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Browse All : Images from 1330 approximate
1-3 of 3
Title
Missale Herbipolense: fragment
Creator
Catholic Church
Summary
[Ms. This manuscript leaf is part of a collection of medieval manuscript leaves selected to illustrate the art of the manuscript during the period of its greatest development and influence. They have been taken from books written in various European scriptoria by Benedictine, Franciscan, Carthusian, Dominican, and other orders of monks. Many are enriched with handsome borders, initial letters, and line-endings rendered in color. Twenty-five are illuminated with burnished gold or silver. The texts include the Bible, various church service books, the writings of the Church fathers, and some of the Classics., In transitional early gothic notation., The Missal has been for many centuries one of the most important liturgical books of the Roman Catholic Church. It contains all the directions, in rubrics and texts, necessary for the performance of the mass throughout the year. The text frequently varied considerably according to locality. This particular manuscript was written by Benedictine monks for the Parochial School of St. John the Baptist in Würzburg shortly after 1300 A.D. The musical notation is the rare type which is a transition between the early neumes and the later Gothic or horseshoe nail notation. The "C" line of the staff is indicated by that letter, and the "F" simply by a diamond, an unusual method. The bold initial letters in red and blue are "built up" letters; first the outlines ere made with a quill and then afterward the areas were colored with a brush. This vellum leaf was created in Germany.]
Title
Hymnarium: fragment
Summary
[Ms. This manuscript leaf is part of a collection of medieval manuscript leaves selected to illustrate the art of the manuscript during the period of its greatest development and influence. They have been taken from books written in various European scriptoria by Benedictine, Franciscan, Carthusian, Dominican, and other orders of monks. Many are enriched with handsome borders, initial letters, and line-endings rendered in color. Twenty-five are illuminated with burnished gold or silver. The texts include the Bible, various church service books, the writings of the Church fathers, and some of the Classics., In angular gothic script; Gregorian notation., At important festival services such as Christmas and Easter these small hymnals were generally used by the laymen as they walked in procession to the various altars. Much of the material incorporated in the hymnals was based on folk melodies. Hymns, like the other chants of the Church, varied according to their place in the liturgy. Their melodies are frequently distinguished by a refrain which was sung at the beginning and at the end of each stanza. The initial letter design of this leaf persisted with little or no change for a long period, but the simple pendant spear was used as a distinctive motif for not more than twenty-five years. This leaf was created in France.]
Title
Biblia sacra Latina, versio vulgata: fragment
Summary
[Ms. This manuscript leaf is part of a collection of medieval manuscript leaves selected to illustrate the art of the manuscript during the period of its greatest development and influence. They have been taken from books written in various European scriptoria by Benedictine, Franciscan, Carthusian, Dominican, and other orders of monks. Many are enriched with handsome borders, initial letters, and line-endings rendered in color. Twenty-five are illuminated with burnished gold or silver. The texts include the Bible, various church service books, the writings of the Church fathers, and some of the Classics., In transitional rotunda script, At this period, the St. Jerome Bible was not transcribed as often as one would expect in the country of its origin and the very land which held the seat of the Roman Church. During the greater part of the 13th century, while the popes were greatly concerned with gaining political power, art was at a low ebb in Italy, and religious manuscripts were comparatively few and far inferior to the work of monastic scribes in Germany, France, and England. But with the great wealth accumulating in Italy during the 14th century through commerce and the Crusades, this country soon surpassed in richness as well as in numbers the manuscript outpout of all other nationalities. The rich black lettering of this manuscript is in the transitional rotunda script and is executed with skill and beauty. It is supplemented by initial letters in rich ultramarine blue and deep cinnabar (vermilion), which colors are reflected in the ornament of the romanesque capitals. All of these factors combine to indicate that the manuscript was executed in central Italy, possibly at Florence.]
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