Seite - 56 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

56 michaEl a. michaEl with a number of other gifts including a Cope, and appears to have started life as a priest and became a Precentor at Crediton in Devon. The book was subsequent- ly described in the 1327 inventory of Exeter Cathedral as: Bonum notatum cum tropariis cum multis ymaginibus subtilibus de auro in canone, lx: and it can be secure- ly identified even in the 1506 inventory of the Cathedral which records its secundo folio (Manchester, John Rylands Library, Latin MS 24, fol. 152r).9 Stylistically, the Sarum Master brings together elements of the Muldenfaltenstil whose origins in the Mosan region and Northern France are well known (figs. 7 and 8). His work has also been associated, at least through their iconography, with the lost vault paintings of the choir, crossing and presbytery of Salisbury Cath- edral itself.10 His style is epitomised by what, in English, is generally called the trough-fold-style of the garments, combined with the devotional intensity of the ‘sweet style’ seen in the Lindesey Psalters, which is made more visceral by the artist through the bold drawing of the body of Christ. It is notable that the Crucifixion scene in the Missal of Henry of Chichester (fol. 152), emphasises the role of the Vir- gin through the inclusion of a second female figure supporting her as she swoons, hands limp, holding a trailing scroll with the inscription anima mea liquefacta est (my soul has melted: Song of Solomon 5:6; fig. 7). This was a Sarum antiphon which was usually used in the return to the quire after procession between the Octave of the Assumption and the Nativity of the Virgin. As Paul Binski has noted, it 9 Richard W. Pfaff: The Liturgy in Medieval England: A History. Cambridge 2009, p. 394. 10 Matthew Reeve: Thirteenth-Century Wall Painting of Salisbury Cathedral: Art Liturgy and Reform. Woodbridge 2008, pp.72–75. Fig. 6: Wall painting. The Visita- tion. Chester Castle, Chapel of the Agricola Tower, c. 1237?