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Gospels

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Gospels
This Gospel book from the Carolingian period is a product of the Mainz school of calligraphy and illumination, which was a successor to the palace (or court) school of Charlemagne. In its canon tables and portraits of the evangelists, it blends the Ottonian style from the tenth century with the traditions of the earlier Carolingian Ada group (late eighth century). The manuscript received its fine binding in the Ottonian period. Its most valuable parts are the two outstanding ivories. The baptism of Christ is represented on the front cover; on the back are shown the Annunciation and the birth of Christ. It is uncertain whether the ivory on the back cover originally belonged to this codex. The Gospel book was originally owned by Bamberg Cathedral, to which it had possibly been presented by Emperor Henry II (reigned 1014−24). The Ada group refers to a set of ivory carvings and a group of about 10 illuminated manuscripts, named after a circa 750 gospel book commissioned by Ada, half-sister of Charlemagne. These works are the earliest examples of the court school of Charlemagne.

Purple Gospel

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Purple Gospel
This sumptuous manuscript, known as the Purple Gospel, is written almost entirely in gold and silver on purple-stained parchment. It dates from the first quarter of the ninth century. It contains architectural canon tables and decorated initials in gold and silver at the beginning of the texts of the four gospels and of the prologue to Mark. Four whole-page miniatures of scenes from the New Testament, on folios 24 and 197, were formerly thought to be Ottonian copies (early tenth to early 11th centuries) made from models from late antiquity; most scholars today, however, consider them contemporary with the rest of the manuscript and based on a sixth century exemplar. The manuscript bears monograms at the end of the codex; these were formerly ascribed to the abbot-bishop of Reichenau-Basel, Hatto (806−23). The scholar B. Bischoff, however, interpreted them as "HANTω EPISCOBVS", and related them to the holder of the episcopal see of Augsburg of the same name (807−16); this interpretation is today generally accepted. The manuscript was presented to Duke Wilhelm V of Bavaria by Johann Georg Werdenstein in 1587; it was thus part of the earliest collections of the Munich court library, the predecessor of the Bavarian State Library.

Sacramentary of Bishop Abraham

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Sacramentary of Bishop Abraham
Many monasteries in Bavaria were destroyed during the devastating Hungarian invasions of Europe in the ninth and tenth centuries. In the period after the Hungarian wars, Bishop Abraham of Freising (957−94) nevertheless succeeded, despite temporary banishment, in enlarging his see, pushing ahead the mission to the Slavs, and promoting completion of the cathedral library and school in Freising. This sacramentary is the only high-quality liturgical manuscript surviving from this time, albeit in poor condition. The prominence given to Saint Corbinian identifies it as a Freising work. Obituary entries in the calendar show that it dates from the last years of Abraham’s life. The opening lines are emphasized by uncial script; the title is set on purple bands (folio 32). The introduction to the preface and the Te igitur (Thee, therefore [the first words of the canon mass]) are lavishly executed in gold; gold and silver on colored grounds are used also for the partially figured initials.

Rule of Saint Benedict

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Rule of Saint Benedict
Ora et labora (pray and work) is the well-known phrase that reflects the basic idea underlying the rule of monastic life, which was originally formulated by Saint Benedict of Nursia (around 480−547) and initially intended as an internal rule for the monks of Benedict’s own monastery of Montecassino in Italy. The Rule of Saint Benedict spread widely beginning in the seventh century, but in France it became the sole authoritative rule of the order only in the late eighth and early ninth centuries. Adoption of the rule was mainly the result of the reforming efforts of Benedict of Aniane (circa 750−821), aided by the political support of the emperor Charlemagne (742−814) and his son and successor Louis the Pious (778−840). The manuscript presented here is based on a copy commissioned by Charlemagne in the years after 787, with the aim of establishing an authentic version of the rule. It represents the earliest manuscript of the Rule of Saint Benedict in Bavaria that has been preserved. The text starts on an illuminated page showing a Latin cross with circular trimmings under an arcade arch. The decoration of the initials shows influences from northern Italy. The manuscript is attributed to a scribe named Dominicus, whose handwriting can also be found in another manuscript from the Benedictine abbey of Tegernsee, located on the Tegernsee in southern Bavaria. This suggests that this manuscript most likely was written for and owned by the monastery. In the course of the secularization of the monasteries, the manuscript came to Munich in 1803.

Gospel of Lorsch (Evangeliary of Udalrich)

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Gospel of Lorsch (Evangeliary of Udalrich)
This lavishly decorated Gospel lectionary belongs to a group of manuscripts in which is mentioned an Oudalricus peccator (Udalrich the sinner), who has been connected to Udalrich, abbot of the monastery of Lorsch, who died in 1075. It is decorated with golden display script in capitals, and initials in gold and silver. The main feasts (Christmas, Easter, Whitsun, and the feast of Saint Michael) are emphasized by full-size miniatures. The manuscript also displays four full-page framed miniatures depicting the apostles in the unusual order of Matthew, Luke, John, and Mark. The precious binding of the manuscript is decorated with an ivory table on both front and back covers. The one on the front cover, depicting a crucifixion, the three women at the grave, and the ascension, was probably made in 11th-century Franconia; its framing ornamental ivories can be dated to the 12th or 13th centuries. Similar ivory plates serve as a frame to the side wings of a consular diptych from Ravenna or Rome on the back cover, which is datable to around 450. The manuscript has been attributed to the monastery dedicated to Saint Michael on Heiligenberg near Heidelberg, which was affiliated with that of Lorsch.

Evangeliary of Michaelbeuern, Four Gospels with Illuminations of the Evangelists

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Evangeliary of Michaelbeuern, Four Gospels with Illuminations of the Evangelists
The Gospel book from the Benedictine monastery at Michaelbeuern is considered a work of the Salzburg school because of its similarity to other Salzburg manuscripts. Whether it was brought to Michaelbeuern in the first half of the 11th century (when that monastery was being reestablished from Saint Peter’s in Salzburg) or later cannot be determined with certainty. Besides canon tables and lesser initials, it shows, on double leaves, which are interpolated but which always have formed part of the manuscript, four illustrations of the evangelists facing ornamental initial pages. The evangelists, with their long-winged symbols descending from above, are laid out in bright colors on a pure-gold ground. Only writing stands and utensils complete the compositions, so that attention is concentrated on the relationship between the evangelists and their symbols.

Sacramentary of Augsburg

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Sacramentary of Augsburg
This Ottonian manuscript dates from the early 11th century and was executed for the cathedral of Augsburg. It bears all the hallmarks of an ambitious project, but it was left incomplete for some reason. The text alone, interspersed with gold letters on every page, creates an impression of luxury. The prayers for special ecclesiastical fields feature decorated initials with gold tendrils, which stand out against a colored ground. For the principal festivals of Christmas, Easter, and Whitsun, full-page ornamental initials were planned but not finished. Similarly, the pictorial decoration of the manuscript was started and exhibits different stages of completion—from a partially drawn composition (the adoration of the Magi) to a finished drawing on gold ground (a Crucifixion). Gaps left in the text provide evidence of the still-larger pictorial program originally planned. The manuscript belonged to the cathedral of Konstanz and was later preserved in the court library at Donaueschingen. It was acquired by the Bavarian State Library in 1982.

Gospel

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Gospel
This Gospel book contains decorated canon tables, extending over 16 pages, and portraits of the evangelists, positioned at the beginning of the respective Gospels. It is decorated with five full-page framed miniatures on gilt ground, the first of which depicts Christ enthroned, with a book in his left hand and blessing with his right. Eight pen-drawn initials mark the beginnings of the argumenta (short versions of the evangelist’s life) in the Gospels of Mark, Luke, and John as well as the passages in all four Gospels concerning the Passion of Christ. The first prologue and each Gospel begin with an initial painted in gold. Scholars ascribe this Gospel to a specific group of lavishly illuminated liturgical manuscripts, which was created during the time of Abbot Isingrim of Ottobeuren (1145−80) in the scriptorium of Ottobeuren Abbey in Bavaria. These precious codices are today scattered in different libraries or privately owned. For stylistic reasons scholars have dated this particular liturgical book to around 1165.

Pericope (Sections) from Saint Erentrud. Gospels for the Mass According to the Usual Rite, Preceding the Capitular Gospels

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Pericope (Sections) from Saint Erentrud. Gospels for the Mass According to the Usual Rite, Preceding the Capitular Gospels
This book, which contains the “lessons,” or portions of scripture appointed to be read at divine service, was written around the year 1150, probably in Salzburg, a diocesan town situated near what is today the border between Bavaria and Austria. The manuscript was owned by the Benedictine convent of Saint Erentrud auf dem Nonnberg, which was founded by Saint Rupert in Salzburg in 711−12, and where Rupert’s niece Erentrud was the first abbess. With its 56 miniatures depicting scenes from the New Testament and the life of saints, it contains the most extensive cycle of illuminations from the famous Romanesque school of painters of Salzburg. Its illumination seems to be informed by the work known as the lectionary of Custos Perhtolt (active 1070−90), today preserved in the Pierpont Morgan Library, New York. The school of Salzburg developed a new, monumental style by fusing Byzantine and native traditions of painting.

Gospel

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Gospel
The Benedictine monastery of Tergernsee, located in southern Bavaria, was founded in 746 and is considered one of the most important imperial abbeys of the Holy Roman Empire. This manuscript was formerly attributed to Tegernsee's famous abbot, Ellinger (1017−26 and 1031−41), who was twice removed from office and spent his last years in exile in Niederaltaich. This is no longer the scholarly consensus, but the codex still maintains a key position in the series of magnificent Gospel books produced in Tegernsee up until the 12th century, a period in which the Bavarian tradition of book illumination passed from the Ottonian to the Romanesque style of illumination. This Gospel book foreshadows the basic type of illuminated Gospel produced by the later Bavarian monastic school. The portraits of the evangelists in architectural frames with facing initials on purple ground as well as the splendid canon tables seen in this manuscript are regularly found in later manuscripts produced in Bavaria.

Bible: New Testament (without Gospels)

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Bible: New Testament (without Gospels)
This illuminated manuscript, most probably written in the third quarter of the 11th century in the scriptorium of the Benedictine monastery of Tegernsee, comprises the New Testament, but lacks the four Gospels. It includes the prologues and arguments concerning the Pauline epistles, the Pauline epistles themselves, the Acts of the Apostles, the canonical epistles, and the Apocalypse. The text is preceded by a miniature (originally bound between folios seven and eight) depicting the Apostle Paul sitting on a throne in an aedicula (chapel). The two figures standing next to him, each holding a scroll, can be identified as his disciples Timothy and Titus. The groups of figures in the frame sections probably represent the churches to which the Pauline epistles were addressed, because later captions in the margins identify some of these people as Corinthians, Philippians, and Thessalonians. Coloring, conception, and design make this manuscript a typical example of the book production of Tegernsee in the 11th century. The fact that the codex was intensively used in later times is witnessed by supplements dating from the 13th century as well as the replacements for most of the original prologues. The miniature of Paul was partially overpainted in the 15th century.

Gospel

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Gospel
This Gospel book from Benediktbeuern, decorated lavishly with gold, silver, and purple, was created in the scriptorium of Tegernsee Abbey in Bavaria. For stylistic reasons, e.g., the rather flat architectural frames and the linear style of the figural drawings, scholars date this manuscript to around 1100. Tegernsee Abbey, first founded in the eighth century, was one of the more important imperial abbeys as early as 817. Having been refounded in 978 during the reign of Otto II, the abbey saw the reconstruction of its library and subsequently a peak of artistic production, especially in the field of book illumination. The manuscript presented here is closely linked to another Gospel book from Tegernsee which was created 60 years earlier and to a manuscript from 1120. The text and other features of these manuscripts (miniatures of the four evangelists as well as the decoration of the initials and canon tables) prove the continuous and long-lasting productivity of the scriptorium in Tegernsee, where mainly Gospel books were created. As marks of ownership prove in some cases, these books were created not only for the abbey's own use, but also for other monasteries, such as Freising or—in this case—Benediktbeuern.

Gospel

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Gospel
This Gospel book from Weihenstephan in Bavaria, created circa 1170−80, represents a late example of the art of book illumination as it was practiced in the scriptorium of Tegernsee Abbey in the 11th and early 12th century. The scriptorium of Tegernsee Abbey was held in high esteem during that time, as a surviving letter from Holy Roman Emperor Frederick I (circa 1123−90) proves. Praising the reputation of the scriptorium, he commissioned two manuscripts, which unfortunately have not been preserved. With its decoration and style of the initials and the paintings of the evangelists as well as its nine-page canon tables, this manuscript shows typical traits of the Tegernsee school, also known as the Bavarian monastic school. Many of these traits are slightly varied, enriching its characteristic features. A remarkable distinction can be seen in the paintings of the evangelists, who are displayed—as it was customary in Tegernsee—within a narrow architectural frame. In contrast to rather traditional versions, they interact with their respective symbols (angel, lion, bull, and eagle). This pattern follows examples of Carolingian art from two centuries earlier. According to scholars, this particular style is also found in some manuscripts created in other Bavarian scriptoria in the period after 1150.

Prayerbook of Otto III

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Prayerbook of Otto III
This small prayer book was once owned by the Holy Roman Emperor Otto III (980−1002). Although it hardly stands out when compared with other luxuriously illuminated manuscripts, it was intended for the sovereign’s private devotion and is one of only two royal prayer books from the early Middle Ages to survive. It was probably commissioned after the year 984, presumably by Archbishop Willigis of Mainz, when the four-year-old Otto was committed to the care of his mother and grandmother, the empresses Theophanu and Adelaide, after his father’s death. The manuscript contains three portraits of Otto. Following a miniature that shows the Crucifixion of Jesus, the first of these depicts the young monarch praying between Saint Peter and Saint Paul. The second shows him kneeling in front of Christ, who is sitting enthroned within the mandorla (almond-shaped ornamental motif). The third (dedicatory) painting shows Otto on his throne receiving the prayer book from a cleric. The texts of the prayers are written in Carolingian minuscule in gold ink on purple ground. It is noteworthy that the parchment itself was not soaked in purple ink, as was customary in the ninth century, but purple fields framed by narrow strips of gold were applied on every page. The subsequent history of the book remains mostly unknown. It was discovered in the 19th century in the library of the noble Schönborn family in Schloss Weißenstein in Pommersfelden, Bavaria. It was acquired by the Bavarian State Library in 1994.

Fulda Sacramentary

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Fulda Sacramentary
The Fulda Sacramentary typifies the structural changes that sacramentaries underwent in Carolingian times, when artistic embellishment was increasingly concentrated on the canon. The opening letter T (of Te igitur; “Thee, therefore,” the first prayer of the mass) of the sacramentary has been transformed on folio 12 recto into a picture of the crucified Christ, surrounded by four medallions depicting, respectively, the hand of God, Saint Mary, Saint John, and a priest in adoration. Executed at the Benedictine monastery at Corvey in the last third of the tenth century, the sacramentary is one of the earliest examples of the new artistic trends. The manuscript still bears a contemporary binding with ivory plaques. It was preserved in the treasury of the cathedral of Verdun until the 18th century. From there, it came into the Mannheim court library, which was transferred to Munich in 1803−4.

Gospel of Passau

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Gospel of Passau
This Gospel lectionary contains the text of the liturgical Gospel readings for the main feast days. Written and illuminated in the 12th century in the Bavarian diocesan town of Passau, it remained in use at least until the 15th century, as it is shown by the exquisite metal binding with a deep relief, displaying the figure of Christ carved in rock crystal, which was executed at that time. The manuscript itself is one of the finest examples of Romanesque illumination from southeast Bavaria; it displays magnificent gold initials with near-naturalistic representations of animals and climbing figures depicted in the tendrils of the initials. Five full-page miniatures with figurative illuminations are directly related to the respective feast days, such as the feast of John the Baptist, the birth of the Virgin, and the feast of Peter and Paul. The picture cycle ends with the magnificent figure of Ecclesia (the church) on her throne, holding a cross and an oil lamp. Two artists participated in the execution of the illuminations. One has been named "Master of Saint Peter" after the illumination he executed on folio 32 verso (the crucifixion of Saint Peter). The other artist is usually referred to as "Master of Ecclesia," as he painted the miniature of Ecclesia on folio 39 verso.

Four Gospels: The Evangeliary of Uta (Codex of Uta)

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Four Gospels: The Evangeliary of Uta (Codex of Uta)
Illuminated for Abbess Uta of Niedermünster (1002−25), this Bavarian Gospel manuscript has been described by Georg Swarzenski as "perhaps the most important Western illuminated manuscript of its period." Its unique quality resides especially in the subtly articulated argument between the text and the accompanying miniatures. The text is drawn from such diverse sources as the Bible; the fields of theology, mathematics, and music; and the works of Pseudo-Dionysius, the Areopagite, in the translation by Johannes Scotus Eriugena (circa 800−circa 877). The scholar Bernhard Bischoff attributed the work to the poet and scholar Hartwig, a monk of Saint Emmeram and contemporary of Abbess Uta. The casket for the lectionary was made from gold, enamel, and filigree work, and is contemporary with the codex. It displays a portrait of Christ in majesty and is stylistically related to the portal of Saint Emmeram in Ratisbon (present-day Regensburg), which dates to the middle of the 11th century. The manuscript belonged to the convent of Niedermünster in Ratisbon and came to Munich in 1811.

Outline of Western Theories of the Human Body

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Outline of Western Theories of the Human Body
The text of Taixi ren shen shuo gai (Outline of Western theories of the human body)was originally dictated by Deng Yuhan (Chinese name of the German Jesuit missionary Johann Schreck, also known as Johannes Terentius, 1576−1630), who translated and compiled the work. It was later edited by Bi Gongchen (died in 1644). Schreck was the earliest Western scientist to introduce Western works on physiology and anatomy into China. This is a manuscript edition in two juan, and was based on Theatrum anatomicum by Caspar Bauhin (1560−1624), a professor at Basel University, who specialized in many fields, including anatomy, internal medicine, and Classical Greek. Juan one is arranged by medical nomenclature, such as bones, cartilages, muscles, skin, tendons, lymph, fat, vessels, pulse, fine sinews, external skin, flesh, flesh lumps, and blood. Juan two, in question-and-answer format, discusses perception and includes Matteo Ricci’s mnemonic principles and sections on eyes, ears, nose, tongues, sensation in the four limbs, and speech.

New Edition of the Manual of Acupuncture Points on a Bronze Figure, in Seven Juan

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New Edition of the Manual of Acupuncture Points on a Bronze Figure, in Seven Juan
One of the unique features of treatments in traditional Chinese medicine is acupuncture. During the Northern and Southern Song (960−1279), the science of acupuncture and moxibustion and the meridian and collateral theory flourished. This science consequently became gradually systemized and standardized. The work Xin kan tong ren zhen jiu jing (New edition of the manual of acupuncture points on a bronze figure) was actually a chapter dealing with acupuncture, called “Zhen jing,” included in Taiping sheng hui fang (Taiping imperial prescriptions for universal relief), an official standard textbook of the Song court. As the latter work had limited circulation, during the Yuan dynasty this particular chapter was taken out, edited, and the title changed to Xin kan tong ren zhen jiu jing. It details the positions of acupuncture points and the cures, with 12 illustrations of acupuncture points. It preserved a large portion of the original sources on acupuncture dating back before the Song. It is a very valuable document in the history of the science of acupuncture.

Collection of the Essential Medical Herbs of Materia Medica

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Collection of the Essential Medical Herbs of Materia Medica
Ben cao pin hui jing yao (Collection of the essential medical herbs of materia medica) was compiled and illustrated by imperial order of Emperor Xiaozong (ruled 1487−1505) of the Ming dynasty. The manuscript was completed in the 18th and last year of his reign, called Hongzhi (1505). It was the only officially published work on materia medica. After Emperor Xiaozong died, the manuscript was kept in the imperial court and not printed for more than four centuries. However, a number of expertly copied manuscripts with color illustrations did appear. Stories about the compiler, the physician Liu Wentai, also circulated. It was said that Liu was an executive medical official at the Imperial Academy of Medicine during the time of Xianzong (1465−87) but was demoted to the rank of administrative medical assistant for “providing inappropriate dosage, causing damage to the emperor” and was further demoted to court physician. It was Liu who led the compilation efforts and the work was presented to the court with his signature. Many other compilers contributed, most of whom were physicians at the academy and a few scholars from the Secretariat. Eight renowned artists, including Wang Shichang, undertook the illustrations. The contents are drawn from Zheng lei ben cao (Classified materia medica from historical classics for emergency), Qin shan zheng yao (Principles of correct diet), Shao xing ben cao (Shao xing materia medica), and other works, thus the word “essentials” in the title. The work, in 42 juan, lists 1,815 herbal medicines, grouped in 10 categories (jade, grass, trees, humans, animals, birds, insects and fishes, fruits, grains, and vegetables). There are 1,367 color illustrations of medicines. The compilation follows that of Zheng lei ben cao but also uses the stylistic rules of Huang ji jing shi (Book of the supreme principles governing the world) written by Neo-Confucian philosopher Shao Yong (1011−77) of the Northern Song. The drugs are divided into two grades, using the conventional 24 rules for descriptions and discarding the traditional way of inserting layers of annotations. The contents cover the authentication, production, composition, and pharmacodynamics of medical ingredients, and related topics, such as folk culture, ideas of health, and geographic environments. The medical knowledge of the compilers and engravers was limited and the work was compiled and illustrated quickly, over a period of one and a half years. Thus the clarity of textual research and information on additional medical drugs is less than praiseworthy. In some cases illustrations and texts do not match. For example, the image of a kiwi is labeled as a peach. These defects affected the book’s scholarly value, even though it was the largest encyclopedia with color illustrations and used images from Zheng lei ben cao. Its highest achievement is the 668 new illustrations. In addition, 144 revised illustrations provide further details of everyday objects familiar to the painters, such as vegetables, fish, shellfish, birds, animals, insects, and popular medicines. The painters at the academy also could paint from life, especially exotic animals, such as lions, elks, and peacocks. These splendidly realistic images with colorful brushstrokes are the essence of this work.
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