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. (ber)

Online Since: 03/22/2017

A 12th century manuscript (1170-1190), probably copied in Switzerland (Einsiedeln?) or in Austria. It contains the introduction In prima parte agitur (fol. 1r-7ra) and the Decretum by Gratian [Σ-group, cf. C. Wei, A Discussion and List of Manuscripts Belonging to the Σ-group (S-group)] (fol. 7ra-217va); an additio (from fol. 167vb to C.29: Adrianus papa Eberhardo Salzeburgensi archiepiscopo. 'Dignum est et a rationis... [JL 10445: 1154-59]); various excerpts of glosses (scraped on fol. 21a) and excerpta of the Summa by Rufinus (cf. R. Weigand, Die Glossen zum Dekret Gratians. Studien zu den frühen Glossen und Glossenkompositionen, Roma 1991, pp. 737-740); fragments of the Glossa Ordinaria by Bartholomaeus Brixiensis (France, middle of the 13th century) were copied onto the erasures on fol. 6va-9va. (mur)

Online Since: 03/22/2017

This manuscript, together with Cod. 247(379), 248(380) and 249(381), constitutes the four volumes of a collection of lives of the saints and passions of the martyrs, arranged according to the liturgical year. Without a doubt these four volumes were used in Einsiedeln, where most likely they also were produced. Each life is introduced with a large rubricated initial, and numerous glosses and maniculae by Heinrich von Ligerz were inserted along the margins. The original endpapers, now removed, left traces of a liturgical text with neumes on the inside of the cover and traces of an illuminated initial on the inside of the back cover. (ber)

Online Since: 03/22/2017

Boethius is the author of the two treatises preserved in this 10th century manuscript: De geometria (1-22) and De musica (23-145). The two texts are surrounded by numerous sketches and marginal as well as interlinear glosses. (ber)

Online Since: 03/22/2017

This manuscript contains several works by Prudentius and was written by various scribes. The test is surrounded by mostly interlinear glosses; most of these are in Latin, some are in Alemannic dialect. (ber)

Online Since: 03/22/2017

This manuscript was produced in the Convent of Dominican Sisters of St. Verena in Zurich in 1449. In addition to the life of Benedict following Gregory’s Dialogi, in a unique translation that seems to exist only in this codex (according to Werner Williams-Krapp), the manuscript contains translations of three more legends of 13th century Dominican saints. These as well are attested only in this codex, have practically never been studied, and have not even been edited. First there is one of three versions of the translation of the Vita S. Dominici by Dietrich of Apolda; then there is the translation of Thomas Agno de Lentino's Legenda maior about the Inquisitor Peter of Milan (also know as Peter Martyr or Peter of Verona), who was killed in 1252; attached to this is the bull of his canonization issued by Pope Innocent IV in 1253. It is noteworthy that the translation of the bull also contains a legend of Peter which, according to Regina D. Schiewer, is independent of the one by Thomas Agno. If the translations of these legends into Alemannic that are contained in Cod. 671 were in fact created around 1300, as assumed by Schwierer, then the (abbreviated?) version of the translation of the life of Dominic contained in Cod. 671 would constitute the earliest proof of the presence of the revelations of Mechthild of Magdeburg in Southwestern Germany, as the final chapter of the fifth book of the life of Dominic (cf. fol. 80v-82r) is based on excerpts from the Latin translation of Das Fließende Licht der Gottheit. (nem)

Online Since: 03/22/2017

This manuscript, which consists of only 28 leaves and which contains a part of a missal for the Ambrosian Rite, comes from the Oratory of St. Bernardino in Faido (Ticino); under the patronage of the Varesi family, this chapel was newly consecrated in the 15th century (probably 1459). The manuscript was donated to the Oratory by the Varesi family, possibly for this occasion, in order to allow the celebration of the Holy Mass. A quire containing the mass for the patron saint St. Bernardino (20-25) was added to the first quires (1-12, 16-19), as well as the loose leaf with two miniatures representing the Maiestas domini and the crucifixion. The script, a Gothic rotunda of the Italian type, contrasts with the miniatures which show a certain relationship to contemporaneous colored engravings of German origin. (ber)

Online Since: 06/13/2019

This finely painted illustration, executed in vibrant and colorful opaque colors, has been cut out. It depicts the Presentation of Jesus in the Temple as described in the Gospel of Luke. Mary and Joseph bring the infant to the old prophet Simeon in order to receive his blessing. One of the two women behind Mary holds two doves in her right hand, which are to be sacrificed according to the requirements. In her left hand the woman carries burning candles, which indicate the feast to which this event is dedicated, i.e. Candlemas. Below Jesus, three small kneeling figures are praying: a Dominican nun and the donor couple. The scene is inserted into an N-initial decorated with scroll ornamentation at the beginning of the Canticle of Simeon for the feast of Mary: Nunc dimittis, domine, servum tuum in pace (Lord, now let your servant depart in peace, according to your word). The words visible at the top Intercede pro nobis (Pray for us [Holy Mother of God]) follow at the end of the song. An excerpt from the liturgical antiphon with the text Postquam impleti sunt dies purgationis (When the days of purification were completed) is preserved on the back. This fragment was purchased at auction at Sotheby's in London by the Canton of Thurgau in 1978; it came from the collection of Robert von Hirsch of Basel (1883–1977). (sue)

Online Since: 12/12/2019

This miniature was cut from a deluxe manuscript. The Annunciation of the Lord, depicted in the initial M-of the text Missus est Gabriel (Gabriel was sent), is celebrated on March 25. The Archangel Gabriel and Mary face each other in a vertically rectangular, geometrically designed border, each framed by an arch of the M. Gabriel holds a banderole with his greeting to the listening Mary AVE GRACIA PLENA (Hail Mary, full of grace). The side pillars of the letter M lead down into palmette leaves, which have been carefully cut out and thus protrude into the area surrounding the miniature. Above the palm leaves on the right there are red note lines and a single note. This illustration is from a particularly large-format book, an illustration of high painterly quality with light opaque colors in pink, green and blue tones, which are finely graded. The musical text on the back can be assigned to verses 2.2, 4.11 and 4.13 of the Song of Songs. This leaf comes from the same chorale manuscript as the miniature with the representation of the "Death of the Virgin". Both leaves show stations from the cycle of The Life of the Virgin, with T09393 illustrating the first stage and T 9394 the last. Stylistically they can be placed alongside three leaves from the collection de Bastard d'Estang in the Bibliothèque nationale de France in Paris (AD 152G, PL 842-3, AD 150H, PL 51). In 1994, the canton of Thurgau commercially acquired both fragments in Paris. Previously, they had been privately held in Switzerland. (sue)

Online Since: 12/12/2019

This particularly large-format book illustration was cut from a deluxe manuscript. In the initial V-to the text Vidi speciosam on the occasion of the feast of the Assumption on August 15, the Blessed Mother lies on her deathbed, surrounded by three apostles and Jesus, who receives her soul in the form of a small female figure. A vertically rectangular frame with a repeating geometric pattern surrounds the scene. Three branches with leaves and rosettes that are trimmed back grow from the left side of the initial V. The painting in tones of bright blue and red is of high quality. The lyrics on the back are taken from Bible verses 26 to 32 of Lectio prima from the Gospel of Luke. The leaf is from the same chorale manuscript as miniature with the representation of the "Annunciation to Mary". Both leaves show stations from the cycle of The Life of the Virgin, with T 9393 illustrating the first stage and T 9394 the last. Stylistically they can be placed alongside three leaves from the collection de Bastard d'Estang in the Bibliothèque nationale de France in Paris (AD 152G, PL 842-3, AD 150H, PL 51). In 1994, the canton of Thurgau commercially acquired both fragments in Paris. Previously, they had been privately held in Switzerland (sue)

Online Since: 12/12/2019

Fragment of a leaf from a chorale manuscript. Two rectangular illustrations, arranged one above the other on the left side of the picture, show two stations from the life of  Catherine: In the upper picture she denies obedience to the emperor and turns her attention only to Jesus. The picture below depicts the spiritual relationship of courtly love (Minne) between Catherine and Christ. The rest of the parchment leaf as well as the back side contain liturgical text consisting of musical notation and song lyrics. Below a red staff with black notes is the corresponding line of text. The illustrations were created in a book painting workshop in which the gradual from the Convent of Dominican nuns St. Katharinental was also made (Swiss National Museum Inv. LM 26117 / Historical Museum Thurgau Inv. T 41401). The two miniatures can be attributed to the same hand as the group of figures underneath the Initial on fol. 179v in the gradual. Fragile figures with lively gestures, refined drawing of the faces, subdued colors as well as joy in pictorial narration with original picture elements distinguish this illuminator. This leaf was acquired by the Historical Museum Thurgau in 2011 at an auction in Zurich. (sue)

Online Since: 12/12/2019

This processional (from the Latin processio, 'to advance' and referring to processions inside and outside the church), containing the order of the procession as well as the chants and texts to be recited during processions, consists of two codicological parts. The first part is from the last quarter of the 15th century and contains chants and prayers for the entire liturgical year; it is decorated with seven multicolor illuminated initials depicting scenes from the Gospels. The sections to be sung have square notation in black. While the first part presumably was not created in and for the convent of St. Katharinental (TG), the second part names the stations and the relics that are carried; thus it is meant for the processions of the Dominican convent. (sol)

Online Since: 03/19/2020

This manuscript was written by Heinricus Tierli (probably identical with Heinricus Tierlin, conductor in Schuttern and procurator in Freiburg im Breisgau); by means of the Explicit (f. 278vb), it can be dated to June 21, 1407. The main text (ff. 1r-278v) is introduced with Incipit Collectorium Bertrucii in parte practica medicine [...] (ff. V1r-V14r). This is followed by: Tabula primi libri (ff. V14r-V14v), Tituli secunde sectionis (ff. V14v-V15r), Tituli tercie sectionis (ff. V15r-V15v) and Tituli quarto sectionis (f. V15v). The title and text headings are in red, and individual initials are in in blue or red. The manuscript has a contemporary leather binding, metal clasps and a spine restored in 1978. A trimmed medieval document (see rear pastedown) was bound in. There are the following ownership notes: Hic liber pertinet Leonhardo hemerly de constancia (fol. 278vb), Sum Bernhardi Stoppelij M[edicinae] Doctoris (in a 17th century hand, f. V1r) and Magister petrus hemmerlis (original, no longer existing, front pastedown). (glo)

Online Since: 12/10/2020

This single-column manuscript, created in the second half of the 15th century, was very carefully written by a scribe in a humanistic minuscule. The work contains two texts by Cardinal Nicholas of Cusa (1401-1464), Cribratio Alcorani (ff. 1r-70r) and Contra Bohemos (ff. 70v-90r). With Cribratio Alcorani he attempted a precise philological and historical investigation of the Koran, and in Contra Bohemos he dealt with Hussitism. The title page (f. 1r) is decorated with bianchi girari (white vine scrolls). Two medallions with coats of arms are integrated in the border. The coats of arms show a white lion on a blue background and are crowned with the papal insignia. The coat of arms can be attributed to Pope Paul II. (Pietro Barbo, 1464-1471), which shows that the manuscript was made by order of the pope or at least during his papacy. Initials at the beginning of each chapter are golden with a background in blue and green. Individual initials are emphasized more strongly and one is decorated with white vine scroll, corresponding to the title page. The binding of the manuscript, richly decorated with plant ornaments, medallions and depictions of saints, dates from the 16th century. The central medallion on the front shows Mary with the infant Jesus. (glo)

Online Since: 12/10/2020

The prayer book was written in 1475 (f. 217v). The place of origin is unknown. The text begins with the incipit Diss büchlin ist von anis und zwantzig festen und von sextechen hochziten die durch das gantz jahr begangen werdent [...] (f. 1r). The initials and the incipit are highlighted in red. Otherwise, the text appears unadorned and was written in brown ink by one main hand in one column. Bound into the center of many quires are reinforcing strips from a 14th century missal (written in textualis). The leather binding, which was created at the same time as the manuscript, is decorated with diagonally arranged decorative lines and ornamental stamps. (glo)

Online Since: 12/10/2020

This single-column manuscript was written in a meticulous 14th century hand. The volume contains Omelie (homilies, ff. 1r-103r), Dialogi (dialogues, ff. 103v-170r) and the Liber pastoralis (ff. 172r-219v) by Pope Gregory I (542-604). The headings are written in red, and the manuscript contains red decorated initials on f. 103v and 172r. Furthermore, the main text of the manuscript is supplemented with various annotations by a somewhat later hand. The manuscript can be dated by means of various entries on f. 103r The main hand wrote Expliciunt omelie sancti Gregorij pape. Anno Nonagesimo. Two other hands noted domini 130° above the main text and 1390 next to it. On f. 219v the main hand also wrote Explicit Pastorale beati Gregorij pape Etc. Anno Millesimo ccc°. Nonagesimo primo. Finitus est liber iste in die s. Benedicti. The same page has a first ownership note Iste liber est domus throni sancte trinitatis in pletriach, which refers to the Carthusian monastery Pletriach in Slovenia. This volume came to the Thurgau Cantonal Library via the Ittingen Charterhouse (18th century ownership note on f. 1r). The white plate binding with two clasps dates from 1553 (dating can be found in the motif of Esaia). Just like manuscript Y 39, this binding also has plant ornaments and images of saints. (glo)

Online Since: 12/10/2020

This 1394 composite manuscript contains an excerpt of the Super libros sapientie (ff. 1r-192r) by Robert Holcot (ca. 1290-1349). Folio 1r has a note of ownership Jste liber est h. wahter prespiteri et detur filijs fratris mei (et johanni . heinrici by another hand) in remedium anime mee, which names Heinrich Wachter (priest) as the owner. This single-column manuscript was written in a cursive script by two different hands. Folios 1r-86v can unequivocally be attributed to Heinrich Wachter. Folios 87r-192r were written by an unknown second hand. The rest of the volume can also be ascribed, albeit not entirely unambiguously, to the two hands mentioned above. The pastedowns, the flyleaves and the reinforcing strips are from a register of names, perhaps from a chancellery. The wood-leather binding is contemporary. (glo)

Online Since: 12/10/2020

The "Schwesternbuch" (sister-book) of St. Katharinental was written in Katharinental near Diessenhofen in the first third of the 15th century. It belongs to the genre of monastic vitae literature and contains the life stories and the experiences of grace of 58 residents of the convent. The cover was inscribed by Antonia Bögin or Botzin (archivist, † 1763) from Kaufbeuren as follows: Lebensbeschreibung viler in allhiessigem gottshauss heylig-mässig gelebter closter-jungfrawen. The table of contents on the front pastedown, the chapter headings with the names of the St. Katharinental nuns mentioned in the book, and an enumeration of the nuns' vitae in the margins of the sheets are in a later hand. The two-column manuscript was written by two different hands. The main hand (pp. 1a-144a) wrote the lives of the nuns and a prayer. Another prayer (pp. 144b-154a) was written by the second hand. The parchment binding with fastening straps dates from the 18th century. The front flyleaf also contains a note of ownership: diss buoch ist schwester Margreten von Ulm († 1583) closterfrow in Sankt Kattrinen thal by Diessenhofen. For the year 1720, Sister Antonia is presumably registered on p. 104 as the new owner of the sister book. (glo)

Online Since: 12/10/2020

In contrast to other chronicles by Heinrich Murer (1588-1638, from 1614 on a Conventual at the Carthusian Monastery of Ittingen), this entirely chronicle of Hauterive Abbey (FR) is not by Murer’s hand, but was probably only commissioned by the monk from Ittingen to be created at Hauterive Abbey. Regarding the content, the manuscript consists of two parts: the history of the monastery and a list of ecclesial events. The former begins with Abbot Girard (1138-1157) and ends with Abbot Petrus (end of the 16th century); the latter pertains to the years between 1500 and 1510. (sol)

Online Since: 06/22/2017

Chronicle of the Dominican Monastery of Basel and of the Convent of Maria Magdalena OP in Basel by Heinrich Murer (1588-1638, from 1614 on a Conventual at the Carthusian Monastery of Ittingen). The manuscript is divided into the chronicle of the Dominican Monastery and the chronicle of the Convent in Basel. In the first part, Murer describes the building of the Dominican Monastery in 1233 and the development of the diocese of Basel from the 13th to the 15th century. In the second part, Murer turns to the establishment of the convent in the 11th century and its reconstruction in 1253, as well as other ecclesial events until 1465. (sol)

Online Since: 06/22/2017