The cosmology of the Lyon physician and astrologer Louis de Lange treats the formation of the world and describes the earth and the stars in the sky. The illustrations of the decans, showing the subdivision of each of the twelve signs of the zodiac into three astrological sections, are worthy of particular attention. Despite the attractive illustration, the work was not very popular; only a few manuscripts are known to exist.
Online Since: 05/20/2009
This 6,5 meter long parchment scroll depicts the history of the world, from Adam and Eve up to Christ, as a “Heilsgeschichte” (history of salvation); central events are illustrated with multicolored pen and ink drawings. Representing later epochs up to the middle of the 14th century, tables list the popes up to Innocent IV (elected in 1352) as well as the kings and emperors up to Charles IV.
Online Since: 12/17/2015
The impulse for writing the original model of this text, Vadian's “Kleinere Chronik der Äbte” (1544-46) (VadSlg Ms. 44), came from Heinrich Bullinger and Johannes Stumpf; they wanted to make use of Vadian's knowledge of the history of St. Gall for the Eidgenössische Chronik (1547/48) that appeared under Stumpf's name. The chronicle consists of three parts: the first part is about Saint Gall; the second part is a history of the monastery and of the city of St. Gall; the third part gives a historical-topographical description of the city of St. Gall and of Lake Constance. Wolfgang Fechter produced two copies thereof in 1549. The illustrations are by Caspar Hagenbuch.
Online Since: 12/14/2018
This volume, assembled in the 14th century from four originally separate pieces, probably was the missal for the chapel at St. Margrethenberg (Sampans) above Pfäfers. The chants in parts 1 (1r-63v, 12th century), 2 (64r-77v, 13th-14th century) and 4 (129r-131v, 12th century) contain neumes, part 3 (78r-128v, 14th century) is in square notation.
Online Since: 10/08/2015
Manuscript on paper from the library of the Abbey of Pfäfers, dissolved in 1838, containing the German translation by Otto of Diemeringen, widely disseminated in the late middle ages, of Jean de Mandeville's Travels. The Manuscript is illustrated with richly colored pen and ink drawings, which provide cultural and historical insights into this period.
Online Since: 10/15/2007
Ardüser's notes begin in the year 1572 and end in 1614. His chronicle is considered an important source of political and social life in the "Alt Fry Rätien" of the time. Not until the 1870s was Hans Ardüser's chronicle discovered and published by cantonal high school principal J. Bott from Grisons. A large part of the chronicle consists of reports about political events at the end of the 16th and the beginning of the 17th century. In his work Ardüser also mentions crimes and the execution of witches; among other things he reports about extraordinary weather events and consequent crop failures. From his autobiographical nots, which are recorded in the "Rätische Chronik" (Raetian chronicle) as well, it becomes clear that Ardüser was a gifted reader. We can conclude that he obtained his knowledge about all of these topics from written sources such as parish registers, circulating news bulletins, official publications and personal contacts to officials, returning mercenary soldiers or traveling merchants.
Online Since: 06/22/2017
Collection of liturgical works, containing texts from the 9th to 12th centuries and an illustration of Pacificus of Verona's star clock.
Online Since: 12/31/2005
The Golden Psalter (Psalterium aureum) of St. Gall, written and illuminated with 17 miniatures, either in the West Franconian empire (Soissons?) or in the monastery of St. Gall with the participation of West Franconian scribes and illuminators.
Online Since: 06/12/2006
Books of the Old Testament from the time of the monk and master scribe Wolfcoz (ca. 820-840)
Online Since: 09/14/2005
A copy of the Pauline Epistles with a miniature of Paul the Apostle, preaching in front of a great number of Jews and pagans, copies of Alcuin's works "De dialectica" and "De rhetorica" and of the work "Peri hermeneias" of Apuleius of Madaura (?), written in the monastery of St. Gall in the second half of the 9th century, with amendments from the 11th century.
Online Since: 09/14/2005
A composite manuscript with two unrelated parts: 1) an incomplete copy of the Somnium Scipionis section of the work De re publica by Marcus Tullius Cicero, written in the Abbey of St. Gall during the 10th century, followed by a 10th century St. Gall copy of the commentary originally written by the Roman author Macrobius of late antiquity in about 430/440 and widely disseminated during the middle ages. A fragment of this manuscript may also be found in Cod. Voss.lat.qu. 33 (fol. 58) in the library of the Rijksuniversiteit in Leiden; 2) a St. Gall copy of the seven Catholic Letters (3 written by John, 2 by Peter, one by James, one by Jude) with a learned scholarly commentary from the 12th century.
Online Since: 12/21/2009
Exegetical-liturgical collection of works, probably produced around 810/820 in the Cloister of St. Amand in the area of Lille in northern France. It contains, among other items, a commentary on the Gospels by Pseudo-Hieronymus (illustrated with Irish-influenced symbolic representations of the four evangelists), texts by the early church fathers Augustine, Isidore of Seville, the Venerable Bede, a letter from Charlemagne to Alcuin, a baptismal ritual attributed to Bishop Jesse of Amiens († 836/37), and finally an abridged version of the Annals of St. Gall.
Online Since: 12/09/2008
Cassiodorus' textbook on the seven liberal arts, the Institutiones divinarum et saecularium litterarum.
Online Since: 12/31/2005
Manuscript compilation from the monastery of St. Gall, written out in early Alemanian Minuscule script between 760 and 797 with a wide variety of different texts about synonymy (Isidore of Seville, Differentiae), Exegetics (Eucherius of Lyon, Formulae spiritalis intelligentiae), computation, healing arts, hagiography (for example the oldest version of the life stories of the patron saints of Zürich, Felix and Regula), etc.
Online Since: 12/09/2008
A careful copy of books I to X of the Etymologiae of Isidore of Seville († 636), written shortly before the year 900 in the monastery of St. Gall. This manuscript forms a unity with Cod. Sang. 232.
Online Since: 05/24/2007
St. Gall copy of books XI through XX of the Etymologiae of Isidore of Seville from the second half of the 9th century. Contains (on page 89) a famous and beautifully drawn early medieval world map (terrae orbis, T-O, or Noachid map) that serves as an illustration for the description of the continents .
Online Since: 12/09/2008
A copy of the Etymologies of Isidore of Seville from the time after 800. Most probably not written in the monastery of St. Gall. In the front, on a page with pen trials, a faded and much studied early medieval map of the world. The encyclopedia written by Isidore of Seville in the early 7th century is one of the most read and most quoted books of the Middle Ages.
Online Since: 12/12/2006
Manuscript collection by Winithar with illustrations (the oldest from St. Gall) of Isidore of Seville's De natura rerum.
Online Since: 09/14/2005
A copy of a collection of texts by Isidore of Seville (d. 636), including De natura rerum, produced in the women's cloister of Chelles on the Marne east of Paris in, or shortly after 800. The copy of the work De natura rerum in this manuscript includes a very simple world map (Mappa mundi) as well as a so-called “Knopfkarte” (a chart composed of multiple connected circles).
Online Since: 07/31/2009
Natural history (scientific) manuscript compilation, written by various scribes, mostly around the year 850, in the area of Laon in northern France. The codex contains, among other items, Boetheus's De arithmetica, a computational treatise incorrectly attributed to the English scholar the Venerable Bede († 735), and De temporum ratione as well as selections from De natura rerum and De temporibus, all true works of the Venerable Bede.
Online Since: 12/09/2008
Collection of Astronomical-computistical tables and charts with high-quality pen drawings of the constellations.
Online Since: 12/31/2005
Superbly crafted Sacramentary of St. Gall from the time of Abbot Norpert of Stablo (1034-1072) for the celebration of the Mass. With Calendar, Gradual and Sacramentary, illustrations include five full-page, high-quality miniatures of the principal feast days of the liturgical year (Christmas, Good Friday, Easter, Ascension, Pentecost).
Online Since: 06/12/2006
Superbly crafted St. Gall sacramentary from the time of Abbot Norbert of Stablo (1034-1072) for the celebration of the Mass, containing a calendar of saints, a list of incipits of the spoken and chanted texts for the Mass on the principal feast days of saints and the sacramentary itself, which is illustrated with four splendid full-page miniatures, two full-page initials and numerous smaller initials.
Online Since: 06/12/2006
Earliest complete extant gradual of St. Gall. The different parts of the manuscript date from different periods. Illustrated with numerous initials and several pen drawings (especially in the Sacramentary part).
Online Since: 06/12/2006
Sequentiary containing sequences without neumes by Notker Balbulus (pp. 1-14), a calendar (pp. 15-20) and a sacramentary (p. 21-182), beginning on p. 21 with a beautiful initial ‘M' (a vine scroll contoured in red on a blue and green background) and from p. 22 the Canon of the Mass with a Te igitur-initial with the Crucifixion.
Online Since: 06/23/2014
This missal was most likely written for the Grossmünster of Zürich (from a comparison with the Grossmünster's Liber Ordinarius); it contains the proprium de tempore, proprium de sanctis (with the major feasts of Zürich), commune sanctorum and votive masses. The chants are written in smaller letters throughout, but only on a few pages do they appear together with melodies in neumatic notation. The canon missae (pp. 73–83) begins with a simple drawing of a canon. With that exception, the decoration is limited to at most two-line red lombards.
Online Since: 12/14/2022
According to the particularly venerated saints in the calendar (pp. 6–17, the months are in the wrong order), this missal, written on fine parchment, belonged to a convent of Dominican women dedicated to St. Agnes. The canon missae (pp. 193–204) is introduced by a high-quality drawing, whose similarity to the depictions of the crucifixion in the Dominican convent of Constance has been emphasized in the art-historical literature. But it is unlikely that the manuscript was produced in the Diocese of Constance, since, among others, Gallus and Otmar are missing from the calendar; rather, the calendar points to a Strasbourg provenance. The missal is richly decorated with red and blue pen-flourished initials. On p. 18 there is an Exorcismus salis et aquae; following the Commune sanctorum there appear votive masses (pp. 426–446) and sequences (pp. 447–461). The manuscript was in St. Gall since the sixteenth or seventeenth century at the latest (possession note on p. 5).
Online Since: 12/14/2022
Pontifical-missal of the St. Gall Abbot Diethelm Blarer (1530-1564) – the finest 16th century manuscript in Switzerland.
Online Since: 12/31/2005
Epistolary originating from Reichenau/St. Gall, illustrated with a portrait of the epistle-writer Saint Paul and five painted Christological miniatures from the third quarter of the 11th century.
Online Since: 06/12/2006
Gradual from St. Gall, dating from the 12th century, with two illustrations of the monk Luitherus.
Online Since: 09/14/2005
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.
Online Since: 12/20/2012
Deluxe manuscript with numerous outstanding, perfectly executed initials and an excellent image of dedication (Saint Augustine), containing mostly sermons for the principal saints' days.
Online Since: 06/12/2006
A composite manuscript consisting mainly of calendars and texts with chronological content, produced in the second half of the 10th century and at the beginning of the 11th century, for the most part not at the abbey of St. Gall. The main items are a calendar, possibly of northern Italian origin, and excerpts from the work De temporum ratione by the Venerable Bede († 735).
Online Since: 12/21/2009
Computational/scientific compilation manuscript with numerous tables, schematics, and texts about calendar computation, produced in the monastery of St. Gall around the end of the 9th century and beginning ot the 10th. The volume also includes a St. Gallen calendar and the Annales Sangallenses brevissimi (a short history of St. Gall). Two early medieval maps of the world (terrae orbis or T-O maps) precede the work De temporum ratione by the Venerable Bede.
Online Since: 12/09/2008
Small format prayer Book on highest quality parchment with Latin and several French prayers. The coat of arms on p. 3 refers to the Montboissier family from Auvergne as commissioner. In addition to a half-page crucifixion scene (p. 3), the manuscript also contains many tiny initials, most of them with animal heads, as wells as numerous miniatures on pp. 97-146, taking up four lines of text with images of saints.
Online Since: 10/13/2016
Contains, among other items, the most reliable texts of the vitae of saints Richarius, Dionysius, Gregory the Great, Leodegarius, Vedastus, Nazarius, Mark the Evangelist, Kosmas and Damian.
Online Since: 12/31/2005
Hagiographic manuscript collection containing the lives of numerous saints, especially the Benedictine saints, written and compiled in the Cloister of St. Gall between the 10th and 13th centuries. Among other items it contains the lives of saints Remaclus, Gangold, Willibrord (originally written by Alcuin of York), Ulrich of Augsburg (originally written by Abbot Bern of Reichenau) and Magnus (older and newer lives). Between the newer and older versions of the lives of Magnus is a pen sketch of the healing of a blind person in Bregenz on the Bodensee.
Online Since: 05/20/2009
This manuscript contains German-language lives of the saints: the “Lives of the Fathers” (Vitaspatrum) (pp. 5a–482a), the Life of Saint Meinrad (pp. 482a–501b) and the Life of Saint Fridolin, a translation of the Latin Vita of Fridolin written by Balther von Säckingen (pp. 502a–541a). The main scribe of this codex was Johannes Gerster, citizen of Säckingen, who identifies himself on p. 361 and p. 541, each time including a date. Several pen drawings: tree with blossoms and fruit (p. 361), young man in secular clothing (p. 482), sketches of dragons (p. 528 and p. 541), rosette (p. 541). In the 17th century, this manuscript was in the possession of the Convent of the Poor Clares in Freiburg i. Br. (note p. 3); only in the 18th century was it purchased for the Monastery of St. Gall.
Online Since: 10/08/2015
Legendary of St. Gall: contains, among other items, the German lives of the St. Gallen Saints Gallus, Magnus, Otmar and Wiborada, illustrated with 142 vivid images.
Online Since: 06/12/2006
This manuscript, probably written in the Benedictine Allerheiligen Abbey in Schaffhausen, contains, besides many shorter, often later added texts, a number of German-language lives of the saints (Maurice and the Theban Legion, Mary Magdalene, Elizabeth of Hungary), meditative texts (on Maundy Thursday, on the Passion of Christ, the Steinbuch of a certain Volmar), and the Book of Founders of Allerheiligen Abbey. The latter is a free adaptation of the 12th century legend of the founding of the Abbey on the Rhine. Using the cut leather (cuir-ciselé) technique, an artist cut central figures of the foundation legend (probably St. Benedict, Eberhard of Nellenburg, Burkhard of Nellenburg, Wilhelm of Hirsau?) into the front and back of the cover. On p. 204, there is a pen sketch of the saints Benedict and Bernard. At an unknown date, the manuscript came into the possession of the scholar Aegidius Tschudi of Glarus and, together with his literary estate, was bought by the Monastery of St. Gall in February 1768.
Online Since: 12/13/2013
This manuscript, named after the person who commissioned it, Abbot Franz Gaisberg (abbot 1504-1529), contains assorted historiographic and hagiographic texts: a history of the abbots of St. Gall with coats of arms, epitaphs of St. Gall abbots and monks, the history of the St. Gall abbey (Casus sancti Galli) for the years 1200-1232 by Konrad von Fabaria, the anonymous Vita of Notker Balbulus († 912), together with a copy of the records of his beatification process in 1513 and the legends of saints Constantius, Minias, and Roch. The codex was written by the organist and calligrapher Fridolin Sicher of the St. Gall Abbey (1490-1546).
Online Since: 03/31/2011
Manuscript compilation containing a collection of fables (Ulrich Boner's Edelstein), decorated with simple pen drawings, farcical stories – preserved only here – by the so-called "Swiss Anonymous" as well as chronicle notes on the history of Zurich and Glarus.
Online Since: 12/12/2006
The Cantonal Secretary of Schwyz Hans Fründ († 1469), originally from Luzern, wrote a chronicle of the Old Zurich War in about 1447. This carefully written copy illustrated with the flags of the cantons of the Confederation was made by Rorschach chaplain and former Schwyz schoolmaster Melchior Rupp in the year 1476. The manuscript, in the final pages of which are transcribed certain records and documents from the years 1446 through 1450 related to the Old Zurich War, made its way into the possession of Glarus scholar Aegidius Tchudi (1505-1572) and from there, in the year 1768, into the Abbey Library of St. Gall.
Online Since: 12/19/2011
A copy made in 1520 of the so-called “Klingenberger Chronik” (Klingenberg Chronicle) originally composed in 1450. It is the history of the Appenzell Wars (1401-1429) and of the Old Zurich War (1440-1446) from the point of view of the losing side: the eastern Swiss nobility. Illustrated with several color sketches of battle scenes and coats of arms. In addition this codex contains copies of legal documents, chronological notes, songs, and in the very front an incompletely preserved 1520 Strasbourg print edition by Sebastian Brant (1457/58-1521) of the biographies of Roman emperors Titus and Vespasian. This volume was obtained by the Abbey Library of St. Gall from Glarus humanities scholar Aegidius Tschudi (1505-1572) in 1768.
Online Since: 12/09/2008
The oldest copy of the Chronicle of Konstanz by Gebhard Dacher, made between 1458 and 1472 by the author himself and illustrated with a series of colored pen sketches, among them the oldest known view of the city of Konstanz. Obtained by the Abbey Library of St. Gall in the 18th century, at the latest.
Online Since: 07/31/2009
German translation of a history of the First Crusade (1095/96-1099; Historia Hierosolymitana), composed by the monk Robertus Monachus from Reims. Written and illustrated with 22 colored pen drawings in the year 1465. As an appendix, the manuscript also contains around 9000 verses from the Österreichische Reimchronik (rhymed chronicle of Austria) by Ottokar of Steiermark describing the siege and destruction of the Crusaders' fortress in Akkon in the year 1291.
Online Since: 09/14/2005
This paper manuscript contains a commentary on Magister Adam's (Adamus Alderspacensis) Summula de summa Raimundi. A hand from the first half or middle of the fifteenth century prepared this copy in a book cursive script. Occasional pen-drawings decorate the text. Based on the binding, the manuscript has been in the Abbey of St. Gall since 1461 at the latest.
Online Since: 04/25/2023
This extensive manuscript miscellany was written by the secular priest Matthias Bürer. According to the numerous colophons, he finished the copies of the texts in the period from ca. 1448 to 1463 in Kenzingen (Baden-Württemberg) and in many places in Tyrol. The manuscript transmits among other things several theological treatises, a confessors' manual, two mirrors of confession, an ars moriendi (“the art of dying”), the Acts of the Apostles with the Glossa ordinaria, sermons, as well as Books II–IV of Pope Gregory the Great's Dialogues. After the death of Matthias Bürer in 1485, the manuscript went, along with other books, to the Abbey of St. Gall, in accordance with a 1470 agreement.
Online Since: 09/22/2022
A representative copy of the decretals of Pope Gregory IX (Pope 1227-1241) in a Gothic-rotunda script from Italy. The text of the decretals is surrounded on each page by the so-called Glossa Ordinaria, a juridical commentary by the canon law specialist Bernardus de Botone of Parma († 1266), which has been written to encircle the main text. The commentary in turn has been extensively edited and glossed at a later time. Each of the five parts is decorated with a scene portraying its content.
Online Since: 03/31/2011
A compendium of 39 medical texts by known and unknown authors, produced in the second half of the 9th century, most likely in northern Italy, already obtained at an early date by the Abbey Library of St. Gall. This codex includes—sometimes in unique exemplars—an alphabetically ordered Greek-Latin herbal glossary, the treatise De re medica by one Pseudo-Plinius (Physica Plinii), and a longer medical tract entitled Liber Esculapii.
Online Since: 12/23/2008
This manuscript, illustrated with numerous colored pen drawings, originated in a secular environment in Southern Germany or in Switzerland around the middle of the 15th century. It describes the signs of the zodiac, the planets, the four temperaments, and the four seasons regarding their influence on human health. This is followed by dietary guidelines primarily regarding bloodletting, but also regarding eating, drinking, sleeping, waking, resting and moving, as well as, in concrete terms, regarding bathing (illustration p. 101) or defecating (illustration p. 120). Most likely an amateur doctor with an interest in astronomy, from the Southern region of Germany, wrote the original text around 1400 and assembled it into a compendium. Later the text was repeatedly supplemented and modified. The last part (from p. 128 on) contains a prose and a poem version of the so-called letter from Pseudo-Aristotle to Alexander the Great, in which the Greek universal scholar advises the king on maintaining good health.
Online Since: 09/23/2014
Sermons form the bulk of this moral-theological miscellany. It is written by multiple hands. The initials have not been added to the first, fragmentary text, written in a single column (pp. 29–74). The next text, written in two columns, has the title De purificatione written in the top margin, and begins Sanctificavit tabernaculum suum [1 Par 22,1] Altissimus… (pp. 79a–102b). The confessionary De septem viciis, with the incipit Superbia est tumor… (pp. 105–120), is written in one column and illuminated elaborately with six black and red word trees with geometric patterns on the branches (pp. 107, 109, 111, 113, 115 und 120) as well as the ten commandments, circled, along with their contraries on p. 117. This is followed by the didactic poem on virtuous living, Modus vivendi secundum deum, written in a single column (pp. 121-124). There is then a letter from a Master Samuel to a Rabbi Ysaak, allegedly translated by a Spanish friar called Alfonsus Boni Hominis. The text is written in a single column on pp. 125-153. The Sermones de sanctis by the Cistercian Konrad von Brundelsheim (Soccus) that follow are written, frequently corrected and annotated, in an early gothic book cursive on pp. 173-389. The first initial is red, the others either were never added or in brown, some with strapwork inclusions on p. 218, 247 and 323. There is a tab on p. 219 and a manicule on p. 266. Michael of Massa's Tractatus de passione Domini (Version Angeli pacis…) with allegorical introduction and dialogues (pp. 389-470) is the last text. The colophon of the last part dates the work's completion to 8th March 1427 (p. 470). The shelfmark plate “T 17” on the wooden board binding with leather cover and a plaited endband corresponds to the records in the 1461 library catalogue of St. Gallen. It therefore suggests that this volume was likely compiled and bound in the mid-fifteenth century. The St. Gallen librarian Jodokus Metzler glued a table of contents onto the inside front pastedown. Pages 1-8, 17-24 and 169-172 contain only the ruling lines for a two-column commentary with extensive marginal gloss, but no text. Other pages are completely blank, without even a page layout: 9–16, 25–28, 49–54, 75–78, 103–104, 155–168 and 471–483. There is an entry made on p. 484. The leaf pp. 53-54 is loose. There was a loose, reused fragment with a hand drawn onto it between p. 180 and 181.
Online Since: 09/06/2023
This composite volume, written between 1425 and 1425 in the Lake Constance regions, though not at the Abbey of St. Gall, contains Latin versions of a great many computistic/astronomical/cosmographical treatises, including the widely disseminated work De sphaera mundi by John of Sacrobosco and his arithmetical foundation work Tractatus de algorismo. The manuscript, organized according to the calendar, also contains illustrations: the twelve signs of the zodiac, a map of the winds, sketches of the ecliptics of the sun and moon, planets and constellations, a diagrammatic guide for bloodletting, a set of early medieval Terra Orbis-type world maps, and (on pages 265 and 266) twelve simple illustrations for the months with brief rhyming proverbs in German derived from the nature- and landscape-dominated everyday life of the people of the late middle ages.
Online Since: 10/04/2011
A composite manuscript intended for teaching purposes, written in Mainz during the first half of the 11th century, possibly brought to St. Gall by the monk Ekkehart IV. Ekkehart IV. taught intermittently at the cathedral school in Mainz and added a great many glosses to this manuscript. The codex gathers together a number of texts used in school teaching, for example copies of the commentary of Boethius on Aristotle's De interpretatione, Cicero's Topica, the Geometry I by (pseudo?)-Boethius as well as additional works by Boethius, such as De differentiis topicis, De divisione, De syllogismis categoricis and De syllogismis hypotheticis. At the end of the volume are two brief texts by Ekkehart IV. about the Septem Artes Liberales, (on page 488) verses in praise of Boethius and (on page 490) an allegory based on the Septem Artes Liberales in the form of instructions to a goldsmith.
Online Since: 04/15/2010
A fifteenth-century wooden-board binding contains this manuscript composed of multiple parts. The original start of the miscellany, the part of the manuscript consisting of pp. 1–140, was probably removed in the ninenteenth century. Six codicological units remain, and, with the exception of Part IV, they all were copied in the fifteenth century. Part I (pp. 141–348) has, on pp. 141–198, Johannes de Fonte's florilegium Auctoritates Aristotelis (Lohr, p. 260) and, on pp. 199–346, Latin sermons, with the insertion of excerpts from the book of Proverbs (pp. 257–263). Part II (pp. 349–396) contains Latin texts on the Mass, confession, and penance, written in two columns on pp. 349a–396, including Ambrosius Autpertus' treatise De conflictu vitiorum on pp. 363a-383b (Bloomfield, Nr. 0455). Further Latin sermons appear in Part III (pp. 397–440b). Part IV (pp. 441–574) consists of an incomplete abbreviation in two columns of Guillelmus Peraldus' Summa virtutum (Bloomfield, Nr. 5775; Verweij, p. 111–110), which was copied in the fourteenth century. Part V (pp. 575–618) transmits Thomas Aquinas' treatise Collationes de decem preceptis (Bloomfield, Nr. 6071), which is decorated with a rather large pen drawing of a bishop on p. 600b. Part VI (pp. 619–638), a single gathering, is written in two columns and contains on pp. 619a–630b a Latin interpretation of the Pater noster by Johannes Münzinger (Adam, p. 160), on pp. 631a–634a Thomas Aquinas' interpretation of the Ave Maria (Expositio angelice salutationis) (cf. Rossi), on pp. 634b– 637a an interpretation of the responsory Missus est Gabriel, and finally on pp. 637a–638b a short text in another hand. Based on the stamp of Abbot Diethelm Blarer (p. 440b), the manuscript has been in the Abbey Library since 1553–1564 at the latest.
Online Since: 12/20/2023
The first part of the manuscript transmits on pp. 3–44 the Canones in motibus caelestium corporum, instructions for use and an explanation of the tables that follow, along with an addition in the same script and gathering on pp. 44–46. In the second part follows on pp. 47–203 the Tabulae Toletanae. These are tables to compare various computations of time, on the calculation of planetary movements and eclipses, on spherical astronomy and with repertories of stars and places. The small script, between a Gothic minuscule and a simplified textualis, dates rather from the second half of the thirteenth century or the first half of the fourteenth century (contrary to Scherrer), and the tendency of the round terminal s to finish below the line suggests Italian origin. On p. 204 there is a Zodiac, the Marian hymn Gaude virgo gratiosa (AH 9, p. 54) and a further, roughly contemporary text. According to the entry N. 102 on p. 3, the manuscript came to the Abbey Library in 1768 as part of the legacy of Ägidius Tschudi (1505–1572). The cardboard binding with leather-reinforced spine and corners, along with the paper bifolia that serve as pastedown and flyleaves (pp. 1/2 and p. 205/206), come from the decades around 1800.
Online Since: 12/20/2023
School manuscript from the monastery of St. Gall, containing Cassiodorus'Institutiones saecularium litterarum (an educational book on the "Septem Artes Liberales").
Online Since: 12/31/2005
School manuscript for the St. Gall monastery school, containing the Greek grammar by Dositheus and a prose version of Aratos of Soloi's didactic poem Phainomena which is illustrated with a pen drawing.
Online Since: 09/14/2005
This manuscript from 1467, which first belonged to the convent of the Poor Clares at Freiburg in Breisgau and was transported to the Abbey of St. Gall in 1699, contains, in addition to some Latin texts, many tracts for spiritual instruction in German translation. These include an Ars moriendi, the Cordiale de quattuor novissimis by Gerard van Vliederhoven, the so-called Hieronymus-Briefe(Letters of Jerome) translated by John of Neumark (ca. 1315-1356), the Spiegelbuch, a dialogical text in rhymed verses on living life properly, the trials of worldly life and everyday tribulations, with about twenty colored pen sketches, and a version of the legend of the Three Kings by John of Hildesheim (1310/1320-1375). The manuscript also contains some additional pen sketches: a unicorn (p. 87), images representing two Apostles (p. 107; Paul and John?), a man and a woman in secular dress, and a stag and a wild boar (p. 513). There are imprints in Carolingian minuscule on front and rear inside covers (rear inside cover: Hrabanus Maurus, De computo).
Online Since: 10/04/2011
This manuscript contains three substantial treatises in German. At the beginning there is the life of Archbishop Johannes of Alexandria (pp. 5−83), written by Anastasius Bibliothecarius. It is followed by the edifying treatise Die vierundzwanzig Alten oder der goldene Thron der minnenden Seele by Otto of Passau (pp. 87−544) and the History of the Three Kings (Historia trium regum) by John of Hildesheim (pp. 546−602). The treatise by Otto of Passau is illustrated with 25 colored pen and ink drawings, outlined in red and extending the width of the column. The History of the Three Kings begins with a full-page miniature (p. 546), which shows the three Magi visiting the infant Jesus. The scribe and the illustrators of this manuscript, which possibly originated in the circle of the community of lay brothers of St. Gall, are unknown; stylistic characteristics suggest the Konstanz book illumination of Rudolf Stahel. The manuscript is dated to the year 1454 in three places (p. 93 as an inscription in a picture; p. 544; p. 602). In the 15th century the manuscript was the property of the community of lay brothers of the Monastery of St. Gall (who did not know Latin); in 1618 the manuscript was still in the library of the community of lay brothers. At least since 1755 it has been attested in the main library of St. Gall Abbey.
Online Since: 06/25/2015
Pontifical vesperal of St. Gall Prince-Abbott Cölestin Sfondrati (Abbot 1687–1696). It was found in 1846 among the books of St. Gall friar Notker Hager († 1836). This volume contains the chants for Vespers (antiphones and hymns) for the Feasts of Jesus Christ and for the saints' feast days throughout the church year. Only the incipits are each written in German plainsong notation (“Hufnagelnotation”) on five lines. Each feast is decorated with initials in the style of grotesques and with several marginal miniatures (on p. 56 is the oldest colored view of the Monastery of St. Gall). The volume is divided into Proprium de tempore (pp. 1–30), Proprium sanctorum (pp. 31–63), Commune sanctorum (pp. 64–74) and Festum sanctorum reliquiarum monasterii sancti Galli (pp. 75–77).
Online Since: 06/25/2015
This volume, written almost exclusively in Latin, contains a compilation of texts taken from numerous older sources about transfers of saints in the territory of the Princely Abbey of Saint Gall. The St. Gall monk and custos Gregor Schnyder (1642−1708) compiled and wrote the text, mostly in chronological order, and presented it to Abbot Leodegar Bürgisser (abbot 1696−1717) on 19 April 1699, his name day. The illustrations in opaque colors were done by Father Gabriel Hecht (1664−1745). At the beginning there are descriptions of the various transfers of the relics of Saint Gall between about 640 and 1484 (fol. IXv – p. 20) and those of Saint Othmar between 759 and 1692 (pp. 24b−99). This is followed by reports about the transfers of the relics of Notker Balbulus as well as of his beatification in 1513 (pp. 104b−163) and about the dislocation of the relics of Othmar and Notker that was necessitated by the new construction of the church of Othmar (pp. 169−286). Next are reports of donations of relics of various saints from and of the Abbey of St. Gall (pp. 287−354), among them reports about the arrival of the relics of the saints Magnus (898), Constantius of Perugia (904), Remaclus of Stavelot (1035), Faith of Agen (1084), Charles Borromeo (1611), Sigisbert and Placidus from Disentis Abbey (1624) and Bishop Landolo of Treviso (1631), which were particularly revered in the Abbey of St. Gall. The back part of the manuscript contains compilations of documents and reports about the 17th century transfers of Roman catacomb saints to the territory of the Princely Abbey of Saint Gall: there are descriptions (including the respective background and festivities) of the transfer of Honoratus to the Abbey Church of St. Gall in 1643 (pp. 367b−453), of Antoninus and Theodorus to the Abbey Church of St. Gall in 1654 and to Neu St. Johann Abbey in 1685 and of Antonius to the Abbey Church of St. Gall in 1654 (pp. 458−507), of Leander to the Capuchin Convent Maria der Engel near Wattwil in 1652 (pp. 508−513), of Marinus to Lichtensteig in 1657 (pp. 518−530), of Theodora to the Cistercian Convent Magdenau in 1662 (pp. 533−539), of Pancratius to Wil in 1672 (pp. 541−571), of Constantius to Rorschach in 1672 (pp. 573−644), of Laureatus to Wildhaus in 1676 (pp. 647−682), and of Sergius, Bacchus, Hyacinthus and Erasmus to the Abbey Church of St. Gall in 1680 (pp. 687–747).
Online Since: 09/26/2017
Verbatim copy of Books I-III of the Alchemy Compendium Aureum Vellus oder Guldin Schatz und Kunstkammer printed in 1598/99 by Georg Straub in Rorschach. The woodcuts in the third part (Splendor Solis, pp. 219–270) are executed as colored watercolors and, except for a small number of differences, are copied exactly from the print version. A pen and wash drawing on p. 116 depicts Paracelsus.
Online Since: 12/14/2018
Winter portion of a large-format antiphonary in two volumes (summer portion in Cod. Sang. 1760) for the Liturgy of the Hours of the monks of St. Gall, written around 1770 by the St. Gall monk Martin ab Yberg (1741−1777) and richly illustrated with small watercolor paintings surrounded by flowery rococo frames by Father Notker Grögle (1740−1816). This volume, decorated with especially splendid baroque brass fittings, contains the chants of the monks of St. Gall for the feasts of Jesus Christ and of the saints between the first Sunday of Advent and the Feast of the Ascension. It is divided into the parts Proprium de tempore (pp. 1−357), Proprium sanctorum (pp. 358−500) and Commune sanctorum (pp. 501−559). These are followed by suffrages and by antiphons and responsories for workdays (pp. 560−616). Chants for the feast days of the Archangel Gabriel and of St. Scholastica are added (pp. 617−626). The melodies are written in Gothic German plainsong notation (“Hufnagelnotation”) on five lines. This volume came to the Abbey Library from the choir library of St. Gallen Cathedral in 1930.
Online Since: 09/26/2017
Summer portion of a large-format antiphonary in two volumes (winter portion in Cod. Sang. 1759) for the Liturgy of the Hours of the monks of St. Gall, written in the year 1770 (chronogram in silver on the frontispiece) by the St. Gall monk Martin ab Yberg (1741−1777) and richly illustrated with small watercolor paintings surrounded by flowery rococo frames by Father Notker Grögle (1740−1816). This volume, decorated with splendid baroque brass fittings, contains the chants of the monks of St. Gall for the Liturgy of the Hours on feasts of Jesus Christ and of the saints between Pentecost and the last Sunday after Pentecost. It contains the parts Proprium de tempore (pp. 1−113), Proprium sanctorum (pp. 114−353) and Commune sanctorum (pp. 354−400). These are followed by suffrages and by antiphons and responsories for workdays (pp. 401−431). Chants for the feast days of St. Joachim and of the Archangel Raphael are added (pp. 432−440). The melodies are written in Gothic German plainsong notation (“Hufnagelnotation”) on five lines. This volume came to the Abbey Library from the choir library of St. Gallen Cathedral in 1930.
Online Since: 09/26/2017
Winter part of an antiphonary that was originally set up in two volumes and later, when it was bound, was divided into four volumes. The antiphonary, whose other volumes are preserved in Cod. Sang. 1763, 1764 and 1795, was written and probably also decorated by Fr. Dominikus Feustlin (1713–1782). His style is characterized by vividly colored frames made up of thousands of small rods surrounding initials and title cartouches. Title page with the coat-of-arms of St. Gall, St. John, the Toggenburg and Abbot Cölestin Gugger von Staudach (1740–1767) on p. III. More decorated title cartouches on p. 1, 45, 48, 53, 101, 104, 162, 178, 202 and 214. The winter part includes the Proprium de tempore for the first of Advent until Ash Wednesday (pp. 1–161), the Proprium de Sanctis for November until February (pp. 162–213), the Commune Sanctorum (pp. 214–251), votive Masses (pp. 252–272) and Antiphonae feriales (pp. 272–297).
Online Since: 03/22/2018
Spring part of an antiphonary that was originally set up in two volumes and later, when it was bound, was divided into four volumes. The antiphonary, whose other parts are preserved in Cod. Sang. 1762, 1764 and 1795, was written and probably also decorated by Fr. Dominikus Feustlin (1713–1782). His style is characterized by vividly colored frames made up of thousands of small rods surrounding initials and title cartouches. More decorated title cartouches are on p. 68, 87, 106, 123, 179, 206, 260, 271 and 307. The spring part includes the Proprium de tempore from Ash Wednesday to Ascension Day (pp. 1–205), the Proprium de sanctis from the end of February to May (pp. 206–306), the Commune sanctorum (pp. 307–338), Offices in honor of St. Benedict (on Tuesdays, pp. 339-343) and the Virgin Mary (on Saturdays, pp. 344-347), Suffragia sanctorum (pp. 348–352), and antiphons and responsories for weekdays (pp. 352–384). The melodies are written in German plainsong notation (“Hufnagelnotation”) on five lines.
Online Since: 12/12/2019
Summer part of an antiphonary that was originally set up in two volumes and later, when it was bound, was divided into four volumes. The antiphonary, whose other parts are preserved in Cod. Sang. 1762, 1763 and 1795, was written and probably also decorated by Fr. Dominikus Feustlin (1713–1782). His style is characterized by vividly colored frames made up of thousands of small rods surrounding initials and title cartouches. Title page with the coats-of-arms of St. Gall, St. John, the Toggenburg and Abbot Cölestin Gugger von Staudach (1740–1767) on p. III. More decorated title cartouches on p. 1, 36, 43, 122, 202 and 241. The summer part includes the Proprium de tempore from Pentecost until the 16th Sunday after Pentecost (pp. 1–121), the Proprium de sanctis from June to August (pp. 122–240), the Commune sanctorum (pp. 241–269), Offices for the consecration of the church (pp. 270–273), in honor of St. Benedict (on Tuesdays, pp. 274–279) and the Virgin Mary (on Saturdays, pp. 280-285), Suffragia sanctorum (pp. 286–289) and antiphons for weekdays (pp. 290–297). The melodies are written in German plainsong notation (“Hufnagelnotation”) on five lines.
Online Since: 12/12/2019
Autumn part of an antiphonary that was originally set up in two volumes and later, when it was bound, was divided into four volumes. The antiphonary, whose other parts are preserved in Cod. Sang. 1762, 1763 and 1764, was written and probably also decorated by Fr. Dominikus Feustlin (1713–1782). His style is characterized by vividly colored frames made up of thousands of small rods surrounding initials and title cartouches. More decorated title cartouches on p. 1, 36, 73, 118, 151, 203 and 266. The end page on p. 360 has a chronogram (1762). The autumn part includes the Proprium de tempore for Saturdays from the end of August and for the 11th to the 24th Sunday after Pentecost, (pp. 1–30), antiphons for the 3rd to the 6th Sunday after Epiphany (pp. 31–36), the Proprium de sanctis for September to November (pp. 36–265), the Commune sanctorum (pp. 266–305), Offices for the consecration of the church (pp. 306–311), in honor of St. Benedict (on Tuesdays, pp. 312–319) and the Virgin Mary (on Saturdays, pp. 319–326), Suffragia sanctorum (pp. 326–331) and antiphons for weekdays (pp. 332–359). The end page is followed by the Feast of the Archangel Raphael (pp. 361–365). The melodies are written in German plainsong notation (“Hufnagelnotation”) on five lines.
Online Since: 12/12/2019
This small-format volume contains two written works by the hand of Mathias Jansen, as attested by a 1774 colophon on p. 201. On pp. 7-39, Jansen gives a kind of inventory of the paintings of St. Gallen Cathedral, describing each vault and field. Page 20 contains a report on the improvement of a painting representing St. Otmar and other saints.The second work, on pp. 40-201, collects historical reports about the life, the afterlife and the cult of St. Otmar, which take the form of log entries recording decisions as well as preparations for and the process of actions related to the cult of the saint, such as the elevation of the remains of St. Otmar in 1773/1774. On p. 99, there is a drawing of a decorated altar. Pages 202-207 contain later additions from 1823 or shortly thereafter. On p. 39 and p. 202 there are sporadic entries (after 1823) about the bas-reliefs by the sculptor Johann Christian Wentzinger, on p. 39 also about the new paintings by the artist Antonio Moretto in the choir. Pages 1-6 and 208-236 are blank. According to a note on the inside of the front cover, this book, originally from the Notkersegg Convent of Capuchin nuns, became the property of St. Gall Bishop Greith probably around 1852. Since 1930 it has been held in the Abbey Library as a deposit of the episcopal library.
Online Since: 06/13/2019
Psalter/Breviary for a Dominican women's convent. On pp. 1-12 it contains a calendar of saints with many female saints and several rare saints. The presence of saints from St. Gall and Constance suggests that the volume was created in the Diocese of Constance. On pp. 390-393 there are instructions for prayer in German. Noteworthy are thirteen miniatures and initials in gold leaf. This volume is from the convent of Dominican nuns of St. Katharina auf dem Nollenberg near Wuppenau (Thurgau); according to a note of ownership, it was the property of the convent at least since the 16th century. Since 1930 it has been a deposit of the episcopal library of St. Gall at the Abbey Library.
Online Since: 12/14/2018
This vesperal in a distinguished binding was commissioned by Prince-Abbot Beda Angehrn (1767−1796); it was written in 1774 by Joseph Adam Bürke (chronogram with the name of the scribe on p. 92), an alumnus of the Gymnasium (preparatory school) of Neu St. Johann that was led by St. Gall monks, and richly illustrated by Father Notker Grögle (1740−1816). The volume contains the incipits of the chants for Vespers (antiphons and hymns), written in German plainsong notation (“Hufnagelnotation”) on five lines, for the feasts of Jesus Christ and of the saints for the entire liturgical year. It is divided into the parts Proprium de tempore (pp. 1−36), Proprium sanctorum (pp. 37−80) and Commune sanctorum (pp. 81−92). This manuscript was held in the choir library of St. Gallen Cathedral until 1989. Then it was transferred to the archives of the cathedral parish of St. Gall, and in 2014 it came to the Abbey Library of St. Gall. The volume, which consisted of 96 pages in 1774, was certainly used for the liturgy in the Cathedral of St. Gall until the 1930s. The mostly handwritten additions and supplements (after p. 97) date from the 19th century. Also glued and bound into the volume are texts from unspecified printed liturgical publications of the 19th and early 20th century. Noteworthy among the illustrations is the oldest pictorial depiction to date of the newly built “Gallusmünster”, today the Cathedral of St. Gall (p. 72). On the flyleaf is the finely drawn coat of arms of Prince-Abbot Beda Angehrn.
Online Since: 09/26/2017
The design concept of this manuscript, both the text and the execution, typify the Parisian 'Horae' tradition of the early 15th century ('Boucicaut-Meister'). The top-level organizational elements in the book's decorative program are seven pages decorated with miniatures; multi-line colorful initials mark the secondary textual divisions. The extremely squared illustrations on the decorated pages include scenes with figures enclosed on three sides by staffs entwined by tendrils with decorative gold, red and blue thorny leaves which completely fill the broad parchment margin. Four lines of text, introduced by a large colorful initial, are inserted between the illustration and the lower decorative staff. The beginning of each of the various offices is marked with such an ornamental page. This book of hours is not only the oldest item in the Carl Meyer collection in the Cantonal Library of Appenzell Ausserrhoden, it is one of its best and most valuable items. It is not know who originally commissioned the manuscript.
Online Since: 05/20/2009
The layperson who commissioned this book of hours is not known by name, but left definite personal traces on the book: he had a full page portrait miniature of himself painted on Fol. 11v, kneeling and accompanied by a coat of arms. The presence of such a prominent portrait of the benefactor indicates considerable ambition on the part of the book's commissioner, who was probably a member of the merchant class. In addition, the portrait was painted by a more talented artist than the other miniatures in the manuscript, which are made in the style of woodcuts. The book of hours could have been intended for use in eastern France. Stylistically, the work displays a provincial character.
Online Since: 05/20/2009
This book of hours is patterned after the liturgical format of the Parisian 'Horae'. It differs, however, in its richer, yet qualitatively narrower range of illustrations: each of the Gospel selections is accompanied by a portrait of its author, and the Marian Office by a complete cycle illustrating the childhood of Jesus. The artist's indirect reception of the originals by the well known Paris illuminator, via a series of intermediate steps, displays numerous misunderstandings or intentional revisions. To the modern eye, accustomed to modern aesthetic norms, the shallow fields, bold juxtaposition of colors, and extremely foreshortened perspective used in these illustrations come across as expressive and inventive. The commissioner of the work is unknown.
Online Since: 06/08/2009
This book of hours with a tall, narrow format is a true pocket book, and the framing of the miniatures with architectural elements, crowned volutes, putti, and garlands displays a definite Renaissance influence. The book is illustrated with 16 full-page illuminations and 21 smaller, simpler miniatures by a different artist. One of the full-page illustrations shows the coat of arms of the person who commissioned the book: he was a certain Michel de Champrond (d. August 1, 1539), Lord of Ollé, Advisor and Paymaster of the King. This would indicate that a well-to-do personage, not of noble birth, but part of the court circle, had an elaborate, richly decorated and partially customized prayer book made by a middle quality manuscript workshop as late as the 1530s, when printed Books of hours were already widely available.
Online Since: 06/08/2009
Paper manuscript setting forth moral and social wrongdoings by means of illustrations of stories from biblical, classical and medieval history as well as of contemporary works about manners and social customs. In the lower third of each page is a proverb in rhyme calling to mind the Christian virtue that forms a counterpoint to the moral wrong depicted.
Online Since: 04/26/2007
According to the colophon at the end of the Gospel of John, this copy was completed by Ibrāhīm ibn Būluṣ ibn Dāwūd al-Ḥalabī in Cairo. It is written in a clear nasḫī script; the illustrations, provided by the Aleppo illustrator and icon-painter Ğirğis bin Ḥanāniyā, portray the four Evangelists, Matthew, Mark, Luke and John, as well as 43 scenes from the life of Jesus. The Arabic title, "This book is the holy, pure Gospel and the illuminating, shining light", is given at the end of the Gospel of John. This codex is currently on long-term loan from the Pandeli family to the library of St. Gall Abbey.
Online Since: 11/03/2009
This liturgical manuscript (Sharaknots or Sharakan) contains a collection of over a thousand hymns, organized into eight groups, for use in the Armenian Church. Many of these hymns were composed by prominent figures in the Armenian Church, while others are early translations from sacred hymns of the early Christian Church. The texts include Armenian khaz notation. This manuscript was written by the scribe Simeon in the year 1662 in the city of Brnakot, in the province of Siounik, an important center for liturgical manuscript production in southern Armenia. The book decoration consists of 8 headpieces, 120 ornamental and zoomorphic initials, and numerous simple red initials. The manuscript features its original Moroccan limp vellum binding with blind tooling.
Online Since: 07/04/2012
A book of hours following the liturgical custom of Rome, with a calendar in French. The miniatures are framed by borders decorated with plants that were executed with great botanical precision. This examplar from the late period of the French Book of hours, preserved in its entirety, was illuminated by an important master from this late phase of French book illumination. He was influenced by the Master of Claude de France und was recently identified as the Master of the Lallemant-Boethius. In the small pictures on the borders, he tries to compete with Jean Bourdichon, who introduced realistic flower borders in the marginal decoration of Anne of Brittany's Grandes Heures and in other major works. The Master of the Lallemant-Boethius is also guided by Flemish book illumination of his time. On f. 1r one can read the name of Agnès le Dieu, the owner of the codex in the year 1605.
Online Since: 12/20/2012
The manuscript contains a psalter for use in Evreux, episcopal city and preferred residence of the kings of Navarre.This is a liturgical book which contains the calendar, the litany and the Office of the Dead, that is, the most important texts of a book of hours. The illumination is the work of an artist who was active in Paris around 1400 and who depicts elegant figures in a picturesque landscape, still on a gold background, while his color palette is already that of the 15th century. This hand is to be attributed to the workshop of the Parisian Josephus-Master. At least two miniatures – the jester miniature (f. 44r) and the miniature of the Office of the Dead (f. 131r) – are attributed to the pseudo-Jacquemart.
Online Since: 12/20/2012
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 microscript on the seven arms of the candelabrum. The scribe Baruch ben Shemaria 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.
Online Since: 12/18/2014
This codex contains prayers for the circumcision ceremony. The ceremony, depicted on f. 10r, takes place in a synagogue. The prophet Elijah, who will come in order to announce the advent of the Messiah, is considered to be present at the ceremony. An illustration on f. 18r depicts the blessing over wine. The decoration is the work of the illustrator Uri Fayvesh ben Isaac Segal, who was a prominent representative of the so-called Hamburg-Altona school for the production of 18th-century illuminated manuscripts, and who, according to current research, produced at least five more manuscripts in addition to this one. The title page bears the name of the owner, Joseph ben Samuel, as well as a not yet identified coat of arms with the Order of the Elephant, the highest order of the Royal House of Denmark.
Online Since: 12/18/2014
This collection of cosmological treatises contains excerpts from a larger manuscript, presumably written by the same scribe Moses, which now is part of the Schoenberg Collection at the University of Pennsylvania in Philadelphia (ljs 057). The manuscript contains tables on lunar motion by Jacob ben David Jomtow (Bonjorn); three astrological works by Abraham ibn Ezra (1089 - about 1164): a fragment of Reshit Hokhman ("Beginning of Wisdom"), the larger part of Mischpetei ha-Mazzalaot ("Judgments of the Constellations") and the larger part of Sefer ha-Olam ("Book of the World"); and, as the last part the Sefer ha-Mivharim le-Batlamyus, i.e. Ptolemy's "Almagest". On f. 15r and f. 15v there are three images of constellations from classical antiquity: Orion (Ha-Gibbor ba-Te'omim, "the hero of twins") in bare feet and with a scimitar (f. 15r), Eridanus (Ha-Nahar, "river") and Lepus (Ha-Arnevet, "hare") (f. 15v). The imagery is based on the Arabic "Book of Fixed Stars", written in 964 by the Persian astronomer Abd al-Rahman al-Sufi.
Online Since: 03/19/2015
The titel of this mohel book (circumcision book) from 1716 is Book of the Lord's Mystery with the [commentary] "Golden Scepter"; based on the style and script of the scribe (Sofer), it can be attributed to Aryeh ben Judah Leib of Trebitsch (Moravia), who was active in Vienna. The manuscript contains several illustrations of various scenes: among others on the title page there is a depiction of a group of people in a synagog engaged in a discussion. It is noteworthy that not only men, but also women are present. The second folio shows the archangel Raphael with the young Tobias, who is carrying home a fish to cure his father's blindness. The archangel Raphael as guardian angel of children is a motif that usually occurs only in Christian art. Aryeh ben Judah Leib might have used an unknown Catholic model in order to better illustrate the protective function of circumcision for Jewish boys. In his writing, Aryeh ben Judah was guided by Amsterdam letters and thus initiated the fashion of be-otijjot Amsterdam ("with Amsterdam letters"), producing manuscripts with Amsterdam (print) fonts.
Online Since: 03/19/2015
In addition to the Seder Birkat ha-Mazon ("Grace after Meals"), this mid-18th century manuscript contains the Birkhot ha-Nehenin ("Blessings over Enjoyments"), the Shalosh Mitzvot Nashim ("Three Commandments for Women") and the Seder Keri'at Shema al ha-Mittah ("Reading of the Shema before retiring at night"). The passages relating to the three commandments imposed on women indicate that the book was meant as a bridal gift. Besides the image on the front page, the book contains 22 smaller colored illustrations. A Hebrew phrase on the the title page refers to the place of origin, Deutschkreutz in Burgenland (Austria). Based on stylistic characteristics of the script and decoration, the manuscript can be attributed to the scribe and illustrator Aaron Wolf Herlingen.
Online Since: 12/18/2014
The psalms in this manuscript are subdivided according to the days of the week on which they are to be read and, with exception of the psalms for Friday, these daily sections have decorated monochrome or multicolored initial word panels. The manuscript has an architectural title page representing Moses and Aaron standing in arches. Particularly impressive is the picture at the beginning of the first Psalm where, following the initial word ashre, on folio 6v is a depiction of King David sitting outside on the terrace of a palace, playing the harp while looking at an open volume, which most probably represents his psalms. This Braginsky manuscript has been copied and decorated by Moses Judah Leib ben Wolf Broda of Trebitsch, who is also responsible for perhaps the most famous decorated Hebrew manuscript of the eighteenth century – the Von Geldern Haggadah of 1723. Including this Braginsky psalter, a total of seven manuscripts by Moses Judah Leib are known, produced between 1713-1723. The brown mottled calf binding carries the emblem of the De Pinto family of Amsterdam tooled in gold on both the front and the back covers.
Online Since: 10/13/2016
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.
Online Since: 03/19/2015
The anonymous hymn of praise to the Creator Perek schira has been preserved in hundreds of manuscripts. Most of the important 18th-century Hebrew book illustrators illustrated the hymn. This manuscript was written for Hertz ben Leib Darmstadt of Frankfurt am Main and contains pen drawings by Meshulam Zimmel ben Moses from Polna/Bohemia; however, he probably produced this manuscript in Vienna.
Online Since: 12/18/2014
This Passover Haggadah with a Yiddish translation of the hymn Had Gadya (f. 23r) was copied and illustrated by Nathan ben Simson of Mezeritsch (now Velke Mezirici, Tschechische Republik). It contains, among others, a decorated title page, a cycle depicting ceremonies performed during the Jewish Passover seder, nine text illustrations, and a cycle for the concluding hymn Had Gadya (f. 23r).
Online Since: 12/18/2014
The Massekhet Purim contained in this manuscript is a Purim parody by the Provençal author and translator Kalonymus ben Kalonymus (Arles 1286- after 1328), who wrote this work in Rome in the early 1320s. The text is about eating, drinking and drunkenness during Purim. The author humorously imitated the text and style of the Talmud. The illustrations include depictions of harlequins, of a street musician and of seven playing cards represented as trompe l'œil, which is rarely found in Hebrew manuscripts. The codex was copied in Amsterdam in 1752, at a time when this work was very popular in the Ashkenazic Jewish community.
Online Since: 12/18/2014
This manuscript is a masterpiece of Jewish book art by Aaron Wolf Herlingen, an artist born around 1700 in Gewitsch, Moravia, who worked in Pressburg (now Bratislava), Vienna, and perhaps elsewhere. About 40 manuscripts signed by him are extant today. This manuscript is ornamented with 60 painted illustrations and three word panels with decorated initials. The title page depicts Moses and Aaron on either side of the title. The area below the title shows the Israelites wandering through the desert and manna falling from heaven, alongside Moses, Aaron and their sister Miriam. Such a very unusual depiction of Miriam suggests that this Haggadah was produced for a woman of that name. At the end of the text there are two songs - one in Hebrew, the other in Aramaic - Echad mi-yodea and Had Gadya, with their respective Yiddish translations.
Online Since: 12/18/2014
The Hijman Binger Haggadah is a typical example of Hebrew manuscript decoration in Central and Northern Europe at the end of the 18th and the beginning of the 19th centuries. Picture cycles accompany the written content. The illustrations show similarities to later Haggadot by Joseph ben David of Leipnik, such as the Haggadah from 1739 (Braginsky Collection B317) and suggest that a Haggadah by this artist served as Hijman Binger's model. Another rare feature of this manuscript is a map of the Holy Land, which was added at the very end (f. 52).
Online Since: 03/19/2015
This book of prayers for the Mohel, who performs circumcisions, consists of only a few leaves; according to a note on the title page, it was a gift from Mendel Rosenbaum to his brother-in-law Joseph Elsas of Nitra (now in Slovakia, but formerly in Hungary). The manuscript is signed by Leib Zahr Sofer (scribe); the work of this unknown artist shows a close formal relationship to that of the most important calligrapher and illustrator working in Nitra in the early 19th century, Mordecai ben Josl (alias Marcus Donath). The final page has a calligram with the figure of Moses, holding the Tablets of the Law in one hand and pointing to the Pentateuch with the other hand.
Online Since: 12/18/2014
This codex was copied by Eliezer Sussman Mezeritsch and illustrated by Charlotte Rothschild (1807-1859); in addition to the Hebrew text, it contains a German translation. The Haggadah was created by the artist for her uncle Amschel Mayer Rothschild on the occasion of his 70th birthday. This is the only Hebrew manuscript known to have been illuminated by a woman. Charlotte Rothschild was inspired by Christian and Jewish works, e.g., medieval manuscripts, the biblical cycle painted in the Vatican loggias by the workshop of Raphael and the copperplate engravings of the printed Amsterdam Haggadah of 1695. Charlotte Rothschild left her initials in only a single picture, the seder scene of the Passover celebration, on the back of a chair in the foreground of the picture (p. 42). This manuscript presumably served as model for the famous artist Moritz Daniel Oppenheim (1800-1882). In his memoirs he recalls that as a student he created sketches for Charlotte Rothschild.
Online Since: 03/19/2015
Magnificent manuscript with the text of the Haggadah; each page is decorated with rich borders of floral elements and with pen drawings in gold and lapis lazuli surrounding the text. Stylistically the decoration closely emulates Persian miniatures, especially works from the school of Shiraz of the period between 1560 and 1580. The execution of this work is attributed to Victor Bouton, born 1819 in Lorraine and active in Paris as illustrator, heraldic painter and engraver. This attribution is based on another, also sumptuously decorated manuscript signed by the artist, which Edmond James de Rothschild had commissioned as a gift for his mother and which contains a biographical note that this artist had received the enormous sum of 32,000 gold francs from a wealthy Jew for a Haggadah. The only illustration (f. 1v) depicts the celebration on the first evening of Passover; a group of five men and two women in oriental dress sit a the Seder table while the master of the house is reciting the benediction over the wine.
Online Since: 03/19/2015
Until the Braginsky Leipnik Haggadah was acquired for the Braginsky Collection in 2007, this Haggadah was not known in scholarly literature. It was illustrated by Joseph ben David of Leipnik in 1739. Like most of the Haggadot at that time, this exemplar is largely dependent on the copper engravings of the printed Amsterdam Haggadot of 1695 and 1712. The characteristics of Joseph ben David's illustrations, whose work is well-known, are rendered here in an exemplary manner. The color palette is dominated by subtle gradations of color and shades of pastel. Frequently recurring motifs in his Haggadot, based on older models, are the illustrations of the Paschal lamb, the matzah and the bitter herbs. Eating these is part of the feast of Passover, during which it is tradition to read the Haggadah together.
Online Since: 03/19/2015
This miniature book contains the Grace after Meals with the usual supplements for Hanukkah and Purim, as well as various blessings, such as the Shema prayer before retiring at night or for the enjoyment of certain things. The book has an illustrated title page, 19 individual illustrations, five decorated boxes containing individual letters or initial words and a decorated text passage. On the title page the artist did not record his name, but did note that the manuscript was created in Nikolsburg (Czechia) in 1725 during the reign of Emperor Charles VI. Like other Birkat ha-mason, this one, too, was written for a woman: a fly-leaf, added later, contains an elaborate ornament with a dedication to Fradche, wife of Moses Gundersheim. A comparison with the writing and illustrations in a similar work from 1728 in the Kongelige Bibliotek in Copenhagen (Cod. Hebr. XXXII) shows that both Birkat ha-mason manuscripts were created by the same artist, namely Samuel ben Zewi Hirsch Drenitz, who was active in Nikolsburg.
Online Since: 12/20/2016
This miniature prayer book is the result of a unique collaboration of two of the most eminent Viennese representatives of 18th century Jewish book art. Aaron Wolf Herlingen wrote and illustrated the title page, Meschullam Simmel ben Moses from Polná created the other drawings and probably also wrote the prayer texts. Evidently this little book was a wedding present. The miniature prayer book contains a total of nine illustrations of the text as well as four richly decorated initial words. The prayer book belonged to the “respectable and wise maid Hindl”. The manuscript also contains entries regarding the birth of her children between 1719 and 1741.
Online Since: 12/20/2016
The writer of this Haggadah was none other than Elieser Sussman Meseritsch, named after his place of origin in Moravia, who later also copied the text of the Charlotte Rotschild Haggadah. By using three different types of writing, he clearly distinguishes three types of texts: the Hebrew text of the Haggadah, the classical Hebrew commentary by Simeon ben Zemach Duran (1361-1444), and a German translation in Hebrew letters by Wolf Heidenheim (1757-1832). The iconographic program of the Elieser Sussmann Meseritsch Haggadah is very unusual. The title page presents an architectural design of triumphal arches, where various ornamental motifs in classicist style are creatively joined together. The first four (5v-7r) of seven illustrated scenes show the four sons mentioned in the Haggadah, with one illustration dedicated to each of them; the one for the son who does not know to ask is particularly original. The next two illustrations – the crossing of the Red Sea (12r) and King David with the harp (15v) – are rather conventional. The last scene with the reconstruction of the Temple in Jerusalem as usual accompanies the text of the Adir hu (“Almighty God, rebuild your Temple soon!”).
Online Since: 12/20/2016