Paris Psalter

The Paris Psalter is considered a key monument of the so-called Macedonian Renaissance, a 10th-century renewal of interest in classical art closely identified with the emperor Constantine VII Porphyrogenitus (909–959) and his immediate successors.

The popularity of this use of the psalter is reflected in the numerous extant luxury copies, often lavishly illuminated, made for royal and aristocratic patrons.

The classical and royal iconography and sumptuousness of the Paris Psalter, however, strongly point to an imperial patron; while the gloss implies a reader with serious intellectual and spiritual inclinations, such as Constantine VII.

The eighth miniature marks the beginning of the penitential Psalms; and the last 6, depicting Moses, Jonah, Hannah, Ezekiel and Hezekiah, introduce and illustrate the Canticles of the Old Testament.

In the early 20th century, however, Hugo Buchthal and Kurt Weitzmann, took issue with the Late Antique dating, conclusively demonstrating that the fully realized, confident classicism and illusionism of the miniatures were the product of the 10th century, thereby extending the persistence of classical art in Byzantium well into the Middle Ages.

[3] Whether the psalter was intended for Constantine VII's personal use, or ordered as a gift for his son, Romanos II at the time of his elevation to the status of co-emperor in 945, its text and images of David would have been interpreted as biblical examples of kingship on which the Christian emperor might model his own rule and moral conduct.

[4] These copies suggest that the manuscript was in the imperial library after the expulsion of the Latin usurpers, and continued to be highly regarded in the Paleologan period.

The provenance proper begins in 1558, when Jean Hurault de Boistaillé, the French ambassador to Constantinople, acquired the book from the Sultan Suleiman I.

In the bottom right corner of the painting a semi-nude personification of Mount Bethlehem reclines while wearing a wreath of laurels.

David is surrounded by sheep, goats, and a shepherding dog, referencing the myth of Orpheus, who was able to charm animals with his music.

[6] However, David has the addition of a depiction of the city of Bethlehem in the upper left corner, which contrasts with the rest of the naturalistic setting.

[5] This is further enhanced by the imagery in the piece that alludes to the myth of Orpheus, who used his skills to pacify his enemies, much like how he tamed beasts.

Whilst delivering supplies to his brothers on the battlefield, David's pride made him determined to defeat this giant for the sake of his people.