This volume is part of an antiphonary in three volumes that was produced in duplicate for the liturgy of the Collegiate Church of St. Vincent (founded in 1484/85) in the city of Bern. It contains the summer portion of the De Tempore according to the liturgy of the Diocese of Lausanne. Its duplicate is contained in volume III. The book decoration is by an anonymous artist; it consists of cadels, fleuronée initials and an illuminated initial with a border on f. 1r. After the introduction of the Reformation to Bern in the year 1528 and the subsequent secularization of the chapter, the entire group of six antiphonaries was sold in 1530. Four were sold to the city of Estavayer-le-Lac and were used there for the liturgy of the Collegiate Church of St. Lorenz; the other two reached Vevey under circumstances that remain unexplained; they are currently held in the historical museum there.
Online Since: 12/18/2014
The Flawil Offnung of 1471, sealed on 21 January 1472, is a medieval law book. It governs the relations of associates in the law courts, at the princely court, and in communal landholdings within a court district (here the lower court of Flawil) with the lord of that court, the "Vogt" (reeve). At the time this was Rudolf IX Giel of Glattburg, a ministry official of the abbot of St. Gall Abbey. This document provides an insight into the legal and economic situation towards the end of the 15th century. Originally the Flawil Offnung was part of a single volume together with those of Gebhartschwil, Uffhoven and Rudlen (Aufhofen and Rudeln) as well as Burgau. Later the Flawil Offnung (up to page 17) was removed. Due to the dissolution of the lower court, after 1798 the Flawil Offnung was transferred to the citizens' corporation or today's municipality of Flawil.
Online Since: 06/23/2014
This finely painted illustration, executed in vibrant and colorful opaque colors, has been cut out. It depicts the Presentation of Jesus in the Temple as described in the Gospel of Luke. Mary and Joseph bring the infant to the old prophet Simeon in order to receive his blessing. One of the two women behind Mary holds two doves in her right hand, which are to be sacrificed according to the requirements. In her left hand the woman carries burning candles, which indicate the feast to which this event is dedicated, i.e. Candlemas. Below Jesus, three small kneeling figures are praying: a Dominican nun and the donor couple. The scene is inserted into an N-initial decorated with scroll ornamentation at the beginning of the Canticle of Simeon for the feast of Mary: Nunc dimittis, domine, servum tuum in pace (Lord, now let your servant depart in peace, according to your word). The words visible at the top Intercede pro nobis (Pray for us [Holy Mother of God]) follow at the end of the song. An excerpt from the liturgical antiphon with the text Postquam impleti sunt dies purgationis (When the days of purification were completed) is preserved on the back. This fragment was purchased at auction at Sotheby's in London by the Canton of Thurgau in 1978; it came from the collection of Robert von Hirsch of Basel (1883–1977).
Online Since: 12/12/2019
This miniature was cut from a deluxe manuscript. The Annunciation of the Lord, depicted in the initial M-of the text Missus est Gabriel (Gabriel was sent), is celebrated on March 25. The Archangel Gabriel and Mary face each other in a vertically rectangular, geometrically designed border, each framed by an arch of the M. Gabriel holds a banderole with his greeting to the listening Mary AVE GRACIA PLENA (Hail Mary, full of grace). The side pillars of the letter M lead down into palmette leaves, which have been carefully cut out and thus protrude into the area surrounding the miniature. Above the palm leaves on the right there are red note lines and a single note. This illustration is from a particularly large-format book, an illustration of high painterly quality with light opaque colors in pink, green and blue tones, which are finely graded. The musical text on the back can be assigned to verses 2.2, 4.11 and 4.13 of the Song of Songs. This leaf comes from the same chorale manuscript as the miniature with the representation of the "Death of the Virgin". Both leaves show stations from the cycle of The Life of the Virgin, with T09393 illustrating the first stage and T 9394 the last. Stylistically they can be placed alongside three leaves from the collection de Bastard d'Estang in the Bibliothèque nationale de France in Paris (AD 152G, PL 842-3, AD 150H, PL 51). In 1994, the canton of Thurgau commercially acquired both fragments in Paris. Previously, they had been privately held in Switzerland.
Online Since: 12/12/2019
This particularly large-format book illustration was cut from a deluxe manuscript. In the initial V-to the text Vidi speciosam on the occasion of the feast of the Assumption on August 15, the Blessed Mother lies on her deathbed, surrounded by three apostles and Jesus, who receives her soul in the form of a small female figure. A vertically rectangular frame with a repeating geometric pattern surrounds the scene. Three branches with leaves and rosettes that are trimmed back grow from the left side of the initial V. The painting in tones of bright blue and red is of high quality. The lyrics on the back are taken from Bible verses 26 to 32 of Lectio prima from the Gospel of Luke. The leaf is from the same chorale manuscript as miniature with the representation of the "Annunciation to Mary". Both leaves show stations from the cycle of The Life of the Virgin, with T 9393 illustrating the first stage and T 9394 the last. Stylistically they can be placed alongside three leaves from the collection de Bastard d'Estang in the Bibliothèque nationale de France in Paris (AD 152G, PL 842-3, AD 150H, PL 51). In 1994, the canton of Thurgau commercially acquired both fragments in Paris. Previously, they had been privately held in Switzerland
Online Since: 12/12/2019
Fragment of a leaf from a chorale manuscript. Two rectangular illustrations, arranged one above the other on the left side of the picture, show two stations from the life of Catherine: In the upper picture she denies obedience to the emperor and turns her attention only to Jesus. The picture below depicts the spiritual relationship of courtly love (Minne) between Catherine and Christ. The rest of the parchment leaf as well as the back side contain liturgical text consisting of musical notation and song lyrics. Below a red staff with black notes is the corresponding line of text. The illustrations were created in a book painting workshop in which the gradual from the Convent of Dominican nuns St. Katharinental was also made (Swiss National Museum Inv. LM 26117 / Historical Museum Thurgau Inv. T 41401). The two miniatures can be attributed to the same hand as the group of figures underneath the Initial on fol. 179v in the gradual. Fragile figures with lively gestures, refined drawing of the faces, subdued colors as well as joy in pictorial narration with original picture elements distinguish this illuminator. This leaf was acquired by the Historical Museum Thurgau in 2011 at an auction in Zurich.
Online Since: 12/12/2019
This processional (from the Latin processio, 'to advance' and referring to processions inside and outside the church), containing the order of the procession as well as the chants and texts to be recited during processions, consists of two codicological parts. The first part is from the last quarter of the 15th century and contains chants and prayers for the entire liturgical year; it is decorated with seven multicolor illuminated initials depicting scenes from the Gospels. The sections to be sung have square notation in black. While the first part presumably was not created in and for the convent of St. Katharinental (TG), the second part names the stations and the relics that are carried; thus it is meant for the processions of the Dominican convent.
Online Since: 03/19/2020
From the colophon (Finitus est liber Iste feria secunda Post festum Concepcionis virginis Marie. Anno domini 1498. Per fratrem iohannem Coci Conuentualem huius monastery. Iiij ydus decembris Laus deo, f. 186r), it can be inferred that this Psalter was written by Johannes Koch (mentioned in the Fischinger necrology and documented between 1498 and 1514, parish priest in Bichelsee (TG) from 1483 on) and that it was finished in 1498. It is striking that the writing on ff. 98r-110r was traced with black ink by a later hand. The paper pages with a hymn (ff. 187r-188v) were probably added later. The pages of musical notes have 5 red lines with German plainsong notation (“Hufnagelnotation"). The manuscript also has a simple red title (f. 1r): Incipit psalterium in nomine domini, immediately followed by a listing of the workdays. Headings are also kept in red. The front and back covers show the imprint of the former pastedowns. The contemporary yellow leather binding with Renaissance press patterns from the 15th and 16th century has two clasps as well as corner fittings. In addition, the front cover bears an 18th century paper label that unmistakably refers to the Benedictine Fischingen Abbey with the shelfmark C:XV. S:13. Notat: 10.
Online Since: 12/10/2020
This work, written in German, contains the life of Thomas Aquinas written by William of Tocco (1240-1323). On f. 106v, there is also a note on the writer and on the possible patroness of the work: Dis buoch hat ze tùtsche bracht gemachet vnd geschriben pfaff Eberhard von Rapreswil kilcherr zu Jonen (addition anno 1418 by a 16th or 17th century hand). Dem sol Got vnsri frow sant Thoman der heilig lerer vnd die erwirdig frow die Stoeklerin ze Toess wol lonen. According to this entry, the 15th century hand goes back to Eberhard von Rapperswil, who was pastor in Jona in the canton of St. Gallen. The woman who commissioned the work is considered to be the nun Stöklerin from Töss (probably Elsbeth Stükler). This makes the work one of the few German translations of the life of Thomas Aquinas. Individual initials are not only highlighted in red, but are also decorated. The manuscript has a raspberry-red leather binding with clasps, which was restored in the 20th century. The detached pastedowns in the front and back are from a 13th century manuscript with neumes (probably a Kyriale). The manuscript contains two ownership notes: Dijs buoch ist erhart blarer von Wartensee zuo Kemten, guothsher zuo kemtem vnd zuo Werdeg (f. 106v) and Monasterij apud D.[ivam] Yddam in Visch.[ingen] (f. 1r). Accordingly, the manuscript belonged to Prince Abbot Johann Erhard Blarer von Wartensee in Kempten, who is documented to have been active from 1587 to 1594; subsequently the manuscript became the property of Fischingen Abbey.
Online Since: 12/10/2020
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.
Online Since: 12/20/2012
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 1528-1559, is from the workshop of the Franciscans in Fribourg.
Online Since: 04/09/2014
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the summer portion of the Proprium de tempore as well as the Commune sanctorum. The parchment codex was written between 1509/1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg. The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg.
Online Since: 12/20/2012
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the summer portion of the Proprium de tempore as well as the Commune sanctorum. The parchment codex was written between 1509/1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg. The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg.
Online Since: 04/09/2014
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the winter portion of the de Sanctis, the Officium B.M.V. and the Commune Sanctorum. The parchment codex was written between 1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg by 2 hands (A and B). The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg and an assistant.
Online Since: 12/20/2012
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the winter portion of the de Sanctis, the Officium B.M.V. and the Commune Sanctorum. The parchment codex was written between 1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg by 2 hands (A and B). The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg and an assistant.
Online Since: 04/09/2014
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the summer portion of the de Sanctis and the Officium B.M.V.The parchment codex was written between 1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg completely by hand B (cf. Saint Nicholas Chaper Archive, ms. 5). The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg.
Online Since: 12/20/2012
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the summer portion of the de Sanctis and the Officium B.M.V.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.
Online Since: 04/09/2014
The liturgical content of this manuscript corresponds to that in use among the Carthusians. The church consecration festival listed in the Proprium de Sanctis between the feast days on the 4th and the 23rd of April probably refers to the 18th of April, when this holiday was celebrated at La Lance. This observation suggests that the manuscript was created in the Carthusian Monastery La Lance (Canton of Vaud). Several ex-libris can be dated around 1500 and confirm the presence of this codex in the monastery, at least until its dissolution in 1538. Then the manuscript was passed on to the Carthusian Monastery Part-Dieu in the Canton of Fribourg. Recently the manuscript was restored and the old binding was replaced.
Online Since: 03/19/2015
This collection of hagiographical texts was written by various hands in the second third of the 13th century, probably in Hauterive. The presence of certain texts indicates a Cistercian origin (Vita of St. Robert of Molesme, the author Geoffroy de Hautecombe) and, based on our knowledge of medieval Hauterive, a regional origin (the Vita of St. Theodore, Bishop of Sion; the Vita and the Miracula of Saint Nicholas of Myra; the Vita of St. Elizabeth of Hungary; the Passio of Saint Maurice and his companions by Eucherius of Lyon). The end of the book contains a collection of texts related to confession. The last one of these attests a little know activity of the monks: the pastoral care of the Cistercian nuns. The manuscript remains in its original cover which, although damaged, is still well recognizable: a cover with wide flaps that cover the edges of the book.
Online Since: 04/09/2014
In addition to various Formulae epistolarum, this manuscript contains the Summa dictaminis by Johannes Wrantz (ff. 1r-126r), excerpts from the Viaticus dictandi by Nicolaus of Dybin (ff. 138v-140r) and a song, partly with musical notation, in Middle High German perhaps by Neidhart of Reuental (ff. 144v-145r), one of the best known German minnesingers. At an unknown later time, probably at the end of the 19th century or the beginning of the 20th century, the manuscript became part of the Cantonal und University Library of Fribourg (BCU/KUB).
Online Since: 03/19/2015