Page - 58 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

58 michaEl a. michaEl Thomas de la Wile at Salisbury (London, The British Library, Royal 1 B XII).13 The impetus for the production of these manuscripts is linked to the importance of the secular clergy art this time in England and the creation of a cultural centre at Salisbury during the building of the new Cathedral.14 The demand for this type of imagery from high ranking members of the church, notably canons associated with Salisbury and other teaching institutions, seems to have fuelled this type of com- mission.15 Its effect appears to have been the dissemination of both texts and art in the south of England. It suggests that the activity of the Sarum Master was centred on Salisbury when the Cathedral was being built (begun 1220 and dedicated 1258), even though there are strong stylistic similarities between his work and sculpture at Westminster Abbey which suggest a connection with the court (fig. 9). The Crucifixion, in the Evesham Psalter, provides a coda to this series of images (fig. 10). In a sensitive and pioneering study of the stylistic context of the Evesham Psalter, and in particular the image of the Crucifixion, Derek Turner, states: ‘No- 13 Thomas de La Wile came to Salisbury to run the new schools set up by scholars from Oxford after 1238. Christopher de Hamel: Books in Medieval Salisbury. In: The Hatcher Review 2 (1982), pp. 99‒109, esp. 103 f.; Hugh M. Thomas: The Secular Clergy in Eng- land, 1066–1216. Oxford 2014, pp. 318 f. 14 Peter Draper: The Formation of English Gothic: Architecture and Identity 1150–1250. New Haven / London 2006, p. 47. Binski, Becket’s Crown (cit. n. 11), pp. 70–73. 15 Matthew Reeve: Thirteenth-Century Wall Painting of Salisbury Cathedral: Art Liturgy and Reform. Woodbridge 2008, pp. 12–27. Fig. 8: Psalter made for use at the Benedictine Priory of Amesbury Oxford. The Crucifixion with the two other persons of the Trinity above, Ecclesia and Synagoga in the centre, emerging souls at the base of the cross and angels at the corners of the frame. Oxford, All Souls College, MS 6, fol. 5r, Salisbury, c. 1250–1255