Manuscripts AN II 36 and AN II 37 together constitute a complete Bible in German. This is a copy of the so-called “Mentelin Bible” [printed in Strasbourg by Johannes Mentelin, prior to 27 June 1466] and of the “Pflanzmannbibel.” In the 17th century, both manuscripts were owned by Peter Werenfels (1627-1703), professor of theology and pastor at St. Leonhard in Basel. (stu)

This Greek manuscript, dating primarily from the tenth century, contains the letters of Paul along with chains of commentaries. It shares similarities with the manuscripts of the so-called “scriptorium of Ephrem” of Constantinople. In that same city, in the fifteenth century, John of Ragusa, legate of the Council of Basel, bought the codex, which he then bequeathed after his death to the Dominicans of Basel. Erasmus used it for his text of the Pauline Epistles as part of his first edition of the Greek New Testament (1516). Erasmus' printer, Johannes Froben, left annotations on the pages. (mal)

This richly illuminated manuscript is a Greek Tetravangelion of Italo-Byzantine origin copied in the eighth or ninth century in a biblical uncial script. Some scholars have connected the uncommon style of its decoration with, on the one hand, Byzantine art of the Iconoclastic Period, and on the other hand, with the aesthetic of churches and artefacts from the period of the Byzantine Exarchate of Ravenna. In the fifteenth century, John of Ragusa, legate of the Council of Basel, bought the codex in Constantinople, and then bequeathed it on his death to the Dominicans of Basel. (mal)

This volume is one of several manuscripts that are preserved in Basel and that contain records of the Council of Constance (1414-1418). The origin of the manuscript, which contains source material about sessions 1-45, is not known. The script suggests the third quarter of the 15th century; the binding is dated to the 18th century. Noteworthy is the dry-point ruling of the leaves by means of a ruling-board. (gam/flr)

This Greek Tetravangelium from the twelfth century was acquired in the fifteenth century, perhaps in Basel, by the Dominican theologian John of Ragusa, who bequeathed it on his death to the Basel Dominicans. Later, Erasmus borrowed it from the Dominicans to use it for his first edition of the Greek New Testament (1516). During his editorial work, the humanist made in the margins numerous additions and corrections to the text. He then entrusted the codex to the Basel printer Johannes Froben, who left many annotations on the pages. (mal)

In this twelfth-century Greek manuscript of the New Testament, divided in two parts (without the Apocalypse), the Epistles and Acts were surprisingly placed before the Gospels. Magnificently illuminated, this codex has initials that represent the epistolographers of the New Testament; one miniature depicts John the Evangelist and Christ's descent into Hell (f. 265v). In the fifteenth-century, John of Ragusa, a delegate from the Council of Basel, bought the codex in Constantinople; he then bequeathed it on his death to the Dominicans of Basel. The codex passed into the hands of Johannes Reuchlin, as well as those of Erasmus for his first edition of the Greek New Testament (1516). (mal)

This Greek manuscript contains the Acts of the Apostles and the Epistles. The main hand, rushed and cursive, very often distances itself from the archaicizing forms of the traditional minuscule used in Byzantine copies of the Bible. The codex received its current Byzantine binding perhaps from the monastery of Saint John Prodromos of Petra in Constantinople and was purchased in that city in the fifteenth century by John of Ragusa, delegate from the Council of Basel. John bequeathed the volume on his death to the Dominicans of Basel. Erasmus used it for his first edition of the Greek New Testament (1516). (mal)

A German Psalter, written in 1485 by Johannes Waltpurger, perhaps in Augsburg. The ornamental page decorated with vine scroll with the beginning of the first prologue is almost identical to one in a Cambridge manuscript by the same scribe. The back pastedown, glued to the cover, depicts a landscape showered in blood. It is not clear how this manuscript came to Basel. (gam/flr)

This manuscript from the Carthusian Monastery of Basel consists primarily of the best-known works by the Roman historian Sallust – De coniuratione Catilinae and De bello Iugurthino. In addition, it contains various short texts and fragments of known (Isidore, Publilius Syrus, Ps.-Serviolus) and unknown authorship (rules for syllabification, arithmetical riddles) and a drawing of a labyrinth. The manuscript contains numerous interlinear and marginal glosses by various hands. (mue)

This manuscript, produced in the first half of the 9th century in Fulda, contains two astronomical texts: several excerpts of the Aratus latinus and the Aratea by Germanicus with explanatory scholia, illustrations of the 34 constellations and a (now removed) drawing of the entire night sky. The Aratea, based on the astronomical didactic poem by Aratus of Soli, served as illustrative source for the astronomical background knowledge required for teaching the computus (calculating the date of Easter) at the school of the Fulda Monastery. (gam/flr)

This manuscript contains two Middle French poems from Les Pèlerinages by Guillaume de Deguileville (1295-1360). This religious-allegorical work treats the literary topos Homo viator, man on a (spiritual) journey. The origin of the first owner, the rubricator and perhaps also the scribe of the manuscript, Petrus Guioti, suggests that the manuscript originated in the Loire region. The work was owned by the art collector and painter Peter Vischer-Passavant (1779-1851); in 1823 it became part of the Basel University Library. (flr)

This magnificent book of hours probably was created in the third quarter of the 15th century in Northern Italy. The style of the painting and of the veneration of the saints suggests the region around Modena, Este, Ferrara. The historiated initials in the calendar show the twelve months; at the beginning of the offices there are ornamental pages with illustrations mostly from the life of Christ. The miniatures and initials are executed in opaque colors and in gold. In the 20th century, this manuscript came to the university library from the Kunstmuseum Basel. (stu)

The Sefer Nizzaḥon Yashan is the name of an anonymous anthology of arguments against the Christological interpretation of biblical verses, supplemented by critique of the Gospels and Christian doctrines and morals. Composed in Franco-Germany circa 1300, most confutations are based on polemical themes and criticisms of Christian faith which were disseminated in Jewish circles in medieval Ashkenaz and northern France. There are few extant editions and manuscripts of this work, one of which is the Basel Nizzaḥon. This manuscript which bears some similarities with the other copies, should nevertheless be considered as an indirect, yet important witness to Jewish apologetic from medieval Franco-Germany. (iss)

Around 1520, Georg Carpentarius, the librarian of the Carthusian Monastery of Basel at the time, compiled a shelf list  for the library. This catalog consists of two volumes, one each for the two library rooms of the Bibliotheca antiqua (AR I 2) and the Bibliotheca nova (AR I 3). The catalog for the Bibliotheca antiqua is preceded by the so-called “Informatorium bibliothecarii”, a guide for the librarian which instructs him in his tasks, among them the cataloguing and the care of the books as well as of the inventory. Bound into the front is a list of books that were donated to the Ittingen Charterhouse by the Carthusian Monastery of Basel in 1526. (stu)

Around 1520, Georg Carpentarius, the librarian of the Carthusian Monastery of Basel at the time, compiled a shelf list for the library. This catalog consists of two volumes, one each for the two library rooms of the Bibliotheca antiqua (AR I 2) and the Bibliotheca nova (AR I 3). The catalog for the Bibliotheca nova was designed for expansion and contains blank pages after each letter of the alphabet, where more shelfmarks could be added. (stu)

In 1482 Jakob Lauber, the librarian at the time, began to compile a loans register for the holdings of the library of the Carthusian Monastery of Basel. This register was continued after Lauber's tenure until 1527. The loans register was set up according to the shelfmark letters A to I, and it even was possible to record volumes on loan that had no shelfmark. Borrowed books were listed with the exact shelfmark under the corresponding letter; after the book's return, the entry was crossed out. (stu)

The Repertorium of Urban Moser, librarian of the Carthusian Monastery of Basel, is a register of the library holdings of the Carthusian Monastery of Basel, alphabetically arranged by authors, titles and topics. Since Moser's successor Georg Carpentarius changed the shelfmark of various volumes, around 1520 he added a shelfmark concordance to the catalog, so that this alphabetical register could still be used. Thus the alphabetical register and the shelf lists (Basel, UB, AR I 2 and AR I 3) could be used in complement. (stu)

Third volume of a Latin Bible originally in four parts that was made in Basel between 1435 and 1445. Illustrated by an anonymous artist, the volumes were written by Heinrich von Vullenhoe, one of the most important calligraphers of the Carthusian Monastery of Basel. The biblical books follow the order specified in the liturgy. Also included in this group are codices B I 2 and B I 3. (flr)

Fourth volume of a Latin Bible originally in four parts that was made in Basel between 1435 and 1445. Illustrated by an anonymous artist, the volumes were written by Heinrich von Vullenhoe, one of the most important calligraphers of the Carthusian Monastery of Basel. The biblical books follow the order specified in the liturgy. Also included in this group are codices B I 1 and B I 3. (flr)

This 13th century manuscript with Peter Lombards' commentary on the Psalms, previously owned by Petrus Medicus, came to the Carthusian Monastery of Basel in the 15th century. The codex is organized in three columns, although the outermost column closest to the margin remains empty. The two columns of text are in turn again partly divided in half and give the biblical text in the left half and the commentary in the right half, in lines of half the height. Figure initials in delicate French style correspond to the division of the Psalter into eight liturgical sections. The blank area below the text contains nearly unreadable notes perhaps in pencil, which may be a further commentary. (flr)