The first part of this volume contains registers of the deanships from 1461 to 1529 with the respective accounts of the faculty's funds as well as the lists of docents; the second part of the volume almost exclusively contains entries regarding doctorates granted from 1533 to 1921. Among the writers are, among others, Sebastian Brant, Basilius Amerbach, Remigius Faesch and Niklaus Bernoulli.
Online Since: 06/25/2015
List of foreign students registered between 1599 and 1837 at the theological faculty in Basel for basic (undergraduate) studies in artes liberales as a preliminary stage for graduate study in theology, law or medicine. The list ist divided by deans; from 1665-1800 it also gives the names of the “Corregens” of the Alumneum, the residence hall of scholarship holders. In addition, the volume contains regulations concerning admission to the faculty and the text of the oath upon matriculation.
Online Since: 12/20/2016
This volume of the medical faculty's register is richly decorated; it covers the period of deanships from Heinrich Pantaleon (1559) until Werner de Lachenal (1799). The entries are mostly made by the deans and are accompanied by their respective emblems. Preceding the reports are remarks by Heinrich Pantaleon on the history of the faculty from 1460 until 1559.
Online Since: 12/20/2016
This second volume of the medical faculty's register contains a list of successful doctorates from 1571 to 1806 and of registered students from 1570 to 1814, as well as an overview of exams and Disputationes and of lectures during the break for the (dog days of) summer. The entries are preceded by a full-page miniature of the seal of the medical faculty of the University of Basel.
Online Since: 12/20/2016
This handwritten Haggadah Comites Latentes 69 was created in Vienna in 1756. It is decorated with black ink and masterfully imitates copper engraving. The author is the famous scribe and illustrator Simmel ben Moses from Polna (active between 1714 and 1756), who produced about thirty dated manuscripts that have survived until today, of which, however, only 17, including CL 69, are autographs. His works of art are among the most remarkable examples of Hebrew manuscript decoration in 18th century Central Europe. The Song of Solomon, copied by later hands, concludes this magnificent manuscript.
Online Since: 06/22/2017
The manuscript, written in modern Devanāgarī script, contains a series of extracts of poems on Rādhā and Kṛṣṇa and on nāyikās and nāyakas (heroes and heroines), demonstrating various states and stages of erotic love. Two compositions mention in their colophons the authors or compilers, Rājānāgarī Dāsa (f. 55v) and the Venerable Kuvara Phakīra Siṃha - Kubar Fakīr Singh in hindi spelling (f. 58v). The manuscript is illustrated: five pictures feature Rādhā and Kṛṣṇa (f. 1v, 10r, 26v, 33r and 37v), and two others depict young people in love (f. 52r, 52v). The poems are of different forms, namely, copaī/caupaī, dohā, aralli, and soraṭha. Each of these has a fixed number of lines, syllables per line and other metric specifications. This style was very popular in Northwestern India from about the 18th century onwards. The manuscript was the property of Oliver Henry Perkins (front pastedown), before entering the Bodmer collection at an unknown date.
Online Since: 03/22/2018
This is an 18th century manuscript of the text called Kedārakalpa, representing itself as a part of the Nandīpurāṇa. The manuscript describes and depicts in its 61 exquisite miniature paintings a religious pilgrimage in Himalayas, Kedarnath region, as done by a group of yogis. It is a śaiva text, i.e. main deity is god Śiva, and the main purpose of the text is to incite people to go on that sacred śaiva pilgrimage.
Online Since: 06/22/2017
This is a text called Guhyaṣoḍhā written by Śrīyogarāja [this honorific title means « Glorious king of yoga », and is an honorific title rather than a proper name], and it is in part based on the very ancient tantric text called the Rudrayāmal. Guhya[kālī]ṣoḍhā / Guhyaṣoḍha means a text featuring a sequence of mantras that a tāntrika would need to recite in order to "purify" himself and the mantra that precedes the recitation of the root-mantra of the deity. This text traverses the religious space at the intersection of Hinduism and Buddhism.
Online Since: 09/26/2017
According to Beethoven, this is his “most accomplished work.” It celebrates the consecration of his student and sponsor, Archduke Rudolph, as Archbishop of Olomouc (Olmütz) in 1818. This mass was begun in 1818; it was completed three years after the ceremony and was presented to the cardinal and archbishop on 19 March 1823. This mass in D major seeks to express and communicate, in the words of the composer himself, a state of mind, a religious Stimmung. It is written for a large orchestra and consists of five movements (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) The sections of the Gloria, imposed by the meaning of the text, constitute a sonata: allegro in D major, Gratias in B flat and back to the allegro; then the larghetto and as a third movement the allegro, Quoniam, the fugue In gloria Dei Patris, with a cyclical return to the theme of the Gloria in the principal tone. The music comments on the text: royal acclamation, heartfelt gratitude, divine omnipotence; then, in contrast: prayers, shouts and murmurs of the supplicants of this world (miserere nobis). Purchased at Sotheby's, London, 4 February 1952.
Online Since: 09/26/2017
Despite visible erasures, this is the completed version of this untitled text, which consists of six paragraphs on two leaves, bound in red Morocco leather. At the earliest it was written by Flaubert during his voyage to the Orient (1849-1851) with his friend Maxime du Camp, although it seems more likely to date from his return to France in 1851, the moment he dedicated his life to writing. Later know by the title Le Chant de la Courtisane, this prose poem in a humorous tone was not published by Flaubert himself. Nonetheless, it sums up his challenges as a writer: the work shows the author's fascination with Oriental culture and landscape, which he hopes to to reproduce in a realistic manner. A journal of his voyage, which records his observations and sensations and directly feeds his fictional work. The vocabulary reveals a certain erudition and a concern for accuracy, procedures which herald Salammbô. This manuscript, from the collection of Paul Voute (who had published a facsimile thereof in 1928), was purchased by Martin Bodmer at the Blaizot bookstore.
Online Since: 06/22/2017
Mentioned in his correspondence by Flaubert as an explanatory chapter to Salammbô, this manuscript consists of 28 leaves, which are all numbered, except for the last one that contains notes regarding the gods. The manuscript is in a folder on which Flaubert noted the work's title as well as a date, 1857, that corresponds with the beginning of the writing of Salammbô. This chapter, however, was written after 1857: it was actually conceived after an important documentation phase indispensable to the project and after a trip to Carthage. Upon his return in 1858, the writer worked on a chapter that would be “the topographical and picturesque description of the aforementioned city, with a portrayal of the people who inhabited it, including the traditional costume, government, religion, finances and commerce, etc." (Letter to J. Duplan, dated 1 July 1858). Despite a certain number of corrections and marginal additions, this is the completed version of the text, which ultimately was removed from the novel, even though information therefrom was scattered throughout the work. This chapter reveals the way the author works. He is distinguished by his encyclopedic erudition and his attention to detail, which shed light on the original challenges in the creation of Salammbô: that of reconstructing the then-lost city of Carthage. In November 1949, Martin Bodmer purchased this manuscript at the Blaizot bookstore.
Online Since: 06/22/2017
On October 25th and December 15th of 1810, Jacob Grimm sent Clemens Brentano this manuscript. It is the oldest handwritten version of the Kinder- und Hausmärchen since the Brothers Grimm systematically destroyed all the preliminary work for their edition of the fairy tales, probably in order to prevent the comparison between the handwritten versions and the later printed edition (first edition 1812), which was thoroughly revised and expressed in literary form. According to an analysis by Heinz Rölleke (Rölleke Heinz (ed.), Die älteste Märchensammlung der Brüder Grimm. Synopse der handschriftlichen Urfassung von 1810 und der Erstdrucke von 1812, Cologny-Genève 1975), 25 fairy tales were written by Jacob Grimm, 14 by Wilhelm Grimm (partly with addenda by his brother), and 7 can be attributed to four other authors. Martin Bodmer purchased this manuscript from Mary A. Benjamin, New York, in 1953.
Online Since: 12/17/2015
This poem in two stanzas of four lines each and titled “Der Frühling,” was written by Friedrich Hölderlin (1770-1843) in his own hand; at the end it is signed “Mit Unterthänigkeit Scardanelli” and dated to January 20, 1756. Hölderlin, who from about 1802 on was mentally ill, often signed his works, sometimes with invented names, among them Scardanelli, and invented dates. Another hand has corrected the given date in pencil to 1843; this suggests that the poem was created shortly before Hölderlin's death.
Online Since: 12/17/2015
This poem in three stanzas of four lines each and titled “Der Herbst”, was written by Friedrich Hölderlin in his own hand; at the end it is dated to November 15, 1759. Hölderlin, who from about 1802 on was mentally ill, often signed his works, sometimes with invented names and invented dates. At the top of the page another hand has written „Autographie v Hölderlin“ along with the correction „Tübingen d 12 Juli 1842.“
Online Since: 12/17/2015
This poem in two stanzas of four lines each and titled “Der Winter”, was written by Friedrich Hölderlin in his own hand; at the end it is signed “Mit Unterthänigkeit Scardanelli” and dated to April 24, 1849. Hölderlin, who from about 1802 on was mentally ill, often signed his works, sometimes with invented names, among them Scardanelli, and invented dates. Another hand has corrected the given date in pencil to November 7, 1842.
Online Since: 12/17/2015
This famous poem, probably written on 6 September 1835, is part of the composite manuscript Les chants du crépuscule that was published in the same year. Hugo movingly denounces the condition of prostitutes: he actually invites the reader to sympathize with rather than despise the “fallen women”. This symbolic vocabulary, usually denoting moral depravity, is used here not to convey a fault, but to express the courage of women who long struggled against the inevitability of the burden of misery before succumbing to it. Far from a moralizing Manicheism, Hugo assigns faults generally attributed to these women also to “à toi, riche ! à ton or”, pointing a finger at the injustice of a social system lacking any distribution of wealth as well as “à nous”, each citizen whose regard is not charitable enough. This manuscript presents a slight variation of the printed text since it reads: “s'y retenir longtemps de leurs mains épuisées” instead of “s'y cramponner longtemps”.
Online Since: 09/26/2017
This unsigned poem by Victor Hugo opens with the lines „Si j'étais femme (Hélas ! que je vous plains, ô mères ! …);“ it remained unpublished until 2009. Hugo himself crossed out the original title „Impératrice“ for being too obvious. The text is addressed to the wife of Napoleon III, Eugenia de Montijo, whom Hugo reproaches for her „bigoterie“ (3r) and her „signe de croix grotesque à l'espagnole“ (1r). Thus he extends to the spouse the criticism of Napoleon III that he had already presented in the Châtiments. The date of October 11, 1869, in Hugo's own handwriting, suggests that the text was created in Brussels, where Hugo lived in exile since the coup of December 2, 1851.
Online Since: 12/17/2015
The sixteen verses making up this passage are the sixth and last part of the poem "Dans l'église de ***”, included in the composite manuscript Les chants du crépuscule of 1835. Several themes are interwoven in this poem, which contrasts the probity of a woman praying in the middle of an abandoned church with the city's hedonists, nihilists hurling themselves "d'ivresses en ivresses”. Hugo surprises this pure soul in the midst of adversity, invoking the help of the Lord to save her from overwhelming sadness. In this last part (VI), the writer increases his Christian support (Votre âme qui bientôt fuira peut-être ailleurs / Vers les régions pures, / Et vous emportera plus loin que nos douleurs, Plus loin que nos murmures !) with an angelic and serene quatrain: Soyez comme l'oiseau, posé pour un instant / Sur des rameaux trop frêles, / Qui sent ployer la branche et qui chante pourtant, / Sachant qu'il a des ailes !
Online Since: 09/26/2017
Around the 1820s, Lamartine undertook an ambitious poetic work: Les Visions. Although several fragments thereof were used in Jocely (1836) or in La Chute d'un ange (1838), most of these verses remained unpublished for 30 years, with the poet tirelessly reworking, changing and correcting them until the final publication in 1851. This autograph of Song II contains a passage of ten verses that ultimately were not published (ellipsis marks the place in the original edition).
Online Since: 12/17/2015
In this letter to his young partner William H. Herndon (1818-1891), who had remained in Chicago as head of their joint law office, Lincoln, who is about to lose his seat in Congress as a Representative of the Whig Party, offers a lesson in political philosophy. Exhausted by months of political battles against the Mexican-American War and hurt by "exceedingly painful" statements by his friend (whom he describes as "a laborious, studious young man"), the future American President presents his "so Lincolnian" advice: "The way for a young man to rise is to improve himself every way he can, never suspecting that any body wishes to hinder him."
Online Since: 09/26/2017
With his six novels and his famous collections of over 300 short stories, Guy de Maupassant (1850-1893) has earned a place among the most important French writers of the end of the 19th century. He presented an often unvarnished picture of provincial as well as Parisian society of his time. This is the case in the present story, the only one to have had a separate original edition preceding its publication in the collection of the same name. This manuscript was used for the first printing of the text, which was originally published on June 15, 1887 in La Nouvelle Revue. It contains numerous corrections and deletions (which bear witness to the creation of the story), as well as slight variations in comparison with the version published in the volume of March 28, 1888.
Online Since: 12/17/2015
Following enlightenment philosophers, liberal thinkers - which include Mill - considered freedom of speech a fundamental human right. In this small autograph, with embossed monogram "JSM", consisting of three folios intended for dispatch, the philosopher copies a passage of his famous "On Liberty" from 1869, taken from chapter II: "Of the Liberty of Thought and Discussion." Mill emphasizes that humankind no more has the right to silence a single opinion than it has the right to silence all of humankind, if it had the power to do so. Before it became the property of Martin Bodmer, this letter had been purchased by the author Stefan Zweig in 1923.
Online Since: 06/22/2017
During his exile on St. Helena, Napoleon (1769-1821) availed himself of a library of 3,000 books — a poor remedy for boredom. Nevertheless, the deposed emperor found pleasure in reading and annotating ancient and modern classics. As a theater enthusiast, he read aloud Voltaire's La Mort de César to his entourage several times. He decided to write his own play on the same subject; this manuscript in Napoleon's own handwriting presents a quick sketch of the first two scenes. On page 3, tired of his subject, the emperor covers the page with strategic and military calculations, having frigates engage with regiments and artillery.
Online Since: 12/17/2015
This autograph by Arthur Rimbaud (1854-1891) contains a fragment of a poem. Written on the recto side of a page are three sections numbered with Roman numerals from II to IV and, with the exception of the last one (IV), titled. Although the text is written in prose, the designation “sonnet” (II) could be due to the form of the excerpt in question, which is presented in 14 lines. The first section contains the sign +, which is difficult to interpret and which gives the impression that Rimbaud had planned to rework it. The numbering suggests that these three sections form a homogeneous whole together with the section Dimanche (I, BNF manuscript), thus constituting the poem Jeunesse. One can see inscriptions by other hands from after 1886: the annotation Illuminations in the upper left corner deliberately refers to the collection of poems with that same title, which was originally published in 1886. The poem Jeunesse, which consists of four stanzas, was first published by Vanier in 1895, after the Poésies complètes, as a complement to the Illuminations.
Online Since: 09/26/2017
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This composite manuscript in thirteen volumes consists of drawings of plants which resulted from the Sessé & Moçiño expedition to the region of Mexico and Central America from 1787 to 1803. Of the 1300 drawings contained in these volumes, about 300 are originals from the expedition, the remaining 1000 were copied in Geneva in 1817 by artists and amateur botanists, most of whom were women from Geneva. The entire collection is usually referred to as Flore des Dames de Genève.
Online Since: 03/29/2019
This manuscript contains a systematic collection of 45 sermons, each of which consists of six to seventeen pages. In the beginning, there are 20 sermons in Lower Engadine (pp. 1-281), followed by a sermon in German (pp. 282-297). The remaining 24 sermons are in Upper Engadine (pp. 298-570). The book concludes with a “Register Dels Texts trattos in quaist Cudesch” (Register of [Biblical] texts treated in this book) (not pag., pp. 571-574). The latter takes up the passages from the Bible cited as topic at the beginning of each sermon. The number 33 was skipped, therefore the total number is 46. Two bookmarks (p. 399-s1.2 and p. 475s1.2) identify “Herr Präses Ulrich Vital Sins” (= Johann Ulrich Gosch Vital, Sent; 1781-1868) as the owner of this manuscript. A comparison with an autographic letter, as well as with the orthography of his published works, shows that he was the scribe and author of the texts as well.
Online Since: 03/29/2019
Jean Germain Fidèle Bajol is both the author and the copyist of this history, in Latin, of the bishops of Basel. He dedicated his text to Bishop François Xavier de Neveu (pp. 7-11), whose coat of arms is depicted immediately before the dedication (p. 6). The text consists of eight biographies in order: Jean Conrad de Roggenbach (pp. 13-14); Guillaume Rink de Baldenstein (pp. 15-16); Jean Conrad de Reinach-Hirtzbach (pp. 17-23); Jacques Sigismond de Reinach-Steinbrunn (pp. 24-27); Joseph Guillaume Rinck de Baldenstein (pp. 28-33); Simon Nicolas de Montjoye d'Hirsingue (pp. 34-39); Frédéric Louis François de Wangen-Geroldseck (pp. 40-45); Franz Joseph Sigismond de Roggenbach (pp. 46-55); François-Xavier de Neveu (pp. 56-61). The carefully-produced copy is clearly structured: a rubric gives the name of the bishop, then the text follows in a single column inside a pencil-drawn frame, with the dates in the margin. The last date indicated, 1803 (p. 60), provides the terminus post quem for the completion of the volume.
Online Since: 05/31/2024
This catalog of the residents of the college of Belleleay was drawn up in 1791, as indicated by the label on the front cover of the manuscript. Nevertheless, it contains the names of residents who attended this institution from 1772 to 1797, at which point 464 names were registered. On the last five written pages, dated 1835, M. Jean de Montherot (no. 305) provides numerically ordered notes regarding the careers of some them.
Online Since: 12/14/2018
This composite manuscript is dated 1839 (p. V2) and contains texts about the history of the abbeys of Bellelay and Lucelle; it was compiled by Joseph Trouillat when he was librarian at the college of Porrentruy: De Bellegagiensi monasterio (pp. 1-7); Relation de l'invation de l'abbaye de Bellelay par les troupes françaises 15 novembre 1797 par le père Voirol - this name was crossed out and replaced by that of Marcel Helg, former monk at Bellelay (pp. 8-61); Notes diverses sur Bellelay by Father Voirol (pp. 61-102), followed by seal impressions and coats of arms pasted on (p. 105) or painted (pp. 111, 113, 115, 117); Notes sur l'ancienne abbaye de Lucelle, in Latin with notes in French and with painted coats of arms of various abbots (pp. 121-220) as well as affixed seals (p. 192) and a wax seal (p. 208); various French translations of Latin documents, carried out by abbot Grégoire Voirol (pp. 221-236).
Online Since: 06/14/2018
This volume contains the first part of a series of notes by Father Grégoire Voirol (Les Genevez, 1751 – Porrentruy, 1827) – the second part can be found in A2044/2. Among the texts copied between 1770 and 1823, there is a Journal de 1790 à 1792; two Supplementum directorii ecclesiastici ad usum Ecclesiae Bellelagiensis, one for the year 1777 (pp. 363-374), the other for the year 1787 (pp. 375-395); Remarques sur la retraite les 28, 29, 30 et 31 décembre 1770, etc. Inserted into these handwritten notes is a print (pp. 401-440): Ordo officii divini juxta rubricas breviari praemonstratensis annus 1789, published in Charleville in 1787.
Online Since: 12/14/2018
This volume contains the second part of a series of notes by Father Grégoire Voirol (Les Genevez, 1751 – Porrentruy, 1827) – the first part can be found in A2044/1. The notes and the copies of texts primarily refer to the Premonstratensian Bellelay Abbey. Some pages from a printed work, including a part of a calendar, have been inserted into the manuscript (pp. 117-124), and ten loose leaves have been added at the end.
Online Since: 12/14/2018
This manuscript contains numerous notes by Abbot Grégoire Voirol (Les Genevez, 1751 - Porrentruy, 1827). The notes differ in content and in language (Latin or French); they were bound together at an unknown date. Among the notes are various obituaries from the Premonstratensian Bellelay Abbey and from Roggenburg Abbey in Bavaria, where Voirol fled after the French invasion of 1789, the catalog from the library of Bellelay, historical souvenirs, letters, etc.
Online Since: 10/04/2018
Document in two parts. The first part is by François Jacques Joseph Chariatte (1700-1765), provost of Moutier-Grandval Abbey, and tells the history of Moutier-Grandval Abbey from its founding in the 7th century until 1764 (pp. 1-139). The manuscript was completed in 1814 by the canon Jean Germain Fidèle Bajol, Chariatte's nephew (pp. 147-162).
Online Since: 12/10/2020
This manuscript contains a topographical description of the region of Moutier-Grandval, decrees tracing the political history of Moutier-Grandval Abbey, and isolated articles on the role of the Priory of Saint-Ursanne. The text was written in Latin and translated into French in the second column.
Online Since: 12/10/2020
Jean Jacques Joseph Nicol, a Porrentruy shoemaker (1733-1822), wrote this diary, which is divided in two parts, the first running from 1760 to 1771 (pp. 7-71), the second from 1795 to 1809 (pp. 73-88), two completely different periods from a political perspective (belonging to the Bishopric of Basel and the French period). This diary's interest lies in Nicol's profession as an artisan, which allows us to see, alongside major historical events, more mundane ones. This manuscript is a copy of Nicol's diary made by Joseph Trouillat (1815-1863) as the label on the cover declares. A teacher at the Collège de Porrentruy, Trouillat was in charge of the library. Undoubtedly, it was in the course of his historical research that he copied this journal, which was printed with the title Notes et remarques de Jean-Jacques-Joseph Nicol (Porrentruy, Société typographique, 1900).
Online Since: 12/14/2022
Although this manuscript's paper title page announces “Éphémérides de la ville de Porrentruy, commencées en janvier 1855, Vautrey prêtre” (p. V3), it only refers to the first eight pages of this thick volume (pp. 1-8). The largest part of the work contains “Notes sur l'ancien Évêché de Bâle” (pp. 9-473), followed by excerpts from the “Annales du monastère d'Augiae divitis” (Reichenau) taken from a Latin manuscript that belonged to the Benedictines of Delle (pp. 476-502). Alongside various ecclesiastical functions, this volume's author, Louis Vautrey (1829 Porrentruy – 1886 Delémont) accomplished a significant body of historical work, as witnessed, for example, by the publication in two volumes of the Histoire des évêques de Bâle (1884-1886), which at least in part relies on the current manuscript.
Online Since: 12/14/2022
Begun in 1620 by Jean Henri Vest when he was living in Freiburg-im-Breisgau (p. 1), this collection was originally conceived as a Stammbuch (family book) recording the genealogy and the marriages of the Vest family, with corresponding coats of arms. The enlarged coat of arms granted honorifically by Emperor Rudolph II in 1582 to the Count Palatine Jean Vest, father of Jean Henri, is repeated many times. Humbert Henri Vest brought the collection to Porrentruy in 1667; after the marriage of his daughter, Marie Hélène Vest (1693-1761), the last member of the local branch of the family, to Fréderic François Ignace Xavier Grandvillers (1690-1727) in 1716, the collection passed into the hands of the Grandvillers family. The Grandvillers added their coat of arms and those of related families (pp. 51-85 and 138-139, etc.). Born and died in Delémont, the lawyer Conrad de Grandvillers (1813-1880), great-great-grandson of Marie Hélène Vest, and the last to carry the name, was the last of his family to possess this volume, as the signature “de Grandvillers avocat” indicates (p. 1). Perhaps he is the one who, in the nineteenth century, added some other coats of arms without a family connection (pp. 277-281), possibly with the idea of transforming the volume into a liber amicorum or, more broadly, into an Armorial jurassien, as stated in the title added on the binding, probably in the nineteenth century. The fact that some coats-of-arms connected to the Vest family have been cut out and glued on other pages (pp. 89-95) suggests a major working of the volume at an unknown date.
Online Since: 09/06/2023
Louis Philippe, a painter and upholsterer in Delémont, produced two versions of the same project for an Armorial de l'ancien évêché de Bâle, both of which are preserved in the Bibliothèque cantonale jurassienne, namely this one here and a second, later armorial (N.C.6). In both cases, the volume is primarily composed of coats of arms painted by the author. This copy was originally supposed to be divided into large books, the first three of which were to have been dedicated to bishops, to states, and to the feudal nobility. In any case, the volume quickly loses its coherence with the passing of the pages and the additions of coats of arms, most of which are glued by the author according to the sources to which he has access (see f. 176v) and to the space available. He also inserted photographs, rubbings, and even signatures and original seals taken from archival or printed documents. Clearly, the composite appearance of the collection led Philippe to prepare a second, more coherent, collection (N.C.6).
Online Since: 09/06/2023
This manuscript contains two grimoires (magic textbooks), the Dragon rouge (pp. 4-100) and the Poule noire (pp. 101-108), which were copied in 1846 from a 1521 original. The Dragon rouge “ou l'art de commander les esprits célestes, aériens, terrestres et infernaux” (p. 2) is a collection of writings in French, Italian and Latin. As for the Poule noire, this is a ritual for conjuring ghosts. Several ungainly drawings embellish the work, depicting, for instance, the devil (p. 33, 55) or cabalistic diagrams (p. 19, 54).
Online Since: 10/04/2018
The Porrentruy bourgeois and notary François-Joseph Guélat (1736–1825) is the author of the text carried by this manuscript, and is chiefly known for his memoirs on life in Jura during the revolutionary period (cf. MP 15 / A1451-1-3). According to the old pagination and the table of contents, which was probably added at the moment of binding (pp. 169-170), this manuscript is incomplete. The copy is carefully prepared, the single-column text is marked by a pencil-traced frame, and the chapter titles are inked in elegant calligraphy. This is not Guélat's autograph manuscript, but rather a later copy, produced after 1838, as suggested by the date linked to the name of Charles Roedel (the copyist?) enscribed in an inverse pyramid at the end of the list of the bishops of Basel (p. 148).
Online Since: 12/14/2022
Book of folk songs from the Ajoie, collected by Antoine Biétrix.
Online Since: 06/23/2016
This autograph by Antoine Biétrix contains anecdotes in patois which he collected and wrote down himself. The short stories give the people of Bonfol a terrible reputation. Even if the stories don't concern the people of Bonfol directly, they are attributed to them, undoubtedly because the name of the village lends itself to such.
Online Since: 06/23/2016
An autograph (?) of François-Joseph Guélat, from Adrien Kohler. This work is a regular encyclopedia of the patois; the main part consists of two large dictionaries French-Patois and Patois-French. In compiling this manuscript, F.-J. Guélat, who was from the Ajoie, draws upon the dialect of his region.
Online Since: 06/23/2016
This manuscript by Jean-Georges Quiquerez is a complement to Ferdinand Raspieler's Dictionnaire patois with several changes. The dictionary contains translations in Latin and German, less frequently towards the end. In 1849 this work was used for the edition of the Paniers by Xavier Kohler and Ferdinand Feusier.
Online Since: 06/23/2016
The Porrentruy lawyer François-Joseph Guélat (1736-1825) is one of the most well-known chroniclers to have described life in the Jura at the moment of the Revolution. Divided into three manuscript volumes, the text was published in 1906 by B. Boéchat et Fils in Delémont, with the title Journal de François-Joseph Guélat 1791-1802. The third volume runs from 1796 to 1802, and, like the preceding volume (MP 15 / A1451-2) concludes with a table of contents (pp. 159-177).
Online Since: 12/14/2022
This volume is the result of an organized selection of material gathered in the previous version (A3754). It consists of coats of arms, mostly carefully painted directly in the volume or glued in, supplemented by reproductions obtained through different procedures (photographs, lithographs, rubbings…), and even some originals (signatures). The armorial was originally conceived to be divided into several books: bishops (2r-29v), states (30r-35v), the feudal nobility (from f. 36r). Starting with f. 103r, however, the coherence begins to dissolve with the addition of coats of arms of bourgeois families of Delémont, then religious coats of arms connected to the abbey of Bellelay (117r-122v) and Lucelle (123r-127v). From f. 134r, the armorial concerns seals: bishops (134r-143v), clerics (144r-146v), towns and seigneuries (148r-151v and 155r), and nobility (152r-154v), to which are added coins and medals (156r-157v). The volume ends with a series of notes (162r-198v), including comments on the documents reproduced in the preceding sections.
Online Since: 09/06/2023
This unremarkable paper manuscript in a green cardboard cover contains various excerpts selected by Johann Conrad Fischer (1773-1854) himself from his Austrian travel journals. Here the entrepreneur and metallurgist Fischer from Schaffhausen describes his encounters with Archduke John of Austria (1782-1859), which took place between 4 February 1826 [p. 1] and 25 June 1842 [p. 125]. The travel journals themselves, from which these excepts were taken, have not survived. After Archduke John had read Johann Fischer's English travel journals, he wished to get to know the author personally and sent Johann Conrad Fischer an invitation through Fischer's son [p. 3]. After the first meeting in February 1826, six more meetings occurred in the space of five years: 13 September 1826 [p. 15], 24. June 1827 [p. 21], 5 October 1828 [p. 50], 17 September 1829 [p. 58], 18 September 1829 [p. 77] and 17 September 1830 [p. 87]. After a hiatus of ten years, there were three last meetings: 25 June 1840 [p. 101], 24 June 1842 [p. 124] and 25 June 1842 [p. 125]. On 136 pages Fischer essentially recaps the conversations between the two men. These accounts allow us to understand Fischer's commercial interests and his activities in Austria. The content of the conversations as well as the circumstances of his visits afford us a glimpse of their common world in the context of the tensions between Switzerland and Austria, between old political orders and economic modernization. The entries are in chronological order and are followed by fourteen blank pages at the end. The page numbering is from when the album was created. The little book was discovered by accident in a farmhouse in Löhningen (SH) in October 2019. Today it is held in the company archives of the Georg Fischer AG in Schaffhausen
Online Since: 12/12/2019
This paper manuscript contains copies, drafts and lists of the French, English and German business correspondence of Johann Conrad Fischer (1773-1854) of Schaffhausen, covering the years 1811-1817 in mostly chronological order. About the first fifty pages cover the time period from 1811 until 1815 and contain primarily drafts of letters - recognizable by regularly occurring corrections in the text - to business partners in Romandy and in the French Jura. Pages 58 to 165 contain lists of correspondence covering the years 1816 and 1817 to recipients in Germany, Austria, England, France and Switzerland. Three other leaves are glued in at the end of the manuscript containing further drafts.
Online Since: 12/12/2019
This leather-bound album contains about 35 dedications and drawings by people with whom the coppersmith and wine merchant Christoph Fischer (1691-1770) from Schaffhausen was in touch during his lifetime. Based on the entries in Latin, German, French and English, it is possible to reconstruct two trips that Fisher took to London, during which most of the dedications occurred: 1747-1750 via Geneva, Lyon, Paris to London and 1758 via Strasbourg, Frankfurt, Amsterdam to London. Several entries are by members of the Schalch family of Schaffhausen, who were relatives of Fischer; among these is an undated watercolor by the artist Johann Jakob Schalch (1723-1789) (p. 122), who lived in London and Den Haag from 1754-1773. After Fischer's death, the album was continued: entries from 1773 (p. 65) and 1820 (p. 215). Several pages of parchment (pp. 1-2, 19-20, 47-48, 115-116, 181-182) are bound into the paper manuscript, and several pages of paper were added later (pp. 39a-b, 55a-b, 147a-b) or were covered with pasted-on illustrations (p. 43, p. 125, p. 127). The entries are not in chronological order and alternate with numerous blank pages.
Online Since: 06/22/2017
This leather-bound paper manuscript with gold embossing (digits of the year 1791 in each of the four corners of the book) is the memory album of Johann Conrad Fischer (1773-1854), coppersmith, metallurgist, entrepreneur and politician from Schaffhausen. His cast steel factory, founded in 1802, developed into the current Georg Fischer Ltd. The album contains dedications and illustrations by about 70 people with whom Fischer was in touch during his lifetime, among them his math teacher Melchior Hurter (1735-1811) (p. 1), Professor Johann Georg Müller (1759-1819) (p. 49), the physician Johann Balthasar Zwingli from Zurich (1764-1817) (p. 164), the writer Heinrich Zschokke (1771-1848) (p. 175), Fischer's great–uncle Lorenz Spengler (1720-1807), head of the Royal Art Chamber in Copenhagen (p. 43), and his son Johann Conrad Spengler (1767-1839) (p. 105). The majority of the entries are in German, French, English and Danish and date from his years of travel as a journeyman coppersmith in 1792-1795, when he traveled via Frankfurt, Chemnitz, Dresden to Copenhagen and on to London. Occasional further entries continue until 1841. The entries are not in chronological order and alternate with pasted-in pages (pp. 3a-b, 48a, 111a-d) and numerous blank pages. The numbering of the pages is from the time of the creation of the album.
Online Since: 06/22/2017
This paper manuscript bound in green leather is the memory album of Eduard Fischer (1801-1859) of Schaffhausen; it contains notes from family and friends. Eduard Fischer was the son of the metallurgist and entrepreneur Johann Conrad Fischer (1773-1854) of Schaffhausen. The book contains entries from 1818 until 1920. The very first entry is from the hand of his father, Johann Conrad Fischer: „Experientia est optima Magistra! […] Zum Andenken von deinem dich liebenden Vatter Johann Conrad Fischer, Oberst Lieut: der Art: und Mitglied der helv: Gesellschaft für die gesamten Naturwissenschaften. Schaffhausen, dem 21ten Märtz 1819.“ [p. 3]. Further entries in German, Latin and Ancient Greek are concentrated on pages 13-91 with many blank pages in between. Among the entries are notes by his brothers Georg Fischer (1804-1888) [p. 44] and Berthold Fischer (1807-1879) [p. 73], as well as by his sister C. Fischer [p. 59]. The entries are not in chronological order. Pages 92 to 175 are blank.
Online Since: 12/12/2019
This manuscript by the Italian architect and town planner Guiseppe Valadier (1762-1839) vividly illustrates various aspects of architecture and technology. The manuscript contains 127 panels of pen and ink drawings in vivid colors that were created before 1828 (Tav. CI to Tav. CCXXXV, many panels are missing). Partly the panels are grouped thematically by material (e.g., wood (fol. 1r-8r), iron (fol. 9r-24r), copper (fol. 25r-31r), bronze (fol. 32r-58r)), partly by construction themes (e.g., construction of walls fol. 103r-117r). These drawings served as models for part of the total of about 320 panels presented in the two volumes of panels of Valadier's work „L'architettura pratica dettata nella scuola e cattedra dell'insigne Accademia di San Luca“, printed in Rome in 1828-33 and based on lectures he had given at the Accademia di San Luca in Rome. The numbering of the panels in the manuscript corresponds to that in the printed work. — The manuscript was purchased in Italy in 1956.
Online Since: 10/08/2015
This manuscript is a collection of notes, which were compiled by Hermann Wedding (1834-1908), later professor of ferrous metallurgy at the Bergakademie Berlin (mining academy), during his visits to the smelteries in Freiberg (Saxony) in 1856/57. The notes were taken while he was a student at the Freiberg mining academy and include his own observations of the procedures at the various silver and lead smelteries around Freiberg. The notes also contain copies of relevant scientific publications about metallurgical procedures that were used in Freiberg.
Online Since: 12/14/2017
This travel journal was kept by Hermann Wedding (1834-1908), later a professor of ferrous metallurgy, during his study tour in August and September of 1858. At this time, he was a student at the mining academy of Freiberg and Berlin. The objective of the trip was to visit the centers of the German mining industry that were emerging in the middle of the 19th century, especially in the region of the Saar and the Ruhr. Wedding's daily entries document his visits to coal mines, smelteries and metal processing companies. He describes the operating facilities and production processes of the plants he visited. The journal reveals his deep scientific interest in the geological conditions in which the plants he describes are embedded.
Online Since: 12/14/2017
This manuscript documents several trips by Hermann Wedding (1834-1908), later a professor of ferrous metallurgy, to Great Britain in the years 1860 and 1862. Wedding undertook these trips as a referendary for the Prussian mining administration. On his way to Great Britain via Belgium, he noted his observations regarding operating facilities and production processes at smelteries and mining operations in daily entries. Among the plants he described are the ironworks at Seraing (Belgium), the metallurgical works in South Wales that were considered especially advanced in the middle of the 19th century, and the first steelworks that made use of the Bessemer process. The journal entries also reveal Wedding's connections with contemporary specialists in his field.
Online Since: 12/14/2017
This large-format manuscript (the translation of the Russian title is “Bridge-building project across the Neva River to accommodate the passage of ships at all times, 1802”) presents a bridge-building project across the Neva River in St. Petersburg. Following the title page with a decorative frame in a gray color wash (fol. 2) and the table of contents (fol. 3), there are twelve panels of watercolored drawings that give an overview and a detailed view of the project. Seven illustrations are two-sided, one of them has a fold-out page. All texts in this manuscript are in Russian and in Cyrillic script. — The bridge was designed by Charles Baird (1766–1843), a Scottish engineer who had set up a business for metal casting, machine construction and shipbuilding in St. Petersburg and who had built a cast-iron bridge nearby in 1805/06. The manuscript's bridge project, however, calls for a combination of a floating bridge and a drawbridge: the floating bridge, resting on pontoons, splits into two branches, which end in two drawbridges near the shore (fol. 4a-5), so that it is possible to cross the bridge even while a ship passes beneath it. Other panels show, for example, the lifting mechanism hidden in the pillars (fol. 14a, 16, 17) and one of the boat-like pontoons anchored in the bed of the Neva River (fol. 20a-21). – The manuscript was purchased in Copenhagen in 1978.
Online Since: 10/08/2015
This large-format volume, bound like a Baroque missal in wooden boards with a leather cover and decorative plaques, contains the catalog of manuscripts of the library of the secularized Monastery of St. Gall, uniformly compiled in 1827 by the abbey librarian at the time, F. Ildefons von Arx (1755−1833). This is the oldest catalog of manuscripts from St. Gall; it lists the manuscripts in the order of the shelfmarks introduced in 1780/82 and still valid today: from Cod. Sang. 1 to Cod. Sang. 1399. The catalog begins with a brief history of the cataloguing of manuscripts at St. Gall Abbey up to this time (p. 1). Then the following, usually very brief information is provided in rubrics and columns (pp. 2−239), each codex taking up one double page: a) the manuscript's shelfmark; b) the date (usually in centuries); c) the format of the codex and the old shelfmark from F. Pius Kolb's manuscript catalog (cf. Cod. 1400/1401); d) the author and title of the manuscript, sometimes a short summary of its contents; e) the incipit of the manuscript; f) a specification of the number of the last page, sometimes the explicit of the manuscript; g) the scribe, script, writing material, binding, former owner; h) general relevant information about the codex. In 1846 Carl Johann Greith (1807−1882), who later headed the abbey library and who, for the last twenty years of his life, was Bishop of St. Gall, completed the catalog with identically ordered information for codices 1400 to 1500 (pp. 240-257). The last pages are blank.
Online Since: 06/25/2015
First volume of the handwritten manuscript catalog by Abbey Librarian P. Franz Weidmann (1774−1843; Abbey Librarian 1836−1843), for the manuscripts no. 1 to 337A of the Abbey Library of St. Gall. Weidmann's manuscript descriptions are comprehensive and detailed, but, according to Johannes Duft in his 1983 history of the cataloguing of the manuscripts of the St. Gall Abbey Library, “unausgeglichen” (unbalanced). The manuscripts are usually described as follows: shelfmark, format, writing material, number of pages, and a the end the “character” of the manuscript and its dating. Cod. Sang. 1689 contains the draft of the first two parts of Weidmann's manuscript catalog (Cod. Sang. 1-689).
Online Since: 10/08/2015
Second part of the handwritten manuscript catalog by Abbey Librarian P. Franz Weidmann (1774−1843; Abbey Librarian 1836−1843), for the manuscripts no. 337B to 689 of the Abbey Library of St. Gall. Weidmann's manuscript descriptions are comprehensive and detailed, but, according to Johannes Duft in his 1983 history of the cataloguing of the manuscripts of the St. Gall Abbey Library, “unausgeglichen” (unbalanced). The manuscripts are usually described as follows: shelfmark, format, writing material, number of pages, and a the end the “character” of the manuscript and its dating. Cod. Sang. 1689 contains the draft of the first two parts of Weidmann's manuscript catalog (Cod. Sang. 1-689).
Online Since: 10/08/2015
This volume contains mostly the collected notes of St. Gall Abbey librarian P. Franz Weidmann (1774-1843) on the manuscript holdings of the Abbey Library and on the history of St. Gall Abbey and its catchment area; also several alphabetical indexes on the manuscript holdings (subject index, St. Gallen authors, scribes, and owners), copies by Weidmann of texts from St. Gall manuscripts, and excerpts from secondary literature.
Online Since: 10/08/2020
This martirologio-inventario (an annal followed by an inventory of property) of the Church of S. Stefano in Torre in the Blenio Valley inTicino, was written in 1639 at the request of the vicini (the original members of the municipal corporate body) of Torre and Grumo, in order to replace the 1569 copy, which was not up to date. It contains a description of the old church of S. Stefano before its reconstruction during the baroque period; the list of furnishings, of liturgical vestments, and of gold items in the church treasury; the list of annuali, i.e., of the annual celebrations for the death days of deceased members of the Church; and the church revenues. At the beginning of the manuscript there is a partially gilded drawing of the church patron St. Stephen.
Online Since: 12/13/2013
Album with depictions of members of the Zellweger family of textile merchants from Trogen, with biographical texts on the male representatives of the family. From the early modern era until the middle of the 19th century, the Zellwegers shaped the economy and politics of Appenzell Ausserrhoden. Victor Eugen Zellweger, the author of these texts, saw to the reproduction of family-owned paintings, drawings and prints, making use of the most modern techniques of photography. For the calligraphic design and illustration of the 3-volume work, he engaged the illustrator Salomon Schlatter from St. Gall.
Online Since: 03/29/2019
Album with depictions of members of the Zellweger family of textile merchants from Trogen, with biographical texts on the male representatives of the family. From the early modern era until the middle of the 19th century, the Zellwegers shaped the economy and politics of Appenzell Ausserrhoden. Victor Eugen Zellweger, the author of these texts, saw to the reproduction of family-owned paintings, drawings and prints, making use of the most modern techniques of photography. For the calligraphic design and illustration of the 3-volume work, he engaged the illustrator Salomon Schlatter from St. Gall.
Online Since: 03/29/2019
Album with depictions of members of the Zellweger family of textile merchants from Trogen, with biographical texts on the male representatives of the family. From the early modern era until the middle of the 19th century, the Zellwegers shaped the economy and politics of Appenzell Ausserrhoden. Victor Eugen Zellweger, the author of these texts, saw to the reproduction of family-owned paintings, drawings and prints, making use of the most modern techniques of photography. For the calligraphic design and illustration of the 3-volume work, he engaged the illustrator Salomon Schlatter from St. Gall.
Online Since: 03/29/2019
Collection of drawings of flags captured as booty, as well as Appenzell stained glas heraldic panels, landscapes and buildings from the 17th and 18th centuries, created by the illustrator Johann Ulrich Fitzi, with commentary by the historiographer and commissioner of the work, Johann Caspar Zellweger.
Online Since: 12/13/2013
Three volumes of scientific treatises by Johann Georg Schläpfer on historical, biological, geological, medical and philosophical topics as well as several drawings and watercolors of landscapes, plants, animals and anatomical specimens, made by Johann Ulrich Fitzi.
Online Since: 04/09/2014
Three volumes of scientific treatises by Johann Georg Schläpfer on historical, biological, geological, medical and philosophical topics as well as several drawings and watercolors of landscapes, plants, animals and anatomical specimens, made by Johann Ulrich Fitzi.
Online Since: 04/09/2014
Three volumes of scientific treatises by Johann Georg Schläpfer on historical, biological, geological, medical and philosophical topics as well as several drawings and watercolors of landscapes, plants, animals and anatomical specimens, made by Johann Ulrich Fitzi.
Online Since: 04/09/2014
Collection of recipes for preparing medicines. The form in which the recipes are presented ranges from a simple list of ingredients to more detailed texts including information about the preparation as well as the use of the medication. There is an index (pp. 262-264). The manuscript is from the pharmacy of the former Capuchin Convent of Wattwil; in 1881 it was “improved and written” (“verbessert und geschrieben”) based on an older original (p. E). The book contains a few additions up to the 20th century. Since the dissolution of the Capuchin Convent St. Mary of the Angels of Wattwil in 2010, the manuscript, as part of the convent pharmacy, belongs to the Foundation Kloster Maria der Engel Wattwil.
Online Since: 10/10/2019
Beginning in 1797, the Wädenswil reading society, which was founded in 1790, kept a handwritten annal that chronicled all local events of any given year. A member of the society would be designated as chronicler, who had the task of describing, by the end of the year, all events in Wädenswil that, from his point of view, were of importance. Detailed obituaries of individual personages are contained in the chronicle. For most years, it also includes descriptions of the weather, statistics regarding the population and an overview of food prices. In addition to local events, it also touches on cantonal and federal issues (among them the Bocken War, the Ustertag, the Sonderbund War). The chronicle was handwritten until 1886; the handwritten part consists of two volumes in folio-format. Later volumes consist of pasted newspaper clippings (1890 until 1945) and of typed pages, bound by year (1948-1974). The two volumes for the period from 1797 to 1886 are considered one of the most important sources for the history of Wädenswil in the 19th century.
Online Since: 12/17/2015
This commentary by Bezalel Ranschburg (1762-1820), an important rabbi in the Jewish community of Prague, treats two difficult Talmud tractates: Horayot and Niddah; several passages from the commentary were printed as marginal glosses in the standard edition of the Talmud. Ranschburg was also the author of Responsa ("rabbinic answers") and other commentaries, now lost. This manuscript contains the imprimatur of the censor at the time, Carolus Fischer (1775-1844), as required in the 18th and early 19th century Austro-Hungarian Empire for printing Hebrew books. Despite the imprimatur of Fischer, a Christian who defended Hebrew language and literature against Christian detractors, this manuscript was first printed only in 1957.
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
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
At the time this ketubah was produced, most of the Gibraltar's retail trade was conducted by the local Sephardic community; many of its members came from the adjacent parts of North Africa. The present Gibraltar contract belongs to an early period of local ketubah decoration, although some of its features foretell later developments. The upper section depicts a pair of lions crouched back-to-back, overlaid with circles containing the abbreviated Ten Commandments. The composition is reminiscent of the top of Torah arks, and indeed it is topped with a crown, intended as a Torah Crown. The crouching lions are flanked by vases of flowers. In the side borders, beneath theatrical drapery and trumpets suspended from ribbons, fanciful column bases are surmounted by urns. Several elements in the marriage contract are characteristic of Gibraltar ketubot. The initial word of the wedding day, Wednesday, as was common, is enlarged and ornamented. Also typical of Gibraltar is the ornamental Latin monogram at bottom center. Comprising the letters SJB, it refers to the bridal couple's first (Solomon, Judith) and last (Benoleil) initials.
Online Since: 03/22/2017
The concept of the written document for marriage, known as ketubah (pl. ketubot), lent itself to some popular Jewish customs, including the creation of allegorical marriage contracts for Shavuot. As the holiday marks the Giving of the Law, mystical traditions asserted that on this day Moses, as the matchmaker, brought the Jewish people (the bridegroom) to Mount Sinai (the wedding place) to marry God or the Torah (the bride). While several versions of ketubot for Shavuot are known, the most popular in Sephardic communities has been the poetic text composed by the renowned mystic of Safed, Rabbi Israel Najara (1555?–1625?). Divided into three sections, the special text of this Braginsky Collection ketubah appears within an imposing wooden architectural setting, comprising three arches and a broken pediment, within which is a crowned Decalogue. The upper story employs a dynamic rhythm of decorative architectural elements. The entire structure resembles a typical Sephardic Torah ark (ehal) from the synagogues in Gibraltar. Indeed, the name of one of these synagogues, Nefuzot Yehudah, founded 1799, appears at the top.
Online Since: 10/13/2016
The Roman ketubot (sing. ketubah), the Jewish marriage contracts, in general are distinguished by their elegant Hebrew calligraphy, decorative designs, and attractive appearance. The most popular decorative themes include biblical episodes, allegorical representations, and delicate micrographic designs. The contractual text of this Braginsky Collection ketubah is surrounded by an architectural frame featuring a pair of marble columns entwined by gold leaves and topped with Corinthian capitals. A large cartouche rests on the arch supported by the columns. In it is a pastoral landscape in which stand a man wearing a long robe and a bare-breasted woman, joined around their neck by a long chain of pearls with a heart-shaped pendant. Enhancing the allusion of matrimonial harmony are family emblems of the bridal couple that appear next to each other in a cartouche above the central allegorical image. The emblem at the right, above the central allegorical image, depicting a rampant lion climbing a palm tree, is that of the groom's family, Caiatte, whereas the emblem at the left, portraying a rampant lion touching a white column, belongs to the family of the bride, De Castro. Finally, the influence of Italian culture is demonstrated in the cartouche at the bottom, with the depiction of Cupid lying next to his bow and quiver.
Online Since: 10/13/2016
The Karaite ketubah, unlike the traditional Rabbinite contract, is written entirely in Hebrew and invariably comprises of two parts: shetar nissu'in and shetar ketubah. The Karaite wedding recorded in this ketubah was celebrated in the important community of Qirq-Yer in the Crimean Peninsula (West Ukraine). The two sections of the text are set inside frames painted with gold and surrounded by flowers. In the tradition of many Sephardic, Italian, and Eastern ketubot, initial words are decorated and appropriate biblical passages are included in the inner frame. The dowry list in this ketubah is longer than the marriage deed text in the first section. In accordance with the Karaite custom, many respected witnesses (here 12) were invited to sign the contract.
Online Since: 12/20/2016
The Jewish community on the ‘British Rock of Gibraltar' reached its height in the 19th century. At the time this marriage contract (ketubbah) was produced, most of Gibraltar's retail trade was conducted by the local Sephardic community. By the second half of the 19th century, Gibraltar developed its own characteristic type of marriage contract decoration, with large pieces of parchment ornamented in bright colors. The present ketubbah, of which an identical but later copy is preserved at the Israel Museum, Jerusalem (accession n. B72.1066 179/244H, see Sh. Sabar, Mazal Tov: Illuminated Jewish Marriage Contracts from the Israel Museum Collection, Jerusalem: The Israel Museum, 1993), is framed on either side by garlands of flowers, a luxurious red bow at the bottom and surmounted by a crown, which is reminiscent of the Torah crown, however modeled here on the British royal crown. Three other typical motifs of these Gibraltar ketubbot are the initial word of the traditional Jewish wedding day in Gibraltar, Wednesday (ברביעי), enlarged in gold lettering; the sum of the dowry and increment is a factor of eighteen, a number that is also the propitious word ‘Ḥai' (חי) – ‘life', written here in monumental letters sticking out of the small cursive script and lastly, the ornamental monogram in Latin letters at bottom center, which is comprised here of E C B, referring to the bridal couple's first (Elido and Jimol) and last initials (Ben Atar/ Benatar). Elido (אלידו), son of Isaiah, son of the late Ḥaim, called Ben Atar (בן עתר) is marrying the bride Jimol (ג'ימול), daughter of Joseph, son of the late David, called Qazes (קאזיס), whose dowry is 600 Pesos Fuertes (פיזוס פואירטיס) worth of clothing, jewelry and bed linen and incremented by 600 Pesos Fuertes as a gift, to which is added a piece of land measuring 400 cubits and an additional 600 Pesos Fuertes; the total obligation is 1800 Pesos Fuertes.
Online Since: 06/18/2020
As in other ketubot (cf. K69 and K96), here, too, an older frame was reused, one that had been created for a marriage contract 70-80 years earlier. 13 figurative scenes are arranged within an architectural arch; the theme is the biblical story of the wedding of Isaac and Rebecca. The original ketubah may have been created for a bridal couple with these names. The series of scenes begins in the upper right with the Sacrifice of Isaac and continues clockwise with more scenes. At the top Cupid links the two family emblems with a gold ribbon. A „crown of the good name“ tops the scene.
Online Since: 10/04/2018
This ketubah was created in Essaouira by the artist David Nissim Elkaïm (see his initials in Latin letters at the lower left) documents the marriage between Solomon, son of Joshua, son of R. Abraham Makhluf ha-Levi Ben-Susan, and Freha, daughter of Makhluf, son of Masoud, son of Naphtali, grandson of Judah Afriat, both of whom were members of Sephardic families. Numerous characteristics refer to this heritage, such as the writing material (parchment), the status of women, the invocation of God to take revenge for the expulsion of the Jews from Spain, the European style of the decoration of the frame and the Latin monogram of the bride's name.
Online Since: 12/14/2018
This ketubbah from Lugo (Emilia Romagna) was created for the marriage of Joseph, son of the late Samuel Treves, and Vittoria, daughter of Joseph Nahman Modena. In Lugo, artists developed a technique of making intricate cutout borders. Here, for instance, the arch supported by a pair of twisted columns and its floral decorations are entirely formed from such cutouts. The text of the contract has been glued onto an older frame. The colorful scenes and floral decorations are not drawn, but instead were cut from printed non-Jewish sources, glued on and then colored. Nonetheless, the chosen scenes refer to a wedding, such as the young couple in the upper part, or the religious scenes from the Old Testament (Samson and Delilah, Jacob's ladder, and Joseph as interpreter of dreams).
Online Since: 10/10/2019
This contract is for the marriage of Solomon, son of Abraham, and Rachel, daughter of Elijahu. The total amount of the dowry was set at 26,000 “lion” piastre. This Ketubbah belongs to a type that was particular to Jerusalem between the 1830s and the 1860s. As in other representations, floral decorations in bright colors frame the lower field of text (with the signatures of the bride and groom in the center and the artfully ornamented monograms of two Jerusalem rabbis) as well as the broad band of the tympanum above. In the center of the tympanum is a bouquet of flowers in a vase, flanked to the left and right by cypress trees and date palms, linking the Jerusalem of the present to the promised Jerusalem.
Online Since: 10/10/2019
This Indian ketubbah is characterized by motifs that were brought to India by Baghdadi Jews from Iraq. The formulaic texts in two adjacent fields, for instance, resemble Islamic prayer niches. Below that is written the content of the contract, which attests that Salih, son of Ezekiel Moses, wed Rebecca, daughter of Benjamin Elijah Jacob, who brought a dowry of 3,195 rupees in gold and silver jewelry, clothing and bed linen. Together with the groom's supplement, the total sum reportedly reached 5,555 rupees. In the borders, flowers and birds alternate, and at the top two tigers hold a medallion with an inscription. Two fish facing each other symbolize happiness and fertility for the bridal couple. A small third fish between them probably refers to the hoped-for progeny.
Online Since: 12/12/2019
This mid-eighteen century Italian Esther scroll was most likely printed and hand-colored in Venice. It is kept in a cylindrical case of delicate filigree, ornamented with floral motifs, that is typical of the later and more refined work of Ioannite silversmiths.
Online Since: 12/20/2016
This scroll (on five sheets with 13 columns of text) opens with an impressive sun disk surrounded by the signs of the zodiac. The month of Adar is particularly emphasized, since it was in this month under the sign of Pisces that the extermination of the Jews took place. Each column begins, if possible, with the word ha-melech (the king), which designates the king Ahasuerus in the Book of Esther, but is also an allusion to the never explicitly mentioned and yet omnipresent God. The silver case from around 1800 is crowned by a bouquet of flowers and leaves, which can be found in a similar way on Torah finials (rimmonim) and other Judaica metalwork of the Ottoman Empire.
Online Since: 10/08/2020
This Esther scroll, which combines Indian and Western traditions in a unique way, contains twenty elaborately illustrated panels flanking the text columns. The reader is shown surrounded by men wearing fezes and children holding drums used as noisemakers to drawn out the name of Haman. Additionally, a group of five women is portrayed in a separate space above labeled ezrat nashim (woman's section). The figures in the scroll are depicted in a mixture of contemporary, Western and non-Western clothing, and often are seated in interiors that portray a similar blend of furnishings. Some of the women, including Esther at times, are shown with a Hindu bindi sign on their foreheads. This scroll comes from the collection of the eminent Sassoon family of Baghdadi Jewish descent. It was most likely created for their personal use. The merging of Jewish scribal traditions and Indian artistic design reflects the Sassoon family's deep involvement in the cultural life of India.
Online Since: 12/20/2016