Farfel Research Notebooks

Strassburg: R Press type I (? J. Mentelin and/or Adolf Rusch).

No date earlier than 1473 is known for any (Goff) edition from this press. The R-Press's Latin Bible + other Royal folios contain several paper stocks which cannot be taken back earlier than about 1473. Thus, R-Press tyep 1 is not the first roman, nor even the first roman in Germany (being preceded by Gunther Zainer's 3:107 R, which existed by the end of 1471; and by the Lauingen printer's type, 1472 (Goff A-1224) The identification of the R Printer as A. Rusch is based on a letter from the city council of Mentelin + his son in law Rusch as printers of a Vincent of Beauvais Speculum Doctrinale (Goff V 278). But that letter a) applies to R-Press type 2, used 1475-78, but not necessarily to type 1, used 1473-75; b) does not establish Rusch as a printer independent of Mentelin.

Catalogue Book of Common Prayer James R. Page Z 7813 P13f Ref.

#14 Charles II (1650-1685) The year 1660 brought Charles II to the throne + the book of Common Prayer again into good grace; the long discarded works were heard once more in the House of Lords, on the occasion of a thanksgiving on May 10. But despite a king who had "declared a liberty to tended consciences," there were differences between Presbyterian divines + Church of England bishops to be resolved before the Prayer Book was to be presented in a revised form sanctioned by Lords, Commons + King. The great Savoy confrence was to convene + subsequently some 100 alternations were to be made in the Book. Then on May 19 1662 Charles gave his royal assent. For the next 291 years (1955) the Book of Common Prayer according to the use of the Church of England has remained virtually unaltered.

A curious convention had grown up around the evangelists. The 1st chapter of the Book of Exekiel gives a glowing account of a vision in which the prophet saw 4 living creatures + 2 wheels - a wheel within a wheel - controlled from Heaven by the spirit of the Lord. The 4 living creatures reappear in the Book of Revelation, + the early Fathers of the Church tried hard to understand what they were supposed to mean. One hit on the idea that they corresponded to the 4 envangelists. Their faces, we are told, were those of a man, a loin, an on + an eagle. Now this Gospel of Matthew begins with the visit of an angel, who would have the face of a man. Mark leads off with "a voice crying in the wilderness" - the lion perhaps. Luke starts with a preiest offering up a sacrifice - usually taking the form of a calf or an ox. John says "In the beginning was the Word" - the winged Word, the eagle. All very artificial + hardly convincing; but the idea took such firm hold in Christian art that the 4 living creaters were set as symbols, each alongside its own evangelist, for more than 1500 years.

Gart der Gusundheit (1485) - an immense advance on its predecessors. Choulant described it as 'the most imporntant medieval work on natural history.' 400 woodcuts - they were so superior to the debased copies of the Dioscoridean originals that A. Klebs called them the greatest single step ever made in the art of botanical illustration - it is one of the longest German texts of its time + preserves much folklore + tradition, besides giving insight into dialects + aspects of the language that would otherwise be lost.

The Hebrew Text of the Old Testament had been preserved naturally enough by the Jews themselves. The earliest text of the New Testamnent is in Greek; not because Christ + his apostles spoke + wrote in Greek but because as a result of conquests of Alexander the Great, it was the common language of the Near East. In addition, one of the earliest + most important texts of the Old Testament, the Septuagint is also in Greek. During the Middle Ages virtually the only [corssed out] old [end crossed out] biblical text generally available was the Vulgate the translation into Latin by St. Jerome in about 400 A.D.

The English secretary alphabet - the style of penmanship used by Shakespeare Edmund Spenser's allegorical epic The Faerie Queene, London 1589. The greatest non dramatic poem of the English Renaissance Christopher Saxon (Atlas of England + Wales, London ca 1579 -England's 1st major cartographer. The poem Venus + Adonis - Shakespeare's 1st published work (1593) 1st printed play - Titus Adronicus 1594. The [inserted] over 200 copies survive [end inserted] 1st folio contains the most authoritative texts of most of Shakespeare's plays + the only surviving texts of half including Macbeth

The St. Gregory Hymnal + Catholic Choir Book - S.C. 783 M76 (Mass of the Slaessed Virgin Mary) Cum jubilo #12 In festis B. Mariae Virginis No IX Kyrie XII C, from the Vatican Graduale Kyrie eleison X3 Christe eleison X3 Gregorian Kyrie eleison X3 Gloria XI C. Melody Gloria in excelsis Deo. Et in Tera pax hominibus bonae volents tis Laudamus te. Bene dicimus te. Adoramuste. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex Coaelestis, Deus Pater omipotens Domine Fili unigenite Jesu Christe. Domine Deus, Agorus Dei, Filius Patris. Qui Tollis Peccata mundi: miserera nobis. Qui tollis peccata mundi: suscipe deprecationem nostram. Qui se des ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus. Tu solus Dominus. Tu solus Altissimus, Jesu Christe. Sum Sancto Spiritu, in gloria Dei Patris. Amen. Credo

An antiphonary consists of 3 sections: the gradual the responsorial + the antiphonaru proper. Later the gradual was made seperate. The antiphonary proper is in three parts: the "antiphonarium diurnale" with the canticles sung at the daytime offices throughout the year, the "antiphonarium Vesperale" with the parts of the breviary sung at Vespers, + the "antiphonarium nocturnale" with the canticles for the night time offices.

Bodleian - Liturgical Manuscripts Z. 5948 M 609 The Western notation of the early Middle Ages consists of a system of accent - the stroke (/ virge) the dot (. punctum) + the comma (' apostrophus) all of which had melodic significance. Combinations of these signs into figures are called neams. Each neam, therefore represented more than one note + indicates the connection between them the variations in the voice, the general direction of the melodic movement but not the exact pitch.

Beneventan Script - South Italian Minuscle - Visigothic had no part in the formation of Beneventan script - it was not affected by the Cluniac reform -in its lond + slow development there seems to be no sudden inovations traceable to foreign influences - in turn, it must be said that the Beneventan left no mark on other scripts. -Complete fulfilment in the 11th C -decline + disintegration in the 13th C.

the main pause is indicated by 2 points + a comma (i) the form of the sign being typical of the 10th C MSS The the mere point or the point surrounded by an oblique hook (!) is used for ledder pauses [? ?] = tm

Psalm IX in the Roman Breviary is divided into 2 psalms in the King James Version. The numbers thus differ, up to Psalm CXLVII in the Protestant Bible, which is divided into 2 in the Roman versiton. THe last 3 psalms are thus similarly numbered in both versions.

Book of Hours #43 ana=Ant. 15th C French #36

Versiale (Lands + Vespers) X Domina exaudi orationem meam O Lord hear my prayer Rx Et Clamor meus ad te veniat And I do my cry come unto thee Oremus Let us Pray Oratio Collect

#43 St. John, Apostly + Evangelist Ecclesian taum, Domme, #36 Of thy goodness, O Lord, benig nus illustra: ut enlighten they Church: that, berti Joannis Apostoli illumined by the teaching tui et Evangelistae illuminata of blessed John they Apostle doctrinis, ad dona perveniat and Evangelist, she may sempiterna. Per. attain to eternal gifts. Through

#43 Benedicamus Domino Let us bless the Lord Deo gratias #36 Thanks be to God Pater noster On Father

Monday in Whitsun Week - Collect Deus, qui Apostolis O God, who didst give this sanctum dedisti the Holy Ghost to thine Spiritum: concede plebi #36 Apostles, grant to thy people tune piae petitionis effectum; the fruit of their loving prayer; #43 ut quibus dedisti fidem, that where theou hast given lariaris et pacem. faith there also thon mayest Per Dominum ... in unitate bestow peace. Through our ejusdem. Lord ... in unity with the same Holy Ghost.

The Assumption of the Blessed Virgin Mary Aug. 15 Famulorum tuorum qusesumus Forgive, O Lord, we Domine, delictis ignosce: ut #36 beseech thee, the sons of qui tibi placare de actibus thy servants; that we, who nostris non valemus Genitricis by our own deeds are unable #43 Filii tui Domini nostri to please thee, may be saved intercessione salvemur. by the mother of thy Son, our Qui tecum Lord who Liveth.

punctus flexus ( a mark of punctuation like a "7" with a dot beneath) which was characteristic of Cistercian use.

Britain the English three-stroke superscript sign which most commonly represents the er or the re sound (z) (z) thrailing headed a (2)

(8) the reverse curve + shading of the final stroke of the minuscule d - distinctively English chancery, found nowhere else in Europe.

t (ter) the er flourish so characteristically English v - the English forked r going below the line.

the influence of the chancery hand upon the gothic will become more obvious as we move into the 14th C. the English superscript conterclockwise sign for terminal r or er (3) 1336 - the flourishes + heavy finishing strokes of the d + the r, er, re sign and the e coming off a forked r - unmistakably English.

Spain See #74 the peculiar Spanish Z [z] oms, omium, oma for omnes, omnium, omoria n and no for non, all of which will be recognized as characteristic Visigothic script for some time before this text (1188). omia-omnia bns-benedictus an-autem z for usiam (eccia) ecca - ecclesia mm-meum pplos-populos Spanish gothic - heavy + stubby with a slight tendency to roundness

the sign for esse P or F was common in philosophical circles in Europe in the 14th C. the influence of the Caroligian minuscule - as in all humanistic scripts the long i after a minimed letter (i, m, n, w) oia for omne

with - long horizontal stroke 1396 - late for good gothic the d looped at the top + pointed at the lower left - a late development seldom found before the 15th C.

Italy (Q) -used alone or internally (qui) qa (quia) inqt(inquit) qd(quid) bs for bus Italian abbreviational characteristies

the wavy line for r or ra ev, re, ri will assume more significacance in Italian hands from this point (1188) et sign - long upper horizontal stroke + absence of a medial crossbar (7) is quite Italian -the unical a, the horiz ascendes of the d.

the super script us sign - an elongated cresent open toward the lower left is frequent in Italian gothic instead of the more usual form of a 9, as found in northern gothic(7) wavy line for omitted r, er, re (over proximate vowel to represent omitted r) x for double s

gothic tradition for the upper horizontal stroke of r to continue into the next letter e.g. ra, re, ri, ro.

vertical lines in the capitals, characteristic of Italian rubrication --> T=T - 1204-becomes discinctive later in this Century + persists through the 15th C. Italian spelling (michi) tendency to square letter structure. the horizontal ascender of the d (d) the roundness of the characters in Italian gothic contributes to the impression of width as opposed to that of height in French gothic reversed c for - bus superscript 9. -tio instead of cio final y for i italianisms - the round a (a), n for non, final y for i - the wavy line for ra as gratis was quite general all over Europe long ascenders reflects the practice used in the writing of legal documents.

France con sign (9) used internally. ÷ est (French MSS) (est). ȩ (12th C) i - dotted ? or only if double et sign - long honiz. stroke - characteristic of the Latin South (z) i.e. Spain ampersand & - (Canolingian) [?Tuionian?] sign v forked r - French cursive hands c for cum not common after 1220 n for non de, do, p. juncture which is common in developed gothic crossed [?Tuionian?] et sign 7 -- sometimes regarded as indicative of origin north of the Alps double looped S --> S erect s --> f developed Gothic --> tightly compressed letters becomes shaded 1 (1343) the [inserted] internal [end inserted] omedial 9 sign for con or cum is generally French miniscule [?forked?] r (r) - Typically French

littera quadrata (textura) square Gothic. Both ends ie. the Lead + feast of the perpendiculars are finished off by lozenge shaped serifs, placed obliquely to the mam strokes A simpler form littera semi quadrata. The heads of the perpendicular strokes begin with a short + thick serif. The feat, however, end with a point (just as the bib leaves the writing material) or are rounded off by a trait curving to the right. littera rotunda round Gothic - absence of the Jozenge shaped serifs of square Gothic. Both heads + feet of the vertical strokes are rounded off by curves.

In Gutenberg's Time, paper was old in the East; in Europe it had been a familiar commodity for some 300 yrs. Printers ink, a mixture of lampblack + oil was known in its elements to the contemporary painter

#9 Breviary (Hall) Psalm 75(4) Confitebimur tibi Deus Psalm 97(6) Dominus regnavit exaltet terra Psalm 99(8) Dominus nagnavit irascantue populi Psalm 47 (6) Omnas gentes, plaudita manibus Psalm 61 (0) Exaudi Deus deprecationem meam intende., Psalm 64(3) Exandi Deus Orationem mam cum deprecor

In Festivatatibus #12 - In illo tempore: Dixit Jesus discipulis suis: Jesus said to his disciples - Gregory X Pope (1271 2 - 12960 tEDALDO vISCONTI Beatae Marise Virginis (Blessed Virgin) [Omelia beatie gregorii pape] - Ordinale Sarum ad Matutines Nov. Sancti Andree Apostoli reponoriirs hymn versicles prayer Lasons invitatories capitula (chapters) antiphons