Golden Psalter of Charlemagne - Dagulf Psalter

Dagulf Psalter

The Golden Psalter of Charlemagne, also known as Dagulf Psalter according to the name of the scribe who wrote it, is among the regal manuscripts of the Palace School, i.e. among those jewels of illumination which were produced before the imperial coronation of Charlemagne in the year 800. The Psalter, a collection of 150 Psalms of the Old Testament, covers two decisive phases of the Carolingian school of painting. The section carried out between 783 and 789 may be identified as having been made in Worms and Metz, whereas the completion of the codex undoubtedly took place in Aachen between 790 and 795. The Golden Psalter thus constitutes a testimony to the evolution of the Palace School, which started in several places, but became fully developed after the establishment of the new capital in Aachen.

A Golden Manuscript from Charlemagne's Palace School

Both the size and design of the manuscript reveal that rather than being destined for use in public liturgy, it was intended for a private person. Who this person was remains unclear: it may have been originally intended as a gift to Pope Adrian I (r. 772–795), but he died before it was completed, and thus may have come into the possession of one of Charlemagne’s wives. Dagulf, the scribe, used a remarkable wealth of scripts to decorate his Psalter, as was customary in this period. The beautiful script undoubtedly ranks among the finest examples of early Carolingian minuscule which later played an important part in the development of the Roman script we use today. A major portion of the manuscript is referential to Dagulf who signed the book in a dedication poem to Charlemagne.

Illumination at its Very Best

All ornamental pages are lavishly executed and delight the viewer with their well-balanced harmony of colors and golden tones as well as with soft and rounded forms. A certain tension between the individual elements further enhances their charm. An element of improvisation is revealed in the frames and this playful character has contributed much to the book’s value. The predominant decorative form is the interlaced band which appears in a wide range of variations. Of all the ornamental pages, the frontispiece stands out due to its unusual coloring because it is dominated by blue tones, lacks a purple background, and the use of gold is reserved.