A prominent opening in a psalter of circa 1290 from the region of Amiens juxtaposes two kneeling figures (Bibliothèque nationale, MS lat. 10435, fol. 137r). In the margin to the right of the Trinity initial opening Psalm 109, a woman kneels in prayer on a vine tendril next to a minuscule shield bearing the arms of the seigneur or lord of Clary (argent a fess azure [silver with a blue horizontal bar]) in dark blue and now-tarnished metallic silver pigments. The kneeling figure’s conspicuous marginal placement, her devotional posture, and her heraldic identifier align her firmly with the characteristic owner portrait type. In contrast, a courtly couple echoes and inverts the kneeling woman’s devotional gestures in the area beneath the text known as the bas-de-page. In this marginal composition, a man kneels to profess his romantic devotion before a standing woman, whom an inscription identifies as “me demisele ditre” [my lady d’Ytres]. She, in turn, readies a dart of love to strike at her kneeling suitor. The juxtaposition of these two compositions on the psalter’s Trinity page exemplifies themes of gender, agency, and devotion that run throughout the illuminated book. The Trinity page contrasts two types of portraits, which embody two types of female behavior. Furthermore, between the Clary woman and the unidentified man, the composition of the page also contrasts two types of kneeling; the genuflecting figures’ identical blue-gray garments underscore this parallel. Here, as throughout the manuscript, erotic kneeling is emphatically masculine, and the juxtaposition on the Trinity page calls into question the gendered valences of devotional genuflection. The courtly vignettes of men wooing women, which appear on a total of forty folios, pose an interpretive challenge to the reader, who must parse distinctions between religious and carnal love and, by extension, between feminine and masculine devotion. Portraiture, meanwhile, forms the medium for this visual …