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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: 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: Sefirat ha-Omer (Counting of the Omer) and other prayers
Manuscript summary: The Counting of the Omer is the ritual counting of the 49 days between Passover and Shavuot, the Feast of Weeks. In this manuscript, these days and their corresponding numbers, are inscribed in 49 quatrefoils. F. 18r shows a menorah with the seven verses of Psalm 67 inscribed in microsript on the seven arms of the candelabrum. The scribe Baruch ben Schemaria from Brest-Litovsk (Belarus) created this manuscript in Amsterdam in 1795 for Aaron ben Abraham Prinz, of Alkmaar in the Netherlands, as noted on the title page. The drawing on f. 1r, a page of calligraphic decoration, depicts the giant Samson as Atlas, since, according to rabbinical tradition, he was endowed with superhuman strength.
Origin: Amsterdam (The Netherlands)
Period: 18th century
Image source: Zürich, Braginsky collection, B28: Sefirat ha-Omer (Counting of the Omer) and other prayers (www.e-codices.unifr.ch/en/list/one/bc/b-0028).
Manuscript title: D"Historienbibel" from the workshop of Diebold Lauber, Vol. 2: New Testament.
Manuscript summary: This two-volume, large format history Bible (“Historienbibel”) is illustrated throughout in an artistic style characteristic of the workshop of Diebold Lauber in Hagenau. This history Bible is traceable to Constance in the third quarter of the 15th century; some defects were repaired in St. Gallen in the early 17th century – one of the early conservation efforts undertaken in this city.
Origin: Hagenau (Germany)
Period: 15th century
Image source: St. Gallen, Kantonsbibliothek, Vadianische Sammlung, VadSlg Ms. 343d, f. 102v – "Historienbibel" from the workshop of Diebold Lauber, Vol. 2: New Testament. (www.e-codices.unifr.ch/en/vad/0343d/102v)
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: 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: Antiphonarium
Manuscript summary: Antiphonary from the Franciscan Monastery of Fribourg, dated 1488 according to the colophon f. 214v. Drolleries are drawn in the margins and by the initials. The manuscript contains a miniature (f. 14v, birth of Christ) and beautiful initials (flowers, fruit, zucchini), attributed to the Master of the Breviary of Jost of Silenen.
Origin: Fribourg, Franciscan Monastery
Period: 15th century
Image source: Fribourg/Freiburg, Couvent des Cordeliers/Franziskanerkloster, Ms. 6: Antiphonarium
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).
AUGUST
Labors of the month August are generally associated with threshing. The scene usually shows a man and a woman, or occasionally two men, beating the grain. The scene can take place both indoor and outdoor and sometimes in the background there are bound of stacks of grain. Variations of the scene might also show sowing as the activity of the month.
Link to the "Labors of the month August" set.
Link to the "Labors of the months" collection.
Manuscript title: Book of Hours of Agnes le Dieu
Origin: Bourges (France)
Period: 16th century
Image source:Utopia, armarium codicum bibliophilorum, Cod. 102, p. 12v – Book of Hours of Agnes le Dieu (www.e-codices.unifr.ch/en/utp/0102/12v)
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).
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 from Paris
Origin: Paris (France)
Period: 15th century
Image source: Utopia, armarium codicum bibliophilorum, Cod. 100, p. 136r – Book of Hours from Paris (www.e-codices.unifr.ch/en/utp/0100/136r)
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)
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: Book of hours from Paris
Origin: Paris (France)
Period: 15th century
Image source: Utopia, armarium codicum bibliophilorum, Cod. 106, p. 83v – Book of hours from Paris (www.e-codices.unifr.ch/en/utp/0106/83v)
Università Tecnica
Codice immobile: 17445 piazza di Carlo VI d'Asburgo 12-13
Comunità catastale: Wieden. Questo complesso comprendendo diversi cortili sul versante meridionale della piazza di Carlo VI d'Absburgo è stato costruito in diverse tappe del XIX e all'inizio del XX secolo. L'edificio principale monumentale è dato ritmo per avancorpi scoperti da una mansarda con un grosso ordine ionico e si trova tra la chiesa di San Carlo Borromeo e la scuola Protestante. Fu costruito da Josef Schemerl nel 1816-1818, il blocco trasversale ad est dietro è stata aggiunta nel 1821. Nel 1836-1839, le ale furono aggiunte attorno ai due cortili principali di Joseph Mauritius Stummer. Nel 1867 e nel 1894 furono ingrandite ale, nel 1907 l'ala verso la viuzza di Carlo fu costruito da Karl König. Il decoro plastico è stato progettato da Josef Klieber, l'arredamento della sala per banchetti deriva da Peter Nobile.
Technical University
Property ID: 17445 Charles square 12-13
Cadastral community: Wieden. This construction complex comprising several courts on the southern edge of the Charles square was built in several steps in the 19th and early 20th century. The monumental main building is given rhythm by avant-corps with a great Ionic order these ones roofed over by a mansard roof and lies between the church of Charles Borromeo and the Protestant school. It was built by Josef Schemerl in 1816-1818, the eastward transverse block was added in 1821. In 1836-1839, the tracts around the two manin courtyarts were added of Joseph Mauritius Stummer. In 1867 and 1894 tracts were set up, in 1907 the tract toward Charles alley was built by Karl König. The sculptural décor was designed by Josef Klieber, the furnishings of the Banqueting hall stem from Peter Nobile.
Technische Universität
Objekt ID: 17445 Karlsplatz 12-13
Katastralgemeinde: Wieden. Dieser mehrhöfige Baukomplex am Südrand des Karlsplatzes wurde in mehreren Schritten im 19. und frühen 20. Jahrhundert erbaut. Das monumentale Hauptgebäude wird von mansarddachüberhöhten Risaliten mit großer ionischer Ordnung rhythmisiert und liegt zwischen Karlskirche und evangelischer Schule. Es wurde 1816-1818 von Josef Schemerl erbaut, der Quertrakt östlich dahinter kam 1821 dazu. 1836-1839 wurde die Trakte um die beiden Haupthöfe von Joseph Mauritius Stummer hinzugefügt. 1867 und 1894 wurde Trakte aufgestockt, 1907 wurde der Trakt zur Karlsgasse hin von Karl König erbaut. Der plastische Dekor stammt von Josef Klieber, die Ausstattung des Festsaales von Peter Nobile.
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...
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: Codex Schürstab
Origin: Nürnberg (Germany)
Period: 15th century
Image source: Zürich, Zentralbibliothek, Ms. C 54, p. 1v – Codex Schürstab
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).
The zodiac sign of CANCER is associated with the month of June and it is represented by a crab or lobster-like scorpion. In most of the standard iconographic compositions, the crab is viewed from above with its legs splayed on either side. It can vary in size from a small insect-like creature to a large oval shaped shell. Most of the times it is represented against a plain background, yet there are cases when it is against a landscape, at time with an associated river. In the modern horoscope, the zodiac sign of CANCER covers the period from about June 21 – July 22.
Link to the "Zodiac sign of CANCER" set.
Link to the "Zodiac signs" collection.
Manuscript title: Astronomical-computistic encyclopedia
Origin: St. Gallen (Switzerland)
Period: 9th century
Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 250, p. 483 – Astronomical-computistic encyclopedia (www.e-codices.unifr.ch/en/csg/0250/483)
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)
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: Calendarium (Prayer calendar), Latin Bible selections: Liber Psalmorum, Cantica with prayers; Hymns, etc.
Origin: Germany
Period: 13th/14th
Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 30, p. 5r – Calendarium (Prayer calendar), Latin Bible selections: Liber Psalmorum, Cantica with prayers; Hymns, etc. (www.e-codices.unifr.ch/en/cb/0030/5r)
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: Book of hours from Paris
Origin: Paris (France)
Period: 15th century
Image source: Utopia, armarium codicum bibliophilorum, Cod. 100, f. 67v – Book of hours from Paris (www.e-codices.unifr.ch/en/list/one/utp/0100)
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: Calendarium (Prayer calendar), Latin Bible selections: Liber Psalmorum, Cantica with prayers; Hymns, etc.
Origin: Germany
Period: 13th/14th
Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 30, p. 5v – Calendarium (Prayer calendar), Latin Bible selections: Liber Psalmorum, Cantica with prayers; Hymns, etc. (www.e-codices.unifr.ch/en/cb/0030/5v)
Manuscript title: Breviarium OFM (pars hiemalis)
Manuscript summary: The first part of a breviary intended for use by a Franciscan, perhaps a Poor Clare, was referred to as Horae canonicae in earlier literature. It was written in 1459 on high quality parchment by the well known scribe Johannes Frauenlob. The coats of arms of Constance families Schatz and Guldinast allow us to make inferences about who commissioned it. Rich book decoration includes gold-grounded initials, filigree, and margin borders. About 30 figured and illustrated initials by two stylistically distinct hands, of which the first is distinguished by particular virtuosity: «Der mit zahllosen Farbpunkten vorgenommene Farbauftrag, die heitere Rankenmalerei […] und auch das geschärfte Verständnis für Fernwirkung bei Landschaftsdarstellungen sind beinahe einzigartig für diese Zeit in der Bodenseemalerei.»
Origin: Constance (Austria)
Period: 15th century
Image source: Schaffhausen, Ministerialbibliothek, Min. 98: Breviarium OFM (pars hiemalis)
Manuscript title: Sefirat ha-Omer (Counting of the Omer) and other prayers
Manuscript summary: The Counting of the Omer is the ritual counting of the 49 days between Passover and Shavuot, the Feast of Weeks. In this manuscript, these days and their corresponding numbers, are inscribed in 49 quatrefoils. F. 18r shows a menorah with the seven verses of Psalm 67 inscribed in microsript on the seven arms of the candelabrum. The scribe Baruch ben Schemaria from Brest-Litovsk (Belarus) created this manuscript in Amsterdam in 1795 for Aaron ben Abraham Prinz, of Alkmaar in the Netherlands, as noted on the title page. The drawing on f. 1r, a page of calligraphic decoration, depicts the giant Samson as Atlas, since, according to rabbinical tradition, he was endowed with superhuman strength.
Origin: Amsterdam (The Netherlands)
Period: 18th century
Image source: Zürich, Braginsky collection, B28: Sefirat ha-Omer (Counting of the Omer) and other prayers (www.e-codices.unifr.ch/en/list/one/bc/b-0028).
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: 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
Manuscript title: Book of Hours
Manuscript summary: A book of hours following the liturgical usage of Rome, richly illustrated with full-page miniatures, borders, and initials, written in cursive script (bastarda) which can be dated to about 1500, with texts in Latin, French, and Flemish. The style of the miniatures, especially that of the naturalistic borders with flowers and insects, but also with complete scenes, seems typical of the Ghent-Bruges school.
Origin: Flanders, probably Brügge (Belguim)
Period: 16th century
Image source: Neuchâtel, Bibliothèque publique et universitaire de Neuchâtel, A28, f. 88v – Book of Hours (www.e-codices.unifr.ch/en/bpun/A0028/88v)
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).
Aunque técnicamente cualquier libro moderno es un códice, este término latino se utiliza para manuscritos, del periodo de finales de la Antigüedad preclásica hasta el fin de la Edad Media. Está conformado por un conjunto de hojas rectangulares de pergamino o de papiro.
El pergamino es piel de carnero, de cabra o de asno y, en algunos casos más frecuentes de lo que puedan imaginar, humana. El proceso consiste en sumergir las pieles durante unos dias en cal, tras lo cual se limpiaban del vellón o pelo, se raían con un rasorius, se adobaban, estiraban y pulían con piedra pómez. Era tan caro y escaso el pergamino que era frecuente reutilizarlos , borrando las escritura y escribiendo encima (palimpsesto), así que no es raro encontrar que la encuadernación de un libro, relativamente moderno, se haya hecho con la hoja de un códice de siglo X, borrado parcialmente. No se recomienda que para buscar el tesoro, destroce libros. Con mirarlo con luz ultravioleta suele ser suficiente.
La vitela es un pergamino extraordinariamente fino y flexible procedente de un becerro recién nacido o nonato y se utilizaba para confeccionar lujosos códices miniados (adornados con miniaturas).
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. 12v – Codex Schürstab (www.e-codices.unifr.ch/en/zbz/C0054/12v)
The zodiac sign of CAPRICORN is associated with the month of December and it is represented by the goat. In most of the standard medieval iconographic compositions, the goat is represented with two horns, standing or seated. For an animal rather familiar to the artists in that time, the portrayal of the goat tends to be surprisingly unrealistic to the extent that the goat is often shown very similar to the unicorn. Variations on this form show a creature with upper body of a goat and lower body of a fish with a tail emerging from a shell. In the modern horoscope the zodiac sign of CAPRICORN covers the period from about 22 December until 19 January.
Link to the "Zodiac sign of CAPRICORN" set
Link to the "Zodiac signs" collection
Manuscript title: Astronomical-computistic encyclopedia
Origin: St. Gallen (Switzerland)
Period: 9th century
Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 250, p. 497 – Astronomical-computistic encyclopedia (www.e-codices.unifr.ch/en/csg/0250/497)
Biblioteca malatestiana. Cesena (Italia). Según las crónicas la biblioteca pública más antigua del mundo, desde 1454 y aún en funcionamiento.
Manuscript title: Armenian Hymnarium (Sharaknots)
Manuscript summary: Liturgical manuscript (Sharaknots), written by the copyist Awetis in Khizan in the province Van in the year 1647 (1096 according to the Armenian calendar). It contains 11 large miniatures and 28 miniatures in the margins, executed and signed by the painter Yovanes Gharietsi. He was one of the most fascinating artists of the late School of Vaspurakan. The manuscript is part of certain hymnals, created for private customers in the region of Lake Van and characterized by bright colors and interlace ornamentation. The manuscript features the Armenian Khaz-notation. The text contains the collection of hymns in use in the Armenian Church, in the same order as in a Hymnarium printed as a first edition in Amsterdam in the year 1664. Three more hymnals of this type, also the result of the collaboration of these two artists, are known: two in Jerusalem and one in Jerewan. Attached in the beginning and at the end are two sheets of parchment containing a part of the Proprium de Sanctis from a Latin breviary from the 13th/14th century.
Origin: Awendants, Khizan in the Province Van
Period: 17th century
Image source: Utopia, armarium codicum bibliophilorum, Cod. 4: Armenian Hymnarium (Sharaknots) (www.e-codices.unifr.ch/en/list/one/utp/0004)
The zodiac sign of CANCER is associated with the month of June and it is represented by a crab or lobster-like scorpion. In most of the standard iconographic compositions, the crab is viewed from above with its legs splayed on either side. It can vary in size from a small insect-like creature to a large oval shaped shell. Most of the times it is represented against a plain background, yet there are cases when it is against a landscape, at time with an associated river. In the modern horoscope, the zodiac sign of CANCER covers the period from about June 21 – July 22.
Link to the "Zodiac sign of CANCER" 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. 20r – Codex Schürstab (www.e-codices.unifr.ch/en/zbz/C0054/20r)
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: Computus, Breviary, Gradual, Sacramentary
Origin: St. Gall (Switzerland)
Period: 11th century
Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 338, p. 340 – Computus, Breviary, Gradual, Sacramentary (www.e-codices.unifr.ch/en/csg/0338/340)
The zodiac sign of PISCES is associated with the month of February and it is represented by two fish. In most of standard iconographic compositions, the two fish are represented nearly always swimming in opposite directions and are often linked together by a cord from both of their mouths. They usually swim horizontally and in some cases they are mirror images of each other. Water or other decoration is sometimes shown around them, but there can also be a blank undecorated area. In the modern horoscope the zodiac sign of PISCES covers the period from about February 19 – March 20.
Link to “Zodiac sign of PISCES” 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. 21v – Codex Schürstab (www.e-codices.unifr.ch/en/zbz/C0054/24r)
A fragment of the Koran (Qur'an) covering the chapters 19 (Mariam) through 23 ( al-Muʾminūn) written on Italian paper in a large Maghribi script, with vocalization in red ink, in the 12th AH / 18th CE century. Shown here is the illuminated incipit page with a headpiece carrying the chapter heading (Maryam) in a decorative New Abbasid Style ('broken cursive') in the central medallion in gold.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
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).
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: 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)
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: Psalterium
Origin: Southwest Germany
Period: 12th century
Image source: Sarnen, Benediktinerkollegium, Cod. membr. 19, p. 8r – Psalterium (www.e-codices.unifr.ch/en/bks/membr0019/8r)
Palazzo del Belvedere insieme di giardino con elementi architettonici
Codice immobile: 68612 Strada del principe Eugenio di Savoia 27
Comune Catastale: Strada di Campagna
Questo complesso del castello che fu costruito da Johann Lukas von Hildebrandt per il principe Eugenio di Savoia è uno dei più importanti palazzi barocchi in Austria. Il complesso è composto dal Belvedere Alto (costruito 1721-1723), il Belvedere Bassa (costruito 1714-1716) e il giardino del Castello, situato tra le due (dopo l'anno 1700 progettato da Dominique Girard). Gli edifici ora ospitano la Galleria Austriaca Belvedere.
Belvedere Palace including park with buildings
Property ID: 68612 Prince Eugene street 27
Cadastral Community: Country Road
This by Johann Lukas von Hildebrandt for Prince Eugene of Savoy erected complex is one of the most important Baroque palace buildings in Austria. The complex consists of the Upper Belvedere (built 1721-1723), the Lower Belvedere (built 1714-1716) and the lying in between Castle garden (after 1700 designed by Dominique Girard). The buildings now house the Austrian Gallery Belvedere.
Schloss Belvedere samt Schlosspark mit Baulichkeiten
Objekt ID: 68612Prinz-Eugen-Straße 27
Katastralgemeinde: Landstraße
Dieser von Johann Lukas von Hildebrandt für Prinz Eugen von Savoyen errichtete Komplex ist einer der bedeutendsten barocken Schlossbauten in Österreich. Die Anlage besteht aus dem Oberen Belvedere (errichtet 1721–1723), dem Unteren Belvedere (errichtet 1714–1716) und dem dazwischenliegenden Schlossgarten (nach 1700 gestaltet durch Dominique Girard). Die Gebäude beherbergen heute die Österreichische Galerie Belvedere.
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...
Manuscript title: Rheinau Psalter
Manuscript summary: The Rheinau Psalter, Ms. Rh. 167, is among the preeminent treasures of the Zurich Central Library. Its miniatures are a product of the highest level of artistry of the High Gothic painting of this period around 1260, which is also true for the sophisticated color and painting techniques that were used. In contrast, the script, while of quite good quality, cannot be counted among the highest examples of the art of writing. The commissioner of the manuscript must be sought in the area of Lake Constance, probably in the city of Constance, which was very important in the politics and church politics at the time of the interregnum. In 1817, Father Blasius Hauntinger purchased the manuscript from Melchior Kirchhofer in Schaffhausen for the Benedictine Rheinau Abbey; in 1863, the manuscript, along with the Rheinau Abbey Library, became part of the Cantonal Library (today Central Library) in Zurich.
Origin: Constance/area of Lake Constance
Period: 13th century
Image source: Zürich, Zentralbibliothek, Ms. Rh. 167, f. 123v – Rheinau Psalter (www.e-codices.unifr.ch/en/zbz/Ms-Rh-0167/123v)
Manuscript title: Augustinus, De Civitate Dei contra paganos
Manuscript summary: This codex contains Augustine's City of God. The manuscript was probably begun under Abbot Frowin of Engelberg (1143-1178) and completed and decorated under his successor Berchtold (1178-1197). The last folio is cut out; it may have had dedicatory verse on it, as was the practice for the Engelberg scriptorium under Frowin and Berchthold. Some of the initials have been erased and reworked. (grd)
Origin: Engelberg (Switzerland)
Period: 12th century
Image source: Engelberg, Stiftsbibliothek, Cod. 17: Augustinus, De Civitate Dei contra paganos
Manuscript title: "Historienbibel" from the workshop of Diebold Lauber, Vol. 2: New Testament.
Manuscript summary: This two-volume, large format history Bible (“Historienbibel”) is illustrated throughout in an artistic style characteristic of the workshop of Diebold Lauber in Hagenau. This history Bible is traceable to Constance in the third quarter of the 15th century; some defects were repaired in St. Gallen in the early 17th century – one of the early conservation efforts undertaken in this city.
Origin: Hagenau (France)
Period: 15th century
Image source: St. Gallen, Kantonsbibliothek, Vadianische Sammlung, VadSlg Ms. 343d, f. 82v – "Historienbibel" from the workshop of Diebold Lauber, Vol. 2: New Testament. (www.e-codices.unifr.ch/en/vad/0343d/82v)