May 18
Antiphonary (fragment), (manuscript fragment, p. 2 verso), [Germany], [between 1390 and 1410] [Beinecke MS 482.106, Yale University Library, Beinecke Rare Book and Manuscript Library, New Haven, CT]
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Antiphonary (fragment), (manuscript fragment, p. 2 verso), [Germany], [between 1390 and 1410] [Beinecke MS 482.106, Yale University Library, Beinecke Rare Book and Manuscript Library, New Haven, CT]
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Many - most - manuscripts survive only in fragments. Here we have three adjacent fragments from a large antiphonary leaf. Text on both sides is from Psalm 138 and one side also includes musical notation. Written in a large Gothic hand with red and blue initials. Because the style of liturgical manuscripts didn't change much through the mid to late middle ages, we can't say any date more exact than between 1300 and 1599.
🔗:
musicians
from the margins of an antiphonary manuscript, bohemia, c. 1499
source: Vienna, ÖNB, Mus.Hs.15494, fol. 51r and 121v
Episode 2: Lisa Fagin Davis on a Fragment, a Forgery, and a Fiend
Women bathing in the Voynich manuscript
In Episode 2 of Inside My Favorite Manuscript, Dot and Lindsey talk to manuscript scholar Lisa Fagin Davis about three of her favorite manuscripts, all of which happen to be in the collections of the Beinecke Library at Yale University:
The Gottschalk Antiphonary, now a collection of fragments
Epistolary, Cistercian Use, a 15th century manuscript with substantial forged illustrations added in the 19th century
Cypher Manuscript aka The Voynich Manuscript, a fiend of a manuscript that has proven itself impossible to decipher
Listen to the episode here or wherever you get your podcasts!
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Below the cut are photos of some of the specific things we discuss in this episode.
Decorated initial letters taken from a Benedictine Antiphonary (circa 1467–70) by Belbello da Pavia (Italian, active circa 1420–70) and collaborators.
Tempera, gold, and ink on parchment.
Images and text information courtesy The Met.
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Master B.F. (Italian, active about 1495 - 1510), Initial E: Saint John the Evangelist (from an antiphonal), early 16th century, tempera and gold leaf on parchment, 16.5 x 16.5 cm. J. Paul Getty Museum
MWW Artwork of the Day (11/13/19) Lorenzo Monaco (Sienese, c. 1370-c. 1425) Antiphonary (1406) Tempera and gold on parchment, 31.5 x 26.5 mm The Metropolitan Museum of Art, New York
This miniature was excised from an antiphonary (one of the principal choir books of Catholic devotion) painted by Lorenzo Monaco for the Camaldolese convent of Santa Maria degli Angeli, Florence. The initial C introduces one of the responses for the celebration of the Office of the Dead: "Credo quod redemptor meus vivit, et novissimo die terra resurrecturus sum, et in carnee mea videbo Deum, Salvatorem meum" (I believe that my Redeemer lives, and that on the last day I shall rise from the earth and in my flesh I shall see God, my Savior). Inside the initial, the bust-length figure of Christ, his right hand raised in judgment, emerges from a bank of clouds set against a burnished gold background. To his right, an angel blows the trumpet of the Last Judgment. Below them, the dead emerge from cracks in the rocky ground, their hands clasped in prayer. (from the MMA catalog)
“#fridayreads #bibliophilly Grrrr! 14th c #medievalmanuscript #antiphonary @freelibraryrarebooks Lewis E 6. #librar… https://t.co/4Mbg3c8UgE”