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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
10th century manuscript of Italian origin, which contains numerous works of rhetoric: the Ars rhetorica by Fortunatianus, the Principia rhetorices by Augustine, the Praecepta artis rhetoricae by Julius Severianus and the Partitiones oratoriae by Cicero. In the 14th century, it became the property of Petrarch (Francesco Petrarca), who, at various times of his life, added numerous marginal notes. The manuscript demonstrates the humanist’s interest in the Oratores latini minores (minor Latin orators), which contributed to their rediscovery and proliferation.
Online Since: 04/09/2014
This manuscript produced at the end of the 13th century contains a copy of the Arthurian romance tales in prose: "Estoire del Graal", "Merlin", "Suite Merlin", "Queste del saint Graal", and "Mort le roi Artu". The interpolations used in CB 147 make it a particularly unusual manuscript: the heroes of the Arthurian tales are made to utter translations of the Gospels, Genesis, and various other biblical texts as well as sermons by Maurice de Sully. The manuscript also contains the "Faits de Romains", and a prose version of the "Roman de Troie" not found elsewhere. The plentiful illuminations are executed in a highly unusual style.
Online Since: 07/25/2006
Tristan, written by Pierre Sala of Lyon in the years 1520-1528, derives from the medieval Italian tradition of the Tristan and Lancelot story cycles in prose about the knights of the round table. Stories about the idealized friendship between Tristan and Lancelot shift between the adventures of the knights of the round table and their romantic intrigues. A mere two manuscripts transmit this Renaissance work by Pierre Salas. The codex held by Fondation Bodmer is the dedication copy made for King Francis I of France. It is illustrated with twenty-six pen and aquarelle drawings.
Online Since: 04/26/2007
This manuscript contains François Dassy's French translation of Carcel de amor by Diego San Pedro (1437-1498). This translation is also based on Lelio Manfredi’s Italian translation, completed in 1513. Diego de San Pedro is a Spanish pre-Renaissance poet and storyteller; perhaps he was of Hebrew origin but converted to Christianity. Carcel de amor, one of his two best-known novellas, is a sentimental romance about the overcoming of passionate love through reason; it was first printed in Seville in 1492 and was translated into many languages. The manuscript is illustrated with 19 vignettes, most of which are surrounded by an architectural frame containing representations of figures in period clothing. This manuscript might have been created for Charles III de Bourbon-Montpensier (Charles de Bourbon) between 1521 and 1527 — his coat of arms is on f. 1v. Before becoming part of the Martin Bodmer collection, the manuscript was owned by the Demidow family, Count Alexis Golowkin and Sir Thomas Philipps.
Online Since: 12/17/2015
The Schwabenspiegel (mirror of the Swabians) contains a collection of national and feudal laws; during the late Middle Ages it was used in Southern Germany, but it was also widely used in Bohemia and in present-day Switzerland up to the German-French language border. The manuscript was edited in the second half of the 13th century and thus belongs to the oldest of altogether more than 350 textual witnesses.
Online Since: 12/18/2014
Manuscript CB 151, completed in November 1402 by the copyist Johannes Man de Creussen (cf. fol. 187), is one of the oldest texts of the "Alexander Romance" by Seifrits. On the last page a remedy for the plague is added in Latin in a later hand.
Online Since: 03/25/2009
During the Middle Ages, Seneca was the most popular and most read of the ancient playwrights. The manuscripts of his tragedies, of which almost 400 copies are known today, are mostly from the 14th and 15th century, as is this copy, owned by the Fondation Bodmer. At the beginning of each of Seneca's dramas, this version has a historiated initial that summarizes the plot of the drama, such as the suicide of Jocasta and the blinding of Oedipus at the beginning of the eponymous drama (f. 46v). The rather modest execution of these initials was most likely carried out in Northern Italy, where most of the illuminated copies of this text (about 50) were produced.
Online Since: 10/10/2019
A precursor to the rediscovery of Statius during the Renaissance of the 12th century this manuscript of the Thebaid (sometimes Thebiad) from the 11th century was certainly copied in Germany. It contains some marginal glosses that originate in part in the commentary of Lactance, and is distinguished above all by its neumes, which stand above the verses on fols. 46v, 80r and 81r. The notation indicates the rhythem of the text and underscore the importance of some passages that have a pathetic tone: the mourning of Hypsipyle over the body of the child Archemorus, the prayer of Tydeus shortly before death, the pain of Polyneikes before the body of Tydeus.
Online Since: 12/21/2009
This 14th century manuscript produced in southern Germany contains 68 poems in rhyming couplets by the Stricker, followed by the parable "Barlaam and Josaphat" by Rudolf von Ems.
Online Since: 12/20/2007
This dated paper manuscript contains the Büchlein der ewigen Weisheit by the German mystic and Dominican Henry Suso (1295-1366), which was in wide use during the Middle Ages, as well as the allegorical treatise Die zwölf Lichter im Tempel der Seele, which originally might have been part of a sermon. The linguistic characteristics of the text (Bavarian dialect) suggest an origin in South Tyrol, while a later annotation on the flyleaf (18th-19th century) could be an inventory note stating that it belonged to the library of the St. Elisabeth Convent of the Poor Clares in Brixen.
Online Since: 06/14/2018
The plays of Terence were highly appreciated throughout the entire Middle Ages, as attested by this 11th century manuscript written in Carolingian script, which preserves fragments from two of his six comedies, Andria and Eunuchus. The fragments are of different sizes; between the 15th and 16th century, they were used as binding for registers, as evidenced by certain signs of use and of folds, as well as by dates written beside invocations of the Virgin, of Christ or of St. Thomas.
Online Since: 10/10/2019
The Theban and Trojan sagas held an important place in the literature of the middle ages. The contents of manuscript CB 160, written in 1469 on paper by Jacotin de Lespluc (« escript par la main de Jacotin de Lespluc »), form part of this tradition. This codex contains a prose version of the "Historia trojana" by Guido delle Colonne and a history of Thebes that closely follows the "Histoire ancienne jusqu'à César". The ink wash drawings are very similar to those found in Ms. 9650-52 of the Königliche Bibliothek of Belgium.
Online Since: 03/25/2009
"Even as it is better to enlighten than merely to shine, so is it better to give to others the fruits of one's contemplation than merely to contemplate." The greatest work of Thomas Aquinas, the Summa Theologica, is the emblematic work of Christian scholasticism. This work, written near the end of the life of the great Dominican is incomplete, as its compositon was broken off by the death of the author. Organized in the form of questions (quaestiones) and subdivided into articles, the work presents theology in an organic form. Manuscript CB161 was produced in France, certainly in Paris, only a short time after the philosopher's death; it has been preserved in its original binding. The inscription from the end of the 13th century which can be found on the lower portion of the back cover shows that the manuscript was deposited as collateral by Jean de Paris against the loan of another work.
Online Since: 12/21/2009
In his De bello Peloponensium, Thucydides fully achieves the work of a historian, as he shows the origins of the Peloponnesian War and then relates its events year by year with great exactitude. This parchment manuscript is extraordinarily beautiful in its illustrations, especially the two "putti" and the human figure in the center of one initial, wearing a blue suit of armor and holding a sword. The humanistic script, a slightly angular cursive, is the work of a single scribe.
Online Since: 06/02/2010
This elegant codex, written in humanist cursive, contains the Elegiae by the Latin elegiac poet Tibullus; this text was not very widely distributed in the Middle Ages, but was rediscovered by Italian humanists at the end of the 14th century. The manuscript was written and illuminated in Florence, perhaps for Braccio, a member of the Martelli family, who had his coat of arms added to the title page. Later the manuscript passed into the hands of the Medici family of Florence; they had their coat of arms painted on the front pastedown. In 1968 Martin Bodmer purchased the manuscript from the collection of Thomas Phillipps.
Online Since: 06/25/2015
At least three scribes shared the work of copying this imposing manuscripts of over 650 leaves in the early years of the 14th century. The Roman de Tristan en prose that it contains, a revised version of the myth of Tristan in the style of Lancelot en prose, is however, incomplete at both the beginning and the end. This work, originally written at the beginning of the 13th century, was repeatedly reproduced during the middle ages; it is found in over 80 manuscripts, which transmit at least four different versions.
Online Since: 12/21/2009
This 12th century French manuscript contains the first six books of Virgil’s Aeneid, along with the Argumenta attributed to Pseudo-Ovid. Among the famous previous owners of this codex is Charles de Montesquieu (1689-1755), whose ex-libris is on f. 1r. Later the manuscript was owned by Sir Thomas Philipps (1792-1872). Martin Bodmer acquired this manuscript in 1966, during one of the auctions of the Philipps collection.
Online Since: 12/17/2015
The manuscript held by the Fondation Martin Bodmer contains the only exemplar of the long Anglo-Norman roman lignager (family history tale) Waldef. This text, originally written at the beginning of the 13th century, consists of some 22,300 octosyllabic couplets celebrating the lives of its hero and his sons; after a long preamble going back to the Roman occupation of England, the tale recounts love and separation, travels and battles using conventional imagery. This manuscript was copied near the end of the 13th century or the beginning of the 14th century and is decorated with pen drawings in the margins; it also contains a second roman lignager, Gui de Warewic and a chanson de geste, Otinel.
Online Since: 12/21/2009
The verse narrative Willehalm by Wolfram von Eschenbach - one of the most important German authors of the Middle Ages - is a historical-legendary novel based on French heroic poems ("chansons de geste"). It tells the love story of Willehalm, Count of Toulouse, and Arabel, daughter of a Muslim king, and reflects the history of the conflict between these two medieval cultures. Since the 1360s it has been integrated into a unique cycle, together with the Arabel by Ulrich von dem Türlin, which tells the backstory, and the Rennewart, which tells the continuation. More than ten manuscripts and numerous fragments of this cycle have survived.
Online Since: 06/18/2020
This late Renaissance Italian humanist manuscript contains excerpts of various works by Latin and Greek authors, among them Pliny, Cicero, Silius Italicus, Plautus, Livy, Horace, Sallust, Plutarch, Seneca and others. Pellegrin, following Tammaro de Marinis, attributes the writing to the copyist Gian Marco Cinico, who worked for the kings of Naples between 1458 and 1494. The different parts are introduced by golden initials with bianchi girari, only partly completed (ff. 1v, 4v, 20r, 22r, 50r, 186v). Some of these bianchi girari are left unfilled on a blue, red, green or black background, others are colored pink, green or blue on a black or golden background. The vine scrolls are inhabited by putti and animals such as rabbits, stags, butterflies or birds. Numerous frames show putti engaged in hunting or other playful activities (e.g., ff. 55r, 79r, 139r, 169r).
Online Since: 12/17/2015
This exciting small manuscript from (northeastern) France was produced in the 9th century in the region of Paris-Reims and is notable for its fine script and rubricated title in Capitalis Rustica. In various places, individual alterations in a careful 12th century script are noticeable, such as on ff. 32-32v, as well as the additions of a few words (corrections?) on ff. 52v-53.
Online Since: 03/22/2012
This ethical work by Boccaccio, originally written between 1353 and 1356 and expanded in 1373, addresses the subject of the unevenness of fate. Manuscript copies of the work were frequently made; it was issued in print and translated into many languages. It enjoyed great popularity in Europe. The French translation by Laurent de Premierfait for Jean de Berry was equally popular, as evidenced by the 68 manuscript copies of this text still in existence. Unlike the Latin version, the French manuscripts display a rich iconographic accompaniment, most likely produced by Laurent de Premierfait himself. This is also the case with CB 174, which was produced during the 15th century in France. Each book opens with a small illustration (150 in all) portraying the “pitfalls” described in the text that follows.
Online Since: 03/22/2012
The Rhetorica, a work in Latin recording ten years teaching by Guillaume Fichet, is a witness to this „Art of Speaking“, treatments of which would soon disappear. This richly illuminated manuscript was written in 1471 at the Sorbonne in Paris (in the same year as the printed edition of the text). The manuscript begins with a large miniature portraying the author presenting his book to Princess Yolanda of Savoy.
Online Since: 03/22/2012
This medical handbook by Gariopontus, who flourished in the mid-11th century in Salerno, systematically assembled in head-to-foot order writings already long known in the Latin speaking world (Galen’s Ad Glauconem de medendi methodo I-II with a Liber tercius by a pseudo-Galen, the Aurelius and Esculapius derived ultimately from the texts of Soranus of Ephesus, and an extract from the Therapeutica by Alexander of Tralles) in seven books. The work exercised a strong influence on the School of Salerno. It survives in more than 65 manuscripts, and three print issues were produced as early as the 16th century. The Bodmer manuscript from the early 12th century, like many other versions of this text, features numerous glosses.
Online Since: 03/22/2012
The 13 large illustrations in this French manuscript, written in the 15th century, were produced by one of the most important book decorators of the late middle ages : Jean Fouquet (BnF, ms. fr. 247). They are richly decorated with gold and cover two thirds of a page; a large number of initials adorned with flowers round out the illustrator’s iconographic program. The first page, which is missing, also certainly held a decorative illustration (Adam and Eve?). At the beginning of a prolog is a small miniature portraying the author writing the book. The Antiquitates iudaicae recounts the history of the Jewish nation from Genesis to the year 66 according to the modern western calendar.
Online Since: 03/22/2012
This manuscript contains the Adnotationes super Lucanum, preceded by the Vita Lucani by Vacca, a grammarian from late antiquity whom some date to the 6th-century. The codex probably was created in the Benedictine Abbey Tegernsee in Bavaria and later was part of the library of the Princes of Oettingen-Wallerstein. As codex Wallersteinensis I.2, this text, together with four other textual witnesses, is the basis for the 1909 edition by Johannes Endt, which is still considered the reference edition today.
Online Since: 12/17/2015
The historical-biblical compilation by Peter of Poitiers (around 1130-1205), the Compendium historiae in genealogia Christi, was very widely used during the last centuries of the Middle Ages. Like many other examplars of this text, this copy was written on a parchment scroll, but at an unknown date it was cut into 7 parts. Figurative medallions and schemata, most of them genealogical, cover the entire work and thus represent a continuous line of world history, from the Fall of Man (f. 1) to the Christmas story (f. 5).
Online Since: 10/08/2020
A luxurious copy of the Life of Aesop, part historical and part legendary, that was compiled around 1300 by Maximos Planudes. These pages once constituted the first part of a manuscript of Aesop's Fables , which today is held primarily in New York. It was written in Florence between 1482 and 1485 by Démétrios Damilas, one of the main scribes at the court of the Medici, for Lorenzo the Magnificent’s young son Piero II de' Medici, who was 10-12 years old at the time. On the splendid frontispiece one can recognize the portraits of Planudes and Piero II.
Online Since: 12/17/2015
The text De verborum significatu by the Latin grammarian Pompeius Festus is an extremely valuable dictionary of Latin language and mythology for those seeking to understand the world of the Romans. This manuscript is of Italian origin and retains its contemporary binding with a wooden cover. It was written during the 15th century on parchment and contains lovely gilded initials on a blue and red background. Quotations have been added in the margins to explain certain words in the text. The last leaves in the volume contain excerpts from Greek and Latin authors.
Online Since: 06/02/2010
Exemplar of the so-called Parisian Bible, a pocket Bible which contains the entire text of the Old and the New Testaments in a relatively small format in two columns in small script. The codex was produced around the middle or in the second half of the 13th century in Central or Eastern France. It is distinguished and made luxurious by no fewer than 82 historiated initials and 66 ornamental initials. Noteworthy is the fact that the biblical text shows signs of careful correction and that the psalms are divided into smaller sections according to a scheme, which rules out that it was commissioned by a monastery, but suggests instead that it was commissioned by a secular priest or a layperson. An erased note of ownership suggests that in 1338 this manuscript belonged to the Celestine Monastery Notre-Dame of Ternes (Limoges), perhaps a gift from its founder Roger le Fort, who was the son of the Lord of Ternes and was Archbishop of Bourges in 1343. Before this Bible became part of the collection of Martin Bodmer, it belonged to the collection of Baron Edmond de Rothschild (1845-1935), hence the name “Rothschild-Bibel.”
Online Since: 12/17/2015
This manuscript contains the Dragmaticon, a work by the scholar Wilhelm de Conches, a member of the School of Chartres. It is possible that the codex was produced in about 1230 in the area of Cologne in a scholastic circle and that it is among the oldest surviving texts of the Dragmaticon, which is transmitted in a total of about 70 medieval manuscripts. The portable format, assorted schemata and tables provided, and the script used (Gothic cursive) indicate that the manuscript was intended for university use. The first section of the manuscript contains a computus for determining when movable feast days should fall.
Online Since: 05/20/2009
In about 1310 the Bishop of Liège, Thibaut de Bar, commissioned Jacques de Longuyon to write the Vœux du paon, which extends the tradition of the Alexander romance. Thirteen miniatures and a number of filigreed initials adorn the alexandrine monorhyme stanzas of the poem.
Online Since: 03/25/2009
This manuscript, written in Persian, contains a selection of the “One Hundred Sayings by Ali,” a collection of sayings and proverbs traditionally attributed to Ali ibn Abi Talib, the fourth rightly guided Caliph as well as cousin and son-in-law of the prophet Muhammad. Among the Shiites (from šīʿat ʿAlī, the “party of Ali"), Ali plays an important religious role as the first imam. This manuscript was written in 1559 by the calligrapher Jalal ibn Muhammad in Bukhara. For the text he used the Nastaliq script, a calligraphic script widely used for the Persian-Arabic alphabet; for the titles, however, he used the ordinary Arabic Nasḫī script. The six full-page miniatures, highlighted in gold, were added in the second/third quarter of the 17th century. Noteworthy on p. 9v at bottom center is the rare depiction of a figure turning his back to the observer, of whom one can see only the back of the head. On the same page at the left, behind several musicians, two Europeans can be recognized by their clothing.
Online Since: 06/25/2015
This manuscript, written in Persian, contains the story of Prince Seyf ol-Molûk and Princess Badî`ol-Jamâl. The manuscript was probably written in India and illustrated with 32 miniatures. At the end of the text (f. 56v), the scribe dated the manuscript in the year 1033 (in the Islamic calendar). The story can also be found in One Thousand and One Nights (758th to 778th night, edition Calcutta II 1839-1842).
Online Since: 10/07/2013
The book belongs to the category of nara ehon, a type of polychrome, illustrated narratives published from the Muromachi period though to the first half of the Edo period. The term nara ehon has been widely applied to all illustrated books from these periods since the Meiji era, but its origin is unclear. The format of nara ehon differs, depending on the period. Early examples from the Momoyama to the very early Edo period are tall, measuring about 30 cm in height, a vertical format similar to a European quarto. The examples produced from the Kanei era onwards, within the first half of the Edo period were more of a horizontal proportion. They were also generally based on the genre of otogizōshi, short stories that emerged from the Kamakura period onwards, a majority of them focusing on the Muromachi period. During the latter half of the 17th century, the topic shifted to stories about the aristocracy or the wealthy merchant class, before the popularity nara ehon began to decline. This example can possibly dated to the Keichō era (1596-1615).
Online Since: 06/23/2016
The book belongs to the category of nara ehon, a type of polychrome, illustrated narratives published from the Muromachi period though to the first half of the Edo period. The term nara ehon has been widely applied to all illustrated books from these periods since the Meiji era, but its origin is unclear. The format of nara ehon differs, depending on the period. Early examples from the Momoyama to the very early Edo period are tall, measuring about 30 cm in height, a vertical format similar to a European quarto. The examples produced from the Kanei era onwards, within the first half of the Edo period were more of a horizontal proportion. They were also generally based on the genre of otogizōshi, short stories that emerged from the Kamakura period onwards, a majority of them focusing on the Muromachi period. During the latter half of the 17th century, the topic shifted to stories about the aristocracy or the wealthy merchant class, before the popularity nara ehon began to decline. This example can possibly dated to the Keichō era (1596-1615).
Online Since: 06/23/2016
The Tale of Ise is one of the earliest and most well-known example of uta monogatari, a subgenre of the monogatari, which focuses on waka poetry with the narrative evolving around the poetry. Its authorship, as well as the exact date of composition remain unclear, but it is today dated to the early Heian period. It is also known by the title "Zaigo chūjō nikki", or "Diaries of the Prince Ariwara no Narihira". The main character in the Tale of Ise is understood as being the historical prince and poet Ariwara no Narihira (9th century), whose waka feature in the tale. Yet due to the existence of narratives that clearly date to later periods, Narihira himself cannot be regarded as the author. The tale is generally concerned with human affection of many kinds, from amorous affairs to parental affection. Whilst many chapters do have a strong aristocratic notion, it is not limited to the world of nobility, but also includes the commoner’s fate, such as Chapter 23 Tsutsuizutsu. The characters often remain unnamed and are only referred to as ‘the girl’, or ‘the man’. Thus, the tale is interpretable as an effort to generally address the topic of human relationship and affection. This example bound in silk is adorned with illustrations executed in ink, polychromy and gold.
Online Since: 06/23/2016
The Tale of Ise is one of the earliest and most well-known example of uta monogatari, a subgenre of the monogatari, which focuses on waka poetry with the narrative evolving around the poetry. Its authorship, as well as the exact date of composition remain unclear, but it is today dated to the early Heian period. It is also known by the title "Zaigo chūjō nikki", or "Diaries of the Prince Ariwara no Narihira". The main character in the Tale of Ise is understood as being the historical prince and poet Ariwara no Narihira (9th century), whose waka feature in the tale. Yet due to the existence of narratives that clearly date to later periods, Narihira himself cannot be regarded as the author. The tale is generally concerned with human affection of many kinds, from amorous affairs to parental affection. Whilst many chapters do have a strong aristocratic notion, it is not limited to the world of nobility, but also includes the commoner’s fate, such as Chapter 23 Tsutsuizutsu. The characters often remain unnamed and are only referred to as ‘the girl’, or ‘the man’. Thus, the tale is interpretable as an effort to generally address the topic of human relationship and affection. This example bound in silk is adorned with illustrations executed in ink, polychromy and gold.
Online Since: 06/23/2016
The handscroll of Daihannya-haramitta-kyō, the Sutra of Great Wisdom, chapter five hundred and forty, consists of a simple sheet of paper without mounting. The complete version of the sutra encompasses six-hundred chapters. It was introduced to China from India by the monk, scholar and translator Xuanzang, who translated the sutra into Chinese in the 7th century before it was imported into Japan. The sutra is written in black ink on high-quality paper, very likely kōzo-shi, which is made using the fibre of Broussonetia papyrifera or paper mulberry tree, especially treasured and used for important documents during the early periods of Japanese history such as the Nara and Heian periods. There is a circular red seal placed over the top of the first four lines of the text, stating “Yakushi-ji-in” (seal of the temple Yakushi-ji). The sutra was written in Japan within the context of the religious rites of reproducing holy scripture to benefit the karma.
Online Since: 06/23/2016
This is a Panjabi adaptation of the 10th book of the Bhāgavatapurāṇa, in Punjabi/Braj language, in Gurmukhī script. It is a collection of stories of the life of the god Kṛṣṇa, written in verse (caupaī, kabitā, soraṭhā and others). Contrary to the Sanskrit version, the text has no clear chapter structures and has a continuous numeration (880 verses). It is richly illustrated with scenes from the life of the god Kṛṣṇa (more than 200 miniatures), and it is a free verse rendering of the ancient Sanskrit text that was written in ślokas (shlokas), which was extremely popular in India.
Online Since: 03/22/2018
The manuscript, written in modern Devanāgarī script, contains a series of extracts of poems on Rādhā and Kṛṣṇa and on nāyikās and nāyakas (heroes and heroines), demonstrating various states and stages of erotic love. Two compositions mention in their colophons the authors or compilers, Rājānāgarī Dāsa (f. 55v) and the Venerable Kuvara Phakīra Siṃha - Kubar Fakīr Singh in hindi spelling (f. 58v). The manuscript is illustrated: five pictures feature Rādhā and Kṛṣṇa (f. 1v, 10r, 26v, 33r and 37v), and two others depict young people in love (f. 52r, 52v). The poems are of different forms, namely, copaī/caupaī, dohā, aralli, and soraṭha. Each of these has a fixed number of lines, syllables per line and other metric specifications. This style was very popular in Northwestern India from about the 18th century onwards. The manuscript was the property of Oliver Henry Perkins (front pastedown), before entering the Bodmer collection at an unknown date.
Online Since: 03/22/2018
This manuscript comprises a collection of four different texts. The main text is the Bhagavadgītā ("Song of the Lord"), a part of the Mahābhārata epic, book 6, which consists of 18 chapters, written here in Devanāgarī in a Kashmiri-influenced style (f. 1v-165r). It is one of the most copied texts in the Hindu tradition and survives in a huge number of manuscripts. Painted portraits of Kṛṣṇa and Arjuna alternate in opening its 18 chapters. The Bhagavadgītā is preceded by the Prayāgatīrthasnānasaṃkalpa, apadoddhāraṇastotra (V2r-V4v),"a promise to take bath at Prayāga (Allahabad)", and followed by the Pañcavaktrahanumatkavaca (N1v-N7v), a protective mantra of Hanuman, and finally the Stavarāja (N8r-N8v), a "king of praises", serving also as a sort of colophon to the whole collection of these miscellaneous texts. These three subsidiary texts are all written in common Devanāgarī script. A partly readable note dated 29 August 1781 identifies the manuscript as a “prayer book of a bramin [i.e. brahmin]” given to the unidentified possessor of the manuscript “on his departure from India” (V1r).
Online Since: 03/22/2018
This unbound manuscript contains one of the most copied texts of the Śvetāmbara Jaina tradition, the Kalpasūtra, which was very popular all over India from the 14th century on. It is a collection of life stories of the great Tīrthaṅkāras. The present manuscript, written in Devanāgarī script, begins with the life of Mahāvīra Jīna, and continues with the biography of Pārśvanātha and Neminātha. The text is incomplete, missing folios 32, 85, 97, 103, and 125, which contained paintings that were sold separately. Their subject, however, can be restored through comparison with similar manuscripts. The paintings still in the manuscript (1v, 7r, 9v, 16v, 17v, 21r, 45v, 47v, 51r, 58r, 62v, 70r, 71v, 72v, 77v, 78r, 81v, 92r) depict the most important events of the lives of the Kalpasūtra’s figures. Based on the painting style, the manuscript is close to the 15th century.
Online Since: 03/22/2018
This is an 18th century manuscript of the text called Kedārakalpa, representing itself as a part of the Nandīpurāṇa. The manuscript describes and depicts in its 61 exquisite miniature paintings a religious pilgrimage in Himalayas, Kedarnath region, as done by a group of yogis. It is a śaiva text, i.e. main deity is god Śiva, and the main purpose of the text is to incite people to go on that sacred śaiva pilgrimage.
Online Since: 06/22/2017
This is a composite manuscript, written in Devanāgarī script bearing the influence of the Kashmiri style, bringing together a number of ritual texts dealing with the worship of Viṣṇu. 1. (ff. 1_1r-1_6r) preparatory texts and rituals (without a single name or title), starting with a likely Pāñcarātra-influenced set of ritual practices, namely, nyāsas, and dhyānas, i.e. assignment of deities, and syllables to various parts of the body and the visualisation of the main deity. 2. (ff. 1_6r-1_149v) Bhagavadgīta: the main text in this miscellaneous collection. The Bhagavadgītā ("Song of the Lord" - Viṣṇu/ Kṛṣṇa), which is a part of the Mahābhārata, book 6 from 18, is one of the most copied texts in the Hindu tradition, and this part of the Mahābhārata epic survives in a huge number of manuscripts. 3. (ff. 2_1r-2_107v) Copies of other parts of the Mahābhārata, Śāntiparvaṇ, which all are related to Viṣṇu. 4. (ff. 3_1r-6_31v) 2 parts of Pāñcarātrika Sanatkumārasaṃhitā, dealing with the praise of Viṣṇu, plus mantras including (ff. 4_1r-4_21r) Pāṇḍavagītāstotra, (ff. 5_1r-5_20v) Gopālapaṭala, (ff. 6_1r-6_23r) Gopālalaghupaddhati and other texts. 5. (ff. 7_1r-7_37v) Parts of the tantras, a. Saṃmohanatantra, dealing with the praise of Viṣṇu, i.e. Gopālasahasranāmastrotra; b. Gautamītantra, the part called Gopālastavarāja. 6. (ff. 8_1r-10_8r) Two different texts: 1. Niṃbarkakavaca, which is a production of the Nimbarka worship lineage of Vaiṣṇavas. 2. Part of ritual texts of Sāmaveda, dealing with the 5 saṃskāras, plus various vedic mantras, such as Gāyatrī, in its vaiṣṇava forms. 7. (ff. 11_1r-11_11v) Part of the Bhaviṣyotarapurāṇa dealing with the worship of the stones related to Viṣṇu from the Gaṇḍakī river (common name is shaligram). The manuscript contains 3 illuminated titles and 12 miniatures, most of which depict Kṛṣṇa. According to the colophon (ff. 11_11v-11_12r), the text was written in Kashmir, in a monastery called Ahalyamath, in 1833 Saṃvat, that is 1776 or 1777 CE, by a person called Gaṇeśa[bhaṭṭa?] Nandarāma. The second part of the colophon (partially missing), however, links the history of the manuscript to Vrindavan.
Online Since: 06/14/2018
This is a text called Guhyaṣoḍhā written by Śrīyogarāja [this honorific title means « Glorious king of yoga », and is an honorific title rather than a proper name], and it is in part based on the very ancient tantric text called the Rudrayāmal. Guhya[kālī]ṣoḍhā / Guhyaṣoḍha means a text featuring a sequence of mantras that a tāntrika would need to recite in order to "purify" himself and the mantra that precedes the recitation of the root-mantra of the deity. This text traverses the religious space at the intersection of Hinduism and Buddhism.
Online Since: 09/26/2017
This Mexican Codex, written in Nahuatl, is part of the so-called Techialoyan Manuscripts. It is from Santa María de la Asunción Tepexoyuca, near San Martín Ocoyoacac, in the Toluca Valley in the State of Mexico, Mexico. The manuscript is an altepeamatl,"Village Land Book" or tlalamatl, "Land Manuscript", which records the territorial boundaries between the village of Tepexoyuca and its neighbors and lists the toponyms of the boundary markers. The manuscript signatories are eight key town figures at the time: among them don Esteban Axayacatl, "captain", don Miguel Achcuey, "fiscale", and don Simón de Santa María, "mayordomo".
Online Since: 10/07/2013
Testeriano denotes catechism manuscripts in a pictographic script attributed to the Franciscan friar and missionary Jacobo de Testera (16th century). Writing had already developed in 12th century Central America as a mixture of ideograms, pictograms and phonetic symbols, but the original handwritten witnesses thereof were destroyed in the Spanish Conquest in the 16th century. In order to communicate with the indigenous population, Christian missionaries later adopted this writing system, but they invented many symbols since the goal was to communicate a new, Christian content. For instance, three crowned heads represent the Trinity and thus God, while two crowned heads with key and sword represent the apostles Peter and Paul. The manuscript is read from left to right across both pages; different parts are separated by decorative vertical vignettes. The manuscript contains several short prayers (among them pp. 1v-2r Persignum, 2v-4r Ave Maria, 4v-8r Credo) and a long prayer (pp. 27v-35r) which represents a repetition of the Christian doctrine.
Online Since: 06/25/2015
The comedy The Mad Day, or The Marriage of Figaro is a vivid satire of society during the Ancien Régime and of aristocratic privileges; it was first performed on April 27, 1784 and presaged the beginning of the French Revolution, which it doubtlessly helped bring about. After the fall of the monarchy in 1792, the comedy was again performed on several Parisian stages, albeit the concluding songs were modified by Beaumarchais. The final stanza of the stuttering judge Don Gusman Brid’oison, which in 1784 had concluded Tout fini-it par des chansons, was adapted to the difficulties of the period: Pour tromper sa maladie, / Il [the people] chantoit tout l’opera : / Dame ! il n’sait plus qu’ce p’tit air-là : / Ca ira, ça ira... However, after the fall of Robespierre and the Thermidorian Reaction, these words roiled young Muscadins just as the previous ones had caused the Sansculottes to react. Since the performances were disrupted by such turbulent audiences, Beaumarchais entrusted La Rochelle, the actor who performed the role of Brid’Oison, with an alternative ending that could be recited en cas de bruit (in case of noise). This variant, which remained unpublished until recently, was a praise of freedom of speech and of the sang froid de la raison (the cold blood of reason) against the stratagème (wiles) of ideological cabals.
Online Since: 06/22/2017
According to Beethoven, this is his “most accomplished work.” It celebrates the consecration of his student and sponsor, Archduke Rudolph, as Archbishop of Olomouc (Olmütz) in 1818. This mass was begun in 1818; it was completed three years after the ceremony and was presented to the cardinal and archbishop on 19 March 1823. This mass in D major seeks to express and communicate, in the words of the composer himself, a state of mind, a religious Stimmung. It is written for a large orchestra and consists of five movements (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) The sections of the Gloria, imposed by the meaning of the text, constitute a sonata: allegro in D major, Gratias in B flat and back to the allegro; then the larghetto and as a third movement the allegro, Quoniam, the fugue In gloria Dei Patris, with a cyclical return to the theme of the Gloria in the principal tone. The music comments on the text: royal acclamation, heartfelt gratitude, divine omnipotence; then, in contrast: prayers, shouts and murmurs of the supplicants of this world (miserere nobis). Purchased at Sotheby’s, London, 4 February 1952.
Online Since: 09/26/2017
At the beginning of his visiting professorship at the Reichs-Universität of Leiden, on May 5, 1920, Albert Einstein gave this lecture with the title “Ether and Relativity Theory.” This copy, in his own handwriting, contains numerous corrections and deletions. The lecture was published in the same year. Einstein later often returned to the concepts set forth in this lecture.
Online Since: 12/17/2015
Despite visible erasures, this is the completed version of this untitled text, which consists of six paragraphs on two leaves, bound in red Morocco leather. At the earliest it was written by Flaubert during his voyage to the Orient (1849-1851) with his friend Maxime du Camp, although it seems more likely to date from his return to France in 1851, the moment he dedicated his life to writing. Later know by the title Le Chant de la Courtisane, this prose poem in a humorous tone was not published by Flaubert himself. Nonetheless, it sums up his challenges as a writer: the work shows the author’s fascination with Oriental culture and landscape, which he hopes to to reproduce in a realistic manner. A journal of his voyage, which records his observations and sensations and directly feeds his fictional work. The vocabulary reveals a certain erudition and a concern for accuracy, procedures which herald Salammbô. This manuscript, from the collection of Paul Voute (who had published a facsimile thereof in 1928), was purchased by Martin Bodmer at the Blaizot bookstore.
Online Since: 06/22/2017
Mentioned in his correspondence by Flaubert as an explanatory chapter to Salammbô, this manuscript consists of 28 leaves, which are all numbered, except for the last one that contains notes regarding the gods. The manuscript is in a folder on which Flaubert noted the work’s title as well as a date, 1857, that corresponds with the beginning of the writing of Salammbô. This chapter, however, was written after 1857: it was actually conceived after an important documentation phase indispensable to the project and after a trip to Carthage. Upon his return in 1858, the writer worked on a chapter that would be “the topographical and picturesque description of the aforementioned city, with a portrayal of the people who inhabited it, including the traditional costume, government, religion, finances and commerce, etc." (Letter to J. Duplan, dated 1 July 1858). Despite a certain number of corrections and marginal additions, this is the completed version of the text, which ultimately was removed from the novel, even though information therefrom was scattered throughout the work. This chapter reveals the way the author works. He is distinguished by his encyclopedic erudition and his attention to detail, which shed light on the original challenges in the creation of Salammbô: that of reconstructing the then-lost city of Carthage. In November 1949, Martin Bodmer purchased this manuscript at the Blaizot bookstore.
Online Since: 06/22/2017
On October 25th and December 15th of 1810, Jacob Grimm sent Clemens Brentano this manuscript. It is the oldest handwritten version of the Kinder- und Hausmärchen since the Brothers Grimm systematically destroyed all the preliminary work for their edition of the fairy tales, probably in order to prevent the comparison between the handwritten versions and the later printed edition (first edition 1812), which was thoroughly revised and expressed in literary form. According to an analysis by Heinz Rölleke (Rölleke Heinz (ed.), Die älteste Märchensammlung der Brüder Grimm. Synopse der handschriftlichen Urfassung von 1810 und der Erstdrucke von 1812, Cologny-Genève 1975), 25 fairy tales were written by Jacob Grimm, 14 by Wilhelm Grimm (partly with addenda by his brother), and 7 can be attributed to four other authors. Martin Bodmer purchased this manuscript from Mary A. Benjamin, New York, in 1953.
Online Since: 12/17/2015
This poem in two stanzas of four lines each and titled “Der Frühling,” was written by Friedrich Hölderlin (1770-1843) in his own hand; at the end it is signed “Mit Unterthänigkeit Scardanelli” and dated to January 20, 1756. Hölderlin, who from about 1802 on was mentally ill, often signed his works, sometimes with invented names, among them Scardanelli, and invented dates. Another hand has corrected the given date in pencil to 1843; this suggests that the poem was created shortly before Hölderlin’s death.
Online Since: 12/17/2015
This poem in three stanzas of four lines each and titled “Der Herbst”, was written by Friedrich Hölderlin in his own hand; at the end it is dated to November 15, 1759. Hölderlin, who from about 1802 on was mentally ill, often signed his works, sometimes with invented names and invented dates. At the top of the page another hand has written „Autographie v Hölderlin“ along with the correction „Tübingen d 12 Juli 1842.“
Online Since: 12/17/2015
This poem in two stanzas of four lines each and titled “Der Winter”, was written by Friedrich Hölderlin in his own hand; at the end it is signed “Mit Unterthänigkeit Scardanelli” and dated to April 24, 1849. Hölderlin, who from about 1802 on was mentally ill, often signed his works, sometimes with invented names, among them Scardanelli, and invented dates. Another hand has corrected the given date in pencil to November 7, 1842.
Online Since: 12/17/2015
This famous poem, probably written on 6 September 1835, is part of the composite manuscript Les chants du crépuscule that was published in the same year. Hugo movingly denounces the condition of prostitutes: he actually invites the reader to sympathize with rather than despise the “fallen women”. This symbolic vocabulary, usually denoting moral depravity, is used here not to convey a fault, but to express the courage of women who long struggled against the inevitability of the burden of misery before succumbing to it. Far from a moralizing Manicheism, Hugo assigns faults generally attributed to these women also to “à toi, riche ! à ton or”, pointing a finger at the injustice of a social system lacking any distribution of wealth as well as “à nous”, each citizen whose regard is not charitable enough. This manuscript presents a slight variation of the printed text since it reads: “s’y retenir longtemps de leurs mains épuisées” instead of “s’y cramponner longtemps”.
Online Since: 09/26/2017
This unsigned poem by Victor Hugo opens with the lines „Si j’étais femme (Hélas ! que je vous plains, ô mères ! …);“ it remained unpublished until 2009. Hugo himself crossed out the original title „Impératrice“ for being too obvious. The text is addressed to the wife of Napoleon III, Eugenia de Montijo, whom Hugo reproaches for her „bigoterie“ (3r) and her „signe de croix grotesque à l’espagnole“ (1r). Thus he extends to the spouse the criticism of Napoleon III that he had already presented in the Châtiments. The date of October 11, 1869, in Hugo’s own handwriting, suggests that the text was created in Brussels, where Hugo lived in exile since the coup of December 2, 1851.
Online Since: 12/17/2015
The sixteen verses making up this passage are the sixth and last part of the poem "Dans l'église de ***”, included in the composite manuscript Les chants du crépuscule of 1835. Several themes are interwoven in this poem, which contrasts the probity of a woman praying in the middle of an abandoned church with the city’s hedonists, nihilists hurling themselves "d'ivresses en ivresses”. Hugo surprises this pure soul in the midst of adversity, invoking the help of the Lord to save her from overwhelming sadness. In this last part (VI), the writer increases his Christian support (Votre âme qui bientôt fuira peut-être ailleurs / Vers les régions pures, / Et vous emportera plus loin que nos douleurs, Plus loin que nos murmures !) with an angelic and serene quatrain: Soyez comme l'oiseau, posé pour un instant / Sur des rameaux trop frêles, / Qui sent ployer la branche et qui chante pourtant, / Sachant qu'il a des ailes !
Online Since: 09/26/2017
Around the 1820s, Lamartine undertook an ambitious poetic work: Les Visions. Although several fragments thereof were used in Jocely (1836) or in La Chute d’un ange (1838), most of these verses remained unpublished for 30 years, with the poet tirelessly reworking, changing and correcting them until the final publication in 1851. This autograph of Song II contains a passage of ten verses that ultimately were not published (ellipsis marks the place in the original edition).
Online Since: 12/17/2015
In this letter to his young partner William H. Herndon (1818-1891), who had remained in Chicago as head of their joint law office, Lincoln, who is about to lose his seat in Congress as a Representative of the Whig Party, offers a lesson in political philosophy. Exhausted by months of political battles against the Mexican-American War and hurt by "exceedingly painful" statements by his friend (whom he describes as "a laborious, studious young man"), the future American President presents his "so Lincolnian" advice: "The way for a young man to rise is to improve himself every way he can, never suspecting that any body wishes to hinder him."
Online Since: 09/26/2017
While Cardinal Richelieu was besieging La Rochelle by land and by sea from September 1627 on, the poet François de Malherbe, who was very close to the government, reported on the royal council’s decisions and orientation in order to appease the concerns of his Norman cousin. In Malherbe’s opinion, there is no cause for concern: the King of England is no more than a second-rate monarch, militarily not on a par with France and not able to support the Huguenots of La Rochelle. As to the threat posed by the Reformed, Malherbe judges them to be near the end: "la Huguenoterie court fortune par toute l’Europe d’estre voisine de sa fin."
Online Since: 09/26/2017
With his six novels and his famous collections of over 300 short stories, Guy de Maupassant (1850-1893) has earned a place among the most important French writers of the end of the 19th century. He presented an often unvarnished picture of provincial as well as Parisian society of his time. This is the case in the present story, the only one to have had a separate original edition preceding its publication in the collection of the same name. This manuscript was used for the first printing of the text, which was originally published on June 15, 1887 in La Nouvelle Revue. It contains numerous corrections and deletions (which bear witness to the creation of the story), as well as slight variations in comparison with the version published in the volume of March 28, 1888.
Online Since: 12/17/2015
Michelangelo (1475-1564) addressed this sonnet and his dedication to one of his closest friends, the poet Vittoria Colonna (1492-1547), marchesa of Pescara. Although the painter often was very sparing in his use of paper, for these few lines he used a large and beautiful in-folio sheet, folded and glued together (to add more thickness). Writing in a humanist script close to calligraphy, he showed particular care for the layout, using line spacing and indentations to reinforce the customary architecture of the sonetto. His tone is very respectful: Michelangelo greets not only a friend, but also a lady who is part of high society and who has given him a valuable gift. This gift, which was to take its beneficiary "in paradiso”, must have been a manuscript of the Sonetti spirituali of the poet (who in general was very discreet and only rarely showed her verses).
Online Since: 12/17/2015
Following enlightenment philosophers, liberal thinkers - which include Mill - considered freedom of speech a fundamental human right. In this small autograph, with embossed monogram "JSM", consisting of three folios intended for dispatch, the philosopher copies a passage of his famous "On Liberty" from 1869, taken from chapter II: "Of the Liberty of Thought and Discussion." Mill emphasizes that humankind no more has the right to silence a single opinion than it has the right to silence all of humankind, if it had the power to do so. Before it became the property of Martin Bodmer, this letter had been purchased by the author Stefan Zweig in 1923.
Online Since: 06/22/2017
During his exile on St. Helena, Napoleon (1769-1821) availed himself of a library of 3,000 books — a poor remedy for boredom. Nevertheless, the deposed emperor found pleasure in reading and annotating ancient and modern classics. As a theater enthusiast, he read aloud Voltaire’s La Mort de César to his entourage several times. He decided to write his own play on the same subject; this manuscript in Napoleon’s own handwriting presents a quick sketch of the first two scenes. On page 3, tired of his subject, the emperor covers the page with strategic and military calculations, having frigates engage with regiments and artillery.
Online Since: 12/17/2015
This autograph by Arthur Rimbaud (1854-1891) contains a fragment of a poem. Written on the recto side of a page are three sections numbered with Roman numerals from II to IV and, with the exception of the last one (IV), titled. Although the text is written in prose, the designation “sonnet” (II) could be due to the form of the excerpt in question, which is presented in 14 lines. The first section contains the sign +, which is difficult to interpret and which gives the impression that Rimbaud had planned to rework it. The numbering suggests that these three sections form a homogeneous whole together with the section Dimanche (I, BNF manuscript), thus constituting the poem Jeunesse. One can see inscriptions by other hands from after 1886: the annotation Illuminations in the upper left corner deliberately refers to the collection of poems with that same title, which was originally published in 1886. The poem Jeunesse, which consists of four stanzas, was first published by Vanier in 1895, after the Poésies complètes, as a complement to the Illuminations.
Online Since: 09/26/2017
The Lettres écrites de la montagne are the last work that was published during Rousseau’s lifetime. For the first time, the philosopher becomes directly involved in the affairs of Geneva. Beyond fundamental proposals, the letters contain further developed thoughts on the spirit of the Reformation as well as a defense of the Contrat Social. Letter VII, where this page comes from, supports the right of representation when it comes to correcting abuses of the Small Council, and it recommends that citizens convened in the General Council reject all new elections of magistrates if these should insist upon overstepping the rights given them by the Constitution. The Lettres were censored in Geneva as well as in Paris. This document is from the collection of Ch. Vellay (purchased by Martin Bodmer in 1926) and contains a draft of two passages from the Lettres. The first of these was published in the original edition (Amsterdam, M. M. Rey, 1764), the second in the edition of the Œuvres complètes of the Bibliothèque de la Pléiade.
Online Since: 06/22/2017
The Mémoire présenté à M. de Mably sur l’éducation de M. son fils is Rousseau’s first writing related to his experience as an educator. In 1740 he took up a difficult position as tutor in the family of the notable Jean Bonnot de Mably, provost general of police in the Lyon region. This position came to an end after only one year. Two young children with little inclination to study had been entrusted to his care: François-Paul-Marie Bonnot de Mably, called Monsieur de Sainte-Marie, five and a half years old, and Jean-Antoine Bonnot de Mably, called Monsieur de Condillac, four and a half years old. The long Mémoire, dedicated to the older boy, emphasizes the “educational mission” and experience with practical education: it is presented as a plan and a synthesis; its writing has been dated around December 1740. The young tutor addresses M. de Mably and makes known to him the plan and structure for the education of his son in order to shape “the heart, the judgment and the spirit.” This is not the natural education, which later on will be advocated in ’Émile. Did Rousseau really present this Mémoire to M. de Mably? Known is only that he gave this manuscript of the Mémoire to Mme Dupin, his employer in 1743, and that since then it has been kept with the “Papers of Mme Dupin.” It was published for the first time in Paris in 1884 by G. de Villeneuve-Guibert in Le portefeuille de Madame Dupin. The Fondation Bodmer’s manuscript is the only one in existence. A Projet d’éducation, much shorter, more clearly structured and of unknown date, was found among Rousseau’s papers at the time of his death (this manuscript, now lost, was first published in Geneva in 1782). It is very similar to the Mémoire and seems to have been written
Online Since: 06/23/2016
This "paperolle" from the famous "Code Gonzague" (held in the Biblioteca Ariostea of Ferrara) is a working copy for a passage that was added to Tasso’s great work, completed the previous year. The poet had submitted his original work to various humanists and high-ranking scholars, and he took into consideration certain critiques and suggestions when editing his verses during the summer of 1576. Several stanzas were profoundly revised or even completely rewritten. Stanza 42 was one of the most reworked, to the point that Tasso had to paste this small strip of paper with the definitive version of the text into the manuscript. The text describes the attitude and thoughts of the Muslim princess Armide, who gets ready to harangue the caliph and his armies and incite them to fight to the death with the crusaders and thus to take revenge on the Christian hero Rinaldo, who had abandoned her.
Online Since: 06/22/2017
Felix Lope de Vega y Carpio (1562-1635), author of many comedias de santos, finished this Historia de Barlán y Josafat, comedia in three acts and in verse at home „En Madrid a primero de febrero de 1611.“ This complete manuscript contains numerous corrections and revisions by the author. This story of a conversion is more than an authentic Christian legend (then attributed to Saint John of Damascus) — it is above all a Christianized story. In the prince, who first gives up his palace in order to learn about the plagues of the world and then leaves his throne for the meditative life of an ascetic, one certainly recognizes Buddha. The edifying Christian story, set at the banks of the Ganges, is nothing other than an adaptation of Vie du Bodhisattva, a 2nd-4th century Sanskrit text, which over centuries was translated and adapted first by the Manichaeans, then by the Arabs, Georgians and Byzantines, until it finally reached the far distant people of the Western World: Lope de Vega’s work thus (without the author’s having been aware of this) is part of one of the most impressive chains of intellectual transmission in history.
Online Since: 12/17/2015
This parchment booklet from the parish archives of Dalpe (Leventina) contains the story of the suffering of St. Placidus of Disentis. Although the text is not complete, it contains a passage about the saint’s martyrdom, which is not included in the text’s principal manuscript held at the Zentralbibliothek of Zurich (Ms. Rh. 5). The community of Dalpe probably obtained this Passio so they could celebrate a yearly mass in honor of the saint in the new village chapel. The chapel had originally been dedicated to the Mary, but, as attested by documented sources, the patronage changed between 1370 and 1426, and the chapel was dedicated to St. Placidus.
Online Since: 09/23/2014
This register, consisting of 275 leaves, contains the coats of arms of the canons of the diocese of Basel, from the election of Bishop Christoph von Utenheim in 1502 to the last prince-bishop, Franz Xaver von Neveu in 1794. Over three centuries, painters added to these parchment sheets over 2,300 coats of arms in color. From 1682 on, complete family trees appeared, which proved that the church dignitaries had the requisite sixteen quarters of nobility (sixteen noble ancestors in the generation of the great-great-grandparents).
Online Since: 10/08/2020
This manuscript contains two dramas from the Upper Engadine Histoargia dalg arik huͦm et da lazarus, ff. 1a-18b, completed 1591, and La Histoargia da Joseph (…), ff. 19a-38b, to which the scribe Jacob or Jachiam Ger added the date 1593 several times. He continued his work with a copy of the drama La Histoargia da las dysch Æteds “history of the ten centuries“ (f. 40a-f. 42b), of which only the beginning has survived (verses 1-157). This is the oldest surviving text of the Histoargia dalg arik huͦm et da lazarus.
Online Since: 03/22/2018
This manuscript contains five dramas from the Upper Engadin [La histoargia dalg filg pertz] f. 1a-36a (the beginning is missing, only surviving textual witness); üna historgia da hechastus f. 36a-78b (only surviving textual witness); [La histoargia da Joseph], f. 79b-99a; Vna bela senchia historgia da questa sainchia duonna süsanna (…) f. 100a-136b (oldest manuscript of this text), VNA BELA HISTORGIA dauart la Mur dalg Cchiaualÿr valantin et Eaglantina filgia dalg Araig Papin, f. 137a-164a (only surviving textual witness); f. 164b fragment of a song: Baruns ludat ilg Signer (= Chiampell, Psalm 29). The scribe of this manuscript is Peder Traviers (in various forms). The dating of the individual parts is based on indications by the scribe, which are usually found at the end of the piece.
Online Since: 03/22/2018
This manuscript contains the translation into Romansh of “Jerusalemer Reise“ (Journey to Jerusalem) by the parish priest and later abbot of Disentis, Jacob Bundi (pp.1-122); this is the oldest of the about 25 manuscripts of this translation from 1701 known so far. Following an originally blank page, there is a page with a German alphabet (p. 124), then 88 paginated pages in German script with instructions on planting various plants. According to the end page (p. 212), this is a copy of a work that was “Getruckt zu Cölln / Bey Heinrich Netessem (= Nettesheim) / in Margarden gaßen Im/ Jahr 1601. Geschriben im Jahr 1719 / den 5. Martij / P.C. Berchter“.
Online Since: 03/22/2018
A copy of the four Gospels with commentaries by Jerome, produced in the Abbey of St. Gall during the 10th century (before 950).
Online Since: 07/31/2009
Commentary on the first 70 Psalms by Adelpertus and, at the end, a selection of proverbs by church fathers, written in a pre-Carolingian minuscule at the end of the 9th century, probaby in Northern Italy. The two missing pages at the end are part of the fragment collection Einsiedeln, Abbey Library (Stiftsbibliothek), 370, IV, Bl. 18-19.
Online Since: 12/13/2013
The manuscript consists of two parts and contains various ascetic texts. The first part (1-24) was written by various unskilled hands in a Rhaetian-influenced minuscule which can be dated to the 8th/9th century and localized in a scriptorium in northern Italy or in Switzerland. The second part (25-140) is dated to the second third of the 9th century.
Online Since: 04/23/2013
This volume contains a number of tracts by anonymous authors as well as extracts from works of textual criticism treating individual books of the Old and New Testaments. Specifically worth naming are: Guilelmus Brito (died ca. 1275), Johannes de Colonia (13th century) and Guilelmus de Mara Lamara (1230-ca. 1290). The content is of Franciscan authorship, suggesting that the manuscript was produced in a Minorite cloister.
Online Since: 11/04/2010
A composite manuscript written in the 9th, 10th and 14th centuries, probably in Einsiedeln or southwestern Germany. It contains, among other things, glosses on the Gospels, the Annales Heremi from the birth of Christ to the year 940, and various astronomical treatises, including the Sphaera by John of Sacrobosco and the Computus by Helpericus of Auxerre.
Online Since: 12/19/2011
A composite manuscript consisting of sections from three datable periods, the first from the 10th century, the other two from the 12th century. The first part (1-222) contains glosses on Priscian, the second (223-310) a collection of medical tracts assembled by Constantinus Africanus, the third part (311-357) contains the Liber Tegni by Galen (129/131-199/201).
Online Since: 12/19/2011
The content consists mostly of an anonymous commentary on the Gospel of Matthew attributed to Geoffrey Babion, together with other short texts, not all of which have been identified. The manuscript probably originated in Einsiedeln, certainly it has been there since the 14th century as attested by various annotations and marks by Heinrich von Ligerz.
Online Since: 09/23/2014
Commentary on the first eight epistles of Paul. This is a copy of a (lost) exemplar which, according to tradition, was written before 945 by Abbot Thietland († around 964). The text depends to a great degree upon the Pauline commentary of Bishop Atto of Vercelli (885-961).
Online Since: 12/20/2012
Lectionary, produced in the Abbey of St. Gall during the 10th century (before 950). It may have been presented by St. Gall to Einsiedeln on the occasion of the consecration of the church at Einsiedeln in 948, together with Codex 17.
Online Since: 07/31/2009
Composite manuscript consisting of two parts, which were joined in the 14th century at the latest, as confirmed by the dating of the binding. The first part (1-85) contains Alcuin’s commentary on Genesis and is dated to the second third of the 9th century; some researchers localize this manuscript in western Germany, others in Raetia. The second part (87-191)contains the Partitiones by the grammarian Priscian and was written in the second half of the 10th century in Einsiedeln. A letter, sent by Heinrich II. von Güttingen, Abbot of Einsiedeln (1280 to 1299), to the vice-chaplain of the parish church of St. Peter and Paul on the island Ufenau, is copied onto the last page.
Online Since: 04/23/2013
This codex can be dated to the 10th century; it contains the Musica enchiriadis (2-27), a 9th century music theory treatise which endeavors to develop a series of rules for polyphonic composition, as well as annotations to the commentary Scolica enchiriadis (27-45, 66-102). Dasian notation is used in order to graphically illustrate the music. For a long time, this treatise was attributed to the monk Hucbald, but today it is considered the work of an anonymous author.
Online Since: 03/22/2017
Cod. 83 is a complete breviary consisting of the following parts: calendar, antiphonary with neume notation, lectionary with biblical readings, homilary containing interpretations by the Church Fathers, hymnal, canticles from the Old and New Testaments, psalter, brief readings, prayers, preces and benedictions. Of special note is the oldest version of the Meinrad Office known to us, which is still used today. The melodies used in the antiphonary belong to the Alemanic choral dialect, still sung in the same form in Einsiedeln in the liturgy of the hours.
Online Since: 11/04/2010
This manuscript produced at the Abbey of St. Gall during the second half of the 11th century contains a copy of De ecclesiasticis officiis Lib. I et II by Amalarius (Metensis), from which some chapters are missing. The continuation, with the missing text, is found in Cod. 110, which was also produced in St. Gall.
Online Since: 07/31/2009
A manuscript of collected works, including the Ordines Romani and the works of Amalarius (Metensis). The content of this codex is nearly identical to that of Abbey Library of St. Gall Cod. Sang. 446, indicating that this copy, made in the second half of the 11th century, is of St. Gallen origin.
Online Since: 07/31/2009
This manuscript contains a martyrology (pp. 1-28), the Rule of Saint Benedict (pp. 28-83) and a homiliary (pp. 84-126). It was written by two scribes in a late Carolingian minuscule and contains two initials decorated with plant branches drawn in ink. In the 13th century, a document about the confraternity of Einsiedeln Abbey and St. Blaise Abbey in the Black Forest was added to a blank area at the end of the text of the Rule of Saint Benedict (p. 83).
Online Since: 03/17/2016
This Codex comprises the oldest complete surviving neumed mass antiphonary; it includes assorted appendices (such as Alleluia verses, Antiphons and Psalm verses for the Communion Antiphons). Because the mass antiphonary is complete, the manuscript remains important to this day as a resource for Gregorian chant research. The second part of the codex contains the Libyer Ymnorum, the Sequences of Notker of St. Gall. Recent research has established that the codex was written in Einsiedeln itself (in about 960-970), most likely for the third abbot of the cloister, Gregor the Englishman.
Online Since: 03/31/2011
This manuscript contains Jerome’s commentary on Matthew; it was written in Carolingian minuscule by the scribe Subo, who signed at the end of the text (p. 267) as well as on the last page (p. 268), which today, as the inside back page, is glued to the cover. The style of the initials indicates the Rhaetian area, whereas the scribe Subo is attested at Disentis Abbey. The manuscript has been in Einsiedeln since at least the 17th century, as shown by an ex libris on page 1.
Online Since: 04/09/2014
This composite manuscript contains among others the De viris illustribus by Jerome and the De viris illustribus by Gennadius, the Deflorata by Isidore of Seville and, at the very end, the Tractatus de VII sacramentis, which was only added in the 12th/13th century. The 14th century binding is probably from Einsiedeln; certainly the manuscript was in the monastery library in the 17th century, as attested by the ex libris on p. 1.
Online Since: 04/09/2014
The first part of this manuscript (pp. 2-261) contains the Gospel of Matthew by Jerome and a sermon attributed to Isidore of Seville (pp. 261-262), while the second part (pp. 263-378) contains a copy of the Expositio quattuor evangeliorum by Pseudo-Jerome. Various scribes wrote this manuscript in a pre-Carolingian minuscule which may show characteristics of Raetian script. The influence of the Raetian script can clearly be seen in several initials (p. 2, 5, 62).
Online Since: 09/23/2014
This 10th century manuscript of Reichenau origin contains epigrams by Prosper of Aquitaine as well as the "De consolatione philosophiae" by Boethius.
Online Since: 07/31/2009
This manuscript contains Gregory the Great’s Moralia in Job. It is assumed the manuscript originated in Disentis, since its Carolingian minuscule is very similar to that of manuscript 126, written by the scribe Subo of Disentis. Therefore this manuscript, too, should be dated to the first third of the 9th century. The manuscript has been held at Einsiedeln since the 17th century, as attested by an ex libris on p. 3.
Online Since: 04/09/2014
This manuscript contains the homilies of Gregory the Great on the prophet Ezekiel. It is written by various hands in a minucule which in general is close to the Raetian minuscule. Some researchers attribute the manuscript to a Swiss or Raetian scriptorium. A part of pages 204 and 206 and the entire page 214 are written in uncial script. The mansucript contains numerous initials with geometric and vegetal elements, similar in style to the Remedius-Sacramentary (Cod. Sang. 348). The maniculae by Heinrich von Ligerz confirm that the manuscript was in Einsiedeln in the 14th century already.
Online Since: 04/23/2013