St. Albans Psalter

The St Albans Psalter, also known as the Albani Psalter or the Psalter of Christina of Markyate, is an English illuminated manuscript, one of several psalters known to have been created at or for St Albans Abbey in the 12th century. It is widely considered to be one of the most important examples of English Romanesque book production; it is of almost unprecedented lavishness of decoration, with over forty full-page miniatures, and contains a number of iconographic innovations that would endure throughout the Middle Ages. It also contains the earliest surviving example of French literature, the Chanson de St Alexis or Vie de St Alexis, and it was probably commissioned by an identifiable man and owned by an identifiable woman. Since the early 19th century it has been owned by the church of St. Godehard, but is now stored and administered at the nearby Dombibliothek (Cathedral Library). A single leaf from the manuscript is at the Schnütgen Museum, Cologne; one further leaf, and one further cutting, are missing from the volume, their whereabouts unknown.

The manuscript as it survives in Hildesheim has 209 folios (i.e. 418 pages) of vellum, which are numbered by a modern hand in Arabic numerals in the top right corner of the rectos, and there's an additional numbering of the miniatures at the bottom of their pages. A full page measures 27.6 x 18.4 cm. There are many signs that the pages have been trimmed down from their original size. The binding is of leather, and medieval, although it was restored in modern times, perhaps the 1930s.

The manuscript is composed of five physically separable parts:

Scholarly opinion differs on many of the details, but there is general agreement that the psalter was created at St Albans Abbey between circa 1120 and circa 1145, during the abbacy (1119-1146) of Geoffrey de Gorham or Gorron, and that it was possibly owned by Christina of Markyate (c. 1098-c. 1155-1166), anchoress and later prioress of Markyate, or at least associated with her at some point after her death. If she did indeed own it, it is not clear whether the manuscript was intended for her from the beginning, whether it was adapted for her while it was being made, or whether it became hers after its completion; recent research remains divided on this issue. Additions were made to the manuscript at various times until after her death, which is recorded in the calendar.

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