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This large-format antiphonary, with rich fleuronné decoration from the second quarter of the 14th century, contains the chants of the Office from Pentecost to the beginning of Advent. It was written for the St. Leonhard Monastery of Augustinian canons in Basel and only came to Muri Abbey in modern times.
Online Since: 06/18/2020
This composite manuscript consists of an incunable from Freiburg i. Br. from 1494 and two parts in manuscript, which were copied in 1498 and 1499 by Brother Johannes Bengel, Conventual at Alpirsbach Abbey in the Black Forest. The three texts on scholastic logic are by Peter of Spain and by Petrus Tartaretus, a contemporaneous Parisian philosopher whose mnemonic device, a logical figure called pons asinorum has also been copied.
Online Since: 12/14/2018
The first volume of the three-part so-called "Wettinger Graduale", made in Cologne for a cloister of Augustinian hermits, transferred from Zurich to the Cistercian cloister of Wettingen after the Reformation. The illuminated initials in this first volume are the work of the "Old Master of the Gradual" (Willehalm-Meister).
Online Since: 11/04/2010
The second volume of the three-part so-called "Wettinger Graduale", made in Cologne for a cloister of Augustinian hermits, transferred from Zurich to the Cistercian cloister of Wettingen after the Reformation. The illuminated initials in this second volume are the work of the "Younger Master of the Gradual" (Willehalm-Meister).
Online Since: 12/17/2015
The third volume of the three-part so-called "Wettinger Graduale", made in Cologne for a cloister of Augustinian hermits, transferred from Zurich to the Cistercian cloister of Wettingen after the Reformation. The illuminated initials in this third volume, like those in the second (MsWettFm 2) are the work of the "Younger Master of the Gradual".
Online Since: 11/04/2010
Copies and regesta of privileges and documents from the 14th to the 16th century, concerning the Meierhof (an estate run by a steward) in Erlinsbach. Begun around 1525, at the time of the dissolution of the monasteries. Parchment binding with square notation.
Online Since: 10/04/2018
This manuscript, parts of which are dated, is from St. Leonhard Monastery of the Canons Regular of St. Augustine; it contains mostly patristic and liturgical texts. For a while, this volume, along with the corrections later added to the manuscript, served as a model in the printshop of Michael Furter of Basel, who in 1496 edited the Expositio super cantica canticorum, which has been preserved among the works of Gregory the Great, but today is attributed to Robertus Tumbalena. A specimen copy may have been returned to the monastery along with the manuscript, as there remains one printed copy with a note of ownership indicating such.
Online Since: 06/14/2018
This obsequiale, written by Prior Jacob Lauber in his own hand, governs the Office of the Dead at the Carthusian Monastery in Basel. The inserted prayers (among them the Lord's Prayer in Latin and in German) as well as the chants with musical notation are situated in a liturgical context.
Online Since: 03/22/2018
The Sefer Nizzaḥon Yashan is the name of an anonymous anthology of arguments against the Christological interpretation of biblical verses, supplemented by critique of the Gospels and Christian doctrines and morals. Composed in Franco-Germany circa 1300, most confutations are based on polemical themes and criticisms of Christian faith which were disseminated in Jewish circles in medieval Ashkenaz and northern France. There are few extant editions and manuscripts of this work, one of which is the Basel Nizzaḥon. This manuscript which bears some similarities with the other copies, should nevertheless be considered as an indirect, yet important witness to Jewish apologetic from medieval Franco-Germany.
Online Since: 03/19/2020
Bishop Paul of Burgos, who converted from Judaism to Christianity at the end of the 14th century, composed the Additiones to the postil of Nicholas of Lyra and the Scrutinium scripturarum to prove that belief in Christ corresponds to a literal understanding of the Old Testament. This manuscript was created in 1436/37 and is from the Dominican Monastery of Basel.
Online Since: 12/20/2016
This text contains an adaptation of several narrative parts of the Bible in Old French. The poem in alexandrine verse (en laisses d'alexandrins) was composed in the 12th century by an author of the continent and became one of the most successful religious works in Old French. This manuscript preserves one of the oldest and most complete exemplars of this work; it is the only one to contain almost the entire text from the Anglo-Norman branch of the text tradition. Because the text probably is of insular origin, this manuscript proves the almost simultaneous dissemination of the text in England.
Online Since: 06/23/2014
It is not known how this gradual, produced ca. 1200 in the Cistercian abbey of Altenryf/Hauterive, came to Basel from the Cistercian nunnery of Magerau/Maigrauge. It was probably an anonymous gift received in 1906. But its origin can be quite univocally established on the basis of the script and its decoration with silhouette-initials and palmette pen-flourishes, its peculiarities that can also be found in other manuscripts from the same scriptorium. The notation is French, à petits carrés liés. The double formula for the Trinity is a striking aspect of the content in this songbook, which was followed into the modern period. The binding was once repaired, centuries ago.
Online Since: 09/26/2024
These twelve leaves are what have survived from a large-format gradual that was produced around 1460 in the Upper Rhine region (probably in Basel); they contain chants for the mass, changing according to the liturgical year. The decoration with initials and miniatures (e.g., the birth of Christ, the entry into Jerusalem, or the depiction of the resurrection) refer to the respective liturgical holiday, whereas the initial for Ecce advenit dominator dominus wrongly depicts the presentation of Jesus at the Temple. Its decoration places this gradual in the later circle of the so-called “Vullenhoe-group”.
Online Since: 06/14/2018
This manuscript was created in Fleury; the first page is magnificently decorated with two large interlace initials, which represent a special type of insular decorative art. In addition to smaller pieces, this composite manuscript contains the epic poem De bello civili (Parsalia) by Lucan (middle of the 1st century) as well as a version of the Orestes myth by the African poet Dracontius (5th century). For the latter, this codex constitutes by far the oldest textual witness. The beginning of Lucan's text by is provided with an abundance of scholia; because of Cod. 370, which contains only scholia, they are known as the Commenta Bernensia.
Online Since: 03/29/2019
This late 13th or early 14th century fragment of a French Trouvère manuscript probably was once part of the same codex as Paris, BN français 765. It contains 20 chansons, among them 14 by Thibaut de Champagne; all chansons are attested in a parallel version. 14 songs include square notation.
Online Since: 06/14/2018
The two fragments come from the previous binding of Cod. 125, from which they were removed during restoration; presumably they contain parts of a plenarium with musical notation.
Online Since: 06/23/2016
Former flyleaf of Bern, Burgerbibliothek, Cod. 111, an anthology with saints' lives from the Cistercian abbey of Pontiffroy (Moselle départment). In 1632, the fragment came to Bern as part of the property of Jacques Bongars and was detached from its host volume probably between 1854 and 1875.
Online Since: 07/12/2021
The larger part of this manuscript contains works by Marquart von Stadtkyll – Chirurgie (5r-50r) and Von den Zeichen des Todes (50v-58v) – or works attributed to him (59r-109r, various recipes for plasters, ointments, powders, baths, etc.). The rest of the manuscript (1v-4v, 109r-139r) contains transcriptions of 150 medical recipes by various scribes from between the 15th and the 16th century. The type of script and the dialect used indicate an origin in Southwestern Germany. In the 19th century, this manuscript was the property of the family of Hegwein von Herrnsheim (Lower Franconia); family members left their names and various dates in the manuscript. In 1969, it was purchased by Martin Bodmer at the William H. Schab Gallery in New York.
Online Since: 06/13/2019
Mystic Treatises in German: Rudolf von Biberach, Meister Eckhart, Johannes von Sterngassen, Albert the Great, etc. The manuscript was a gift, together with Cod. 277(1014), from Heinrich Rumersheim of Basel to the four sister convents in der Au near Einsiedeln at the behest of Margarete zum Goldenen Ring.
Online Since: 04/26/2007
This antiphonary was written by order of Abbot Johannes I of Schwanden for the liturgy of the Hours of the monastic community of Einsiedeln. Together with Cod. 611-613, this manuscript attests to the introduction of Guido of Arezzo's (Guido Monaco's) system of musical notes with square notation.
Online Since: 04/23/2013
It is highly likely that this codex is the original transcription of the neumed manuscript in the hand of Guido von Arezzo commissioned by Abbot Johannes I of Schwanden shortly before 1314. The calligraphic copies found in the other "Schwanden codices" were then produced following this source. Evidence of heavy use indicates that these manuscripts remained in use into the 17th century, that is, until the liturgical reform of the Council of Trent. The forms used are from the Alemannic choral dialect, which is still sung in Einsiedeln today.
Online Since: 11/04/2010
This very small manuscript contains treatises on music by various Italian and French authors, among them Marchettus of Padua (f. 1-44), Johannes de Muris (f. 83-104v), and Prosdocimus of Beldomandi (f. 51-55, 75-82). It was written in Northern Italy at the beginning of the 15th century.
Online Since: 12/13/2013
This volume is part of an antiphonary in three volumes that was produced in duplicate for the liturgy of the Collegiate Church of St. Vincent in the city of Bern shortly after the college's founding in the years 1484/85. The manuscript contains the entire winter portion of the Temporale, of the Sanctorale and of the Commune Sanctorum according to the liturgy of the Diocese of Lausanne. The book decoration with miniatures for numerous initials is attributed to the Master of the breviary of Jost von Silenen, an itinerant artist who was active in Fribourg, Bern, Sion and later in Ivrea and Aosta. He got his name from a breviary in two volumes that was created around 1493 for the Bishop of Sion, Jost of Silenen (1482-1496). After the introduction of the Reformation to Bern in the year 1528 and the subsequent secularization of the chapter, the entire group of antiphonaries was sold in 1530: four were sold to the city of Estavayer-le-Lac and were used there for the liturgy of the Collegiate Church of St. Lorenz; the other two — among them a duplicate of this manuscript — reached Vevey under circumstances that remain unexplained. They are currently held in the historical museum there.
Online Since: 12/18/2014
This volume is part of an antiphonary in three volumes that was produced in duplicate for the liturgy of the Collegiate Church of St. Vincent (founded in 1484/85) in the city of Bern. It contains the Proprium de sanctis and the Commune Sanctorum of the summer portion (March 25 to November 25) according to the liturgy of the Diocese of Lausanne. The book decoration generally matches that of the first volume and can be attributed to a different anonymous illuminator of lesser quality. After the introduction of the Reformation to Bern in the year 1528 and the subsequent secularization of the chapter, the entire group of six antiphonaries was sold in 1530: four were sold to the city of Estavayer-le-Lac and were used there for the liturgy of the Collegiate Church of St. Lorenz; the other two — among them a duplicate of this volume — reached Vevey under circumstances that remain unexplained. They are currently held in the historical museum there.
Online Since: 12/18/2014
This is the third and last volume of an antiphonary in three volumes that was produced in duplicate for the liturgy of the Collegiate Church of St. Vincent (founded in 1484/85) in the city of Bern. It contains the summer portion of the De Tempore according to the liturgy of the Diocese of Lausanne. Its duplicate is contained in volume IV. The book decoration consists of five illuminated initials, fleuronée initials and cadels, by the same artist who also decorated volume I. After the introduction of the Reformation to Bern in the year 1528 and the subsequent secularization of the chapter, the entire group of six antiphonaries was sold in 1530. Four were sold to the city of Estavayer-le-Lac and were used there for the liturgy of the Collegiate Church of St. Lorenz; the other two reached Vevey under circumstances that remain unexplained; they are currently held in the historical museum there.
Online Since: 12/18/2014
This volume is part of an antiphonary in three volumes that was produced in duplicate for the liturgy of the Collegiate Church of St. Vincent (founded in 1484/85) in the city of Bern. It contains the summer portion of the De Tempore according to the liturgy of the Diocese of Lausanne. Its duplicate is contained in volume III. The book decoration is by an anonymous artist; it consists of cadels, fleuronée initials and an illuminated initial with a border on f. 1r. After the introduction of the Reformation to Bern in the year 1528 and the subsequent secularization of the chapter, the entire group of six antiphonaries was sold in 1530. Four were sold to the city of Estavayer-le-Lac and were used there for the liturgy of the Collegiate Church of St. Lorenz; the other two reached Vevey under circumstances that remain unexplained; they are currently held in the historical museum there.
Online Since: 12/18/2014
The Flawil Offnung of 1471, sealed on 21 January 1472, is a medieval law book. It governs the relations of associates in the law courts, at the princely court, and in communal landholdings within a court district (here the lower court of Flawil) with the lord of that court, the "Vogt" (reeve). At the time this was Rudolf IX Giel of Glattburg, a ministry official of the abbot of St. Gall Abbey. This document provides an insight into the legal and economic situation towards the end of the 15th century. Originally the Flawil Offnung was part of a single volume together with those of Gebhartschwil, Uffhoven and Rudlen (Aufhofen and Rudeln) as well as Burgau. Later the Flawil Offnung (up to page 17) was removed. Due to the dissolution of the lower court, after 1798 the Flawil Offnung was transferred to the citizens' corporation or today's municipality of Flawil.
Online Since: 06/23/2014
This finely painted illustration, executed in vibrant and colorful opaque colors, has been cut out. It depicts the Presentation of Jesus in the Temple as described in the Gospel of Luke. Mary and Joseph bring the infant to the old prophet Simeon in order to receive his blessing. One of the two women behind Mary holds two doves in her right hand, which are to be sacrificed according to the requirements. In her left hand the woman carries burning candles, which indicate the feast to which this event is dedicated, i.e. Candlemas. Below Jesus, three small kneeling figures are praying: a Dominican nun and the donor couple. The scene is inserted into an N-initial decorated with scroll ornamentation at the beginning of the Canticle of Simeon for the feast of Mary: Nunc dimittis, domine, servum tuum in pace (Lord, now let your servant depart in peace, according to your word). The words visible at the top Intercede pro nobis (Pray for us [Holy Mother of God]) follow at the end of the song. An excerpt from the liturgical antiphon with the text Postquam impleti sunt dies purgationis (When the days of purification were completed) is preserved on the back. This fragment was purchased at auction at Sotheby's in London by the Canton of Thurgau in 1978; it came from the collection of Robert von Hirsch of Basel (1883–1977).
Online Since: 12/12/2019
This miniature was cut from a deluxe manuscript. The Annunciation of the Lord, depicted in the initial M-of the text Missus est Gabriel (Gabriel was sent), is celebrated on March 25. The Archangel Gabriel and Mary face each other in a vertically rectangular, geometrically designed border, each framed by an arch of the M. Gabriel holds a banderole with his greeting to the listening Mary AVE GRACIA PLENA (Hail Mary, full of grace). The side pillars of the letter M lead down into palmette leaves, which have been carefully cut out and thus protrude into the area surrounding the miniature. Above the palm leaves on the right there are red note lines and a single note. This illustration is from a particularly large-format book, an illustration of high painterly quality with light opaque colors in pink, green and blue tones, which are finely graded. The musical text on the back can be assigned to verses 2.2, 4.11 and 4.13 of the Song of Songs. This leaf comes from the same chorale manuscript as the miniature with the representation of the "Death of the Virgin". Both leaves show stations from the cycle of The Life of the Virgin, with T09393 illustrating the first stage and T 9394 the last. Stylistically they can be placed alongside three leaves from the collection de Bastard d'Estang in the Bibliothèque nationale de France in Paris (AD 152G, PL 842-3, AD 150H, PL 51). In 1994, the canton of Thurgau commercially acquired both fragments in Paris. Previously, they had been privately held in Switzerland.
Online Since: 12/12/2019
This particularly large-format book illustration was cut from a deluxe manuscript. In the initial V-to the text Vidi speciosam on the occasion of the feast of the Assumption on August 15, the Blessed Mother lies on her deathbed, surrounded by three apostles and Jesus, who receives her soul in the form of a small female figure. A vertically rectangular frame with a repeating geometric pattern surrounds the scene. Three branches with leaves and rosettes that are trimmed back grow from the left side of the initial V. The painting in tones of bright blue and red is of high quality. The lyrics on the back are taken from Bible verses 26 to 32 of Lectio prima from the Gospel of Luke. The leaf is from the same chorale manuscript as miniature with the representation of the "Annunciation to Mary". Both leaves show stations from the cycle of The Life of the Virgin, with T 9393 illustrating the first stage and T 9394 the last. Stylistically they can be placed alongside three leaves from the collection de Bastard d'Estang in the Bibliothèque nationale de France in Paris (AD 152G, PL 842-3, AD 150H, PL 51). In 1994, the canton of Thurgau commercially acquired both fragments in Paris. Previously, they had been privately held in Switzerland
Online Since: 12/12/2019
Fragment of a leaf from a chorale manuscript. Two rectangular illustrations, arranged one above the other on the left side of the picture, show two stations from the life of Catherine: In the upper picture she denies obedience to the emperor and turns her attention only to Jesus. The picture below depicts the spiritual relationship of courtly love (Minne) between Catherine and Christ. The rest of the parchment leaf as well as the back side contain liturgical text consisting of musical notation and song lyrics. Below a red staff with black notes is the corresponding line of text. The illustrations were created in a book painting workshop in which the gradual from the Convent of Dominican nuns St. Katharinental was also made (Swiss National Museum Inv. LM 26117 / Historical Museum Thurgau Inv. T 41401). The two miniatures can be attributed to the same hand as the group of figures underneath the Initial on fol. 179v in the gradual. Fragile figures with lively gestures, refined drawing of the faces, subdued colors as well as joy in pictorial narration with original picture elements distinguish this illuminator. This leaf was acquired by the Historical Museum Thurgau in 2011 at an auction in Zurich.
Online Since: 12/12/2019
This processional (from the Latin processio, 'to advance' and referring to processions inside and outside the church), containing the order of the procession as well as the chants and texts to be recited during processions, consists of two codicological parts. The first part is from the last quarter of the 15th century and contains chants and prayers for the entire liturgical year; it is decorated with seven multicolor illuminated initials depicting scenes from the Gospels. The sections to be sung have square notation in black. While the first part presumably was not created in and for the convent of St. Katharinental (TG), the second part names the stations and the relics that are carried; thus it is meant for the processions of the Dominican convent.
Online Since: 03/19/2020
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the winter portion of the Proprium de tempore. The parchment codex was written between 1511 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg. The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg. The binding, from about 1517, is from the workshop of the Franciscans in Fribourg.
Online Since: 12/20/2012
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the winter portion of the Proprium de tempore. The parchment codex was written between 1511 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg. The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg. The binding, from about 1528-1559, is from the workshop of the Franciscans in Fribourg.
Online Since: 04/09/2014
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the summer portion of the Proprium de tempore as well as the Commune sanctorum. The parchment codex was written between 1509/1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg. The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg.
Online Since: 12/20/2012
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the summer portion of the Proprium de tempore as well as the Commune sanctorum. The parchment codex was written between 1509/1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg. The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg.
Online Since: 04/09/2014
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the winter portion of the de Sanctis, the Officium B.M.V. and the Commune Sanctorum. The parchment codex was written between 1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg by 2 hands (A and B). The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg and an assistant.
Online Since: 12/20/2012
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the winter portion of the de Sanctis, the Officium B.M.V. and the Commune Sanctorum. The parchment codex was written between 1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg by 2 hands (A and B). The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg and an assistant.
Online Since: 04/09/2014
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the summer portion of the de Sanctis and the Officium B.M.V.The parchment codex was written between 1510 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg completely by hand B (cf. Saint Nicholas Chaper Archive, ms. 5). The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg.
Online Since: 12/20/2012
This antiphonary with musical notation, whose text corresponds to the Lausanne Ordinary, contains the summer portion of the de Sanctis and the Officium B.M.V.The parchment codex was written between 1511 and 1517 in the workshop of Master Ruprecht (Fabri) in Fribourg. The book decorations are by Jakob Frank of the Augustinian monastery ofFribourg.
Online Since: 04/09/2014
This collection of hagiographical texts was written by various hands in the second third of the 13th century, probably in Hauterive. The presence of certain texts indicates a Cistercian origin (Vita of St. Robert of Molesme, the author Geoffroy de Hautecombe) and, based on our knowledge of medieval Hauterive, a regional origin (the Vita of St. Theodore, Bishop of Sion; the Vita and the Miracula of Saint Nicholas of Myra; the Vita of St. Elizabeth of Hungary; the Passio of Saint Maurice and his companions by Eucherius of Lyon). The end of the book contains a collection of texts related to confession. The last one of these attests a little know activity of the monks: the pastoral care of the Cistercian nuns. The manuscript remains in its original cover which, although damaged, is still well recognizable: a cover with wide flaps that cover the edges of the book.
Online Since: 04/09/2014
Breviary for use in the diocese of Lausanne. Additions to the calendar attest that this manuscript was used in a Dominican monastery in Lausanne from the 14th century on. The decoration consists of initials with mostly floral ornamentation and drolleries in the margins. This codex was heavily trimmed when it was rebound in the 18th century.
Online Since: 12/14/2017
A psalter-hymnal produced for use by Dominicans. The saints recorded in the calendar indicate the codex's point of origin as a Dominican convent in Southern Germany or Bohemia. The decorative style of the illuminated initials and filigrees, above all, indicate Bohemian origin and an origination date in the first half of the 15th century (new information provided by Martin Roland, Vienna).
Online Since: 10/04/2011
Probably written around 1200 in Hauterive, this Cistercian missal has recently attracted the attention of historians who study St. Elizabeth of Hungary (1207-1231). Together with another manuscript from Hauterive, the antiphonary L 301, this manuscript is considered evidence of the rapid spread of the cult of the saint in a Cistercian monastery. Indeed, the general chapter of the Cistercians decided in 1236 to have the name of the saint, who was canonized the previous year, entered into the martyrology and into the calendar of the order. The corresponding entry in our manuscript's calendar, by a second hand, is probably a consequence of this decision.
Online Since: 04/09/2014
A fragmentary gradual for the friars of the Order of the Hermits of Saint Haugustine, copied in 1539 by Jacobus Frank, who is depicted in the bottom margin of 51r. It contains many illuminations with coats-of-arms, mottos and monograms written by different hands from 1538 to 1594. Some of the illuminations have been excised and in some cases then glued back in the codex.
Online Since: 10/04/2011
This manuscript, copied in an unknown location during the first half of the fourteenth century, provides a beautiful example of a Cistercian antiphony with notes (only the Proprium de tempore is preserved here): an elegant script with widely spaced lines facilitates readability, the musical notes, in square notation, are organized according to a four-line system, and the text is richly decorated with fleuronné initials and droleries. Fragments from a twelfth-century Bible are bound into the beginning of the manuscript and are valuable witnesses for paleographical study of the earliest manuscripts produced by the Cistercians of Hauterive.
Online Since: 03/31/2011
Antiphonary for Franciscan use, dating from the late 13th or early 14th century (after 1260), but representing the earliest Franciscan edition. Contains the chants (text and music) for the entire year for the liturgical Office, including the feast for Anthony of Padua in its proper position and an added Office for Corpus Christi in a different hand (f. 157r-159v).
Online Since: 12/21/2010
Antiphonary from the Franciscan Monastery of Fribourg, dated 1488 according to the colophon f. 214v. Drolleries are drawn in the margins and by the initials. The manuscript contains a miniature (f. 14v, birth of Christ) and beautiful initials (flowers, fruit, zucchini), attributed to the Master of the breviary of Jost von Silenen.
Online Since: 04/09/2014
Gradual from the Franciscan Monastery of Fribourg, still in use in the 16th/17th century according to the ownership note on the inside cover. Binding from the 16th century. Written in a Gothic minuscule around 1300. The beginning of important feasts is indicated with larger initials, sometimes with miniatures (e.g. F. 128v Ascension, f. 132v the Miracle of Pentecost).
Online Since: 04/09/2014
This manuscript is made from parchment of medium thickness, quite soiled. The 17th/18th century binding consists of wooden boards covered in black pressed leather with 5 brass bosses in the front and back (1 boss is missing from the back). Two clasp fragments. Evidence from paleographyas well as from the content suggests that the volume was produced in Hauterive.
Online Since: 06/13/2019
This composite manuscript, much used by Friedrich von Amber, contains material about the history of the religious order in the first part (f. 1r-100v). In the second, probably more important part (f. 109r-165v), it contains treatises, questions and polemics from the time of the conflict of Pope John XXII with Louis IV (called the Bavarian) who resided in Munich and with the Franciscan Spirituals who had fled to that city. Several of these writings are preserved only in this manuscript, among them a treatise on the Visio beatifica of 1332-1333 (f. 127v-153r) which, according to Annelise Maier can possibly be attributed to William of Ockham, as well as a polemic (f. 153r-160r) in which Louis IV is warned against too hastily making peace with the Pope in Avignon.
Online Since: 09/23/2014
Urbain Bonivard, prior of Saint-Victor in Geneva from 1458 to 1483, produced this missal in 1460. The missal follows the liturgical practices of Cluny; the miniatures are the work of Janin Luysel and Guillaume Coquin. During the Reformation the manuscript disappeared from Geneva and only came to light again in 1912 when the city of Geneva bought it at an auction in Munich.
Online Since: 12/09/2008
This manuscript contains several texts copied between the 13th and the 16th century. The oldest one is the Solemn Evangelistary of St. Pierre Cathedral of Geneva (ff. 5-28v), which, according to its illuminations (esp. f. 5r), was probably created in Paris, even though the pericopes correspond to the feast days particular to Geneva. This is followed by excerpts from the sung Gospels (with staff notation) from the 14th and 15th century, one of which is an interesting late 15th century liturgical witness for the feast of the Epiphany (ff. 37v-40r).
Online Since: 06/13/2019
This collection of prayers and treatises was written by Rudolf Schilling and is dated to 1493. An intercessory prayer mentions Duke Sigmund of Habsburg.
Online Since: 12/20/2016
This manuscript contains the summer portion of a monastic antiphonary. The chants for the Liturgy of the Hours are given in square notation on four lines. Later additions by various hands from the 15th-17th century confirm that the manuscript was in use for a long period.
Online Since: 11/10/2016
The oldest necrology of St. Urban's Abbey, in a 16th century binding with wooden boards, has unfortunately survived only in fragments. The first part (fol. 3-14v) consist of the abbey's necrology; the second part contains the incomplete Liber anniversariorum benefactorum (only Jan. 1-12, May 1 - Sept. 1, Sept. 4-7, Sept. 22 - Dec. 31) with supplements; the third part comprises the Officium defunctorum, a litany and supplements with a register of members of the abbey's lay brotherhood. After the dissolution of the monastery, this volume, along with the monastery archives, became part of the state archives in 1848.
Online Since: 03/22/2017
Liturgical music to be sung during night prayer hours on the feasts of the saints, from the early period of the Cistercian cloister of Saint Urban.
Online Since: 07/25/2006
Liturgical music for the singing of mass on Sundays and feast days in a Cistercian monastery, with decorations by the Master of the Antwerp Bible of Conrad of Vechta, produced in Prague shortly after 1400.
Online Since: 12/12/2006
This manuscript contains the life of Ulrich by Berno of Reichenau and the lives of St. Gall and St. Othmar. by Walafrid Strabo, as well as a copy of a document on the early history of St. Urban's Abbey, which is among the oldest surviving manuscripts in the St. Urban library.
Online Since: 12/18/2014
This booklet, with notes and decorated with three initials, contains the texts for the Office of the Dead, the seven penitential psalms, and prayers for a deceased Dominican nun, probably in the convent in Colmar. Judging by the script, it is from the first half of the 15th century. The book belonged to Sister Martha Gosslerin. In 1782 it was acquired by Philipp Jakob Steyrer, Abbot of St Peter's Abbey in the Black Forest; through him, the booklet came to Mariastein Abbey.
Online Since: 09/26/2017
A Franciscan Gradual written and illuminated in northern Italy (Padua or Bologna), dateable to the first decade of the 14th century. The manuscript was used in the Franciscan cloister of St. Francis of Locarno, which received it together with the antiphonaries de tempore Codice II and Codice III as well as the antiphonary de sanctis Codice IV on the occasion of the re-dedication of the church in 1316. At the end of the text (fol. 181r) is a Praefatio (Statutum pro libris choralibus scribendis), which would normally be placed at the beginning, containing the guidelines for editing choral books for the order. On the last page Brother Giacomo di Rastelli Orelli transcribed some records concerning the cloister: a note about the provision of the library cabinets, the dedication document from the year 1316, and a note about a donation for the purchase of liturgical paraphernalia.
Online Since: 10/04/2011
This Antiphonary contains the first part of the Proprium de Tempore (from the eve of the first Sunday of Advent to the fifth Sunday after Epiphany) and a selection of holy days from the Proprium Sanctorum (from St. Andrew's eve to the Annunciation) for use by the Fransciscans. Written and illuminated in northern Italy (Padua or Bologna), is dateable to the first decade of the 14th century. The manuscript was used in the Franciscan cloister of St. Francis in Locarno, which received it together with the Gradual and the Antiphonaries de tempore Codice III and de sanctis Codice IV on the occasion of the re-dedication of the church in 1316.
Online Since: 10/04/2011
This Antiphonary contains the second part of the Temporale (from the eve of Septuagesima Sunday through the first Sunday in the November calendar) for use by the Franciscans. Written and illuminated in northern Italy (Padua or Bologna), is dateable to the first decade of the 14th century. The manuscript was used in the Franciscan cloister of St. Francis in Locarno, which received it together with the Gradual and the Antiphonaries de tempore Codice II and de Sanctis Codice IV on the occasion of the re-dedication of the church in 1316.
Online Since: 10/04/2011
This Antiphonary contains songs for saints' days, the Office of the Dead, and an Office for Anthony of Padua. It was written and illuminated in northern Italy (Padua or Bologna) and is dateable to the first decade of the 14th century. The manuscript was used in the Franciscan cloister of St. Francis in Locarno, which received it together with the Gradual and the Antiphonaries de tempore Codice II and II Codice III on the occasion of the re-dedication of the church in 1316. The front pastedown had a sheet of paper affixed to it, detached during the most recent restoration, on which both sides contained an annotated plan for a "rivellino", a type of bulwark normally found in fortifications.
Online Since: 10/04/2011
This breviary, which contains only the winter part, is dated to the first half of the 14th century. It is from the diocese of Besançon (with which Porrentruy was also affiliated), as indicated by certain saints that appear in the litanies, such as St. Ferreolus or St. Germanus, the responsories for the Sundays of Advent, as well as the Holy Triduum.
Online Since: 06/22/2017
A 15th century Psalter following the liturgical custom of the Collegiate Church of Saint-Ursanne; in form and content it is a perfect copy of the Basel manuscript AN VIII 39. Both pastedowns consist of fragments of Vincent of Beauvais' Speculum historiale; on f. 36r there is a 16th century pen drawing of the Virgin Mary. The manuscript remained in the Collegiate Church of Saint-Ursanne until it came into the possession of the Library of the Canton of Jura in the 20th century.
Online Since: 09/23/2014
Bound in parchment, this Premonstratensian ordinary was copied on paper, probably in the 16th century. It begins with a short prologue (Br), followed by a table of contents (Br-Cv). Next is the text of the ordinary, which corresponds to the edition of Pl. F. Lefèvre (L'ordinaire prémontré d'après des manuscrits du XIIe et du XIIIe siècle, Louvain, 1940). Several notes of ownership allow us to reconstruct the work's route. According to a signature dated 1610 (Br), it belonged to the Bellelay canon and prior of la Porte-Du-Ciel, Jean Grosjean de Porrentruy († 1617). In the 19th century it was successively owned by Father Grégoire Voirol - Recuperavit ao 1802, G. Voirol, ? - , by P. Migy - ex-libris P. Migy, parochi Bruntruti, 1809, and then by L. Vautrey, par. Delemont (pastedown).
Online Since: 06/14/2018
This complete Gradual (square notation) contains the temporal (f. 1r-70v), the sanctoral and the Commune Sanctorum (f. 70v–103v), votive masses (f. 103v-107v), the Kyriale and litanies (f. 107v–111v), antiphons and processional responsories (f. 112r–113v), the tropes of the Kyrie Cunctipotens and Fons bonitatis (f. 113v–115r) and several additions from the 14th century (f. 115r-127v). According to the analysis of the calendar, this copy could date back to the middle of the 13th century, between 1246 (mention of Saint Lambert by the first hand, f. 100r) and 1255 (no mention of the mass for Saint Dominic on August 5th, f. 95r). Contrary to what is suggested by the labels (back and inside cover), this codex was copied before the end of the 1260s, since the mass of Saint Anthony (f. 75v) was noted by a second hand. In addition, f. 98v contains no mention of an octave of St. Bernard, which is usually included in all Cistercian books from 1295 on. A study of the musical and liturgical content shows that manuscript FiD 5, which is a faithful copy of the older Gradual of the order (Abbazia Tre Fontane 47, around 1140/1143), probably originated in Hautcrêt Abbey (Oron VD), which was the motherhouse of Fille-Dieu until 1536.
Online Since: 03/22/2018
Manuscript FiD 7 (square notation; rubrics in Latin and Old French) begins with the chapters (short readings) and the collects of the sanctorale (folio 1r begins abruptly in the middle of the chapter of the Terce for the birth of John the Baptist). It then contains various rites, among them the Office of the Dead (with musical notation on folios 40r-46v), as well as the one for religious profession and for the investiture of nuns (f. 24v-26r). The vow Ego soror ill. promitto (f. 24v) could indicate that it was meant for Fille-Dieu. However, elsewhere the book contains rubrics and prayers that are written in masculine form by the original hand, and which are adapted to the feminine form through interlinear annotations by a hand contemporaneous with the book (f. 20r, 27v, 30v-39v). Therefore, FiD 7 probably originated in a scriptorium of monks, presumably from the Cistercians of Hautcrêt (Oron, VD) or of Hauterive (FR).
Online Since: 03/22/2018
Fragmentary missal without beginning, missing the beginning of the Temporale, the entire Sanctorale - which could provide information about the location - as well as several pages. The elegant and careful Gothic script suggests that the manuscript was produced in the scriptorium of the Sion Chapter.
Online Since: 10/13/2016
This impressive gradual contains the sanctorale, the Commune Sanctorum, votive masses and a Kyriale. The registered feasts for the two saints Francis of Assisi and Anthony of Padua, the most important saints of the Franciscans, prove that it is intended for the use of the Friars Minor. The first of the eight decorated initials (f. 1r, 7v, 29r, 32r, 34v, 43r, 46v, 121v) also confirms the Franciscan use: the D(ominus secus mare) contains the name of Jesus in the form of the trigram "yhs" surrounded by rays of sunlight, which is the attribute of the Franciscan preacher, St. Bernard of Siena (1388-1440). The beautiful initials on a gold ground extend into the borders with leaves, multicolored flowers and gold dots arranged in a fan shape, some of which even contain birds and butterflies (f. 1r, 34v, 46v). The origin of the manuscript is completely unknown. At best it can be compared with another manuscript from the State Archives of Valais, the Franciscan Antiphonary AVL 507, since both works were bound in the same workshop in the 18th century, an indication that their common origin is probable. The binding has since been restored by Andrea Giovannini (1989).
Online Since: 12/10/2020
This antiphonary (winter part of the temporale), copied by a single hand, has a number of gaps in the text (for example, the beginning is missing). The chants in square notation are separated either by simple alternating blue and red initials, or by larger initials, in part with pen flourishes. In addition, the manuscript is decorated with four historiated initials, from which extend elegant, straight and ringed shafts with gold dots, ending in long, colored leaves that curl and uncurl (f. 54v, 89v, 108v, 210r). In terms of color and style, they are close to late 13th century production in Emilia. Instead of the traditional iconography of King David praying before God, the initial introducing the chant "Domine ne in ira" (f. 108v) depicts a cleric with tonsure – St. Francis or a Franciscan? –, which probably refers to the fact that the manuscript was intended for the use by the Minorites. Both the monastery for which the manuscript was originally intended and its later provenance history are unknown. This copy can at most be associated with one other manuscript from the State Archives of Valais, the Franciscan gradual AVL 506; both works were bound in the same workshop in the 18th century, which likely is an indication of their common origin. The binding has since been restored by R. Bommer in Basel (1998).
Online Since: 12/10/2020
The original parts of the calendar indicate that this missal was meant for use in the Diocese of Lausanne, whereas the later entries attest to its presence and use in the celebration of the Mass in the Diocese of Sion at the latest since 1300. Three special sequences suggest that the missal originated in the Abbey of St. Maurice (188v: sequence of Theodulf Collaudetur rex virtutum; 190r: sequence of Augustine Augustino laude demus and 189r: sequence of Maurice Pangat Syon dulce melos). The Canon of the Mass is decorated with an illuminated initial, with the Vere dignum, and with a frame showing the crucifixion, the Virgin and St. John (97v). The most important holidays are introduced with decorated initials on a gold background (4v, 13rb, 17ra, 18ra etc.). In 1981, the Valais State Archives purchased this codex on the antiquarian book market.
Online Since: 10/13/2016
Antiphonary with musical notation whose text transmits the Sion Ordinal, contains the winter portion of the Proprium de tempore and, as an appendix, the Officium Defunctorum. This two-part parchment codex was probably written in the year 1347 by the same hand that produced Codex Ms. 2, held by the Sion Chapter Archive.
Online Since: 12/21/2010
This antiphonary with musical notation from the year 1347 is by the same hand as Codex Ms. 1 from the Sion Chaper Archive. The manuscript contains the Officium visitationes BMV, the Proprium de sanctis (from Andreas to Katharina), the Commune sanctorum and, in a section that was added later, additional short texts. Like the Proprium de tempore in Codex Ms. 1, the text in this antiphonary transmits the Sion Ordinary.
Online Since: 12/21/2010
This Missale Speciale Sedunense was written for the Sion bishop William of Raron (Guillermus de Rarognia) († 1451) in 1439 by Johannes Thieboudi. The parchment codex contains, in addition to a calendar, the Proprium de tempore, the Ordo et canon missae, the Commune sanctorum, the Proprium de sanctis (from Hilarius to Thomas the Apostle) and the Missae pro defunctis. An appendix includes three votive masses.
Online Since: 12/21/2010
This small-format missal is an important witness for the Franciscan liturgy of the thirteenth century. Schönherr hypothesizes an origin in the Franciscan province of Upper Germany, and a Bavarian provenance (the convent of Franciscan nuns zum Heiligen Kreuz, Landshut?). A possessor's mark of the warden of the Franciscan convent of Dieburg near Darmstadt dates to 1513. It is not known how and when the manuscript got to Solothurn.
Online Since: 09/06/2023
This Franciscan Gradual was produced between 1320 and 1330 in a scriptorium in the Upper Rhine area. It was originally the property of the Franciscan monastery in Solothurn, where it remained in use until the 18th century.
Online Since: 12/21/2009
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
Tropary and Sequentiary in point-like square notation with exceptionally fine monophonic and polyphonic music from the great repertoire of the school of Notre-Dame at Paris. Written before 1250 in Western Switzerland, probably at the Cathedral of Lausanne. Probably in St. Gall by 1300.
Online Since: 05/24/2007
The manuscript contains antiphons, verses, and responsaries, followed by sequences. The chants are accompanied by square notation on four red lines. The script, a small textualis, comes from a fourteenth-century hand. The manuscript and binding (with leather-covered wooden boards) are kept to the smallest possible format.
Online Since: 04/25/2023
Composite manuscript containing mainly theological texts and, as the largest part (pp. 61–212), the Vocabularius Ex quo. The remaining works are a commentary on the hymnal, where each verse of a hymn alternates with the corresponding explanation (pp. 1–56), a short treatise De humani cordis instabilitate (pp. 57–60), sermons (pp. 212–229, 240–268 and 268–273), the life of Albert of Trapani (Albertus Siculus) (pp. 230–239), the Speculum humanae salvationis (pp. 274–335), a short treatise on virtues and vices called Etymachia or Lumen animae (pp. 335–345), excerpts from Jerome, Augustine and others (pp. 346–368), as well as the Speculum ecclesiae by Hugo de S. Caro (pp. 370–391). The latter is written on a parchment palimpsest , the underwriting (“scriptio inferior”) is in Rotunda script. Four red and bleu fleuronné initials from the underwriting have survived (p. 372, 373 and 375). The last pages contain responsories for Christmas (Descendit de celis deus verus), the Feast of Saint Mark (Beatissimus Marcus discipulus) and Commune plurimum martyrum (Viri gloriosi sanguinem fuderunt), and also the Easter trope (Quem queritis) with melodies in square notation on four lines (pp. 392–394). The manuscript consists of parchment and paper, sometimes even mixed within one quire. This codex has been at the monastery of St. Gall at least since 1553/64 (library stamp p. 60).
Online Since: 06/23/2016
Cod. Sang. 1397 is one of eight fragment volumes (that is, volumes that contain exclusively fragments) of the Abbey Library of St. Gall. Between 1774 and 1785, the St. Gall monks Johann Nepomuk Hauntinger (1756–1823) and Ildefons von Arx (1755–1833) detached numerous fragments from bindings in which they had served for centuries as pastedowns, flyleaves, spine linings, and endleaf guards. At an advanced age, Ildefons von Arx had the fragments bound in eight thematically-organized bindings and dedicated these in 1822 to his friend Johann Nepomuk Hauntinger. Chiefly in the twentieth century, researchers found additional, small fragments in bindings, from which they were then removed and added to the existing fragment volumes or into the collection of fragments. From 2005 to 2006 the extensive fragment volume Cod. Sang. 1397 was disbound for conservation reasons. The fragments were rebound (in the same sequence) in 23 folders (“Ganzpapierbroschuren”). The new, now authoritative pagination begins with 1 in each folder and includes only the fragments (and not the empty paper leaves). To be cited (for example): St. Gallen, Stiftsbibliothek, Cod. Sang. 1397.1, pp. 1-2 (= Cod. Sang. 1397, Folder 1, pages 1-2). The ninth folder of Cod. Sang. 1397 contains fragments with musical notation from seven liturgical manuscripts from the twelfth to the fourteenth century, and from a printed breviary.
Online Since: 09/06/2023
This volume is part of an antiphonary in three volumes that was produced in duplicate for the liturgy of Bern's Collegiate Church of St. Vincent, founded in 1484/85. The manuscript contains the entire winter portion of the Temporale, of the Sanctorale and of the Commune Sanctorum according to the liturgy of the Diocese of Lausanne. This volume is the duplicate of volume I, today held in the Catholic parish Saint-Laurent in Estavayer-le-Lac. Originally the volume was decorated with eight initials, of which only two remain (p. 71 and p. 429); they are attributed to the illuminator and copyist Konrad Blochinger, who also added corrections and annotations of the text to the other volumes of this group. After the introduction of the Reformation in the year 1528 and the subsequent secularization of the chapter, the entire group of antiphonaries was sold: four were sold to the city of Estavayer-le-Lac and were used there for the liturgy of the Collegiate Church of St. Lorenz; the other two — including this manuscript — reached Vevey under circumstances that remain unexplained. They are currently held in the historical museum there.
Online Since: 06/25/2015
This volume is part of an antiphonary in three volumes that was produced in duplicate for the liturgy of Bern's Collegiate Church of St. Vincent, founded in 1484/85. It contains the Proprium de sanctis and the Commune Sanctorum of the summer portion (March 25 to November 25) according to the liturgy of the Diocese of Lausanne. This volume is the duplicate of volume II, today held in the Catholic parish Saint-Laurent in Estavayer-le-Lac. The three miniatures (p. 207, p. 271 and p. 397) that still adorn this volume are attributed to an itinerant artist who was active in Switzerland — in Fribourg, Bern, and Sion —, and afterwards in Piedmont and in the Aosta Valley. He is known by the names Master of the Breviary of Jost von Silenen and Miniaturist of Georges de Challant. After the introduction of the Reformation in the year 1528 and the subsequent secularization of the chapter, the entire group of antiphonaries was sold: four were sold to the city of Estavayer-le-Lac and were used there for the liturgy of the Collegiate Church of St. Lorenz; the other two — including this manuscript — reached Vevey under circumstances that remain unexplained. They are currently held in the historical museum there.
Online Since: 12/20/2016
Processionale copied by the Dominican nuns of the Convent of St. Katharina of St. Gall in the second half of the 15th century. The manuscript is written in textualis by the hand of the same nun who copied the Processionale M VIII, perhaps also the Processionale M VI as well as the manuscript which today has the signature Cod. Sang. 1914. It might be the manuscript ij nv́wi procesional, which was mentioned in the Chronicle (now Konventsbuch) in 1484 and which, according to the same source, was re-bound in the year 1485. The binding consists of simple wooden tablets, covered in leather without any ornamentation, which is typical for the first phase of the St. Katharina scriptorium; it constitutes an additional element to attest to the origin of the manuscript.
Online Since: 04/23/2013
This gradual is from the Dominican Convent St. Katharinental and represents one of the most important artworks of the Gothic period in Switzerland. Created around 1312 in the convent itself, it was probably illuminated in the area around Lake Constance. It contains more than 80 pen-flourish initials, more than 60 historiated initials and 5 I-initials, which consist of several historiated medallions. Several pieces of the last two I-initials, whose medallions were cut out and sold separately, are known today; they are dispersed among various museums and libraries. In addition to the initials, in the floral friezes there are represented numerous kneeling and praying Dominican nuns as well as other secular donors (e.g., 3v, 18v, 90r, 159v, 161r etc.). Until the 19th century, the gradual was in use in the convent; around 1820 it was ceded to an antiquarian book dealer in Konstanz, Franz Joseph Aloys Castell (1796-1844). After 1860 it was owned by the English collectors Sir William Amherst of Hackney and Sir Charles Dyson Perrins (1864-1958). Upon the death of the latter, his library was offered for sale through Sotheby's, and the manuscript was purchased by the Swiss Confederation with the support of the Gottfried Keller-Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment of page f. 158a verso from the gradual of St. Katharinental, which was removed in the 19th century, and the miniatures from which were sold separately. The initial A shows Christ bestowing a blessing with John the Evangelist, who is resting his head on Christ's knees; kneeling at their feet is a praying Dominican monk, in the frieze at the side, a Dominican nun. Below the initial there used to be a frame (today in Zürich, Swiss National Museum, LM 29329.2) with a painting of the Madonna of the Apocalypse accompanied by John the Evangelist, while two kneeling Dominicans pray under two arcades. Originally the same leaf also had an initial V (today in Vienna, Graphische Sammlung Albertina, Inv. Nr. 32434) with a very detailed representation of the Maiestas Domini and of the Last Judgement. The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment of page f. 158a verso from the gradual of St. Katharinental, which was removed in the 19th century, and the miniatures from which were sold separately. It shows the Madonna of the Apocalypse, accompanied by John the Evangelist, while two kneeling Dominicans pray under two arcades. The frame was placed below an initial A (today in Zürich, Swiss National Museum, LM 29329.1), which shows Christ bestowing a blessing with John the Evangelist, who is resting his head on head on Christ's knees; kneeling at their feet is a praying Dominican monk, in the frieze at the side, a Dominican nun. Originally the same leaf also had an initial V (today in Vienna, Graphische Sammlung Albertina, Inv. Nr. 32434) with a very detailed representation of the Maiestas Domini and of the Last Judgement. The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment with a depiction of Christ before Pilate, from an I-Initial. This initial consisted of several medallions and decorated page f. 87a of the gradual of St. Katharinental. In the 19th century, this leaf was removed from the gradual, and the medallions were sold separately. Of the 9 or 10 medallions that originally made up the body of the letter I, there are known today, in addition to this one, medallions with the following scenes: the Last Supper (Zurich, Swiss National Museum, LM 71410), the Arrest of Christ (Nürnberg, Germanisches Nationalmuseum, Inv. Mm. 34 kl), the Crowning with Thorns (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15932), the Bearing of the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 14312), the Crucifixion (Zurich, Swiss National Museum, LM 45751) and the Descent from the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15933). The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment with a representation of the Last Supper, from an I-initial. This initial consisted of several medallions and decorated page f. 87a of the gradual of St. Katharinental. In the 19th century, this leaf was removed from the gradual, and the medallions were sold separately. Of the 9 or 10 medallions that originally made up the body of the letter I, there are known today, in addition to this one, medallions with the following scenes: the Arrest of Christ (Nürnberg, Germanisches Nationalmuseum, Inv. Mm. 34 kl), Christ before Pilate (Zurich, Swiss National Museum, LM 55087), the Crowning with Thorns (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15932), the Bearing of the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 14312), the Crucifixion (Zurich, Swiss National Museum, LM 45751) and the Descent from the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15933). The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017