Following are prayers and liturgical songs.
The second part consists of thirty leaves containing a series of Latin prayers in carefully wrought late 14th century Gothic script. This manuscript contains the Song of Songs with a lacuna 6. The Glossa ordinaria is written on the first sheet 1r - 1v ; it contains a heretofore unknown commentary.
Placed alongside this is the first part of the Song of Songs f.
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The last sheets f. The beginning of the Song of Songs is adorned with an initial depicting Solomon and the Shulamite. This Armenian manuscript was written in at the church of Saint Nikoghayos in Istanbul. It contains the Four Gospels, the Apocalypse of Saint John, and a Gospelindex devised for liturgical use written by another scribe in the same century.
The silver binding was probably made a century after the manuscript writing. The painter has interpreted the symbols and motives used in all ten canon tables by placing the explanations below each of them. The text of the Psalter, in the dialect of Rhenish Franconia Hessen?
Wetzel assumes at least one common model.
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The Comedia delle ninfe fiorentine or Ameto , an early work around by Boccaccio, recounts the transformation of the rough shepherd Ameto into a virtuous man after overhearing the stories told by seven nymphs, allegories of the virtues. The text is written as a prosimetrum — alternating prose and verse — as is immediately obvious from the single column page-design of the manuscript. Copied on paper without watermark, the manuscript opens with a single initial in watercolor that contains the coats of arms of the Almerici family f.
The Elegia di madonna Fiammetta , dedicated to "women in love", describes in the first person the feelings of the young Neapolitan Fiammetta, who has been left by her beloved Panfilo. The Elegia , a prose work written by Boccaccio in his youth, praised for the subtlety of its psychological approach, mixes autobiographical elements and obvious references to Latin literature. It is preserved here in a manuscript copied in by Giovanni Cardello da Imola, whose regular calligraphy is set off by decorations in bianchi girari white vine-stem.
Jean Bodel, who was a member of the Brotherhood of Buskers and a bourgeois middle-class resident of Arras, wrote his Chanson des Saisnes Song of the Saxons during the last third of the 12th century. This epic in Alexandrine verse tells of the war prosecuted by Charlemagne against the Saxon King Guiteclin. The Chanson exists today in three manuscripts a fourth was completely destroyed in the fire at the library of Turin which present different versions of the text. The long version held by the Fondation Martin Bodmer is in a small-format manuscrit de jongleur or performer's script.
It was probably produced around the end of the 13th century and is a simple piece of work, without miniatures, written on parchment, much of which was poorly cut, and it is roughly sewn together. The Edelstein contained in this manuscript consists of fables, composed around by the Bernese Dominican Ulrich Boner; the fables were taken from various Latin sources and were translated by Boner into Swiss Dialect.
This parchment manuscript from the end of the 15th century contains the "Chronicle of London" as well as a version of the paraphrase text of the "Metrical Chronicle" by Robert of Gloucester found only in this manuscript, CB The dialect used in the text indicates that the manuscript was written by a scribe from the southern Midlands.
This copy of Cesar's "Commentarii" from about attests to the great popularity this text attained during the early Renaissance there are more than surviving manuscripts of the "Commentarii" from the 15th century. This manuscript was produced in the atelier of the illuminator Cola Rapicano in Naples. The "bianchi girari" white vine book decoration and the illuminated initial capitals which mark the beginning of each book are of a type often found in codices containing humanistic works. The illuminated initial capital on fol. The manuscript was commissioned by Pedro Fernandez de Velasco, first Count of Haro, one of the most powerful personalities of the 15th century, well known as a statesman, independant scholar, poet, and bibliophile.
This codex is from the collection of Major J. The Carmina by Catullus contained in this codex was written in a humanistic cursive, attributed to the calligrapher Ludovico Regio di Imola. The frontispiece in grisaille with gold highlights is framed by motifs in the manner of antiquity with trophies, sphinxes and mascarons, while the title in gold letters stands out from the crimson background.
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At the bottom of the page, the coat of arms on a disc held by two putti is overlaid in the same crimson color. The Canterbury Tales by Geoffrey Chaucer, the "Father of English Poetry", have been preserved in 82 medieval manuscripts and four incunabula editions. The copy in CB 48 was made in the 15th century by a single scribe.
The manuscript is still in its original binding of suede deerskin stretched over wooden covers. One of these contains the dedication of the work and shows four figures, identifiable as Philip the Good, Charles the Brave, and two of Philip's illegitimate sons, David and Anthony of Burgundy. It was created in Italy in a humanistic script from the second half of the 15th century. At the center of the bottom margin, surrounded by a laurel wreath, the coat of arms of the Medici family of Florence stands out, covering an even older coat of arms.
The manuscript belonged to Cardinal Giovanni Salviati from Florence and then to the Venetian monk and later manuscript dealer Luigi Celotti While Cicero is regarded today mainly as a philosopher and politician, he was regarded during the middle ages mainly as a teacher of public rhetoric. This is demonstrated by CB 52, most likely of French origin, which consists of copies of "De inventione" and a work long attributed to Cicero, "Rhetorica ad Herennium".
The manuscript dates from the beginning of the 12th century. This French translation of the story of Alexander, destined to belong to Charles the Bold, was commissioned by Vasco da Lucena, "the Portugese", a retainer of the Infanta Isabella, who was married to Philip the Good. This revival of the work by Quintus Curtius Rufus, which is augmented by texts from Plutarch, Valerius Maximus, Aulus Gellius and Justin, allows the author to liberate the Macedonian conqueror from legends perpetuated by the medieval tradition.
The Miroir des princes portrays a model of a hero shaped within the framework of the humanistic movement initiated by the dukes of Burgundy in the late middle ages. CB 53 was copied in Burgundy and may be fairly accurately dated only a few years after the translation was made; it was decorated with miniatures in the artistic circle of the Master of Marguerite of York ca. In the last part v - r , the texts of alliances made in the 16th and 17th century by the confederates or by the individual cantons with Venice, Savoy and France were added at a later time and by a different scribe.
Based on the kind of paper as well as on the script, this manuscript seems to have been produced around in Bern or in a territory under Bernese rule. The inside front cover holds the bookplate Baggrave Library , perhaps the library of the country house Baggrave Hall Leicestershire , seat of the Burnaby family, including John Burnaby , the English ambassador in Bern In , the manuscript was purchased by Martin Bodmer. The "Codex Guarneri" was written on paper fewer than twenty years after the death of Dante. The poetic form used in the textual layout, the tercet or "terza rima", which was introduced by Dante, is enhanced by the graphic design: the first letter in the first line of each three-line stanza is highlighted in red ink.
The manuscript contains Latin glosses.
- Anointed for Revival.
- The Exact Place;
- Results for: Illustrated Books.
- Paris: Capital of the 19th Century.
- 19th Century Authors?
The "Codex Ricasoli Firidolfi", written on paper at the end of the 14th century, provides important evidence of the dissemination of Dante Alighieri's Commedia. The initial of the opening verse of the Inferno shows the famous profile of the author, surrounded by flowers. Copied in by Francesco di maestro Tura of Cesena, who included both a date and a signature at the end of the volume, the Codex Severoli opens each of the three sections of the Commedia with an historiated initial.
A number of interlinear glosses explicate the verses of the Paradiso. This manuscript from the 14th century unites four disquisitions on medicine. The rounded Gothic script is the product of several different hands and the principal incipits are set off with Gothic capitals elaborately decorated with penwork filigree. At the end of the manuscript is an assortment of formulas for medical preparations.
Manuscript CB 59 brings together in one contemporaneous binding three manuscripts that were produced independently of one another. All three show the influence of Alemannic dialect and all three were produced at the end of the 15th entury. They offer a selection of sermons in written form, originally composed by Meister Eckhart or others in the circle of the Rheinish Master of mysticism. The first part could have been completed in an atelier in Constance or Ravensburg, it belonged to the Carthusian House of Buxheim.
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Threads, meant to serve as bookmarks, may be found sewn into the paper leaves. The Sachenspiegel by Eike von Repgow is one of the oldest books of law in the German language. This parchment manuscript, CB 61, was produced at the beginning of the 15th century and contains codes of common and feudal law.
This paper manuscript from the second half of the 14th century contains Gregorius by Hartman von Aue, Marienleich by Frauenlob, and the Rossarzneibuch Horse Medicine by Meister Albrant. The first pages of this manuscript, copied around the end of the 15th century on paper, lay out the plot summary of the work, call to mind the prophecy about Oedipus and the riddle of the Sphinx, and then present the list of characters. The page following the transcription of the work also presents a summary of Sophocles's Oedipus the King and thus alludes to the relationship between these two masterpieces of the ancient theater.
The library in Weimar owned a manuscript of this text, which Goethe was aware of. In Martin Bodmer was able to purchase a similar manuscript. This document, which is difficult to date, is written in cabalistic signs and, according to a German gloss, contains a series of magic spells for exorcists, which can be used in particular to call up the seven evil spirits.
This 13th century manuscript offers a selection of texts from the legend-filled history of Great Britain: the knightly romance "Gui de Warewic" Guy of Warwick and the Anglo-Norman rhyming chronicle the "Roman de Brut" History of the Britons by Wace, which recounts the conquest of the British Isles by a great grandson of Aeneas, the returned hero of Troy. The volume closes with "Florence de Rome", a text that may be characterized as half "chanson de geste" and half adventure romance. Carolingian reform efforts responded to a desire to regularize religious orders by creating a unified rule for monastic life, the Concordia regularum of Benedict of Aniane.
In the resulting course of events, an effort was made during the turn from the 9th to the 10th century to dinstinguish the monastic status from the canonical. In Ludwig the Pious made the results of the Council of Aix public; the first part of the Institutio canonicorum presents the statutes of the church fathers and the previous councils, the second part explains the resolutions of the council. The task of putting this work into writing was long attributed to Amalarius of Metz, a student of Alcuin and advisor of Charlemagne; however, another author must be acknowledged for this work, which totals chapters, some of which are extremely comprehensive: Benedict of Aniane is also supposed to have been a contributor.
The manuscript held by the Fondation Martin Bodmer was copied only a few years after the original publication of the text in the first half of the 9th century in a very fine Carolingian script, and it belonged to the Benedictine Abbey of St. Jacob in Mainz. A full-page drawing portraying the crucifixion was added in the 12th or 13th century at the end of the book. At the end of the text v , the writer transcribed some annotations regarding the Anglo-Saxon Heptarchy, a note about Edward I, King of England, and about the defeat Edward II suffered at Bannockburn.
The Roman de Fauvel is a French poem in verse, written in the 14th century by various authors, among them the cleric Gervais du Bus. It has survived in no more than 15 manuscripts. The manuscript is written in a bastarda script; the decoration remains incomplete. The so called "Kalocsa-Kodex" contains more than two hundred texts from the time between the and of the 12th century and the beginning of the 14th centuries.
It is a wide-ranging written record of German lyric poetry in the middle ages. CB 72 is closely related to another manuscript written in the same hand, a partial copy of the same material, which is held by the University Library of Heidelberg Cod. This manuscript contains the German version of the Gesta Romanorum , a collection of anecdotes and tales originally in Latin that were compiled around the end of the 13th or the beginning of the 14th century. It was very popular throughout the entire Middle Ages and was published repeatedly.
This codex was written f. This Gradual was produced in by the archpresbyter of the Church of Santa Cecilia in Trastevere; it contains the musical scores for assorted liturgical songs.