In the West, the most famous Carolingian center for biblical illustration was the French city of Tours. The Bibles of this school illustrate the life of the first men and Moses with the Israelites in the desert. It is possible that the large Bibles from Tours were inspired by a biblical illuminated manuscript of the Cotton Genesis recension and also by the Ashburnham Pentateuch, which was probably in Tours by the ninth century. Psalters were also illustrated in Carolingian art centers, the most notable being the Utrecht Psalter and the Stuttgart Psalter, which contain illustrations above each psalm. For an unknown reason, no consecutive cycle of biblical episodes existed in Ottonian illumination, and the few biblical representations were usually symbolic. Other regional schools, such as the Anglo-Saxon, Franco-Saxon and Italian, followed the same symbolic method. In Spain, however, a system of biblical text illustrations survived from later antiquity, and formed the Catalan school of illumination of the 10th to 13th centuries. Artists used this system to illustrate the commentaries of Beatus of Liébana on the Apocalypse as well as complete Bibles. It was only through the influence of Byzantine art that biblical cycles were reestablished in the other parts of Western Europe during the 12th century. Most French, German and English Bibles of the 12th century had a few illustrations, probably all derived from Byzantine prototypes. The custom of adding a sequence of full-page biblical illustrations to the psalter was possibly also derived from Byzantine aristocratic psalters. The spread of biblical cycles attached to psalters from England to France during the 13th century is parallel to the development of the Gothic style in illuminated manuscripts. A complete series of biblical illustrations from the Creation to the building of the Second Temple was produced in France, mainly in Paris, during the reign of *Louisix. The best examples are the Pierpont Morgan Picture Bible and the Psalter of St. Louis. This biblical series quickly spread from France to most European countries, and was incorporated into other types of books, such as the German Weltchroniks and Armenbibel, the French Histoire Universelle, Bible Moralisée, Biblia Pauperum and Speculum Humanae Salvationis, and the Hebrew Spanish Haggadot. During the early part of the Italian Renaissance, it became fashionable to illustrate biblical texts with elaborate miniatures on the first page of each book. Their iconography is mainly based on central and south Italian tradition, which preserved the most classical iconography, both in miniatures and in the monumental art of the period. Examples are the Pantheon Bible of the 12th century, the Padua Bible of the 14th century, and the Bible of Borso d'Este of the 15th century. The early printed bibles mainly used the 15th-century system of Italian illuminated bibles and some of the early printed Gutenberg Bibles were hand decorated as if they were manuscripts. The printed editions of the Poor Men's Bibles mainly followed the hand-produced examples of this type.
On peut néanmoins préciser que les livres de la Bible hébraïque sont tous inclus dans toutes les bibles. Toutefois, leur ordre peut varier. En outre, leur nom est souvent dérivé de leur titre grec pour les bibles chrétiennes (Genèse, Exode, Lévitique...), tandis dans les bibles juives, ce sont les premiers mots du livre qui le désignent, initialement en hébreu (Beréshith, Shemoth, Wayyiqra...).
bible ethiopienne en francais pdf 26
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