Manuscrit

Manuscrit — marelibri

Repertorium initiorum manuscriptorum latinorum medii aevi, Vol. IV - Supplementum. Indices

Hardcover. 597 p., 165 x 240 mm, Languages: French, Latin, Including an index. Fine copy. ISBN 9782503536033. Ce quatrieme volume constitue non seulement le complement indispensable des trois premiers, mais aussi un instrument de travail irremplacable pour tous ceux qui sont a la recherche des manuscrits conserves d?un texte ou qui souhaitent identifier l?auteur d?une ?uvre restee anonyme. Il contient plus de 2000 addenda envoyes notamment par des chercheurs soucieux d?aider les autres en completant le materiel deja rassemble dans le Repertorium. Nous tenons a les remercier vivement de l?aide precieuse qu?ils ont fournie ainsi benevolement a tous les utilisateurs. D?autre part, en confectionnant les divers index, des uniformisations se sont encore averees necessaires que ce soit dans la maniere de citer un manuscrit, dans le nom des bibliotheques, dans le titre d?une ?uvre ou l?identification d?un auteur. A la fin d?un travail de cette ampleur, seuls les index permettent de voir une serie d?erreurs ou de variantes qui ne sautent pas toujours aux yeux en elaborant la documentation sur la base des fiches individuelles contenant les divers incipit et classees alphabetiquement. Enfin, a l?aide des index, il sera possible de faire des recherches croisees en ne partant plus seulement de l?incipit, mais aussi de l?auteur ou de la bibliotheque qui a conserve une ?uvre donnee. L?effort d?uniformisation qui a ete fait pour les realiser apparait immediatement et constitue un apport irremplacable a la documentation deja rassemblee dans les trois volumes precedents. Pour etre certain d?avoir reuni tous les renseignements necessaires, le chercheur doit se livrer a plusieurs interrogations successives qui sont indispensables. Ces interrogations complementaires eviteront de laisser echapper une information pertinente et de passer a cote d?un manuscrit important. Ce volume fournira donc l?essentiel a propos d?une ?uvre donnee et completera ainsi de maniere adequate une premiere recherche menee exclusivement sur l?incipit dans les trois volumes precedents.

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Z. IzydorczykMareMagnum

Manuscripts of the 'Evangelium Nicodemi', A Census.

Hardcover. 292 p., 165 x 245 mm, Languages: English, Including an index. Fine copy. ISBN 9780888443700. The so-called Evangelium Nicodmi (EN), a fifth-century apocryphal passion narrative, showed remarkable vitality throughout the Middle Ages and by the close of the period established itself as one of the most influential religious texts, its authority approaching - though not often attaining - that of the canonical gospels. The importance of the EN for the religious culture of the Middle Ages has long been recognized, yet its scope and vicissitudes, its gradual evolution and transmission, have occasioned but a few tentative explorations. The reason for this paucity of detailed studies and for the continued absence of a comprehensive edition of the EN lies in the circumstances that make them all the more desirable - the apocryphon's enormous popularity in the Middle Ages and, as a natural corollary, the daunting abundance of extant manuscripts. Manuscripts of the Evangelium Nicodemi offers the first comprehensive listing of all known Latin manuscripts of the apocryphon. Descriptions of individual manuscripts provide information about the coodices (writing material, number of folios, size, date, place of origin, scribes, owners, contents) and about the texts those codices contain (incipits and explicit of the texts that make up the Evangelium). A series of five analytical and interpretative indexes serves as a guide to the composition of the Evangelium and its satellites, to the chronology of the manuscripts, to their contents, and to persons and places connected with them. The information gathered in this volume may be of assistance in studying the sources of vernacular translations of the Evangelium, patterns of its ownership and readership, medieval attitudes towards it, and the dynamics of its textual evolution; in investigating scribal practices of selection and compilation; and in identifying manuscripts of other apocrypha.

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Panayotova, N. J. MorganMareMagnum

Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part Three: France: Volume One: c. 1000 - c. 1250

Hardcover with dusjacket, 296 p., 382 colour ill., 230 x 330 mm, 2015 Languages: English. ISBN 9781909400375. This volume contains an impressive range of texts, from Horace (Cat. 17) and Ovid (Cat. 61) to the earliest known copy of the Collectio Lanfranci (Cat. 5) and Gerard of Cremona?s translations of Rasis? works (Cat. 93). The bulk, however, consists of Bibles of two kinds: imposing glossed books, produced in great numbers in the twelfth-century, and their thirteenth-century successors, the compact pandects. Both categories include some of the most richly illuminated French manuscripts of the period. Among the former are two deluxe sets made for Thomas Becket, the first completed while he was in exile in Pontigny and Sens from 1164 until 1170 (Cat. 27-31), the second edited after his martyrdom by his secretary Herbert of Bosham (Cat. 32-34). The majority of the thirteenth-century Bibles are so-called ?Paris? or ?pocket? Bibles produced from the 1220s onwards, mostly in Paris, and containing the biblical books in a standard order. They are illuminated in a variety of figure and ornamental styles, some comparable to the Bibles moralisees of c.1220-1240 (e.g. Cat. 72), others bearing no resemblance to them (e.g. Cat. 73). There are also notable exceptions of complete Bibles made not in Paris, but in North-Eastern France or Champagne (e.g. Cat. 70), and displaying iconography, figure styles and order of books different from those found in their better-known Parisian contemporaries. We hope that the inclusion of numerous images in full colour representing Bibles illuminated in all of these different styles will inspire and support further research, especially on the ornamental initials which deserve more attention. While this volume contains outstanding examples of illumination, notably the work of the itinerant Simon Master (Cat. 46), it also includes books that are modest in artistic terms, but valuable in other ways. Among them is a glossed Ezekiel which boasts one of the finest Romanesque bindings to survive in Cambridge collections, made almost certainly in Paris c.1160-1170 (Cat. 41). Other aesthetically unassuming volumes form important groups of material, for instance, the books assembled by Master Robert Amiclas during his forty years in France and given or sold by him to the Cistercian Abbey of Buildwas in Shropshire (Cat. 20-26, 37).

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Orth, MMareMagnum

Renaissance Manuscripts: The Sixteenth Century

Hardcovers with dusjackets, 2 vol., 721 p., 321 b/w ill. + 55 colour ill., 230 x 330 mm, Languages: English. ISBN 9781872501307. This publication is the first comprehensive survey to establish the importance of Renaissance manuscript illumination in the history of sixteenth-century French art. Although illustrated printed books were circulating freely by the beginning of the sixteenth century, patronage of manuscripts became all the more special to the ruling elite, and commissions from the court, aristocratic circles and the higher clergy resulted in a surge of artistic creativity that produced a wide range of outstanding illustrated works from devotional books to translations of classical and humanistic texts. While continuing the tradition of French figurative art, ornamentation became a major element in the style of the period, with frames and borders becoming a significant feature of the aesthetic impact of the illuminated page. One hundred manuscripts have been chosen for this survey to represent the artistic excellence of French book production of the period, as well as to demonstrate the stylistic relationships between artists and between books that may be seen to form distinct groups. Many years of research enabled the author to identify the hands of individual illuminators, both named and anonymous, and to connect these to a particular artistic milieu or regional group. Moreover, not only are the stylistic aspects of the manuscripts analysed, but entirely new information regarding authorship, patronage and historical context are revealed here of hitherto unstudied material. The author, Myra Orth, completed her catalogue and introductory texts shortly before her sad death some years ago. Since that time, a number of scholars ? specialists in French manuscripts studies of the period ? have helped to update the literature that has more recently appeared relating to the manuscripts catalogued and to the individual artists and workshops discussed. Present locations of manuscripts that may have changed ownership since Dr Orth?s submission of her work have also been noted. To accompany the detailed catalogue, the publication includes a corpus of 360 illustrations that offers a significant visual conspectus of manuscript illumination of the period. In addition to the introductory text, the author also provides brief biographies of Artists and Scribes, Authors and Translators, and Patrons and Dedicatees Survey of Manuscripts Illuminated in France (HMMSF 4)

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Frank Willaert, Jos Koldeweij en Johan Oosterman (red.)MareMagnum

Gruuthusehandschrift. Literatuur, muziek, devotie rond 1400 Studies op het gebied van de oudere Nederlandse letterkunde

Gebonden, Hardcover 320 pagina's met prachtige illustraties. ISBN 9789072474957. Het Gruuthusehandschrift blijft een bron van inspiratie voor liefhebbers van Middelnederlandse literatuur en middeleeuwse muziek en cultuur. Een nieuwe bundel met een aantal prikkelende essays door specialisten uit Vlaanderen, Nederland en daarbuiten verzamelt de meest recente inzichten over dit voortreffelijke handschrift. Inhoud: ?FRANK WILLAERT, JOS KOLDEWEIJ en JOHAN OOSTERMAN - Woord vooraf ?FRITS VAN OOSTROM - Ter inleiding. Plus est en vous/meer is in u: Gruuthuse in onderzoek ?WIM BLOCKMANS - Contingentie van literaire milieus ?HERMAN PLEIJ - De ontwikkeling van literair zelfbewustzijn in de stad. Wat is er nieuw in het Gruuthusehandschrift? ?HERMAN BRINKMAN - Jan van Hulst alias Jan Moritoen? Een stylometrisch perspectief op de notie ?Gruuthusedichters? ?JOS KOLDEWEIJ - Jan van Hulst en de Lieve-Vrouwe-Broederschap te ?s-Hertogenbosch ?FRANK WILLAERT - Poeticale verstrengelingen. De Gruuthuselyriek in Vlaams en internationaal perspectief ?KARL KUGLE - Ic hadde een lief vercoren? Muzikale erotiek in de Gruuthuseliederen ?STEFAN ROSMER - Bemerkungen zum Verhaltnis der Lieder der Gruuthuse-Handschrft zu den Liedern des Korpus Monch von Salzburg unter besonderer Berucksichtigung der geistlichen Lieder ?ITA HIJMANS - The polyphonic potential of Gruuthuse melodies from a Central European perspective: an experimental musicological exploration ?JOHAN OOSTERMAN - ?In droefheid is dit opgeschreven?. Herinnering, betrouwbaarheid en de ?ik? in de Gruuthusegedichten ?THOM MERTENS - De preek van Jan Lyoen tegen de achtergrond van de Middelnederlandse preekliteratuur ?JORIS REYNAERT - Een noordelijke vroegrenaissance? De allegorische gedichten en de historische artistieke context ?HELENE HAUG - Possible reception modalities for the Gruuthuse manuscript ?HENK PORCK, ROBERTO PADOAN, GEERT VAN DER SNICKT, AD LEERINTVELD en MARVIN KLEIN - Het Gruuthusehandschrift nader belicht. Verificatie van de authenticiteit van het wapen van Gruuthuse ?SONIA TORTAJADA HERNANDO - The conservation of the two Tydeman?s angels from the Prado Museum ?ANNE S. KORTEWEG - De verwerving van het Gruuthusehandschrift door de Koninklijke Bibliotheek in Den Haag. Feiten en ficties

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Soret.MareMagnum

Carnaval des animaux Camille Saint-Saens. Facsimile Edition of the Autograph Manuscript.

Hardcover, 192 pages., 127 colour ill., 300 x 366 mm, ISBN 9782503581224. If there is one work, in all of Saint-Saens musical output that supremely captures the disposition so typical of the composer, it is the Carnival of the Animals. The collection De main de maitre showcases the facsimiles of the most prestigious scores of the Music Department of the National Library of France. Camille Saint-Saens? extremely long career as a virtuoso, as a brilliant pianist and organist (no fewer than seventy-six years of concerts) and his daunting catalogue of works (close to six hundred are known) have helped shape the image of him as a tutelary figure, omnipresent in the musical landscape of his time, the uncontested master of French music, showered with honours and glory, yet the champion of what was, in the young 20th century, an outmoded aesthetic. Such an image ignores, however, that from the outset of his career, at the end of the 1850s, until the 1890s, Saint-Saens was, on the contrary, regarded in the artistic world as an agitator, as a propagator of new ideas and as an intermediary between French and Germanic cultures. Republican from his earliest days, he was a major figure in musical life, involved in many concert societies, most notably the Societe nationale de musique, which he founded in 1871. He was also a polemicist, whose quill was much feared and who used the press as his vehicle of choice, to disseminate his ideas, attract public attention, and conquer new audiences. Similarly, if the image of the ?official? Saint-Saens, at home with the stage and the institutions and their etiquette, has endured, that of the ?intimate? Saint-Saens, known by a faithful few for his sparkling conversation, his sharp humour and taste for puns, has been lost. If there is one work, in all of Saint-Saens? musical output that supremely captures the disposition so typical of the composer, it is the Carnival of the Animals. Dedicated to the autograph manuscript of Camille Saint-Saens? famous Carnival of the Animals (1835-1921), this volume sheds a distinctive light on the musician?s personality. Completed in February 1886, The Carnival of the Animals was created for friends and performers close to Saint-Saens and was performed about fifteen times between 1886 and 1894 to a small audience. Because Camille Saint-Saens feared that his ?zoological fantasy? would damage his reputation, the work was published in its entirety only after his death. Since then, its immense popularity has continued to grow, so much so that it is now enjoyed by music lovers and the general public alike. Presented by Marie-Gabrielle Soret, a specialist of Camille Saint-Saens, who provides a detailed description of the work and the context of its creation, the facsimile includes the fourteen pieces of The Carnival of the Animals. It reveals the composer?s handwriting, all the performance directions as he noted them, but also to the playful animal drawings with which he decorated his score ? a fish for ?Aquarium, the skeleton of a dinosaur for ?Fossiles?, the pale blue pencil silhouette of a swan to illustrate the famous Swan. La collection ?« De main de maitre ?» presente les fac-similes des partitions les plus prestigieuses du departement de la Musique de la Bibliotheque nationale de France. Dedie au manuscrit autographe du celebre Carnaval des animaux, de Camille Saint-Saens (1835-1921), ce volume eclaire la personnalite du musicien sous un jour particulier. Acheve en fevrier 1886, Le Carnaval des animaux fut cree pour des amis et interpretes proches de Saint-Saens et joue a une quinzaine de reprises entre 1886 et 1894 aupres d?un public restreint. Camille Saint-Saens craignant que cette ?« fantaisie zoologique ?» ne nuise a sa reputation, l?oeuvre ne fut publiee dans son integralite qu?apres la mort du compositeur. Depuis lors, son immense succes n?a cesse de croitre, si bien qu?elle est aujourd?hui appreciee tant par les melomanes que par le grand public. Presente par Marie-Gabrielle Soret, specialiste de Camille Saint-Saens, qui nous livre une description detaillee de l?oeuvre et du contexte de sa creation, le fac-simile comprend les quatorze pieces du Carnaval des animaux. Il permet d'acceder a la graphie du compositeur, a l'ensemble des indications telles qu?il les a notees, mais aussi aux facetieux dessins animaliers dont il emailla sa partition ? un poisson pour ?« Aquarium ?», un squelette de dinosaure pour ?« Fossiles ?», ou encore la pale silhouette au crayon bleu d'un cygne pour accompagner la celebre piece dediee a cet oiseau. Marie-Gabrielle Soret est conservateur en chef au Departement de la musique a la Bibliotheque nationale de France, responsable de la coordination du traitement des grands fonds d'archives et collections des XIXe et XXe siecles, au Service des collections patrimoniales du Departement de la musique (fonds de compositeurs, interpretes, institutions et societes musicales).

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George Henderson, ?Introduction?; Andrea WormMareMagnum

Cambridge Illuminations. The Conference Papers

HARDCOVER 334 p., 283 b/w ill. + 17 colour ill., 210 x 280 mm, Languages: English, Italian. ISBN 9781905375172. George Henderson, ?Introduction?; Andrea Worm, ?The Gospel Book in the Fitzwilliam Museum, MS McClean 21: Some New Aspects of the Artistic Relationship between the Meuse Valley, the Rhineland and Lower-Saxony?; Catherine Karkov, ?Evangelist Portraits and Book Production in Anglo-Saxon England?; Stella Panayotova, ?Tutorials with Slides for Thomas Becket?; Robert Scheller, ?Wreath and Crown in Apocalypse Illustrations?; Martine Meuwese, ?The Exploits of Alexander the Great in Trinity College?; Mary Rouse, ?Keeping Up Appearances: CUL Gg.4.6, Roman de la rose?; Richard Rouse, ?The Illuminator of Marie de St. Pol?s Breviary?; Spike Bucklow, ?A Tale of Two Blues?; Kathleen Scott, ?Manuscripts for Henry VII in Cambridge?; T.A. Heslop, ?Manuscript Illumination at Worcester in 1055-1075?; William Schipper, ?Sacred Cross Word Puzzles: Trinity College, Cambridge, MS B.16.3?; Lawrence Nees, ?Between Carolingian and Romanesque in France: Cambridge Fitzwilliam Museum, MS McClean 19 and its Relatives?; Gennaro Toscano, ?Cristoforo Majorana e la miniature all?antica: a proposito di qualche codice conservato a Cambridge?; Jessica Berenbeim, ?English Fourteenth-Century Pastoral Manuscripts?; Judith Oliver, ?Te matrem laudamus: The Many Roles of Mary in Liège Psalter Hours in Cambridge?; Lilian Armstrong, ?Venetian Incunables in Cambridge Collections: Modes of Hand-Illumination?; Anne-Marie Legaré, ?New Elements on the Oettingen Library: Fitzwilliam MS 22?; Michael Michael, ?Seeing in the Macclesfield Psalter and the Trinity Bede?; Margaret Manion, ?Blending Private and Liturgical Prayer: MS 3-1954 at the Fitzwilliam Museum and Valois Patronage?; Nicholas Rogers, ?From Eleanor of Castile to John Scott the Younger: Evidence for Illumination in Cambridge?; Patrick Zutshi, ?The Provenance of the so-called Hours of Isabella of Aragon?; Roger Wieck, ?The Primer of Claude de France and the Education of the Renaissance Child?; Lucy Sandler, ?The Macclesfield Psalter?; William Noel, ?W. de Brailes and the Illustration of the Psalter in Thirteenth-Century England?; Peter Jones, ?Cambridge University Library MS Gg.1.1: Fancy Horse or Pack-mule??; Eberhard König, ?Angers Illumination in Cambridge (FM MSS 62, 39-1950)?; Alison Stones, ?Some Secular Manuscripts in Cambridge Collections?

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