Bibliothèque bleue. Two periods, two places, two artistic styles and two workshops for a single manuscript: the Great Canterbury Psalter. Around the year 1200, English art experienced one of its most brilliant periods, a time when the last Romanesque stage, a marked influence of Byzantine art and the beginnings of a new style known as Gothic all came together. This rich, artistic amalgam was to merge, more than a century later, with the finest, Italianate Gothic introduced into the Iberian Peninsula by Ferrer Bassa. The result is a perfect symbiosis between the most splendid English painting of the late 12th century and 	Great Canterbury Psalter
2622746	the most innovative and interesting Catalan painting of the 14th century. This convergence of the two different figurative cultures of England and Catalonia, more than one hundred years apart, is one of the most important features of the codex, a facet that makes it unique in the history of art. The Great Canterbury Psalter is an essential manuscript for an understanding of medieval European painting. This lavish psalter captivated the leading figures of western history and occupied a place of honour in their libraries. It probably belonged to Jean, duc de Berry and the first female bibliophile in history, Margaret 	Great Canterbury Psalter
2622747	of Austria, who bequeathed it to Mary of Hungary, Emperor Charles V's sister. Napoleon Bonaparte removed it from the Burgundian library in Brussels and took it to Paris in 1796. In 1809 it received the binding featuring Napoleon I's coat of arms that it has retained to the present day. Great Canterbury Psalter The Great Canterbury Psalter (also called the Anglo-Catalan Psalter or Paris Psalter) is an early 13th- and mid 14th-century illuminated manuscript with the shelfmark MS lat. 8846 in the Bibliothèque nationale de France in Paris. It was made in two different locations and 	Great Canterbury Psalter
2622748	Bibliothèque bleue Bibliothèque bleue  is in origin a term for a publishing scheme introduced 1602 in Troyes by the brothers Jean and Nicolas Oudot, in association with the family of Claude Garnier (1535-1589), who had been printer to the king. Oudot produced prints in low quality and small format. Sold with a blue paper cover, these brochure-like products came to be known as "livres bleus", or "blue books". The content matter was at first limited to local ephemera, but it was soon popularized and imitated in other cities such as Rouen, Angers, Caen, Limoges, Avignon, Dinan, Épinal, and perhaps as  many as sixty other towns, sold in urban bookshops and carted off into the countryside by itinerant colporteurs (peddlers). This wide distribution represented the historical origin of "popular mass media" in France. Later in the 17th century, the "Bibliothèque bleue" in Troyes became a family business run by the sons of Jean Oudot, Jean II and Jacques I, later Nicolas II and Nicolas III. The Oudot business soon encountered competition, notably by the Garnier family. Nicolas III in 1665 married the daughter of a Paris librarian and established himself in the capital, and began to publish in great quantities, on  subject matters including theatre, storybook (especially prose retellings of medieval verse novels such as "Fierabras, Robert le Diable, " and "Jean de Paris"), satire ("roman picaresque"), religious literature, almanacs, manuals on etiquette, cookbooks, songbooks and astrology, etc. After the death of Nicholas II, his widow continued the Troyes business, and became known throughout the kingdom as the "veuve Oudot" (widow Oudot), by the 18th century attaining a near-monopoly in the genre. Oudot went out of business in 1760, due to new legislation limiting the right to reprint works. Garnier persisted into the Republican era, but went bankrupt 1830, as their  business model had become outdated and could no longer compete with modern forms of printing publishing led by Louis Hachette and as a result of the centralization of the primary educational system. A significant collection of Bibliothèque bleue volumes is located at the . Bibliothèque bleue " is in origin a term for a publishing scheme introduced 1602 in Troyes by the brothers Jean and Nicolas Oudot, in association with the family of Claude Garnier (1535-1589), who had been printer to the king. Oudot produced prints in low quality and small format. Sold with a blue paper cover, these brochure-like