Psalter of Louis the German

Before the emergence of the book of hours, Psalters were the most popular manuscripts created for personal use. In addition to the Psalms, they often contained common prayers and excerpts from the Gospels that were connected to the songs of David in one way or another. Some of the most magnificent examples of early medieval Psalters were commissioned by or for members of the Carolingian dynasty, including the specimen at hand: the Psalter of Louis the German. It was created in the mid-9th century for the grandson of Charlemagne who ruled as the first king of East Francia after the division of the Carolingian Empire from 843 to 876. It is embellished with some of the finest examples of Carolingian/Insular illumination created with a wonderful color palette and gold leaf, including a gorgeous miniature of the Crucifixion that is unique among Carolingian manuscripts.

A Perfect Specimen of Franco-Saxon Art

At the behest of King Louis the German (810-876), the manuscript was created in the scriptorium of the Abbey of St. Bertin in Saint Omer, not far from Calais on the French coast of the English Channel. The adornment of the codex is characterized by an exemplary blend of the Hiberno-Saxon artistic tradition with Frankish illumination. 200 intricate interlace frames in gold leaf, and numerous decorative initials created with gorgeous shades of green, reddish brown, and purple. Various elements from Insular illumination, such as birds and other animals, can be found alongside the Carolingian miniscule, which was written down by a masterful scribe. Despite the rich ornamentation, the manuscript is text-focused and the only figural depiction in it is limited to the Crucifixion scene. This Franco-Saxon style is unique and distinguished from the Carolingian illumination, which was itself already influenced by the Irish and Anglo-Saxon monks who came to serve Charlemagne in Aachen and continued to serve his descendants in the generations to follow, in addition to serving as missionaries in Central Europe.

For Which Louis?

An inscription in the manuscript indicates that it was dedicated to LUDOVICUS REX, or “King Louis”, and could have been commissioned either by Louis I “the Pious” or his son Louis II “the German”. It is only through the careful examination of various artistic details that researchers have been able to determine who the patron of the manuscript was, but this ambiguity may have been intentional – an indication of continuity whereby Louis the German traced his legitimacy back to Charlemagne, his grandfather. Elaborately illuminated Psalters were traditionally commissioned by members of the Carolingian dynasty, including the Golden Psalter of Charlemagne, commissioned as a gift for his wife Hildegard and one of the oldest manuscripts created for personal use.

Kneeling Before the Crucifixion

The only figural representation in the manuscript consists of a miniature showing a young man kneeling at the base of the cross upon which Christ was crucified. Dressed in a purple tunic, this person is most likely meant to represent the king himself. Christ, flanked by the Virgin Mary and Saint John the Evangelist as well as figures representing the Sun and Moon, looks down upon him with a look of approval. Unlike most Carolingian donor portraits, which show the patron seated on a throne and being presented with the manuscript they commissioned, this miniature shows a mighty Frankish monarch as a beardless youth paying homage to the King of Kings.