Seite - 53 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

53 thE Emotional charGE and humanistic EffEct of thE crucifixion probably from the time of their creation, indicating how prized these images were as works of art. The calmness born of the sobriety of much late twelfth century art is now imbibed with a deep religious sentiment in these images. Paul Binski has characterised this through its ‘affective traits’ as ‘sweetness’, and it has been informally known among scholars of English medieval art as the Eng- lish Sweet Style, although not definitively given this label.5 Evidence of its pres- ence between c. 1215 and 1245 can be found in stained glass, wall painting and illuminated manuscripts,6 but nowhere is it better seen than in the scene of Joseph and Potiphar’s wife from the prefatory miniatures attached to the Psalter owned in the fourteenth century by Ide de Raleigh (Cambridge, Trinity College, MS B.11.4, fol. vii, fig. 4). As a highly prized manuscript, a fourteenth-century note in a care- ful sine pedibus script placed before Psalm 26 (fol. 25v) explains that this heavily illuminated book was to be used by Dom Walter Hone, Abbot of Newnham in Devon (c. 1338), during his lifetime, if he died before her it was to be returned to her, but, should she die first, it was to pass to Dame Johane de Roches, a nun of the 5 Paul Binski: Gothic Painting. In: The Dictionary of Art, ed. by Jane Turner, vol. 13, pp. 126‒157, here p. 143, also refers to the ‘slim and sweet styles of English art’; see also Michael A. Michael: Gotik, ed. by Christine Beier, Graz 2018 (Geschichte der Buchkul- tur 5/2), pp. 43–86. 6 Michael A. Michael: Stained Glass of Canterbury. London 2004, p. 100; Sharon Cather / David Park / Robyn Pender: Henry III’s wall paintings at Chester castle. In: Medieval Archaeology Art and Architecture at Chester, British Archaeological Association Confe- rence Transactions, 22, ed. by Alan Thacker, Leeds 2000, pp. 170–189. Fig. 1: The First Peterborough Psalter of Abbot Robert de Lin- desey. Opening with Crucifixion and Christ in Majesty. London, Society of Antiquaries, MS 59, fols. 35v–36r, Peterborough, 1220–1222