Hubbry Logo
Psalter world mapPsalter world mapMain
Open search
Psalter world map
Community hub
Psalter world map
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Psalter world map
Psalter world map
Psalter world map
View on Wikipedia
from Wikipedia
Psalter world map, ca. 1260. Jerusalem is at the centre of the map; the Red Sea can be seen coloured red at upper right of the globe.

The Psalter World Map or the Map Psalter is a small mappa mundi from the 13th century, now in the British Library, found in a psalter (London, British Library MS Additional 28681). No other records of psalters found from the Middle Ages have a mappa mundi.[1]

The Psalter mappa mundi was likely used to provide context for the Bible's stories as well as a visual narrative of Christianity. Mappae mundi were not utilized as maps for travel or geographical education, but as history lessons taught through a visual means. Historian Felicitas Schmieder[2] refers to mappa mundi as "Geographies of Salvation" as they are report the narrative of Christ's interaction with our world. The Psalter mappa mundi is now conserved at the British Library in London.[1]

An open-access high-resolution digital image of the map with place and name annotations is included among the thirteen medieval maps of the world edited in the Virtual Mappa project. The Map Psalter can be broken down in the following manner:[3][4][5] ff. 3v-8r are later additions of 6 illustrations from the New Testament, ff. 9r-9v are the mappa mundi and a second written T-O map, ff. 10v-16v a calendar, which were included in many psalters of the time. They served to highlight days of canonization of saints and other important holidays,[6] f. 17r-v has simple prayers usually found in psalters, ff. 18v-184v consist of the Canticles, or a collection of hymns, prayers, or songs usually found in psalters. ff. 184r-185v include a litany, ff. 185v-189v are petitions for help from God, ff. 217-221v induces the Office of the Dead, ff. 191r-212v are passages praising the Virgin Mary. The ff. 212r - 217r are written in Anglo-Norman, as all signs indicate that the book was made in London. The psalter ends on ff. 221v-222v with a different writing style of common Latin prayers, appearing to be a later addition.

Physical description

[edit]

The small map (17 cm x 12.5 cm) is incredibly finely detailed and was drawn around 1270; the artist is unknown. The map is divided into three main parts that are intended to show the whole of the universe.[7] The upper area shows Christ as a figure of salvation, with arms outstretched. Christ exist above the world that humans naturally inhabit. However, the second part of this image the map itself or the world. An important distinction here is Christ is not separate from the world, but his body is the world. The map is a "history projected on a geographical basis"[8] therefore the map highlights important areas of Christ's life and influences. The map itself annotates 91 named locations. Many if not most of the named locations on the psalter map is associated to a psalm in the text itself.[9]

Provenance

[edit]

The origin of this mappa mundi is relatively unknown but there is much debate surrounding its importance. The Map Psalter was created between 1262-1280. This is due to a calendar page highlighting the canonization of Richard de Wych in 1262. The Map Psalter is unlikely to have been created after 1280 due to the lack of acknowledgement to the sainthood one of translators of St. Hugh of Lincoln in 1280.[10] There is no explicit text in the Map Psalter that exactly pinpoint a place of production, but there are a few hints as to where it could have been made. It is confirmed that the Sarum Master, illuminators based out of Salisbury, made the Stockholm Psalter. Of which the Map Psalter share many similar illustrations and are stylistically similar. This comes in the form of similar foliage ornamentation, liberal use of color, facial type, and strongly delineated black lines. Further the Office of the Dead tend to be very region specific text. The Map Psalter's Office of the Dead is only one word different from the standard Sarum Masters' Office of the Dead. Another idea is the Map Psalter is of Westminster provenance due to tinting of the pages sharing similarities to Morgan Apocalypse. The Map Psalter is similar in nature to two other mappae mundi thought to be produced in the middle ages as well, the Hereford mappa mundi and the Ebstorf mappa mundi. All three mappae mundi are said to reflect a master mappa mundi, of which one was known to exist in the great hall of Westminster Palace commissioned by Henry the III.[4] There are a few theories the Map Psalter may have been used by Henry the III or someone close to him,[11] but there is little to suggest this other than similarities to the great hall map.

Possession

[edit]

While the specific origin and original owner(s) of the Map Psalter is unknown, there are a few named owners during the 16th century. On f. 18r "Mary Wyndham" is written in 16th century hand. Also on f. 225v "Anne my eldeast doughter was borne the xiiij day of July in the yere of our lorde God 1557" written in 16th century hand. There are more additions in a later hand on f. 1r, alphabetizing some of the psalms. The binding on the Map Psalter currently is from J. Clarke after 1600. Later Henry D. Jones placed his armorial bookplate in the upper binding. Henry sold the Map Psalter to the British Museum on the 5th of April 1871.[4][5]

Notable iconography

[edit]

Orientation

[edit]

Unlike the maps of today, the top of the map is geographically East instead of North. It is a typical mappa mundi that does not only show the geographical and historical knowledge, but also puts it into the frame of salvation history. Jesus Christ appears in the East (i.e. "above"), as the maps of Christian Middle Ages have East at the top, giving a blessing with his right hand.

The monstrous people

[edit]

In the bottom right or the Southwest of the map there are 14 images of monstrous people that occupy the edge of the map.[3][12] These "monsters" are frequently referred to as the Blemmaye, but only have dawned this name due to the association the Ethiopian tribe Blemmaye tribe near where these creatures are shown on the map. There are various competing theories as to what these creatures are or represent. The easiest conclusion of which is discussed by Grčić[7] and Mittman[12] is that the artist drew the map from a perceptive of the civilized against the uncivilized. Maps like the Hereford map give more insight as to the title of these monsters. The Latin titles are simple translations like, "eyes in chest" or "no ears".[1][9] However, the key difference is the visual confinement of the such monsters in the psalter map. Both author highlight this may be attempting to show the difference in the "civilized" and the barbarians like in the story of Gog and Magog. Another theory from Grčić[7] is that these are creatures of sin living in the Christian Kingdom of Prester John.

Digital Edition

[edit]

The Virtual Mappa project contains annotated digital editions of both the Psalter World Map and List Map.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Psalter world map

View on Grokipedia
from Grokipedia
The Psalter world map is a compact, illuminated mappa mundi from mid-13th-century England, measuring approximately 9.5 cm in height and created around 1265 as part of a Latin psalter manuscript (British Library, Additional MS 28681, folio 9r). This circular diagram represents the medieval Christian understanding of the world in a traditional T-O structure—dividing the continents with a T-shaped cross of landmasses (Europe and Africa below, Asia above) encircled by an O-shaped ocean—centered on Jerusalem as the spiritual navel of the Earth, with Christ enthroned at the top (east) holding a red orb and flanked by angels. Likely produced in London or Westminster, it may be a reduced copy of a larger wall map that adorned the bedchamber of King Henry III at Westminster Palace, blending biblical theology, classical geography, and mythical elements into a devotional and educational tool. The map's iconography emphasizes a theocentric worldview, with over 145 inscriptions labeling key sites, rivers, and provinces across , , and , prioritizing sacred locations such as the in Jerusalem, the , with , and the as an island paradise in the east fed by rivers like the , , and . Notable features include the rendered in red pigment, the as an enclosed gulf, and the originating from paradisiacal sources, alongside European cities like , , and , reflecting contemporary knowledge from sources such as Isidore of Seville's . In the southern fringes of Africa, a gallery of 14 monstrous humanoid races—such as blemmyae (headless beings with faces on their torsos) and sciapods (one-legged giants)—illustrates medieval fascination with the exotic and unknown, symbolizing chaos and the limits of human dominion. Beyond its geographical details, the Psalter map served multiple purposes in medieval society, functioning as a visual aid for prayer, pilgrimage planning, and theological instruction within the psalter's context of Psalms and New Testament illuminations. Its provenance traces to an English royal or ecclesiastical circle, with the manuscript modified before the late 13th century, and it remains a prime example of how cartography intertwined with religious cosmology during the High Middle Ages, akin to larger contemporaries like the Ebstorf or Hereford maps but distinguished by its intimate scale and intricate detailing. Today, it highlights the era's synthesis of faith and exploration, offering insights into how Europeans perceived their place in God's creation.

Historical Context

Creation and Dating

The world map, contained within British Library Additional Manuscript 28681, is dated to the mid-13th century, specifically circa 1265–1270, based on stylistic analysis of its illumination and the manuscript's calendar, which commemorates the 1262 of St. . This places its creation within the broader range of 1262–1280, aligning with the height of Gothic manuscript production in , where intricate details like the central depiction of Christ and the T-O schema reflect contemporary advancements in devotional . Scholars propose that the Psalter map may derive from or adapt a lost wall map commissioned for King Henry III's bedchamber in the of Westminster Palace, a larger-scale work presented to the king around 1230 and destroyed in the 1263 fire. This royal connection underscores the map's potential ties to high-status ecclesiastical or courtly projects, where visual representations of the world served to reinforce monarchical and divine authority during Henry III's reign. The map was likely produced in a 13th-century English , with evidence pointing to workshops in , possibly near Westminster, given the manuscript's liturgical features and iconographic parallels to local traditions. These urban centers, active in the mid-13th century, facilitated the integration of continental influences, such as French mappaemundi, into English devotional . Within the context of psalters, the provided a biblical framework for , linking geographical sites to psalmic themes of creation, , and divine order, thereby enhancing meditative practice for lay or clerical users. This theological utility distinguished it as a tool for spiritual orientation, emphasizing Jerusalem's centrality as a nexus of sacred history.

Manuscript Attribution and Origins

The Psalter world map forms an integral part of Additional MS 28681, a Latin produced in during the mid-13th century, where it occupies folios 9r and 9v immediately following the and prefatory materials. This serves a devotional function, with the map's 91 annotated toponyms drawing on biblical to link locations to themes in the , aiding meditation on the divine order of creation. The includes canticles, a , and additional prayers in Latin and Anglo-Norman French, enhancing its role as a personal tool for liturgical and contemplative practice within a Christian framework. Artistic attribution for the manuscript points to the milieu of the Sarum Master, a prominent illuminator active in the region during the 1250s and 1260s, or artists from the associated , based on the distinctive style of the historiated initials that divide the . These initials feature elegant figures with flowing drapery and a refined use of color, consistent with the master's known works, such as the Psalter. The bilingual inscriptions in Latin and French further align with the conventions of this workshop, reflecting a blend of scholarly and vernacular elements typical of high-status English illumination at the time. What sets Additional MS 28681 apart is its inclusion of a within a , making it the only known example of such integration in medieval manuscripts, where the cartographic element emphasizes Christian cosmography as a visual aid for spiritual reflection rather than empirical navigation or exploration. Evidence links the manuscript's origins to Westminster, likely produced in or near with ties to the area's artistic and royal circles, possibly commissioned for monastic use at or for a high-ranking patron connected to King Henry III's court. Stylistic and thematic elements, including the map's apparent reference to a lost wall map in the Westminster Palace, suggest production within this influential environment around the 1260s.

Physical Characteristics

Dimensions and Materials

The world map, housed in the as Additional MS 28681, folio 9r, forms part of a compact measuring 17 cm in height by 12.5 cm in width. The itself is a circular T-O design with a of approximately 8.5 cm, occupying a single page surrounded by devotional text from the . The painted area, including the and related illustrations, spans about 10 cm by 15 cm on the folio. Constructed on vellum—a prepared animal skin typical of medieval manuscripts—the map employs for outlines and inscriptions, with colored pigments applied for geographical and symbolic features. Oceans and the are rendered in green pigment, the in red, and rivers in blue, while cities are marked with gold-yellow triangular symbols. enhances divine elements, such as the figure of Christ overseeing the world, characteristic of 13th-century English illumination. The map's integration into the bound psalter has contributed to its overall preservation, with the vellum remaining intact despite the passage of centuries.

Provenance and Ownership History

The provenance of the world map, contained in Additional MS 28681, remains partially obscure due to gaps in early medieval ownership records, with no documented transfers prior to the . The manuscript is believed to have originated in a scriptorium around 1262–1265 and was likely associated with from its creation, possibly as a copy of a larger wall map that adorned King Henry III's bedchamber at the Palace of Westminster. It probably remained in ecclesiastical custody at the abbey until the , reflecting its role in devotional and liturgical contexts during the late medieval period. By the , the had passed into private ownership, as indicated by contemporary inscriptions suggesting its use for personal devotion. A 16th-century hand records the name "Mary Wyndham" on folio 18r, while folio 225v includes a note stating "Anne my daughter born 1557," pointing to familial possession and continued religious significance amid the post-Reformation shifts in manuscript circulation. These annotations highlight the map's adaptation from institutional to domestic settings, though the exact chain of private transfers between the 16th and 19th centuries is undocumented. The manuscript's modern institutional history begins with its acquisition by the on April 5, 1871, purchased from the sale of the library of Henry D. Jones, who had affixed a bookplate to the binding. It remained part of the 's collections until 1973, when the Department of Manuscripts was transferred to the newly established , where it is now preserved under the shelfmark Additional MS 28681.

Cartographic Design

Layout and Orientation

The Psalter world map adheres to the traditional medieval T-O schema, depicting as a circular divided into three continents— occupying the upper half, with to the lower left and to the lower right—enclosed by an ocean that forms the "O." This layout symbolizes the unity and completeness of the under divine order, prioritizing theological coherence over geographical precision. Oriented with east at the top, the map places the Garden of Paradise in the uppermost position, representing the spiritual origin and eschatological endpoint of humanity, while occupies the exact center, designated as the umbilicus mundi or "navel of the world," underscoring its pivotal role in Christian salvation history. Above the map, the figure of Christ appears enthroned, his torso emerging from the eastern edge and encompassing the world below with his body, flanked by angels; his right hand extends in benediction, and his left holds a T-O orb, signifying divine sovereignty and protection over creation. The "T" division is formed by key waterways—the horizontal bar as the separating the northern continents from the southern, and the vertical arms delineated by the Nile River on the left (dividing from ) and the Don River on the right (separating from )—drawn not to scale but according to scriptural and patristic traditions. Unlike modern , the map eschews measurable scales, coordinates, or proportional distances, instead emphasizing symbolic geography where spatial relationships convey moral and redemptive narratives rather than empirical . This approach aligns with the broader genre of mappae mundi, where the layout serves as a visual of .

Geographical Representation and Inscriptions

The Psalter world map depicts the known world through a stylized T-O schema, dividing it into the three continents of Asia, Europe, and Africa, with Asia occupying the upper half and the other two sharing the lower portion. This representation draws on classical and biblical geography, extending eastward to India and southward to Ethiopia, while omitting the Americas and any precise measurements of distances, reflecting a medieval synthesis of empirical knowledge and scriptural authority rather than cartographic accuracy. Rivers and seas are rendered in vibrant colors—blue for rivers like the Nile and Jordan, green or red for bodies such as the Mediterranean and Red Sea—with the Nile shown originating from a paradisiacal source in the east but curving westward in a symbolic arc to border Africa, emphasizing its role in biblical narratives over hydrological realism. Mountains appear as semicircular ranges or isolated peaks, including Mount Sinai marking the Exodus route and Mount Ararat with Noah's Ark, integrating topography into the map's salvific framework. The map features 91 labeled locations, inscribed in Latin, cataloging cities, regions, and provinces that blend ancient, contemporary, and sacred sites. Prominent examples include and in , and in Europe, and in Africa, and key sites such as at the center, , , and . Other labels denote rivers like the , , and ; seas including the (Euxine) and Caspian; and mountains such as the , , and , often positioned to highlight trade routes and pilgrimage paths. Inscriptions extend beyond mere topography to weave geography into Christian salvation history, with textual annotations referencing events like Noah's flood at Ararat and the Israelites' crossing of the during . For instance, the in the Far East is labeled with details of alongside the four rivers of Paradise (, , , ), underscoring themes of creation, fall, and redemption that frame the world's layout as a stage for . These texts, numbering around 145 in total across the map, prioritize theological resonance over exhaustive detail, using the landscape to evoke scriptural journeys from paradise to judgment.

Iconography and Symbolism

Central Motifs

At the apex of the Psalter world map, a prominent figure of presides over the earthly realm, depicted with his torso emerging from a starry sky and encircled by a cross-sign halo. He extends his right hand in , with two fingers raised to signify divine blessing, while his left hand grasps a small T-O orb representing the cosmos under his dominion. Flanked by two angels bearing censers, this Byzantine-influenced underscores Christ's role as almighty judge and protector. The use of gold and red in the orb evokes heavenly authority, contrasting with the earthly domain below and emphasizing the fusion of divine oversight with the oriented east-at-top layout. Dominating the map's core is , rendered as a large circular enclosure with fortified walls and labeled as the umbilicus mundi or navel of the world, serving as both geographical and spiritual fulcrum. This central placement, highlighted in red to denote its sacred prominence, encircles key features like the Cedron brook and , reinforcing the city's status as the site of Christian amid the tripartite continents. The depiction aligns with medieval theology viewing as the , where heaven and earth intersect. In the eastern sector, the appears as a labeled structure (Turr[is]) near , symbolizing human hubris and divine intervention from Genesis. Nearby, the is vividly colored in crimson, commemorating the biblical crossing led by that freed the from , with its red hue not only denoting the body of water but also amplifying its role in narratives of redemption and exodus. These landmarks, integrated with gold-accented divine motifs, collectively affirm the map's Christian-centric , prioritizing scriptural history over empirical .

Marginal Figures and Monstrous Races

The Psalter world map features 14 marginal figures depicting monstrous races along its southwest border, positioned outside the enclosing ocean circle to represent the remote and uncivilized peripheries of the known world, such as regions in and . These beings, drawn from classical and medieval traditions, include the headless Blemmyae—men with faces embedded in their chests—the dog-headed Cynocephali, and the large-eared Panotii, who use their ears as coverings. Other examples encompass the one-footed Sciapods, who shade themselves with their sole foot, and the four-eyed , portrayed as skilled archers. These figures are rendered in dynamic and varied poses, with some shown in groups engaging in activities like or gesturing, while others appear isolated or armed with bows and spears, creating a stark contrast to the orderly, civilized Christian elements at the map's center. For instance, the Cynocephali are depicted in aggressive stances, emphasizing their cannibalistic nature, and the Panotii are illustrated huddled under their oversized ears for protection. Symbolically, these marginal races serve as representations of otherness and the unknown, functioning as moral warnings against and the perils of straying from the divine order centered on . Their inclusion derives primarily from Pliny the Elder's and medieval bestiaries, which cataloged such exotic peoples as inhabitants of the world's edges, blending geographical distance with spiritual . This placement underscores the map's worldview, where the monstrous inhabit the fringes beyond the encircling sea, distant from the salvific core.

Significance and Legacy

Theological and Cultural Interpretations

The Psalter world map exemplifies the medieval concept of "geographies of ," wherein serve as visual narratives of Christ's redemptive interaction with the world, framing earthly spaces as stages for divine and human . As articulated by historian Felicitas Schmieder, these maps integrate sacred geography with eschatological themes, positioning the viewer within a cosmic of creation, fall, and redemption, with key sites like and Paradise emphasizing pathways to eternal life. This salvific framework is evident in the map's seamless blending of biblical history and contemporary European geography, which reinforces the authority of the Church as the interpreter of divine will. Locations such as the , where Christ's miracles occurred, appear alongside 13th-century European landmarks like , creating a continuum that links scriptural events to the present-day Christian community and underscores the Church's role in guiding the faithful toward spiritual fulfillment. The map's placement within a further ties this integration to liturgical devotion, with psalmic references to places like and echoed in its inscriptions, fostering meditative readings that align personal piety with ecclesiastical doctrine. Central to these interpretations is the promotion of ideals, as the map's emphasis on holy sites invites viewers to envision journeys—both physical and spiritual—toward redemption, mirroring the era's veneration of as the navel of the world. This devotional geography not only bolsters Church authority by sacralizing travel but also reflects 13th-century cultural anxieties surrounding the , where depictions of contested eastern lands evoke ongoing struggles for Christian dominion. The map also captures broader cultural tensions of the period, including fears of exotic, peripheral realms inhabited by monstrous races, which symbolize threats to divine order and the fragility of Christian amid expanding of distant worlds. By enclosing these elements within a structured T-O presided over by Christ, the Psalter map affirms a providential , alleviating anxieties through visual assertions of God's overarching control. In comparison to larger contemporaries like the , the Psalter map's compact design—tailored to the intimate format of a —prioritizes over expansive narrative, offering a more personal, meditative tool for contemplating within daily devotion. While both maps center and incorporate similar symbolic motifs, the Psalter's brevity and liturgical embedding distinguish it as a portable of theological synthesis, suited to the devotional needs of 13th-century and .

Modern Scholarship and Digital Resources

Modern scholarship on the Psalter world map has increasingly focused on its marginal elements and symbolic depth, building on earlier analyses to explore cultural and theological implications. Asa Simon Mittman's 2006 study Maps and Monsters in Medieval examines the fringes of medieval world maps, particularly the , highlighting how monstrous figures serve as boundaries between known and unknown realms; this framework has been applied to the Psalter map's own peripheral , such as its , to interpret them as markers of medieval English anxieties about the world's edges. A September 2025 analysis by the Cartographic Institute underscores the map's enduring appeal, praising its intricate symbolism and theological integration as a "stunning journey through medieval imagination" that continues to captivate researchers for its blend of and cosmology. Recent explorations have delved deeper into the map's monstrous races, interpreting them as representations of cultural boundaries in 13th-century . For instance, a 2024 article by Marta Przygodzka in Groundings Undergraduate Journal analyzes the Psalter's depictions of hybrid beings—such as dog-headed figures and blemmyae—as reflections of medieval perceptions of otherness, drawing on ethnographic traditions to argue they reinforced a Christ-centered . Similarly, Rebecca Price's 2024 study in Scientia: Undergraduate Research Journal at scrutinizes the map's fringes, using Mittman's relational approach to reveal how these elements blur the lines between geography and moral allegory, filling gaps in prior scholarship on the Psalter's psychological dimensions. Digital resources have greatly enhanced access to the Psalter map, enabling detailed study without physical consultation. The Virtual Mappa project, launched in the 2010s by the and , provides interactive high-resolution scans of the map (British Library Add. MS 28681, f. 9r) with searchable annotations on inscriptions, iconography, and historical context, facilitating comparative analysis with other medieval mappaemundi. The 's online catalogue offers zoomable images of the full manuscript, allowing scholars and educators to examine fine details like the central and marginal winds. Additionally, IEEE REACH incorporates the map into its educational platform as a for teaching the and global perception, linking it to broader themes in and . Despite these advances, significant gaps persist in modern research; for example, the map's anonymous artist remains untraced beyond 19th-century studies, with no substantial updates since early attributions to workshops.
Add your contribution
Related Hubs
User Avatar
No comments yet.