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256 Short Notices this book will provide you, and your students, with hours of entertainment and edification. But the multiple foliation of the manuscript is guaranteed to drive you mad. There are two systems, one written in blue and one in pencil, and neither is that followed in the commentary. Alexandra Barratt Department ofEnglish University of Waikato Sandler, Lucy Freeman, The Psalter of Robert de Lisle in the British Library, London, Harvey Miller, reprinted 1999; paper; pp. 118; 25 colour plates, 55 b/w ilustrations; R R P £22, US$35; ISBN 187250132X. Published originally in 1983, this is a long overdue republication in paper form of Lucy Freeman Sandler's monograph on the De Lisle Psalter. Sandler has wisely chosen not to alter the original text but has also included a new preface and a postscript that presents an brief overview of recent scholarly interpretations. Not surprisingly, she disagrees with much of this, but also acknowledges how thefieldhas changed over the 35 years since shefirstbegan working on this manuscript. A very useful further addition is the Addendum which provides additional manuscripts to Sandler's handlist of Speculum theologie included in an appendix to the original text. The de Lisle Psalter is a curious one on several levels, in the history of its production and in the subject matter of its illustrations. Robert de Lisle, for example, was a widower who in 1339, upon joining the Franciscan Order, gave the book to his daughters, Audure and Alborou, apparently Ghilbertine nuns at Chicksands in Bedfordshire. The manuscript itself is a fragment. It contains a calendar and 24 illustrations, including scenes from the life of Christ, a Madonna and Child and a Crucifixion, together with thirteen devotional and theological diagrams, including Bonaventura's Tree of Life and the Three Living and the Three Dead. The last image is probably the best known. Each of these images is illustrated in colour and accompanied by notes. The manuscript was bound together with the Howard Psalter. Reading through Sandler's account of later discussions of the manuscript, one of the most striking features is how little there is. As she rightly points out, Mary Carruthers' work on memory in the Middle Ages is very useful for Short Notices 257 contextualising these diagrams as mnemonic devices. It is surprising, given recent work on scholastic diagrams and other scholarly apparatus, including Sandler's own work on the Omnes Bonum, that these images have received little attention. It is also fascinating to trace here the development of Sandler's own scholarly interests in unusual fourteenth-century manuscripts, the encyclopedic and the diagrammatic. Another thread that is not followed through in any great detail in this book is the manuscript's social context. As Sandler points out, the focus of recent manuscript studies has changed, and it is probable that any new study would focus in more detail on the questions of context and content. It must, however, be acknowledged that the questions that concerned Sandler here, such as the possible original ordering of the pages, the dating of its production and the identification of artists and scribes, would still have to be addressed. Finally, congratulations to Harvey Miller Publishers for reissuing this book in a more accessible paperback form. Let us hope they continue to republish their significant medieval publications. Judith Collard Art History and Theory University ofOtago Whaley, Diane, The Poetry ofArnorr jarlaskdld. An Edition and Study (Westfield Publications in Medieval Studies 8), London, Brepols and Centre for Medieval and Renaissance Studies, Queen Mary and Westfield College, University of London, 1998; cloth; pp. xvi, 369. Diana Whaley's exemplary edition of the poetry of Arnorr jarlaskald (comprisi edited texts, translations, diplomatic texts and critical apparatus) is supplemented by her detailed introduction, appendices to the edition and bibliography. That it takes well over 300 pages to account for less than 600 lines of verse is testament to Whaley's thorough and detailed scholarship and reason for enduring gratitude on the part of students and scholars of skaldic poetry w h o now have not only the means to a fuller appreciation of this poet, but also a timely reflection on the editing of skaldic verse. For each of...


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