Felbrigge Psalter. The Felbrigge Psalter is an illuminated manuscript Psalter from mid-13th century England that has an embroidered bookbinding which probably dates to the early 14th century.
The Queen Mary Psalter was heavily influenced by the Felbrigge Psalter, and it features many of the same motifs and design elements, such as the use of intricate borders and decorative initials. The Luttrell Psalter is an illuminated manuscript created in England in the mid-14th century.
It is named after its original owner, Sir Geoffrey Luttrell, who is depicted in the manuscript along with his family and estate. The Luttrell Psalter was influenced by the Felbrigge Psalter in its use of vivid colors and intricate designs, as well as its focus on the natural world and the human experience.
The Felbrigge Psalter is the oldest surviving book from England to have an embroidered binding. The embroidery is worked in fine linen with an illustration of the Annunciation on the front cover and an illustration of the Crucifixion on the back.
The cover embroidery is 7¾ by 5¾, couched in a zigzag pattern using fine gold thread. The remainder is worked in linen floss using a split stitch that flows independently from the mesh of the canvas. In the opinion of Cyril Davenport, the embroidery on this book is very high quality: I know of no other instance for which appropriateness of workmanship, or charm of design, can co
The Queen Mary Psalter was heavily influenced by the Felbrigge Psalter, and it features many of the same motifs and design elements, such as the use of intricate borders and decorative initials. The Luttrell Psalter is an illuminated manuscript created in England in the mid-14th century.
It is named after its original owner, Sir Geoffrey Luttrell, who is depicted in the manuscript along with his family and estate. The Luttrell Psalter was influenced by the Felbrigge Psalter in its use of vivid colors and intricate designs, as well as its focus on the natural world and the human experience.
The Felbrigge Psalter is the oldest surviving book from England to have an embroidered binding. The embroidery is worked in fine linen with an illustration of the Annunciation on the front cover and an illustration of the Crucifixion on the back.
The cover embroidery is 7¾ by 5¾, couched in a zigzag pattern using fine gold thread. The remainder is worked in linen floss using a split stitch that flows independently from the mesh of the canvas. In the opinion of Cyril Davenport, the embroidery on this book is very high quality: I know of no other instance for which appropriateness of workmanship, or charm of design, can co
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