Farfel Research Notebooks

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Farfel Notebook 02: Leaves 065-134

farfel_n02_008_067
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farfel_n02_008_067

67 Oct. 77 $10. UCLA BookFair -Dawsons Johannas Friburgensis (d. 1314) (-a German author) Summa Confession [German] Trans. into German by Buchtold, O.B. -a Dominican When: Conrad Dinckmut 12 Nov. 1484 fo Ret: Goff J321 BMC II 534 Havn 7371 Pn2564 Cap: Lafayette COllege, Van Wickle Lib, Easton, Pa. Univ. of N. Carolia Lib. -literature of the confessional - for the use of priests 200 leaves 15-199 Lumbead Das J - clxxxvi blat 35 leaves of foliation, 192 (201) x 119 mm Type 109 (German text type) Capitals (2,4,5) in use from 1484-88 Dinckmut -regular actualy as a printer seems to have begun about 1482, in which year he printed at least 4 books. Dinckmut's out put become s smaller at the and of the 80's, but he was still printing in 1496 He left Ulm in 1499 same work printed by J. Schonopuger - 1489 Hain. 7374

Haebler Ulm- owing doubtless to a commiercial crisis in the 70's + continued plague in the following decade its typographical history is a rather gloomy one as Zainer, Dinckmut, Holle + Reger all of whom started doing very good press work seem in every case to have lost their capital + been obligated to give up their presses, so that by the beginning of the 16th C printing in Ulm had almost entirely ceased. Dinckmut- it may be supposed that at first he was an assistant of J. Zainer. His independence as a printer began in 1482 + till 1496 we find him carrying on his business; we know that he was a book binder also. His types show the unmistakable influence of the Augsburg presses.

Last edit about 2 years ago by Maria the Elder
farfel_n02_015_069
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farfel_n02_015_069

The Margarita poetica was one of the most popular literary cribs of the Renaissance. It consists of selected passages from classical + post classical writers systematically arranged as models of both form + content. The book opens with a subject index + an index of proper names for easy reference. Entitled Margarita Poetica in honor of the author's mother, Margarete von Wolmershausen. It comprises instruction in the writing of elegant letters + in eloquence generally. The text was of selected passages from classical + contemporary poets + authors - Cicero, Virgil, Petrarch etc.

Last edit about 3 years ago by Sandy_G
farfel_n02_018_070
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farfel_n02_018_070

HEHL #104107 Preceptum Quartum begins P6 (of 10) my leaf Q9 (of 10) ends Q10 (of 10) rubricated in red + blue Total - Preceptum Decimum.

Last edit about 3 years ago by Sandy_G
farfel_n02_030_074
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farfel_n02_030_074

Des la fin du X C et le debut du XI C, on rencontre les premiers missels proprement dits. Pendent tout le XIC, le sacramentaire et le missal voisinent et se cotoient. A partir du XII C, le premier s'efface peu a peu pour laisser la place au second. Au 13 C l'evolution est achevee. Brit. Museum Sacramentary - contains the texts required by the celebrant at mass but not the lessons + chants for the ministers + choir. The book containing all the texts used at the mass is the missal which finally supplanted the Sacramentary in the 13th C. - Rulings of lines - done either with a sharp dry point which makes a slight furrow in the vellum or with a plummet which makes a faint brown mark. Sacramentary - contains the prayers said by a priest at high mass Evangelistary - contains passages from the Gospels arranged according to the order in which they were to be read at mass throughout the liturgical year. V.D. (Vere dignum et instum est) It is truly fitting + proper.

Last edit about 3 years ago by Sandy_G
farfel_n02_033_075
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farfel_n02_033_075

Jan. 78 (75) $25.00 Duschnes, N.Y. Hymnarium. Penitential Psalms for Cistercian Order. (Germany) Middle Europe, 13th C. [inserted] late 14 [end inserted] Written in black + red on vellum page 8 1/2 X 6" in heavy gothic letters. Black notes on a 5 [inserted] line [end inserted] stave with large initials in red + blue. (Gothic notation - the latest of the distinctive neumatic styles - originated in the 14th C. - predominating sign [illegible] Serifs, generally regarded as a mark of deterioration of a script Extensive flourishes + excessive serifs betray its lateness hardly a word that does not show flourishes of which script of the more vigorus 13th C was free. yn9 = ymnus (hymnus) yno = ymno (hymno) ynu = ymnum (hymnum) Hymnary - medieval liturgical book of the Roman rite containing the hymns of the Divine Office arranged according to the days of the week + the feasts of the ecclesiastical year. Its contents, often appended to the Psalter or to the Antiphonary, were later incorporated into the Roman Breviary. The principal features of the Offius are the chanting of psalms with their antiphone, the singing of hymns + canticles, + the chanting of lessons (passages of Scripture) with their responsponsorus. From the musical point of viiew the most important Offius are [?Matins?] Lando + Vespers. The Gregorian music for the Officus is collected in a liturical book called the Antiphonale. Hymns - songs of praise, rendered syllabicaally, or with each syllable sung to its own individual tone. St. Ambrose has been credited with a number of hymns but only 3 can be certainly ascribed to him (being so attributed by St. Augustine himself) Deus creator omnium, Aeteune rerum conditor, + iam surgit hora tertia. The Ambroeian hymn formed the basis for Cistercian liturgical reform in the late 11th + the early 12th C.

Last edit about 3 years ago by Sandy_G
farfel_n02_037_075
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farfel_n02_037_075

4 line staff - customarily employed for ecclesiastical chant (Mass) as opposed to the 5 1. staff customary for other music - became widespread in the 12 c. - the vital link between the music of the Middle Ages + the Renaissance is that found in England in the early 15th c. "Sumer Is Icumen In" - one of the most celebrated of all mediaeval musical compositions. - In the 11th c Guido d'Arezzo advocated the use of colored lines on or in the stave to serve as clefs but also used the lettering system which quickly became the usual method. The pitches F + C were 1st represented because they stand above a semitone which it is important to identify. The signs for B flat + B natural were also used. Not until the 15th c did the G clef become common. Other letters such as D + A appear less often.

Last edit about 3 years ago by Sandy_G
farfel_n02_050_080
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farfel_n02_050_080

The Speculum Sancte Mariae Virginis is intercalated between the chapters of the Speculum humanae salvationia; the latter is accompanied by a German Translation + followed by a Latin summary by Johannes, monk at St. Ulrich + Afra. - a frequently consulted source of inspiration for artists in the late 14 + 15th C, the Speculum + its illustrations remain today a key guide to our understanding of the often obscure symbolism of the art of this period. Rosenwald Z881 U58ro Stanford - The Speculum Sanctae Mariae Virginis is intercalated between the chapters of the Speculum humanae salvationis; the latter is accompanied by a German translation + followed by a Latin metrical summary by Johannes, monk at St. Ulrich und Afra. - printed together with another work intercalated into the chapters of the Speculum. The Latin text is printed beneath the cuts, followed by a translation of the chapter into German + a metrical summary by Brother Johannes of the Abbey.

Last edit about 3 years ago by Sandy_G
farfel_n02_057_083
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farfel_n02_057_083

Z241.3 T41 1519 (1884) Bender Ref Thenerdank Max. I Tenerdank - "Noble Thought on High Resolution" - a romantic + allegorical poem in which Maximilian himself figures as the duo, + his bride Mary of Burgundy, as the heroine under the name of "Ehrenreich", daughter of "Romreich", meant for Charles the Bold. Duke of Burgundy. (rich in renown.) (rich in honour.) - Emperor's opponents - Furwittig, Unfalo, Neidhard C. Fairfax Murray Z240 M98 II. #329 Nurnberg, Joh. Schonsperger, [illegible] misfortune envy Gothic letter, 24 long lines to a page pertness fol. (352x248) generally seen as symbolic of Maximilian's enemies in Italy, Germany + The Netherlands The only book printed by Schonsperger at Nurnberg. 290ffn.ch. Brunet V (Z1011B89) Updike I p.140 "un certain nombre d'exemplaires de cette premiere edition ont ete tires sur tres beau Velin." "on a remarque entre les exemplaires sur Velin et les exemplaires sure papier quelques differences, soit dans l'orthographe de certains mots du texte, soit dans les monogrammes des planches; cependent ces deux tirages se rapport ent a une seule et meme edition." - paper ed. rarer than the velum one. Graesse VII 106 The paper from sig. p onwards appears to have been specially made, for the watermark is a large double eagle with arms of Austria + Burgundy. Before sig. p the watermark is a kind of anchor within a circle. woodcuts - the same blocks were used in the subsequent editions - Hugsburg, Frankfurt, Ulm (last 1693) The entui series used to be assigned to Schaufelein, some of the cuts being signed with his mark, but researches in recent years show that, more reasonably, the set is the work of several hands. S 1) Hans Leonhard Schaufelein (c1480-1539 or 40) 20 cuts 2) Hans Burgkomaiu (1473-1531) 13 cuts HB 3) Leonhard Beck (d.1542) 77 cuts (88-101) + 4 other artists (8)

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farfel_n02_065_085
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farfel_n02_065_085

The Historia Scholastica gave a resume of bible history mingled with legends, secular history and medieval lore. Bible Historiae - an extension of the Historia Scholastica which became equally popular. Most of the early printed editions for which the title Bible was used reproduce in one form or another the text of the medieval B. Historiae. Up to now there was no authentic translation of the Bible available in print for French speaking people. Jacques LeFevre d'Etaples (1450 - 1536) - Martin Lempereus of Antwerp - brought out a folio of the whole Bible in French in 1530. 26. FRENCH VERSIONS After a general view of certain distinctive characteristics of the French translations of the Bible, this article offers a brief history of the French versions in the Middle Ages, in the 16th, 17th, and 18th centuries, and in modern times. General View. The history of the French Bible presents a complex picture. There have probably been considerably more translations of the Bible in French than in any other European language. The multiplicity of translations was caused especially by the absence of a normative version accepted by all or the vast majority of the people, as certain versions were received in England and Germany. Conversely and again contrary to the situation in England and Germany, because the text of the Bible was never fixed in France, Biblical language had relatively little influence on the language of that country. The principal reason for the absence of a standardized French Bible was the unfavorable situation for such a version in France of the 16th and 17th centuries, the period when the first great vernacular versions of the Bible were in full swing in western Europe. The bitter opposition between Catholics and Protestants in France hardened into mutual intolerance, which exploded into endless religious wars. The government which was ordinarily associated with the Catholic cause, automatically regarded the publishing of Bibles as a heretical enterprise. Consequently, the principal I teach versions of that period, the Bibles of Antwerp, Louvain, Geneva, and Sacy, were printed outside France. Moreover, the constant changes that the French language was then undergoing did not allow a permanent translation, by this respect, the Bible of Sacy was the first version that had a chance of being widely received, since its language reflected French classicism. Unfortunately, however, this Bible, which came from a Jansenistic group, was looked upon as suspect, and the notes that accompanied the text were not of a nature to lessen the suspicion. About the same time, the Catholic hierarchy of France entertained the notion of issuing an official Bible in French; but the project came to nought, because it was not regarded as a major concern. In the Middle Ages. The history of the French versions of the Bible began c. 1100, when the Psalter was translated into the Norman dialect. The first French Bible was completed c. 1226. The first printed edition appeared at Lyons c. 1477. For more than 4 centuries the most popular presentation of the Bible was the Bible historiale. This consisted in a paraphrase of the Historia Scholastica of *Peter Comestor, to which was added the French Biblical text. It was drawn up by Guyard des Moulins c. 1200 and was subsequently revised many times. The edition of J. M. Rely, which was printed c. 1487, influenced the Bible version of Jacques Lefevre d'Etaples and thus formed a bond between the medieval and the modern period. In the 16th, 17th, and 18th Centuries. An anonymous NT that was published at Paris in 1523 inaugurated the Bible Historiale - a French translation of the Bible with interpolated passages from the Historia Ecclesiastica of P. Comestor of 1179 - was written between 1291 and 1294 by Gayart Desmoulins Canon of St. Pierre d'Aire in northern France.

Last edit about 3 years ago by Sandy_G
farfel_n02_071_090
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farfel_n02_071_090

90 Nov. '78 B. Rosenthal $26.50 Double leaf manuscript to neumes written on vellum - 21 lines to the page Gothic. Northern Europe - probably 12-13th C Germany (C 1200) Noted Missal? Breviary to neumes the 4 simplest neumes were: punctum, virger, clivis and podetus: . 1 / / The 1st 2 such indicate a single Tome, the punctuation normally a shorter one than the virger. Each of the latter 2 signs represents a pair of Tomes which discard in the clivis + ascend in the podatus. late 12th C - nearly all the styles of neume writing had ecolved into sqare notation on a staff. Neumes are not found in any manuscript before the 9th C. oratorical - neumes used only on a general remider to the singer of the comes of the melody. They give no idea of the actual intervals of teh melody. distematic - in this writing neumes are carefully "heighted", ie placed at various distances from an imaginary line representing a given pitch, according to their relationship to that line.

ho=homo XV qu=quando q=qui ht=habet una=vestra XII apl's=apostolus ihu=Jheus Spc=spiritus pcca=peccata g=ergo aq=aquse unm=vestum gra=gratia XV loh'es=Johannes l3=sed recent gothic 7 (et) capital I to ball on the side (ie >1200)

Last edit about 3 years ago by cw057318
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