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Temporale of a Soresina Antiphonary, in Latin
[ITALY (LOMBARDY, CREMONA), 16TH CENTURY (SECOND HALF)]
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21
Temporale of a Soresina Antiphonary, in Latin
[ITALY (LOMBARDY, CREMONA), 16TH CENTURY (SECOND HALF)]
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音樂藝術、中世紀與文藝復興時期手稿及歐陸古籍

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Temporale of a Soresina Antiphonary, in Latin
[ITALY (LOMBARDY, CREMONA), 16TH CENTURY (SECOND HALF)]
c.510x380mm, manuscript on vellum, 187 leaves, complete, mostly in quires of 4 leaves (quires xxix and xlvii are bifolia), discreet foliation in lower right corner, pagination (used here) in stencilled numerals in the top corners (‘14’ omitted), written with five lines of text and music on 4-line staves (rastrum: c.38mm), the ruled space c.380x265mm, pp.2, 368 ruled, otherwise blank, illuminated with ten large and five smaller historiated initials each on a gold ground, of varying sizes, the largest the height of two lines of text and music (c.170x170mm), numerous smaller initials alternately in red or blue, some very finely drawn cadell initials with human heads, bound in its contemporary binding (c.580x420mm including spikes), sewn on six double bands, the thick wood boards covered with plain brown leather, metal corner-pieces stamped with Agnus dei, sunburst , ‘ave’ and ‘yhs’ monogram tools, centre-pieces with bosses, and the lower cover with corner bosses and two large pins for strap-and-pin fastenings (straps missing), the lower back panel engraved ‘V. XII’, approximately 35 fore-edge tabs, rebacked
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相關資料

Provenance
(1) Written for the convent of friars minor (Franciscans) of Soresina (near Cremona, Lombardy), formerly dedicated to St Francis, and later to the Immaculate Conception, as recorded on the title-page (p.1), their Volume XII (as recorded on p.1 and the binding; vols.I-XI presumably consisted of Choir Psalters, Graduals, Missals, etc.). (2) 19th-century bookseller’s label (front pastedown). (3) Bernard Gantner (b.1928), artist, of Lachapelle-sous-Chaux, France.

Text
Title-page: ‘Volumen .XII. / Antiphonarium de Tempore / uno volumine comprehensum / Pro Cou. ff. Min. Sorex. / Cremon. olim s.p.n. [sancto patrono nostro?] Francisco / nunc Immac. Concep. sacro / [date erased, perhaps beginning 18 iulii]’ (p.1); Temporale (p.3) for the whole year from the Saturday before the first Sunday in Advent, to the 24th Sunday after Pentecost; added indexes of: feasts (p.369), Benedictus antiphons (p.371), and Magnificat antiphons (p.372).

Illumination
Because the quantity of illuminated manuscripts being produced fell sharply in the 16th century, it is difficult to find close comparisons for books made outside major centres such as Milan and Rome. A possible clue to the date of the present book is the form of the Star of Bethlehem in the Adoration of the Magi initial: it is depicted as a comet with a very prominent tail, which may have been inspired by the ‘Great Comets’ of 1577 and 1580, which were described in contemporary accounts as being as bright as the moon.

The subjects of the historiated initials are: (1) the Holy Spirit (p.53; 17 December, ‘O sapientia’), (2) Nativity (p.78), (3) Adoration of the Shepherds (p.87), (4) St Stephen (p.92), (5) St John the Evangelist blessing the poisoned chalice (p.96), (6) a symbolic landscape with a halo(?) over a palm-tree flanked by lilies perhaps representing innocent martyrs (p.101; feast of the Holy Innocents), (7) Presentation in the Temple (p.107), (8) Adoration of the Magi (p.116), (9) Resurrection (p.229), (10) a sunrise over a landscape (p.232; ‘Hec dies quam fecit dominus …’), (11) Ascension (p.255), (12) Pentecost (p.262), (13) Trinity (p.278; Trinity Sunday), (14) Salvator Mundi (p.287; Corpus Christi Matins), (15) vase with grapes and ears of corn (p.292; Corpus Christi Lauds).

音樂藝術、中世紀與文藝復興時期手稿及歐陸古籍

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