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Manuscript title: Book of hours
Manuscript summary: This precious book of hours was made in Florence around 1470-1480. Its rich and elegant illumination is due to the close circle of the most famous florentine miniaturist of his time, Francesco d’Antonio del Chierico. The same hand is responsible for the major illuminations at the beginning of the various sections as well the initials in the text. The flourished initials are of great elegance. A partly erased coat of arms on the opening leaf indicates that the book of hours was made for the wedding of a male member of the Serristori family. The manuscript entered in the collection of the present owner in 1970 and it was deposited at the Bibliothèque de Genève as part of Comites Latentes.
Origin: Florence (Italy)
Period: 15th century
Image source: Genève, Bibliothèque de Genève, Comites Latentes 54: Book of hours (www.e-codices.unifr.ch/en/list/one/bge/cl0054).
Manuscript title: Johannes Cassianus, Collationes Patrum
Manuscript summary: This copy of Cassian's Collationes contains on 1r a two-line ownership note attributing the codex to Abbot Berchtold of Engelberg (1178-1197) as well as the beginning of a dedicatory poem to the Virgin Mary, the monastery's patron saint. Both inscriptions also appear verbatim in the volumes that were written under Berchtold's predecessor Frowin (1143-1178). Decorated initials introduce each of the collationes, and sometimes the chapter-lists; between the collationes the text is divided with red decorated capitals. Tears and holes in the parchment have been artistically sewn up; of particular note are those on 48v and 190v.
Origin: Engelberg (Switzerland)
Period: 12th century
Image source: Engelberg, Stiftsbibliothek, Cod. 37: Johannes Cassianus, Collationes Patrum (www.e-codices.unifr.ch/en/list/one/bke/0037).
Manuscript title: Breviarium basileense
Manuscript summary: This breviary was meant for use in the diocese of Basel. There are still partially visible traces of coats of arms that were painted on ff. 33r, 41r, 129r and 279r and were later erased; these allow the codex to be attributed to Arnold of Rotberg, Bishop of Basel from 1451 to 1458. His successor, Jean de Venningen (1458-1478) noted on f. 5r the repurchase of the manuscript from Porrentruy Castle on June 29th 1461.
Origin: Porrentruy, Switzerland
Period: 15th century
Image source: Porrentruy, Bibliothèque cantonale jurassienne, Ms. 22: Breviarium basileense (www.e-codices.unifr.ch/en/list/one/bcj/0022).
Manuscript title: Book of hours
Manuscript summary: This precious book of hours was made in Florence around 1470-1480. Its rich and elegant illumination is due to the close circle of the most famous florentine miniaturist of his time, Francesco d’Antonio del Chierico. The same hand is responsible for the major illuminations at the beginning of the various sections as well the initials in the text. The flourished initials are of great elegance. A partly erased coat of arms on the opening leaf indicates that the book of hours was made for the wedding of a male member of the Serristori family. The manuscript entered in the collection of the present owner in 1970 and it was deposited at the Bibliothèque de Genève as part of Comites Latentes.
Origin: Florence (Italy)
Period: 15th century
Image source: Genève, Bibliothèque de Genève, Comites Latentes 54: Book of hours (www.e-codices.unifr.ch/en/list/one/bge/cl0054).
Manuscript title: Manuscript summary: At the beginning of the 17th century, a book of black magic was published, attributed to the mythical Faust and known by the title Höllenzwang. The library in Weimar owned a manuscript of this text, which Goethe was aware of. In 1949 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.
Origin: Cologny? (Switzerland)
Period: middle of 18th century
Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 66: Doktor Fausts Dreifacher Höllenzwang (e-codices.unifr.ch/en/list/one/fmb/cb-0066).
Manuscript title: Antiphonarium Lausannense. De Tempore, pars hiemalis
Manuscript summary: This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the winter portion of the Proprium de tempore. The parchment codex was written between 1511 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg. The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg. The binding, from about 1517, is from the workshop of the Franciscans in Fribourg.
Origin: Fribourg (Switzerland)
Period: 16th century
Image source: Fribourg/Freiburg, Archives de l'Etat de Fribourg/Staatsarchiv Freiburg, Archives du Chapitre St. Nicolas/Kapitelsarchiv St. Niklaus, CSN III.3.1: Antiphonarium Lausannense. De Tempore, pars hiemalis
Christmas, also known as Nativity, refers to the accounts of the birth of Jesus mainly based on the Gospels of Matthew and Luke. Traditionally, scenes of Nativity, portray the Holy Family in the stable at Bethlehem. The Christ child is represented lying in a manger or upon the straw, whilst Virgin Mary kneels in adoration before Him. In some scenes Virgin Mary is represented lying next to Jesus. Joseph is portrayed standing at one side. The scene also includes depictions of an ox and a donkey, usually in the background, gazing quietly at the scene in front of them.
Some Nativity scenes depict one or more angels who proclaim Jesus as the savior for all people, and portrayals of shepherds who come to adore Him. There are also scenes representing the wise men (The Maggi ) who, after following a star, arrive to Bethlehem to bring gifts to Jesus.
Link to the "Christmas scenes" set
Manuscript title: Chronicle of Eusebius of Caesarea
Origin: Padua or Venice (Italy)
Period: 15th century
Image source: Genève, Bibliothèque de Genève, Ms. lat. 49, p. 105v – Chronicle of Eusebius of Caesarea (www.e-codices.unifr.ch/en/bge/lat0049/105v)
Manuscript title: Cycle of miniatures
Manuscript summary: This cycle of miniatures from the first half of the 12th century is the work of two artists. The cycle was bound after having already been cut to create a volume; it is likely that it originally preceded a psalter.
Origin: Muri (?) (Switzerland)
Period: 12th century
Image source: Sarnen, Benediktinerkollegium, Cod. membr. 83, f. 7r – Cycle of miniatures (www.e-codices.unifr.ch/en/bks/membr0083/7r)
Manuscript title: Evronot ("Rules for Calculation of the Calendar")
Manuscript summary: This manuscript contains an Evronot ("Rules for Calculation of the Calendar"). Many so-called Sifre evoronot ("Books of calculation") emerged in the 17th and 18th centuries. They can be taken as a reaction to the Gregorian calendar, introduced in 1582. Such manuscripts often depict the biblical Issachar, one of Jacob’s sons, on or near a ladder; as an attribute, he holds an hourglass in his hand. This manuscript has two such miniatures; above the first of which there is also an illustration of a waning and a waxing moon with a human face and stars. The title page depicts an ornamental architectural arch. At the end of the book, there is the familiar motif of Moses seated at a table holding the Tablets of the Law.
Origin: Germany
Period: 17th century
Image source: Zürich, Braginsky Collection, B247: Evronot ("Rules for Calculation of the Calendar") (www.e-codices.unifr.ch/en/list/one/bc/b-0247)
Manuscript title:Amyris. Poem in honor of Sultan Mehmed II, by Gian Mario Filelfo
Manuscript summary:At the request of his friend Othman Lillo Ferducci of Ancona, Gian Mario Filelfo composed the Amyris in the years 1471-1476. This long Latin poem was intended to thank Sultan Mehmet II for having freed Ferducci’s brother-in-law, who had been taken prisoner by the Turcs during the capture of Constantinople in 1453. Gian Mario Filelfo had the manuscript decorated in Florence with "bianchi girari” ornamentation, had it bound in Urbino with a very beautiful Italian Renaissance binding, and then gave it to the Duke of Urbino, Federico da Montefeltro, at whose court he was staying in 1477 and 1478.
Origin:Florence (Italy)
Period:15th century
Image source:Genève, Bibliothèque de Genève, Ms. lat. 99: Amyris. Poem in honor of Sultan Sultans Mehmed II, by Gian Mario Filelfo (www.e-codices.unifr.ch/en/list/one/bge/lat0099).
Manuscript title: 12th Century Breviary from the monastery of Disentis
Manuscript summary: This is a collection of liturgical works from the monastery of Disentis, written in the second half of the 12th century, most likely around 1200. In sequence, the volume contains a calendar (pp. 2-13), a psalter (pp. 15-90) and a hymnary (pp. 91-110), a (mixed) capitulary and collectarium (pp. 116-186), as well as an antiphonary, a lectionary, and a homiliary (pp. 203-638). Highlights from the point of view of manuscript decoration include the initial “B” at the beginning of the psalter (p. 15) and a picture of the crucifixion (p. 89). This breviary is one of the very few surviving medieval manuscripts from the monastery of Disentis. The manuscript came to Kempten around 1300; as early as the 15th century, the Disentis Breviary was held in the Abbey Library of St. Gall.
Origin: Disentis Monastery (Switzerland)
Period: 1150/1200
Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 403: 12th Century Breviary from the monastery of Disentis (www.e-codices.ch/en/list/one/csg/0403)
Manuscript title: Breviarium basileense
Manuscript summary: This breviary was meant for use in the diocese of Basel. There are still partially visible traces of coats of arms that were painted on ff. 33r, 41r, 129r and 279r and were later erased; these allow the codex to be attributed to Arnold of Rotberg, Bishop of Basel from 1451 to 1458. His successor, Jean de Venningen (1458-1478) noted on f. 5r the repurchase of the manuscript from Porrentruy Castle on June 29th 1461.
Origin: Porrentruy, Switzerland
Period: 15th century
Image source: Porrentruy, Bibliothèque cantonale jurassienne, Ms. 22: Breviarium basileense (www.e-codices.unifr.ch/en/list/one/bcj/0022).
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In the night between 9 and 10 July 1943, the Allies landed in Sicily, an event that marked a decisive chapter for the fate of the Second World War: the operation was intended to open a front in continental Europe, invade and defeat Italy, was called in code "Operation Husky". The Anglo-American army, with its ships and landing craft (totally 2800 units), with its 150 thousand men, with its 600 tanks, with its 1,000 cannons, appeared in front of the Sicilian coasts during the night: it consisted of two units, the US 7th Army commanded by General Patton, and the British 8th Army commanded by General Montgomery. The British sector landed on the eastern coast, between Noto, Pachino, Portopalo, while the American sector landed between Licata and Scoglitti, a coastal belt comprising the Gulf of Gela.
This premise to describe the places of my photographs, made between Gela and Licata, partly on those same beaches that saw the formidable landing of men and vehicles during the Second World War (not without bloodshed), often thinking of how places so beautiful they were the scene of tragic events about 77 years ago. A little regret of mine I was not being able to photograph a large American landing craft underwater, sunk about 500 meters from the coast, no more than 6-7 meters deep: it is about 20 years that I "go to find it" with free diving, and every time I see it I always feel a great emotion (sooner or later I will have to decide to get with me an underwater camera). I revisited (every time it is always a great emotion) the bunkers and casemates present on the whole stretch (and beyond) Licata-Gela, in some of them I entered inside, while in others the presence of earth made exploration impossible internal.
In the town of Licata I always feel strong emotions going for a stroll, especially in the oldest part of the town in its historic center: I saw the Black Christ, which is located inside the Mother Church, the Black Christ according to legend miraculously escaped the fire of the church started by the Saracens who, allied with the French, sacked Licata on 11 July 1553, claiming many victims; the wood did not burn but was only blackened by the flames, the faithful shouted a miracle, in reality it is very likely, as it was in use at the time, that instead the statue of Christ was carved on a dark wood; it is also said that the Saracens used incendiary arrows to burn the statue, the crucifix was however pierced by arrows by the Saracens, three are seen stuck in his body, an arrow is present just above the left eye, the original arrows were removed in followed by Maltese settlers and replaced with silver arrows. Wandering aimlessly, I found in the oldest part of the city, literally hidden from view behind a group of houses, a cave (unfortunately abandoned) that was certainly inhabited in ancient times (early Christian era?) Composed of two rooms and a central column, with small indentations carved into it, I imagine to be able to store objects. Licata is also characterized by being a country where many stray dogs live, I have never seen skeletonized dogs, a sign that the population to some extent takes care of them. Characteristic in Licata, on the other hand as in many Sicilian villages, to see men, most of them a little older, sitting together to converse in the small squares, perhaps outside their respective clubs, always in shaded areas sheltered of the summer heat wave.
My next photos, divided into groups, will have as their theme the town of Licata, and its beaches.
Most of the photos are confused-blurry-blurred-imprecise-indecisive ... the Anglo-Saxon term that encompasses with a single word this photographic genre is "blur", these photos were made in the shooting phase, deliberately lengthening the exposure, and not as an effect created subsequently, in retrospect, in the post-production phase.
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Nella notte tra il 9 e il 10 luglio 1943, avvenne lo sbarco degli Alleati in Sicilia, evento che segnò un capitolo determinante per le sorti della Seconda guerra mondiale: l’operazione aveva lo scopo di aprire un fronte nell’Europa continentale, invadere e sconfiggere l’Italia, venne chiamata in codice “Operazione Husky”. L'armata anglo-americana, con le sue navi e mezzi da sbarco (in toto 2800 unità), con i suoi 150 mila uomini, con i suoi 600 carri armati, con i suoi 1.000 cannoni, si presentò davanti alle coste siciliane durante la notte: essa era composta da due unità, la 7a Armata statunitense comandata dal generale Patton, e l’8° Armata britannica comandata dal generale Montgomery. Il settore britannico sbarcò sulla fascia costiera più ad oriente, tra Noto, Pachino, Portopalo, mentre il settore statunitense sbarcò tra Licata e Scoglitti, fascia costiera comprendente il golfo di Gela.
Questa premessa per descrivere i luoghi delle mie fotografie, realizzate tra Gela e Licata, in parte su quelle stesse spiagge che hanno visto il formidabile sbarco di uomini e mezzi durante la seconda guerra mondiale (non senza spargimento di sangue), ripensando spesso a come luoghi così belli siano stati scenario di eventi tragici circa 77 anni addietro. Un mio piccolo rammarico è stato il non poter fotografare sott’acqua un grosso mezzo navale da sbarco americano, affondato a circa 500 metri dalla costa, a non più di 6-7 metri di profondità: sono circa 20 anni che “lo vado ritrovare” con immersioni in apnea, ed ogni volta che lo vedo provo sempre una grande emozione (dovrò decidermi prima o poi a procurarmi una macchina fotografica subacquea). Ho rivisitato (ogni volta è sempre una grande emozione) i bunker e le casematte presenti su tutto il tratto (ed oltre) Licata-Gela, in alcuni di essi sono entrato dentro, mentre in altri la presenza di terra ha reso impossibile l’esplorazione interna.
Nel paese di Licata provo sempre forti emozioni andando a zonzo, soprattutto nella parte più antica del paese nel suo centro storico: ho rivisto il Cristo Nero, che si trova all’interno della Chiesa Madre, il Cristo Nero secondo la leggenda scampò miracolosamente all’incendio della chiesa appiccato dai Saraceni che, alleati coi Francesi, saccheggiarono Licata l’11 luglio 1553, mietendo tante vittime; il legno non bruciò ma venne solamente annerito dalle fiamme, i fedeli gridarono al miracolo, in realtà è molto probabile, come era in uso all’epoca, che invece la statua del Cristo fu scolpita su di un legno scuro; si narra anche che i saraceni usarono frecce incendiarie per bruciarne la statua, il crocifisso fu comunque trafitto dalle frecce dai saraceni, se ne vedono tre conficcate nel suo corpo, una freccia è presente poco sopra l’occhio sinistro, le frecce originali furono tolte in seguito dai coloni Maltesi e sostituite con frecce d’argento. Girovagando senza una meta precisa, ho trovato nella parte più antica della città, letteralmente nascosta alla vista dietro un gruppo di case, una grotta (purtroppo abbandonata) che anticamente fu certamente abitata (epoca paleocristiana ?) composta da due camere ed una colonna centrale, con delle piccole rientranze scavate al suo interno, immagino per potervi riporre degli oggetti. Licata è anche caratterizzata per essere un paese nel quale vivono molti cani randagi, non ho visto mai cani scheletriti, segno che la popolazione in qualche misura si prende cura di loro. Caratteristico a Licata, d'altronde come in tantissimi paesi siciliani, vedere gli uomini, la maggior parte un po’ più anziani, seduti insieme a conversare nelle piccole piazze, magari al di fuori dei rispettivi circoli, sempre in zone d’ombra al riparo della canicola estiva.
Le mie prossime foto, divise in gruppi, avranno come tema il paese di Licata, e le sue spiagge.
La maggior parte delle foto sono confuse-mosse-sfocate-imprecise-indecise...il termine anglosassone che racchiude con una sola parola questo genere fotografico è "blur", queste foto sono state così realizzate in fase di scatto allungando volutamente i tempi di esposizione, e non come un effetto creato successivamente, a posteriori, in fase di post-produzione.
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Manuscript title: German book of meditations and prayers for Dominican nuns
Manuscript summary: This German book of meditations and prayers for Dominican nuns was produced at the Inselkloster St. Michael in Bern. It contains, inter alia, numerous excerpts from the writings of Gertrud of Helfta and Mechthild of Hackeborn. Most of it was written in 1507 by Sister Luzia von Moos. Beginning in the 17th century the manuscript is known to have been in the possession of the Solothurn family Gugger; at the beginning of the 19th century it was obtained by the Solothurn City Library.
Origin: Bern (Switzerland)
Period: 16th century
Image source: Solothurn, Zentralbibliothek, Cod. S 458: German book of meditations and prayers for Dominican nuns
The scenes portraying Christ on the cross, often referred to also as the Crucifixion of Christ, derive their visual details mainly from the four Gospels. However, these accounts vary considerably in detail and therefore it is not unnatural that different aspects and variations of the scene could be represented.
The standard iconographic composition almost always presents crucified Christ positioned in the middle of the scene where he is shown stripped of his cloths. The figures of Virgin Mary and St. John the Apostle are frequently the only figures included in the composition. Other expended versions of the theme, however, include several other pairs of figures of both historical and symbolic relevance that traditionally appear to the right and the left of the cross. In some variations, the scene presents Christ`s cross erected between those of two thieves who were crucified at the same time with him. In other variations, the scene might include soldiers who cast lots for Christ`s cloths, or the figure of centurion, the Roman army officer, who pierced Christ`s side with a spear and afterward declared him to be the Son of God. Often, on the upper part of the composition, there are small personifications of the Sun and Moon which were eclipsed at the Crucifixion. In some cases, the scene depicts an affixed sign on the cross with the Latin acronym “INRI” (Iēsus Nazarēnus, Rēx Iūdaeōrum), which in English reads as “Jesus of Nazareth, The King of the Jews”.
Link to the "Crucifixion of Christ" set.
Link to the "Scenes from the life of Chris" collection.
Manuscript title: Irish Evangelary from St. Gall (Quatuor evangelia)
Origin: Ireland
Period: 8th century
Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 51, p. 266 – Irish Evangelary from St. Gall (Quatuor evangelia) (www.e-codices.unifr.ch/en/csg/0051/266)
Manuscript title: Jean Thenaud, Introduction to the Kabbalah, dedicated to King Francis I
Manuscript summary: This parchment manuscript contains the mystic text of the Kabbala in cursive script, illustrated with numerous highly colorful drawings with allegorical, cosmological, and liturgical themes.
Origin: Geneva (Switzerland)
Period: 16th century
Image source: Genève, Bibliothèque de Genève, Ms. fr. 167: Jean Thenaud, Introduction to the Kabbalah, dedicated to King Francis I (www.e-codices.unifr.ch/en/list/one/bge/fr0167).
Christmas, also known as Nativity, refers to the accounts of the birth of Jesus mainly based on the Gospels of Matthew and Luke. Traditionally, scenes of Nativity, portray the Holy Family in the stable at Bethlehem. The Christ child is represented lying in a manger or upon the straw, whilst Virgin Mary kneels in adoration before Him. In some scenes Virgin Mary is represented lying next to Jesus. Joseph is portrayed standing at one side. The scene also includes depictions of an ox and a donkey, usually in the background, gazing quietly at the scene in front of them.
Some Nativity scenes depict one or more angels who proclaim Jesus as the savior for all people, and portrayals of shepherds who come to adore Him. There are also scenes representing the wise men (The Maggi ) who, after following a star, arrive to Bethlehem to bring gifts to Jesus.
Link to the "Christmas scenes" set
Manuscript title: Antiphonarium lausannense, pars hiemalis (vol. I)
Origin: Bern (Switzerland)
Period: 15th century
Image source: Estavayer-le-Lac, Paroisse catholique Saint-Laurent, Volume I, f. 37r – Antiphonarium lausannense, pars hiemalis (vol. I) (www.e-codices.unifr.ch/en/psle/0001a/37r)
Manuscript title: Jean Thenaud, Introduction to the Kabbalah, dedicated to King Francis I
Manuscript summary: This parchment manuscript contains the mystic text of the Kabbala in cursive script, illustrated with numerous highly colorful drawings with allegorical, cosmological, and liturgical themes.
Origin: Geneva (Switzerland)
Period: 16th century
Image source: Genève, Bibliothèque de Genève, Ms. fr. 167: Jean Thenaud, Introduction to the Kabbalah, dedicated to King Francis I (www.e-codices.unifr.ch/en/list/one/bge/fr0167).
Manuscript title: Evangelary of Erchenbaldus
Manuscript summary: This 10th century Latin manuscript originated in the St. Gall scriptorium. It belonged to the Bishop of Strasbourg Erchembald (965-991) and was kept in the Cathedral of Strasbourg. The humanist Wimpheling mentions consulting it in Strasbourg in the early years of the 16th century. This manuscript appeared in the sales catalog of the Ambroise Firmin-Didot collection and was bought by the Mulhouse alderman Armand Weiss (1821-1892); after his death, he left it to the Industrial Society of Mulhouse. The Carolingian Gospel Book was written on vellum and contains 300 initials decorated with gold and silver. The beginning and end of the manuscript contain historical annotations. The original binding no longer exists; it was replaced with a contemporary binding during restoration at the Bibliothèque Nationale around 1970.
Origin: St. Gall (Switzerland)
Period: 10th century
Image source: Mulhouse, Bibliothèque municipale, AW 1, f. 76r – Evangelary of Erchenbaldus (www.e-codices.unifr.ch/en/list/one/bmm/Erk)
In most of the standard medieval iconographic compositions, St. Mark the Evangelist is presented accompanied by a lion which sometimes is with wings. The lion figure is present presumably because his Gospel emphasizes the royal dignity of Christ, and the lion is the figure representing his royalty. He is shown most of the times seated with a book or pen presenting his character of Evangelist and secretary of St. Peter. In some occasions, only the figure of the Lion, as one of his attributes, is presented.
St. Mark is known as the author of the second Gospel in the New Testament. This Gospel is dedicated to the life of Christ after his baptism, to his death and resurrection, focusing particularly on the last weeks of his life. Tradition says that St. Mark wrote this Gospel receiving the materials directly by St. Peter whilst accompanying him as a secretary on a journey to Rome. He has died in Alexandria where he also founded a church in this city. Several centuries after his death, his body was carried off by Venetian sailors bringing it to Venice where St. Mark became the patron saint of this city which adopts his emblem, the lion, as its own.
Link to “St. Mark the Evangelist” set
Link to "The four Evangelists" collection
Manuscript title: Evangelistary ("Liber viventium")
Origin: Churrätien (Switzerland)
Period: 9th century
Image source: St. Gallen, Stiftsarchiv (Abtei Pfäfers), Cod. Fab. 1, p. 52 – Evangelistary ("Liber viventium") (www.e-codices.unifr.ch/en/ssg/fab0001/52)
The zodiac sign of LEO is associated with the month of July and it is represented by a lion. In most of the standard iconographic compositions, the animal is shown standing, or else depicted seated on its haunches. The animal is usually shown in a landscape and Its tail usually curls over its body and often its mane is displayed. Being that many of the artist and illuminators responsible for these works had never seen a lion, some representations were based on cats and dogs. In the modern horoscope, the zodiac sign of LEO covers the period from about July 22 – August 23.
Link to the "Zodiac sign of LEO" set.
Link to the "Zodiac signs" collection.
Manuscript title: Codex Schürstab
Origin: Nünberg (Germany)
Period: 15th century
Image source: Zürich, Zentralbibliothek, Ms. C 54, p. 20v – Codex Schürstab (www.e-codices.unifr.ch/en/zbz/C0054/20v)
Manuscript title: Evronot ("Rules for Calculation of the Calendar")
Manuscript summary: This manuscript contains an Evronot ("Rules for Calculation of the Calendar"). Many so-called Sifre evoronot ("Books of calculation") emerged in the 17th and 18th centuries. They can be taken as a reaction to the Gregorian calendar, introduced in 1582. Such manuscripts often depict the biblical Issachar, one of Jacob’s sons, on or near a ladder; as an attribute, he holds an hourglass in his hand. This manuscript has two such miniatures; above the first of which there is also an illustration of a waning and a waxing moon with a human face and stars. The title page depicts an ornamental architectural arch. At the end of the book, there is the familiar motif of Moses seated at a table holding the Tablets of the Law.
Origin: Germany
Period: 17th century
Image source: Zürich, Braginsky Collection, B247: Evronot ("Rules for Calculation of the Calendar") (www.e-codices.unifr.ch/en/list/one/bc/b-0247)
The scenes portraying Christ on the cross, often referred to also as the Crucifixion of Christ, derive their visual details mainly from the four Gospels. However, these accounts vary considerably in detail and therefore it is not unnatural that different aspects and variations of the scene could be represented.
The standard iconographic composition almost always presents crucified Christ positioned in the middle of the scene where he is shown stripped of his cloths. The figures of Virgin Mary and St. John the Apostle are frequently the only figures included in the composition. Other expended versions of the theme, however, include several other pairs of figures of both historical and symbolic relevance that traditionally appear to the right and the left of the cross. In some variations, the scene presents Christ`s cross erected between those of two thieves who were crucified at the same time with him. In other variations, the scene might include soldiers who cast lots for Christ`s cloths, or the figure of centurion, the Roman army officer, who pierced Christ`s side with a spear and afterward declared him to be the Son of God. Often, on the upper part of the composition, there are small personifications of the Sun and Moon which were eclipsed at the Crucifixion. In some cases, the scene depicts an affixed sign on the cross with the Latin acronym “INRI” (Iēsus Nazarēnus, Rēx Iūdaeōrum), which in English reads as “Jesus of Nazareth, The King of the Jews”.
Link to the "Crucifixion of Christ" set.
Link to the "Scenes from the life of Chris" collection.
Manuscript title: Book of Hours for the use of Angers
Origin: Angers (France)
Period: 15th century
Image source: Utopia, armarium codicum bibliophilorum, Cod. 109, p. 51r – Book of Hours for the use of Angers (www.e-codices.unifr.ch/en/utp/0109/51r)
Manuscript title: Matriculation Register of the Rectorate of the University of Basel, Volume 1 (1460-1567)
Origin: Basel (Switzerland)
Image source: Basel, Universitätsbibliothek, AN II 3, p. 44r – Matriculation Register of the Rectorate of the University of Basel, Volume 1 (1460-1567) (www.e-codices.unifr.ch/en/ubb/AN-II-0003/44r)
Manuscript title: Genus Arati
Manuscript summary: This Latin manuscript on astronomical topics includes works by Germanicus, Pliny the Elder and Hyginus. The codex features numerous pen and ink drawings, including a planisphere (rotatable star chart) consisting of five golden concentric circles containing constellations portrayed as people or animals. These drawings, dating from the 15th century, have been attributed to Antonio di Mario of the Neapolitan region.
Origin: Naples (Italy)
Period: 15th century
Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 7: Genus Arati (www.e-codices.unifr.ch/en/list/one/cb/0007)
Manuscript title: Commenta Julii Solini sive Grammatici
Manuscript summary: Codex 67 contains De mirabilibus mundi, a collection of curiosities by the grammarian Julius Solinus from late antiquity; the texts are also known by the titles Polyhistor and Collectanea rerum memorabilium. The text is written in a uniform script and is decorated with titles and initials, some of which are adorned with filigree (e.g., 2r and 6r), in red ink. Holes and tears in the parchment have been artfully stitched up with colorful threads (e.g., 23-25, 34, 62). According to the dedicatory poem on 1v, this copy was produced under Abbot Heinrich von Buochs (1197-1223).
Origin: Engelberg (Switzerland)
Period: 12th/13th century
Image source: Engelberg, Stiftsbibliothek, Cod. 67: Commenta Julii Solini sive Grammatici
El manuscrito original se encuentra en la Biblioteca Medicea Laurenziana de Florencia Italia. Esta obra fue un realizada en Tlatelolco en los a%os 1575-1577, en un esfuerzo por recuperar la dignidad de la cultura antes de la conquista. ES una obra de 12 volúmenes que narra todos los aspectos de la vida diaria y la cultura del pueblo nahua del centro de México. Esta escrita en Nahua y en español.
"Así nos educaron tus señoras, nuestras señoras, las mujeres nobles, las viejas señoras de cabellos blancos"; así dice el libro sexto del Códice Florentino, al que pertenecen las palabras de los viejos, también conocidos como huehuetlatollis. La palabra nahualt para los dichos de los viejos o la palabra antigua.
The zodiac sign of VIRGO is associated with the month of August. In the medieval iconographic compositions it is often represented by a single woman. She is usually presented standing in a landscape, although in some cases she is shown seated or indoors. Usually she holds either a palm or a sheaf and therefore associated to agriculture. In some representations she has flowers in her hand. In the modern horoscope the zodiac sign of VIRGO covers the period from about 23 August until 22 September.
Link to "Zodiac sign of VIRGO" set.
Link to the "Zodiac signs" collection.
Manuscript title: Codex Schürstab
Origin: Nünberg (Germany)
Period: 15th century
Image source: Zürich, Zentralbibliothek, Ms. C 54, p. 21r – Codex Schürstab (www.e-codices.unifr.ch/en/zbz/C0054/21r)
The scenes portraying Christ on the cross, often referred to also as the Crucifixion of Christ, derive their visual details mainly from the four Gospels. However, these accounts vary considerably in detail and therefore it is not unnatural that different aspects and variations of the scene could be represented.
The standard iconographic composition almost always presents crucified Christ positioned in the middle of the scene where he is shown stripped of his cloths. The figures of Virgin Mary and St. John the Apostle are frequently the only figures included in the composition. Other expended versions of the theme, however, include several other pairs of figures of both historical and symbolic relevance that traditionally appear to the right and the left of the cross. In some variations, the scene presents Christ`s cross erected between those of two thieves who were crucified at the same time with him. In other variations, the scene might include soldiers who cast lots for Christ`s cloths, or the figure of centurion, the Roman army officer, who pierced Christ`s side with a spear and afterward declared him to be the Son of God. Often, on the upper part of the composition, there are small personifications of the Sun and Moon which were eclipsed at the Crucifixion. In some cases, the scene depicts an affixed sign on the cross with the Latin acronym “INRI” (Iēsus Nazarēnus, Rēx Iūdaeōrum), which in English reads as “Jesus of Nazareth, The King of the Jews”.
Link to the "Crucifixion of Christ" set.
Link to the "Scenes from the life of Chris" collection.
Manuscript title: Cycle of miniatures
Origin: Muri (?) (Switzerland)
Period: 12th century
Image source: Sarnen, Benediktinerkollegium, Cod. membr. 83, p. 6v – Cycle of miniatures (www.e-codices.unifr.ch/en/bks/membr0083/6v)
Manuscript title: Zürich, Braginsky Collection, S7: Megillah Esther (מגילת אסתר) / Esther Scroll
Manuscript summary: The Esther story in this megillah (pl. megillot) isn't presented as an historic drama, but rather as a funny satire. The character of Alsatian Jewish life is captured in the ornamentation of the scroll: the whimsical imagery includes peasant figures in colorful local costume and reflections of folk humor. Lively figures, several shown strolling with walking sticks in hand and others gesturing, are interspersed with human busts, owls, and a gargoyle, while the Hebrew text is arranged within octagonal frames approximately 6 cm high. The few known Alsatian megillot share several distinctive characteristics, such as a bright palette of yellow, red, and green; stocky robust figures; and large vibrant flowers. In this Braginsky Collection Esther scroll, the women wear red or blue garments with yellow corselets laced in front, whereas the men are depicted wearing, amongst others, traditional white ruffs, red or blue jackets with culottes, and a variety of hats.
Origin: Alsace (France)
Period: second half of the 18th century
Image source: Zürich, Braginsky Collection, S7: Megillah Esther (מגילת אסתר) / Esther Scroll (www.e-codices.unifr.ch/en/list/one/bc/s-0007).
Manuscript title: Evronot ("Rules for Calculation of the Calendar")
Manuscript summary: This manuscript contains an Evronot ("Rules for Calculation of the Calendar"). Many so-called Sifre evoronot ("Books of calculation") emerged in the 17th and 18th centuries. They can be taken as a reaction to the Gregorian calendar, introduced in 1582. Such manuscripts often depict the biblical Issachar, one of Jacob’s sons, on or near a ladder; as an attribute, he holds an hourglass in his hand. This manuscript has two such miniatures; above the first of which there is also an illustration of a waning and a waxing moon with a human face and stars. The title page depicts an ornamental architectural arch. At the end of the book, there is the familiar motif of Moses seated at a table holding the Tablets of the Law.
Origin: Germany
Period: 17th century
Image source: Zürich, Braginsky Collection, B247: Evronot ("Rules for Calculation of the Calendar") (www.e-codices.unifr.ch/en/list/one/bc/b-0247)
Manuscript title: Codex Testeriano Bodmer
Manuscript summary: Testeriano denotes catechism manuscripts in a pictographic script attributed to the Franciscan friar and missionary Jacobo de Testera (16th century). Writing had already developed in 12th century Central America as a mixture of ideograms, pictograms and phonetic symbols, but the original handwritten witnesses thereof were destroyed in the Spanish Conquest in the 16th century. In order to communicate with the indigenous population, Christian missionaries later adopted this writing system, but they invented many symbols since the goal was to communicate a new, Christian content. For instance, three crowned heads represent the Trinity and thus God, while two crowned heads with key and sword represent the apostles Peter and Paul. The manuscript is read from left to right across both pages; different parts are separated by decorative vertical vignettes. The manuscript contains several short prayers (among them pp. 1v-2r Persignum, 2v-4r Ave Maria, 4v-8r Credo) and a long prayer (pp. 27v-35r) which represents a repetition of the Christian doctrine.
Origin: Mexico
Period: 16th century
Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 905: Codex Testeriano Bodmer (www.e-codices.unifr.ch/en/list/one/fmb/cb-0905).
British Airways Airbus A320 – 232 Codice di Registrazione G-EUUV volo n. BA565 in decollo da Milano Linate per Londra Heathrow (LHR).
British Airways Airbus A320 – 232 Registration G-EUUV flight BA565 taking off from Milan Linate to London Heathrow (LHR).
Manuscript title: Devotionale Abbatis Ulrici Rösch
Manuscript summary: The devotional book of Abbot Ulrich Rosch of St. Gall contains various prayers, timetables and calendars, is decorated with elaborate initials and was written in the year 1472.
Origin: Wiblingen (Germany)
Period: 15th century
Image source: Einsiedeln, Stiftsbibliothek, Codex 285(1106), p. 215 – Devotionale Abbatis Ulrici Rösch (www.e-codices.unifr.ch/en/sbe/0285/215)
Manuscript title: 12th Century Breviary from the monastery of Disentis
Manuscript summary: This is a collection of liturgical works from the monastery of Disentis, written in the second half of the 12th century, most likely around 1200. In sequence, the volume contains a calendar (pp. 2-13), a psalter (pp. 15-90) and a hymnary (pp. 91-110), a (mixed) capitulary and collectarium (pp. 116-186), as well as an antiphonary, a lectionary, and a homiliary (pp. 203-638). Highlights from the point of view of manuscript decoration include the initial “B” at the beginning of the psalter (p. 15) and a picture of the crucifixion (p. 89). This breviary is one of the very few surviving medieval manuscripts from the monastery of Disentis. The manuscript came to Kempten around 1300; as early as the 15th century, the Disentis Breviary was held in the Abbey Library of St. Gall.
Origin: Disentis Monastery (Switzerland)
Period: 1150/1200
Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 403: 12th Century Breviary from the monastery of Disentis (www.e-codices.ch/en/list/one/csg/0403)
Manuscript title: Odo of Cluny, Gregorii M. expositio libri Job in compendium redacta
Manuscript summary: Gregorii M. expositio libri Job ab Odone Cluniacensi in compendium redacta. Odo of Cluny’s (Abbot 927-942) adaptation of Gregory the Great’s commentary on the Book of Job. The ornamental initials of the manuscript, which was not created in St. Gall, stylistically indicate the 8th century. Many pages contain the unidentified monogram of a copyist. (dor)
Origin: France (?)
Period: 10th century
Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 205: Odo of Cluny, Gregorii M. expositio libri Job in compendium redacta
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Manuscript title: The four Latin Gospels
Manuscript summary: This remarkable manuscript, created in the 9th century in the Rhineland, contains the text of the four Gospels in their Latin version, written in Carolingian minuscule. The manuscript is decorated with, among others, two initials embellished with interlace and with canonical tables presented in arcades in vivid colors.
Origin: Rhineland (Germany)
Period: 9th century
Image source: Genève, Bibliothèque de Genève, Ms. lat. 6: The four Latin Gospels
In most of the standard medieval iconographic compositions, St. John the Evangelist is presented accompanied by the eagle. The eagle figure is presented presumably because his Gospel emphasizes aspects of Christ`s life that are related to “higher” level (like Ascension and Christ`s divine nature), and the eagle is the figure representing the sky and the higher inspiration. He is shown most of the times seated with a book or pen, writing the Gospel. In some occasions, only the figure of the eagle, as one of his attributes, is presented.
St John is known as the author of the fourth Gospel in the New Testament. This Gospel is dedicated to the public ministry of Christ beginning with the witness and affirmation by John the Baptist and concludes with the death, burial, resurrection and post resurrection appearances of Christ. He was the youngest of the twelve Apostles and was also present at the Crucifixion of Christ. Tradition says that from this time on, the Virgin Mary lived with John in fulfillment of Christ`s words. After the Virgin Mary`s death, he traveled to Judea preaching the gospel with St. Peter. Later, he is said to have journeyed into Asia Minor, where he has founded the Seven Churches referred to in the Revelation. He is supposed to have died a natural death at Ephesus.
Link to "St. John the Evangelist" set.
Link to "The four Evangelists" collection.
Manuscript title: Latin Gospel readings
Origin: St. Gallen (Switzerland)
Period: 15th century
Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 368, p. 20 – Latin Gospel readings (www.e-codices.unifr.ch/en/list/one/csg/0368)
Manuscript title: Antiphonarium Lausannense. De Tempore, pars hiemalis
Manuscript summary: This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the winter portion of the Proprium de tempore. The parchment codex was written between 1511 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg. The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg. The binding, from about 1517, is from the workshop of the Franciscans in Fribourg.
Origin: Fribourg (Switzerland)
Period: 16th century
Image source: Fribourg/Freiburg, Archives de l'Etat de Fribourg/Staatsarchiv Freiburg, Archives du Chapitre St. Nicolas/Kapitelsarchiv St. Niklaus, CSN III.3.1: Antiphonarium Lausannense. De Tempore, pars hiemalis
Manuscript title: Silver Book of the Land
Manuscript summary: On 86 leaves of parchment, the Silver Book of the Land contains the statutes of the entire region of Appenzell. It is an assemblage of older legal texts; at a later time more recent statutes were added to it. Following the division of the region of Appenzell that took place in 1597, the book became the property of the Canton of Appenzell Innerrhoden and remained valid into the 19th century. Rich decorations consisting of miniatures and initials indicate the great importance attributed to this volume.
Origin: Appenzell (Switzerland)
Period: 16th century
Image source: Appenzell, Landesarchiv Appenzell Innerrhoden, E.10.02.01.01: Silver Book of the Land (www.e-codices.unifr.ch/en/list/one/laai/E-10-02-01-01)
Manuscript title: Codex Testeriano Bodmer
Manuscript summary: Testeriano denotes catechism manuscripts in a pictographic script attributed to the Franciscan friar and missionary Jacobo de Testera (16th century). Writing had already developed in 12th century Central America as a mixture of ideograms, pictograms and phonetic symbols, but the original handwritten witnesses thereof were destroyed in the Spanish Conquest in the 16th century. In order to communicate with the indigenous population, Christian missionaries later adopted this writing system, but they invented many symbols since the goal was to communicate a new, Christian content. For instance, three crowned heads represent the Trinity and thus God, while two crowned heads with key and sword represent the apostles Peter and Paul. The manuscript is read from left to right across both pages; different parts are separated by decorative vertical vignettes. The manuscript contains several short prayers (among them pp. 1v-2r Persignum, 2v-4r Ave Maria, 4v-8r Credo) and a long prayer (pp. 27v-35r) which represents a repetition of the Christian doctrine.
Origin: Mexico
Period: 16th century
Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 905: Codex Testeriano Bodmer (www.e-codices.unifr.ch/en/list/one/fmb/cb-0905).
Christmas, also known as Nativity, refers to the accounts of the birth of Jesus mainly based on the Gospels of Matthew and Luke. Traditionally, scenes of Nativity, portray the Holy Family in the stable at Bethlehem. The Christ child is represented lying in a manger or upon the straw, whilst Virgin Mary kneels in adoration before Him. In some scenes Virgin Mary is represented lying next to Jesus. Joseph is portrayed standing at one side. The scene also includes depictions of an ox and a donkey, usually in the background, gazing quietly at the scene in front of them.
Some Nativity scenes depict one or more angels who proclaim Jesus as the savior for all people, and portrayals of shepherds who come to adore Him. There are also scenes representing the wise men (The Maggi ) who, after following a star, arrive to Bethlehem to bring gifts to Jesus.
Link to the "Christmas scenes" set
Manuscript title: Pontificale Murense
Origin: Muri (?) Switzerland
Period: 16th century
Image source: Aarau, Aargauer Kantonsbibliothek, MsMurF 3, p. 2r – Pontificale Murense (www.e-codices.unifr.ch/en/kba/0003/2r)
Manuscript title: Manuscript summary: At the beginning of the 17th century, a book of black magic was published, attributed to the mythical Faust and known by the title Höllenzwang. The library in Weimar owned a manuscript of this text, which Goethe was aware of. In 1949 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.
Origin: Cologny? (Switzerland)
Period: middle of 18th century
Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 66: Doktor Fausts Dreifacher Höllenzwang (e-codices.unifr.ch/en/list/one/fmb/cb-0066).