The miniatures of the York Psalter (MS.U.3.2, Univ. of Glasgow Library), an important manuscript from the north of England dating ca 1170, have an obvious relation in form, style and iconography to the pictorial cycles of 12th century English manuscripts as exemplified by the St. Albans Psalter, the Pembroke College MS.120 and the Four Psalter Leaves. However, the York Psalter is distinguished by the unique iconography of its Virgin cycle on the last three illustrated folios—six scenes depicting the Death, Burial and Assumption--which sets it apart from other representations of the subject in manuscripts from the south of England. This thesis is concerned with the literary and artistic sources for this distinct imagery. Chapter II analyzes the Virgin cycle first against the common textual Latin source and then against one of its recensions in an Anglo-Saxon homily on the narrative. The Anglo-Saxon version is shown to explain some of the unusual iconographic features in the cycle. The final scene of Assumption, which does not accord with either of these texts, is analyzed from the point of view of its dramatic form, and the shrouded body motif is established as a characteristic trait of Anglo-Saxon and later English art. Chapter III discusses in general the tradition of Dormition-Assumption iconography in Continental art and in particular the special tradition for the theme in art of the British Isles, where by comparison it occurs earlier and in more developed form. The recurrence of a Death and Assumption cycle in expanded form in the York Psalter can be seen as a logical development of a subject habitually present in English art. Chapter IV notes that throughout the iconography of the other miniatures, the artist of the York Psalter has followed in the main a variety of models from Byzantine art and contemporary English illumination. But, in some unusual and inventive features, very often the prototype turns out to be insular art. Anglo-Saxon iconography, which was the formative influence on the Virgin cycle, has also contributed an imaginative aspect to some of the other miniatures as well. In an atmosphere of ever-increasing devotion to Mary, the artist of the York Psalter Virgin cycle has combined Anglo-Saxon literary sources and pictorial motifs. In so doing he has created a unique iconography, imbued with a new, highly original content. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis (D.W.S.)--Institute for Worship Studies, 2006. / Includes bibliographical references.

No description available.

Thesis--Würzburg. / Vita. Includes bibliographical references (p. [94]-95).

Thesis (D.M.A.) -- University of Southern California, 1972. / Typescript (mimeographed) Includes bibliographical references and bibliography (leaves 417-427).

Thesis (Ph. D.)--New York University, 1978. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 404-406).

After the invasion of Spain by the Muslims in 711-A. D., Southern Spain and North Africa, from which the invaders had come, were linked in such a way that they could no longer be counted separate countries with separate cultures. There was a steady traffic between the two, not only in regard to people and merchandise, but in ideas, writings and translations. The Caliph resided sometimes in Andalusia, sometimes in North Africa. In 817, after a revolt of the Christians at Cordoba, Hakam massacred some and deported others to North Africa. Thirty years later, a famine in Spain drove many to emigrate and join the exiles. Later still, in 1126, Ali ben Yusuf beat back the king Alonso and, to punish those Christians of his realm who had been willing to join the king, had them deported from Granada to Morocco, where they were settled in Mequinez and Fez. It was in the latter city, in 1137, that a bishop Michael ibn abd-el-aziz had a copy of the Gospels made for a certain Ali ibn abd-el-aziz. A year after this copy had been made, a further deportation by the son of All ibn Yusuf swelled the ranks of the exiles and emigres. The Christians in North Africa fared quite well. They became soldiers and the Christian militia played no small part in North African history. Some were chosen by the Caliph to join his personal bodyguard and others held good posts at Court. Even the Almohades, strict Unitarians though they, were, allowed churches. to be built. In 1224, when Ferdinand's help was sought by the Almohades in North Africa to quell risings of local Moorish rulers, the Christian king asked in payment not only money and ten Andalusian fortresses, but that a Christian church should be built in Morocco and bells sound the hours of service.

Though perhaps we shall never know the music to which these religious lyrics were written, the poems have never ceased to be the source of inspiration for the spirits of men since they were first sung. Each psalm seems to have an underlying purpose with a personal message for each reader. In the Book one can find a reply to every sort of question, for the Psalms are filled with expressions of emotion brought about by all human experience. The collection of these 150 songs or psalms makes up what is known as the Hebrew hymn-book or the Book of Psalms.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 127-134). Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 127-134). Also available on the Internet.