Seite - 54 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

54 michaEl a. michaEl Nunnaminster (the Benedictine Abbey of Winchester).7 It is also seen at Canter- bury in the slight figures and attenuated limbs which add humanity to the stories being told in stained glass such as that of Etheldreda of Canterbury or Petronilla a nun of Polesworth (Canterbury Cathedral, n. IV, 8 and 49, fig. 5). Notably, the same affected style can be seen in the recently uncovered paintings in the Chapel of the Agricola Tower at Chester Castle (fig. 6). The charming and sensitive Visitation scene displays an unusual depiction of what may be called ‘chin or cheek chuck- ing’ between women, a gesture usually reserved in modern European culture for children or, in a more patronising way, is occasionally used by older men towards a younger woman. Another group of manuscripts made for patrons in the south of England by an artist known as the Sarum Master further develops the theme of intense religious expression (fig. 7). As Derek Turner first noted, where the Lindesey Psalter uses a refined thinness for the figure, the Sarum Master in his work on the Sarum Missal in the Rylands Library in Manchester and the Psalter made for use by a woman at the Benedictine Priory of Amesbury in All Souls College, Oxford (MS 6, fig. 8) amplifies and extends the emotive quality of the miniatures by developing and even heightening their emotional impact to reflect what must have been the increasingly 7 Margaret Manion: The Medieval Imagination: In: Illuminated Manuscripts Drawn from Collections in Cambridge, Australia and New Zealand Presented by the State Li- brary of Victoria, ed. by Nigel Morgan / Bronwyn Stocks, South Yarra 2008, no. 39. Ide de Raleigh’s Psalter has also been compared with a Psalter fragment made for the Benedictine Abbey of Chertsey near London (Cambridge, Emmanuel College, MS 252); Morgan, Early Gothic Manuscripts (cit. n. 4), no. 52, p. 100. Fig. 2: The Second Peterborough Psalter of Abbot Robert de Linde- sey (1214‒1222) or of Abbot Alex- ander of Holderness (1222–1226). The Crucifixion with the sun and moon above. Cambridge, The Fitzwilliam Museum, MS 12, fol. 12r, Peterborough, c. 1220 or before 1226 Fig. 3: Psalter Leaf (Beatus page on verso). Christ in Majesty surrounded by the symbols of the Evangelists. London, The British Library, Cotton Vespasian A I, fol. 1r