Aelred's Vita tells how Edward was exiled as a boy during the Danish occupation (see f. 4r), and how his rule proved of benefit to the English people; it describes his visions and miracles, his patronage of Westminster Abbey (f. 19r) and the manner of his death (f. 29r), before covering the downfall of his successor, Harold (f. 34v), and the eventual opening of the king's tomb (f. 36r). The present translation into verse was composed by someone either at Westminster, where the shrine of the saint lay, or more probably at St Albans. Numerous correspondences between the text and the historical works of Matthew Paris (1200-1259) suggest very strongly that Matthew was in fact the author. The text opens with a form of dedication to Queen Eleanor of Provence, and was thus composed after 1236, when Eleanor married Henry III. It was probably written before the birth of Prince Edward, later Edward I, in 1239, and certainly before the start of work on the rebuilding of Westminster Abbey by Henry III in 1245, which the passages in the poem about Edward the Confessor's own refoundation of the Abbey appear to anticipate. Consisting of thirty-seven folios and a total of sixty-four pictures, the present manuscript is a slightly later copy of the original. The script and illustrations demonstrate numerous points of contact with a number of stylistically and codicologically similar manuscripts produced not at St Albans but in London, or at Westminster itself: these include: the Getty (formerly Dyson Perrins) Apocalypse (Los Angeles, John Paul Getty Museum, MS Ludwig III) the Morgan Apocalypse (New York, Pierpont Morgan Library, MS M.524) and the Tanner Apocalypse (Oxford, Bodleian Library, MS. Tanner 184) A similarly delicate hand was employed on now fragmentary wall paintings in the Dean's Cloister at Windsor Castle, made for Henry III in the 1250s. The Life of St Edward is probably the latest of the series, since some of its illustrations are in the French-influenced 'broad-fold' style common from the later 1250s; these, and some of the pen and wash marginalia, also include naturalistic foliage common only from the 1250s. This indicates that the present copy was probably made on the basis of Matthew Paris's original by court illuminators working around 1255, possibly for the use of Eleanor of Castile, who married Prince Edward in 1254, and who is known to have later owned a manuscript Life of St Edward. The format of the manuscript, with framed illustrations at the head of the page, resembles such autograph works of Matthew Paris as his Life of St Alban (Dublin, Trinity College, MS 177), and also the stylistically related Apocalypses mentioned above. Here, however, the form of the poem, in octo-syllabic rhymed couplets that yield a short line and thus three columns of text per page, has shaped the appearance of each opening. As a rule the illustrations, accompanied by rubrics, cover all three columns, but occasionally occupy fewer. The marginalia are notable: that on f. 3r shows a semi-erased image of a man and woman kissing, perhaps a subversive reference to the substance of the main text, which stresses Edward's chastity. Paul Binski Professor of the History of Medieval Art University of Cambridge The manuscript featured in The moving word exhibition at Cambridge University Library, January-April 2014, and in the Library’s 600th anniversary exhibition Lines of Thought: Discoveries that changed the world, March-September 2016.
This is the only known surviving copy of an illustrated Anglo-Norman verse Life of St Edward the Confessor, written in England probably in the later 1230s or early 1240s and, as preserved in this manuscript, executed c. 1250-60. A masterpiece of mid thirteenth-century English illumination, the manuscript preserves vital evidence for the study of the hagiographical writings about Edward the Confessor that were sponsored by Henry III, and also for the complexity and sophistication of English pen and wash narrative art in this period. The text, entitled in the first rubric 'la estoire de seint aedward le rei translatee du latin' (f. 3r), is based upon Aelred of Rievaulx's Vita Sancti Edwardi regis et confessoris, which was composed in Latin around the time of the saint's canonisation in 1161. Aelred's Vita tells how Edward was exiled as a boy during the Danish occupation (see f. 4r), and how his rule proved of benefit to the English people; it describes his visions and miracles, his patronage of Westminster Abbey (f. 19r) and the manner of his death (f. 29r), before covering the downfall of his successor, Harold (f. 34v), and the eventual opening of the king's tomb (f. 36r). The present translation into verse was composed by someone either at Westminster, where the shrine of the saint lay, or more probably at St Albans. Numerous correspondences between the text and the historical works of Matthew Paris (1200-1259) suggest very strongly that Matthew was in fact the author. The text opens with a form of dedication to Queen Eleanor of Provence, and was thus composed after 1236, when Eleanor married Henry III. It was probably written before the birth of Prince Edward, later Edward I, in 1239, and certainly before the start of work on the rebuilding of Westminster Abbey by Henry III in 1245, which the passages in the poem about Edward the Confessor's own refoundation of the Abbey appear to anticipate. Consisting of thirty-seven folios and a total of sixty-four pictures, the present manuscript is a slightly later copy of the original. The script and illustrations demonstrate numerous points of contact with a number of stylistically and codicologically similar manuscripts produced not at St Albans but in London, or at Westminster itself: these include: the Getty (formerly Dyson Perrins) Apocalypse (Los Angeles, John Paul Getty Museum, MS Ludwig III) the Morgan Apocalypse (New York, Pierpont Morgan Library, MS M.524) and the Tanner Apocalypse (Oxford, Bodleian Library, MS. Tanner 184) A similarly delicate hand was employed on now fragmentary wall paintings in the Dean's Cloister at Windsor Castle, made for Henry III in the 1250s. The Life of St Edward is probably the latest of the series, since some of its illustrations are in the French-influenced 'broad-fold' style common from the later 1250s; these, and some of the pen and wash marginalia, also include naturalistic foliage common only from the 1250s. This indicates that the present copy was probably made on the basis of Matthew Paris's original by court illuminators working around 1255, possibly for the use of Eleanor of Castile, who married Prince Edward in 1254, and who is known to have later owned a manuscript Life of St Edward. The format of the manuscript, with framed illustrations at the head of the page, resembles such autograph works of Matthew Paris as his Life of St Alban (Dublin, Trinity College, MS 177), and also the stylistically related Apocalypses mentioned above. Here, however, the form of the poem, in octo-syllabic rhymed couplets that yield a short line and thus three columns of text per page, has shaped the appearance of each opening. As a rule the illustrations, accompanied by rubrics, cover all three columns, but occasionally occupy fewer. The marginalia are notable: that on f. 3r shows a semi-erased image of a man and woman kissing, perhaps a subversive reference to the substance of the main text, which stresses Edward's chastity. Paul Binski Professor of the History of Medieval Art University of Cambridge The manuscript featured in The moving word exhibition at Cambridge University Library, January-April 2014, and in the Library’s 600th anniversary exhibition Lines of Thought: Discoveries that changed the world, March-September 2016.
This is the only known surviving copy of an illustrated Anglo-Norman verse Life of St Edward the Confessor, written in England probably in the later 1230s or early 1240s and, as preserved in this manuscript, executed c. 1250-60. A masterpiece of mid thirteenth-century English illumination, the manuscript preserves vital evidence for the study of the hagiographical writings about Edward the Confessor that were sponsored by Henry III, and also for the complexity and sophistication of English pen and wash narrative art in this period. The text, entitled in the first rubric 'la estoire de seint aedward le rei translatee du latin' (f. 3r), is based upon Aelred of Rievaulx's Vita Sancti Edwardi regis et confessoris, which was composed in Latin around the time of the saint's canonisation in 1161. Aelred's Vita tells how Edward was exiled as a boy during the Danish occupation (see f. 4r), and how his rule proved of benefit to the English people; it describes his visions and miracles, his patronage of Westminster Abbey (f. 19r) and the manner of his death (f. 29r), before covering the downfall of his successor, Harold (f. 34v), and the eventual opening of the king's tomb (f. 36r). The present translation into verse was composed by someone either at Westminster, where the shrine of the saint lay, or more probably at St Albans. Numerous correspondences between the text and the historical works of Matthew Paris (1200-1259) suggest very strongly that Matthew was in fact the author. The text opens with a form of dedication to Queen Eleanor of Provence, and was thus composed after 1236, when Eleanor married Henry III. It was probably written before the birth of Prince Edward, later Edward I, in 1239, and certainly before the start of work on the rebuilding of Westminster Abbey by Henry III in 1245, which the passages in the poem about Edward the Confessor's own refoundation of the Abbey appear to anticipate. Consisting of thirty-seven folios and a total of sixty-four pictures, the present manuscript is a slightly later copy of the original. The script and illustrations demonstrate numerous points of contact with a number of stylistically and codicologically similar manuscripts produced not at St Albans but in London, or at Westminster itself: these include: the Getty (formerly Dyson Perrins) Apocalypse (Los Angeles, John Paul Getty Museum, MS Ludwig III) the Morgan Apocalypse (New York, Pierpont Morgan Library, MS M.524) and the Tanner Apocalypse (Oxford, Bodleian Library, MS. Tanner 184) A similarly delicate hand was employed on now fragmentary wall paintings in the Dean's Cloister at Windsor Castle, made for Henry III in the 1250s. The Life of St Edward is probably the latest of the series, since some of its illustrations are in the French-influenced 'broad-fold' style common from the later 1250s; these, and some of the pen and wash marginalia, also include naturalistic foliage common only from the 1250s. This indicates that the present copy was probably made on the basis of Matthew Paris's original by court illuminators working around 1255, possibly for the use of Eleanor of Castile, who married Prince Edward in 1254, and who is known to have later owned a manuscript Life of St Edward. The format of the manuscript, with framed illustrations at the head of the page, resembles such autograph works of Matthew Paris as his Life of St Alban (Dublin, Trinity College, MS 177), and also the stylistically related Apocalypses mentioned above. Here, however, the form of the poem, in octo-syllabic rhymed couplets that yield a short line and thus three columns of text per page, has shaped the appearance of each opening. As a rule the illustrations, accompanied by rubrics, cover all three columns, but occasionally occupy fewer. The marginalia are notable: that on f. 3r shows a semi-erased image of a man and woman kissing, perhaps a subversive reference to the substance of the main text, which stresses Edward's chastity. Paul Binski Professor of the History of Medieval Art University of Cambridge The manuscript featured in The moving word exhibition at Cambridge University Library, January-April 2014, and in the Library’s 600th anniversary exhibition Lines of Thought: Discoveries that changed the world, March-September 2016.
Saint of the Day – 13 October – St Edward King and Confessor (c 1003-1066) – born c 1003 at Islip, Oxfordshire, England and died on 5 January 1066 (aged 60–63) at London, England.…
