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First volume (Temporale) of the two-volume gradual with liturgical songs that Abbot Laurentius of Heidegg from Muri Abbey purchased from the convent of canonesses at Säckingen in 1532, after the furnishings of Muri Abbey, along with the liturgical books, were destroyed in the Second War of Kappel. The abbot had the large pen-flourish initial at the beginning painted over with the miter, the abbatial crozier, his own coat of arms and that of the abbey.
Online Since: 10/04/2018
Second volume (sanctorale) of the two-volume gradual, which Abbot Laurentius of Heidegg from Muri Abbey purchased from the convent of canonesses at Säckingen in 1532, after the furnishings of Muri Abbey, along with the liturgical books, were destroyed in the Second War of Kappel. The abbot had the large pen-flourish initial at the beginning painted over with the miter, the abbatial crozier, his own coat of arms and that of the abbey.
Online Since: 10/04/2018
The first volume of the three-part so-called "Wettinger Graduale", made in Cologne for a cloister of Augustinian hermits, transferred from Zurich to the Cistercian cloister of Wettingen after the Reformation. The illuminated initials in this first volume are the work of the "Old Master of the Gradual" (Willehalm-Meister).
Online Since: 11/04/2010
The second volume of the three-part so-called "Wettinger Graduale", made in Cologne for a cloister of Augustinian hermits, transferred from Zurich to the Cistercian cloister of Wettingen after the Reformation. The illuminated initials in this second volume are the work of the "Younger Master of the Gradual" (Willehalm-Meister).
Online Since: 12/17/2015
The third volume of the three-part so-called "Wettinger Graduale", made in Cologne for a cloister of Augustinian hermits, transferred from Zurich to the Cistercian cloister of Wettingen after the Reformation. The illuminated initials in this third volume, like those in the second (MsWettFm 2) are the work of the "Younger Master of the Gradual".
Online Since: 11/04/2010
It is not known how this gradual, produced ca. 1200 in the Cistercian abbey of Altenryf/Hauterive, came to Basel from the Cistercian nunnery of Magerau/Maigrauge. It was probably an anonymous gift received in 1906. But its origin can be quite univocally established on the basis of the script and its decoration with silhouette-initials and palmette pen-flourishes, its peculiarities that can also be found in other manuscripts from the same scriptorium. The notation is French, à petits carrés liés. The double formula for the Trinity is a striking aspect of the content in this songbook, which was followed into the modern period. The binding was once repaired, centuries ago.
Online Since: 09/26/2024
These twelve leaves are what have survived from a large-format gradual that was produced around 1460 in the Upper Rhine region (probably in Basel); they contain chants for the mass, changing according to the liturgical year. The decoration with initials and miniatures (e.g., the birth of Christ, the entry into Jerusalem, or the depiction of the resurrection) refer to the respective liturgical holiday, whereas the initial for Ecce advenit dominator dominus wrongly depicts the presentation of Jesus at the Temple. Its decoration places this gradual in the later circle of the so-called “Vullenhoe-group”.
Online Since: 06/14/2018
Manuscript CB 59 brings together in one contemporaneous binding three manuscripts that were produced independently of one another. All three show the influence of Alemannic dialect and all three were produced at the end of the 15th entury. They offer a selection of sermons in written form, originally composed by Meister Eckhart or others in the circle of the Rheinish Master of mysticism. The first part could have been completed in an atelier in Constance or Ravensburg, it belonged to the Carthusian House of Buxheim. Threads, meant to serve as bookmarks, may be found sewn into the paper leaves.
Online Since: 12/21/2009
This Gradual was produced in 1071 by the archpresbyter of the Church of Santa Cecilia in Trastevere; it contains the musical scores for assorted liturgical songs. These melodies set down in written form make CB 74 the oldest record of Roman song.
Online Since: 07/31/2007
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
A fragmentary gradual for the friars of the Order of the Hermits of Saint Haugustine, copied in 1539 by Jacobus Frank, who is depicted in the bottom margin of 51r. It contains many illuminations with coats-of-arms, mottos and monograms written by different hands from 1538 to 1594. Some of the illuminations have been excised and in some cases then glued back in the codex.
Online Since: 10/04/2011
Gradual from the Franciscan Monastery of Fribourg, still in use in the 16th/17th century according to the ownership note on the inside cover. Binding from the 16th century. Written in a Gothic minuscule around 1300. The beginning of important feasts is indicated with larger initials, sometimes with miniatures (e.g. F. 128v Ascension, f. 132v the Miracle of Pentecost).
Online Since: 04/09/2014
This gradual contains the most important chants for the Mass throughout the liturgical year and for the saints. They are in Hufnagel notation. The graphic relation of text to melody is not always clear.
Online Since: 11/10/2016
Liturgical music for the singing of mass on Sundays and feast days in a Cistercian monastery, with decorations by the Master of the Antwerp Bible of Conrad of Vechta, produced in Prague shortly after 1400.
Online Since: 12/12/2006
A Franciscan Gradual written and illuminated in northern Italy (Padua or Bologna), dateable to the first decade of the 14th century. The manuscript was used in the Franciscan cloister of St. Francis of Locarno, which received it together with the antiphonaries de tempore Codice II and Codice III as well as the antiphonary de sanctis Codice IV on the occasion of the re-dedication of the church in 1316. At the end of the text (fol. 181r) is a Praefatio (Statutum pro libris choralibus scribendis), which would normally be placed at the beginning, containing the guidelines for editing choral books for the order. On the last page Brother Giacomo di Rastelli Orelli transcribed some records concerning the cloister: a note about the provision of the library cabinets, the dedication document from the year 1316, and a note about a donation for the purchase of liturgical paraphernalia.
Online Since: 10/04/2011
Gradual dating from the 12th century, used by the Prémontré order at the Abbey of Bellelay.
Online Since: 04/26/2007
This complete Gradual (square notation) contains the temporal (f. 1r-70v), the sanctoral and the Commune Sanctorum (f. 70v–103v), votive masses (f. 103v-107v), the Kyriale and litanies (f. 107v–111v), antiphons and processional responsories (f. 112r–113v), the tropes of the Kyrie Cunctipotens and Fons bonitatis (f. 113v–115r) and several additions from the 14th century (f. 115r-127v). According to the analysis of the calendar, this copy could date back to the middle of the 13th century, between 1246 (mention of Saint Lambert by the first hand, f. 100r) and 1255 (no mention of the mass for Saint Dominic on August 5th, f. 95r). Contrary to what is suggested by the labels (back and inside cover), this codex was copied before the end of the 1260s, since the mass of Saint Anthony (f. 75v) was noted by a second hand. In addition, f. 98v contains no mention of an octave of St. Bernard, which is usually included in all Cistercian books from 1295 on. A study of the musical and liturgical content shows that manuscript FiD 5, which is a faithful copy of the older Gradual of the order (Abbazia Tre Fontane 47, around 1140/1143), probably originated in Hautcrêt Abbey (Oron VD), which was the motherhouse of Fille-Dieu until 1536.
Online Since: 03/22/2018
This missal is from the church of Glatt an der Glatt in Southern Germany, a property of Muri Abbey. It was created in the second half of the 13th century. Numerous marginalia from the 14th-15th century testify that it was intensively used.
Online Since: 12/20/2016
This unadorned, single-column copy of Gregory's Dialogues, in which many hands had a share, has numerous gaps as well as later erasures and corrections. The manuscript is listed in the Allerheiligen Abbey register of books from about 1100 (Min. 17, f. 306v); however, except for an addition to the text from the 12th century (f 58 r/v), it was not written in Schaffhausen. It remains to be determined whether it served as (one of) the models for Min. 48. Signs of wear on the first (f 1r) and last (f 121v) page suggest that the manuscript remained unbound until the 15th century when, like many others, it received a leather binding with metal bosses and two clasps.
Online Since: 10/13/2016
This impressive gradual contains the sanctorale, the Commune Sanctorum, votive masses and a Kyriale. The registered feasts for the two saints Francis of Assisi and Anthony of Padua, the most important saints of the Franciscans, prove that it is intended for the use of the Friars Minor. The first of the eight decorated initials (f. 1r, 7v, 29r, 32r, 34v, 43r, 46v, 121v) also confirms the Franciscan use: the D(ominus secus mare) contains the name of Jesus in the form of the trigram "yhs" surrounded by rays of sunlight, which is the attribute of the Franciscan preacher, St. Bernard of Siena (1388-1440). The beautiful initials on a gold ground extend into the borders with leaves, multicolored flowers and gold dots arranged in a fan shape, some of which even contain birds and butterflies (f. 1r, 34v, 46v). The origin of the manuscript is completely unknown. At best it can be compared with another manuscript from the State Archives of Valais, the Franciscan Antiphonary AVL 507, since both works were bound in the same workshop in the 18th century, an indication that their common origin is probable. The binding has since been restored by Andrea Giovannini (1989).
Online Since: 12/10/2020
The codex is a collective volume of different liturgical texts. It contains a gradual with neumes, a calendar with a series of computus tables, a sacramentary, a lectionary, and a ritual. Twelve scribes participated in preparing the manuscript. The manuscript is decorated with two pen-drawings and strapwork initials. The large illuminations display an original iconography. The codex is an example of the transition from individual liturgical books to a missale plenarium.
Online Since: 09/26/2024
This Franciscan Gradual was produced between 1320 and 1330 in a scriptorium in the Upper Rhine area. It was originally the property of the Franciscan monastery in Solothurn, where it remained in use until the 18th century.
Online Since: 12/21/2009
The illuminator Claudio Rofferio († ca. 1567) was an Augustinian canon. Originally from the Aosta Valley, he was active in various regions; from 1539 until about 1544 he created a series of illuminated manuscripts for the Cistercian Abbey of Altenberg near Cologne. From about 1550 until after 1560, he worked for various monasteries and religious institutions in Switzerland, such as Beromünster, Muri, Schönenwerd and St. Urban. For Schönenwerd chapter of canons he wrote and illuminated this representative Gradual, dated to the years 1556 and 1559.
Online Since: 06/25/2015
Calendar, gradual and sacramentary from the parish church St. Evort in Pfäfers; held in the library of Pfäfers Abbey since the 17th/18th century. With initials, rich decoration and a full-page image of the crucifixion (the canon image) on fol 59r. On fol. 173v, an Alemannischer Glauben und Beichte were later added by a 13th century hand.
Online Since: 06/14/2018
A collection of liturgical materials, containing computational texts and tables, a breviary with incipits of the spoken and chanted texts for the Mass for the principal feast days of Saints, a gradual with neumes and a sacramentary. Illustrated with several miniatures, executed in the monastery of St. Gall around 850. Between two sections, on page 304: Old High German confession and creed ("St. Galler Glauben und Beichte III").
Online Since: 05/24/2007
Antiphonary, dating from around the year 1000, with Calendar and Gradual (written and provided with fine neumes probably by the monk Hartker), Ordo Missae and Sacramentary. An invaluable monument of music history.
Online Since: 06/12/2006
Superbly crafted Sacramentary of St. Gall from the time of Abbot Norpert of Stablo (1034-1072) for the celebration of the Mass. With Calendar, Gradual and Sacramentary, illustrations include five full-page, high-quality miniatures of the principal feast days of the liturgical year (Christmas, Good Friday, Easter, Ascension, Pentecost).
Online Since: 06/12/2006
Earliest complete extant gradual of St. Gall. The different parts of the manuscript date from different periods. Illustrated with numerous initials and several pen drawings (especially in the Sacramentary part).
Online Since: 06/12/2006
The manuscript is bound in a cardboard binding of the eighteenth/nineteenth century. It has two parts written at different times. The first part (pp. 3–120) begins with a fragmentary gradual (it starts on the Wednesday after the Third Sunday in Advent), written in the thirteenth century. The melodies are noted in staffless neumes. Following the Sundays after Pentecost, the part concludes with alleluia-verses (pp. 118–120). The second part (pp. 121–186), containing sequences without melodies, comes from the fourteenth century. In two parts of the codex is bound a quire from a gradual probably written in the thirteenth/fourteenth century: pp. 11–26 (in the middle of the introitus to the feast of the Holy Innocents), the propers for the first Sunday of Advent to the first Sunday after Christmas; pp. 159–174 (in the middle of the All Saints' sequence), the chants for the period from the Wednesday after the first Sunday of Lent to Holy Saturday.
Online Since: 12/14/2022
Gradual from St. Gall, dating from the first half of the 12th century. It contains the solo chants of the Mass, with finely executed neumes and some illuminated initials. Preceded by a Calendar with necrological notes from the monastery of St. Gall dating from between the 13th and 15th century and at the lower margins a catalogue of relics from the 14th century.
Online Since: 05/24/2007
Deluxe manuscript for the celebration of feast day masses in the monastery of St. Gall, written and illustrated with numerous initials around the middle of the 11th century. Contains a gradual with neumes and a Lectionary with the readings for the liturgical year.
Online Since: 05/24/2007
Gradual from St. Gall, dating from the 12th century, with two illustrations of the monk Luitherus.
Online Since: 09/14/2005
Deluxe manuscript for the celebration of the Mass in the monastery of St. Gall, dating from 1050/70, containing sequences of the St. St. Gall monk "Notker the Stammerer" (died 912).
Online Since: 12/31/2005
This codex, with boards covered in green textile, consists of two parts. The first part (pp. 3-53) contains sequences by Notker Balbulus and other authors, the second part (pp. 55-226) contains a gradual. All of the texts have neumes; the script is interspersed with red and blue majuscules. Of note is a series of decorated initials, for example one containing a dragon on p. 3 of the sequentiary and one with scroll ornamentation on p. 55 of the gradual. Other examples can be found on pp. 114, 134, 144, 146. Bound in at the beginning is an 11th/12th century leaf containing excerpts from the Commune Sanctorum, with 14th century supplements on the back.
Online Since: 12/14/2018
An opulently illustrated large-format gradual containing four-part vocal pieces, from the Cloister of St. Gall, written and illuminated in the year 1562. By order of Prince-Bishop Diethelm Blarer, the Italian Manfred Barbarini Lupus from Correggio composed these challenging vocal pieces, Father Heinrich Keller (1518-1567) wrote the text, and the manuscript illustrator Kaspar Härtli from Lindau on the Bodensee illuminated the first pages with the important holy days of the church year. The volume has richly ornamented borders and numerous miniatures, among them five of full-page size, and contains the heraldic shields of St. Gall monks living at that time; the ornamented pages include many depictions of musical instruments of the period (some of which are no longer known).
Online Since: 12/09/2008
Cod. Sang. 1397 is one of eight fragment volumes (that is, volumes that contain exclusively fragments) of the Abbey Library of St. Gall. Between 1774 and 1785, the St. Gall monks Johann Nepomuk Hauntinger (1756–1823) and Ildefons von Arx (1755–1833) detached numerous fragments from bindings in which they had served for centuries as pastedowns, flyleaves, spine linings, and endleaf guards. At an advanced age, Ildefons von Arx had the fragments bound in eight thematically-organized bindings and dedicated these in 1822 to his friend Johann Nepomuk Hauntinger. Chiefly in the twentieth century, researchers found additional, small fragments in bindings, from which they were then removed and added to the existing fragment volumes or into the collection of fragments. From 2005 to 2006 the extensive fragment volume Cod. Sang. 1397 was disbound for conservation reasons. The fragments were rebound (in the same sequence) in 23 folders (“Ganzpapierbroschuren”). The new, now authoritative pagination begins with 1 in each folder and includes only the fragments (and not the empty paper leaves). To be cited (for example): St. Gallen, Stiftsbibliothek, Cod. Sang. 1397.1, pp. 1-2 (= Cod. Sang. 1397, Folder 1, pages 1-2). The first folder of Cod. Sang. 1397 contains fragments with musical notation from six liturgical manuscripts, and, at the beginning, a fragment with a commentary on the Metaphysics (p. 1-2). The fragments date from the tenth/eleventh to the thirteenth century.
Online Since: 09/06/2023
Cod. Sang. 1397 is one of eight fragment volumes (that is, volumes that contain exclusively fragments) of the Abbey Library of St. Gall. Between 1774 and 1785, the St. Gall monks Johann Nepomuk Hauntinger (1756–1823) and Ildefons von Arx (1755–1833) detached numerous fragments from bindings in which they had served for centuries as pastedowns, flyleaves, spine linings, and endleaf guards. At an advanced age, Ildefons von Arx had the fragments bound in eight thematically-organized bindings and dedicated these in 1822 to his friend Johann Nepomuk Hauntinger. Chiefly in the twentieth century, researchers found additional, small fragments in bindings, from which they were then removed and added to the existing fragment volumes or into the collection of fragments. From 2005 to 2006 the extensive fragment volume Cod. Sang. 1397 was disbound for conservation reasons. The fragments were rebound (in the same sequence) in 23 folders (“Ganzpapierbroschuren”). The new, now authoritative pagination begins with 1 in each folder and includes only the fragments (and not the empty paper leaves). To be cited (for example): St. Gallen, Stiftsbibliothek, Cod. Sang. 1397.1, pp. 1-2 (= Cod. Sang. 1397, Folder 1, pages 1-2). The third folder of Cod. Sang. 1397 contains fragments with musical notation from seven liturgical manuscripts from the eleventh to the thirteenth/fourteenth century.
Online Since: 09/06/2023
Cod. Sang. 1397 is one of eight fragment volumes (that is, volumes that contain exclusively fragments) of the Abbey Library of St. Gall. Between 1774 and 1785, the St. Gall monks Johann Nepomuk Hauntinger (1756–1823) and Ildefons von Arx (1755–1833) detached numerous fragments from bindings in which they had served for centuries as pastedowns, flyleaves, spine linings, and endleaf guards. At an advanced age, Ildefons von Arx had the fragments bound in eight thematically-organized bindings and dedicated these in 1822 to his friend Johann Nepomuk Hauntinger. Chiefly in the twentieth century, researchers found additional, small fragments in bindings, from which they were then removed and added to the existing fragment volumes or into the collection of fragments. From 2005 to 2006 the extensive fragment volume Cod. Sang. 1397 was disbound for conservation reasons. The fragments were rebound (in the same sequence) in 23 folders (“Ganzpapierbroschuren”). The new, now authoritative pagination begins with 1 in each folder and includes only the fragments (and not the empty paper leaves). To be cited (for example): St. Gallen, Stiftsbibliothek, Cod. Sang. 1397.1, pp. 1-2 (= Cod. Sang. 1397, Folder 1, pages 1-2). The fifth folder of Cod. Sang. 1397 contains fragments with musical notation from four liturgical manuscripts from the eleventh to the thirteenth century.
Online Since: 09/06/2023
Cod. Sang. 1397 is one of eight fragment volumes (that is, volumes that contain exclusively fragments) of the Abbey Library of St. Gall. Between 1774 and 1785, the St. Gall monks Johann Nepomuk Hauntinger (1756–1823) and Ildefons von Arx (1755–1833) detached numerous fragments from bindings in which they had served for centuries as pastedowns, flyleaves, spine linings, and endleaf guards. At an advanced age, Ildefons von Arx had the fragments bound in eight thematically-organized bindings and dedicated these in 1822 to his friend Johann Nepomuk Hauntinger. Chiefly in the twentieth century, researchers found additional, small fragments in bindings, from which they were then removed and added to the existing fragment volumes or into the collection of fragments. From 2005 to 2006 the extensive fragment volume Cod. Sang. 1397 was disbound for conservation reasons. The fragments were rebound (in the same sequence) in 23 folders (“Ganzpapierbroschuren”). The new, now authoritative pagination begins with 1 in each folder and includes only the fragments (and not the empty paper leaves). To be cited (for example): St. Gallen, Stiftsbibliothek, Cod. Sang. 1397.1, pp. 1-2 (= Cod. Sang. 1397, Folder 1, pages 1-2). The sixth folder of Cod. Sang. 1397 contains fragments with musical notation from seven liturgical manuscripts from the eleventh to the fourteenth century.
Online Since: 09/06/2023
Cod. Sang. 1397 is one of eight fragment volumes (that is, volumes that contain exclusively fragments) of the Abbey Library of St. Gall. Between 1774 and 1785, the St. Gall monks Johann Nepomuk Hauntinger (1756–1823) and Ildefons von Arx (1755–1833) detached numerous fragments from bindings in which they had served for centuries as pastedowns, flyleaves, spine linings, and endleaf guards. At an advanced age, Ildefons von Arx had the fragments bound in eight thematically-organized bindings and dedicated these in 1822 to his friend Johann Nepomuk Hauntinger. Chiefly in the twentieth century, researchers found additional, small fragments in bindings, from which they were then removed and added to the existing fragment volumes or into the collection of fragments. From 2005 to 2006 the extensive fragment volume Cod. Sang. 1397 was disbound for conservation reasons. The fragments were rebound (in the same sequence) in 23 folders (“Ganzpapierbroschuren”). The new, now authoritative pagination begins with 1 in each folder and includes only the fragments (and not the empty paper leaves). To be cited (for example): St. Gallen, Stiftsbibliothek, Cod. Sang. 1397.1, pp. 1-2 (= Cod. Sang. 1397, Folder 1, pages 1-2). The seventh folder of Cod. Sang. 1397 contains fragments with musical notation from five liturgical manuscripts from the twelfth to the fourteenth century.
Online Since: 09/06/2023
Cod. Sang. 1397 is one of eight fragment volumes (that is, volumes that contain exclusively fragments) of the Abbey Library of St. Gall. Between 1774 and 1785, the St. Gall monks Johann Nepomuk Hauntinger (1756–1823) and Ildefons von Arx (1755–1833) detached numerous fragments from bindings in which they had served for centuries as pastedowns, flyleaves, spine linings, and endleaf guards. At an advanced age, Ildefons von Arx had the fragments bound in eight thematically-organized bindings and dedicated these in 1822 to his friend Johann Nepomuk Hauntinger. Chiefly in the twentieth century, researchers found additional, small fragments in bindings, from which they were then removed and added to the existing fragment volumes or into the collection of fragments. From 2005 to 2006 the extensive fragment volume Cod. Sang. 1397 was disbound for conservation reasons. The fragments were rebound (in the same sequence) in 23 folders (“Ganzpapierbroschuren”). The new, now authoritative pagination begins with 1 in each folder and includes only the fragments (and not the empty paper leaves). To be cited (for example): St. Gallen, Stiftsbibliothek, Cod. Sang. 1397.1, pp. 1-2 (= Cod. Sang. 1397, Folder 1, pages 1-2). The eighth folder of Cod. Sang. 1397 contains fragments with musical notation from five liturgical manuscripts from the eleventh/twelfth to the thirteenth century.
Online Since: 09/06/2023
Cod. Sang. 1397 is one of eight fragment volumes (that is, volumes that contain exclusively fragments) of the Abbey Library of St. Gall. Between 1774 and 1785, the St. Gall monks Johann Nepomuk Hauntinger (1756–1823) and Ildefons von Arx (1755–1833) detached numerous fragments from bindings in which they had served for centuries as pastedowns, flyleaves, spine linings, and endleaf guards. At an advanced age, Ildefons von Arx had the fragments bound in eight thematically-organized bindings and dedicated these in 1822 to his friend Johann Nepomuk Hauntinger. Chiefly in the twentieth century, researchers found additional, small fragments in bindings, from which they were then removed and added to the existing fragment volumes or into the collection of fragments. From 2005 to 2006 the extensive fragment volume Cod. Sang. 1397 was disbound for conservation reasons. The fragments were rebound (in the same sequence) in 23 folders (“Ganzpapierbroschuren”). The new, now authoritative pagination begins with 1 in each folder and includes only the fragments (and not the empty paper leaves). To be cited (for example): St. Gallen, Stiftsbibliothek, Cod. Sang. 1397.1, pp. 1-2 (= Cod. Sang. 1397, Folder 1, pages 1-2). The ninth folder of Cod. Sang. 1397 contains fragments with musical notation from seven liturgical manuscripts from the twelfth to the fourteenth century, and from a printed breviary.
Online Since: 09/06/2023
This large-format manuscript, which forms a unit with Cod. Sang. 1758, itself consists of two parts. The first part (p. 1-214) from 1473 (dating in the initial on p. 1) was completed in the 16th/17th century. Both parts, however, are not complete; furthermore, multiple pieces have been deleted and replaced with other pieces. The volume contains chants for the Mass – Proprium de sanctis, Commune sanctorum, Ordinarium missae (partially troped), Sequences and Tractus– in German plainsong notation ("Hufnagelnotation") in a five line-system. Together with Cod. Sang. 1758, this codex presents the oldest systematic St. Gall records of sequences on a musical staff. Several pages have book decorations in the form of borders and initials, sometimes with figurative representations. Until 1930, the manuscript was kept in the choir library (first of the St. Gall monastery, later of the St. Gall cathedral).
Online Since: 10/07/2013
This large-format manuscript, which forms a unit with Cod. Sang. 1757, contains chants for the Mass – Proprium de tempore, Ordinarium missae (partially troped), Sequences and votive Masses - in German plainsong notation ("Hufnagelnotation") in a four line-system. Multiple pieces have been deleted and replaced with other pieces. Together with Cod. Sang. 1757, this codex presents the oldest systematic St. Gall records of sequences on a musical staff. Several pages have book decorations in the form of initials (several exquisite filled initials, some with gold leaf) and borders. Heavy decorative fittings with animal heads and mythical creatures. Until 1930, the manuscript was kept in the choir library (first of the St. Gall monastery, later of the St. Gall cathedral).
Online Since: 10/07/2013
Graduale de tempore, commissioned by Prince-Abbot Franz Gaisberg (1504–1529, coat of arms p. 1) and illuminated by the book illustrator Nikolaus Bertschi from Augsburg (initials, miniatures and borders with vine scrolls and animals). The banderole on p. 55, which ends with etc. 156, may give a (false) indication regarding the dating (1506 or 1516?). The chants for the Mass are written in German plainsong notation (“Hufnagelnotation”) on a five line staff. This codex is the largest of the St. Gall Abbey library's manuscripts. Originally it was even larger; for re-binding, the pages were severely trimmed, as can be discerned from the folded lower margin on p. 1 or from the trimmed border on p. 444. Binding with heavy fittings on a red velvet background.
Online Since: 06/22/2017
This gradual is from the Dominican Convent St. Katharinental and represents one of the most important artworks of the Gothic period in Switzerland. Created around 1312 in the convent itself, it was probably illuminated in the area around Lake Constance. It contains more than 80 pen-flourish initials, more than 60 historiated initials and 5 I-initials, which consist of several historiated medallions. Several pieces of the last two I-initials, whose medallions were cut out and sold separately, are known today; they are dispersed among various museums and libraries. In addition to the initials, in the floral friezes there are represented numerous kneeling and praying Dominican nuns as well as other secular donors (e.g., 3v, 18v, 90r, 159v, 161r etc.). Until the 19th century, the gradual was in use in the convent; around 1820 it was ceded to an antiquarian book dealer in Konstanz, Franz Joseph Aloys Castell (1796-1844). After 1860 it was owned by the English collectors Sir William Amherst of Hackney and Sir Charles Dyson Perrins (1864-1958). Upon the death of the latter, his library was offered for sale through Sotheby's, and the manuscript was purchased by the Swiss Confederation with the support of the Gottfried Keller-Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment of page f. 158a verso from the gradual of St. Katharinental, which was removed in the 19th century, and the miniatures from which were sold separately. The initial A shows Christ bestowing a blessing with John the Evangelist, who is resting his head on Christ's knees; kneeling at their feet is a praying Dominican monk, in the frieze at the side, a Dominican nun. Below the initial there used to be a frame (today in Zürich, Swiss National Museum, LM 29329.2) with a painting of the Madonna of the Apocalypse accompanied by John the Evangelist, while two kneeling Dominicans pray under two arcades. Originally the same leaf also had an initial V (today in Vienna, Graphische Sammlung Albertina, Inv. Nr. 32434) with a very detailed representation of the Maiestas Domini and of the Last Judgement. The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment of page f. 158a verso from the gradual of St. Katharinental, which was removed in the 19th century, and the miniatures from which were sold separately. It shows the Madonna of the Apocalypse, accompanied by John the Evangelist, while two kneeling Dominicans pray under two arcades. The frame was placed below an initial A (today in Zürich, Swiss National Museum, LM 29329.1), which shows Christ bestowing a blessing with John the Evangelist, who is resting his head on head on Christ's knees; kneeling at their feet is a praying Dominican monk, in the frieze at the side, a Dominican nun. Originally the same leaf also had an initial V (today in Vienna, Graphische Sammlung Albertina, Inv. Nr. 32434) with a very detailed representation of the Maiestas Domini and of the Last Judgement. The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment with a representation of the crucifixion, from an I-initial. This initial consisted of several medallions and decorated page f. 87a of the gradual of St. Katharinental. In the 19th century, this leaf was removed from the gradual, and the medallions were sold separately. Of the 9 or 10 medallions that originally made up the body of the letter I, there are known today, in addition to this one, medallions with the following scenes: the Last Supper (Zurich, Swiss National Museum, Inv. LM 71410), the Arrest of Christ (Nürnberg, Germanisches Nationalmuseum, Inv. Mm. 34 kl), Christ before Pilate (Zurich, Swiss National Museum, LM 55087), the Crowning with Thorns (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15932), the Bearing of the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 14312) and the Descent from the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15933). The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment with a depiction of Christ before Pilate, from an I-Initial. This initial consisted of several medallions and decorated page f. 87a of the gradual of St. Katharinental. In the 19th century, this leaf was removed from the gradual, and the medallions were sold separately. Of the 9 or 10 medallions that originally made up the body of the letter I, there are known today, in addition to this one, medallions with the following scenes: the Last Supper (Zurich, Swiss National Museum, LM 71410), the Arrest of Christ (Nürnberg, Germanisches Nationalmuseum, Inv. Mm. 34 kl), the Crowning with Thorns (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15932), the Bearing of the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 14312), the Crucifixion (Zurich, Swiss National Museum, LM 45751) and the Descent from the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15933). The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment with a representation of the Last Supper, from an I-initial. This initial consisted of several medallions and decorated page f. 87a of the gradual of St. Katharinental. In the 19th century, this leaf was removed from the gradual, and the medallions were sold separately. Of the 9 or 10 medallions that originally made up the body of the letter I, there are known today, in addition to this one, medallions with the following scenes: the Arrest of Christ (Nürnberg, Germanisches Nationalmuseum, Inv. Mm. 34 kl), Christ before Pilate (Zurich, Swiss National Museum, LM 55087), the Crowning with Thorns (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15932), the Bearing of the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 14312), the Crucifixion (Zurich, Swiss National Museum, LM 45751) and the Descent from the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15933). The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017