- Robert M. Stecher Collection of Darwiniana (x)
- Selected Set of 50 Original Leaves from Medieval Manuscripts (x)
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Show moreChronological index of the fifty manuscript leaves "These fifty manuscript leaves were selected to illustrate the art of the manuscript during the period of its greatest development and influence. They have been taken from books written in various European scriptoria by Benedictine, Franciscan, Carthusian, Dominican, and other orders of monks. Many are enriched with handsome borders, initial letters, and line-endings rendered in color, and twenty-five are illuminated with burnished gold or silver. The texts include the Bible, various church service books, the writings of the Church Fathers, and some of the classics. Changes in book hands from the revised carolingian to the angular and round gothic, the batarde, and humanistic style of writing are illustrated. Tools, materials, and their use and preparation are described, and some methods of dating and allocating the provenance of the book from which the leaf was taken are pointed out on the label attached to each of the leaves. The leaves were accumulated and selected and all of the accompanying information was prepared over a period of forty years by the late Otto F. Ege, Dean of the Cleveland Institute of Art and Lecturer on History of the Book at the School of Library Science, Western Reserve University."
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Show moreCaption: "The chief interest of this text is the interlinear glosses and commentaries from the writings of Bede, Jerome, Gregory, and other Church Fathers. These were inserted at various times during the following century around a central panel of the original text. All the hands are based on the revival of early carolingian minuscule. The beginning of the trend to compactness and angularity is seen in many of these later additions. This manuscript shows through marks of ownership that it was in Geneva for centuries. It is therefore probable that it was written in Switzerland. The color and texture of vellum is frequently an aid in allocating a manuscript to a certain district and time. The 12th century skins are often yellower than those of later dates as the result of the fact that a weaker lime-water solution had been used in the bleaching process." (written by Otto F. Ege) This vellum leaf was probably created in Switzerland. In Revived Carolingian Script.
Vellum leaf from set number 37 of the collection of Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "The line endings of a fish, elongated or shortened as the space required, and the grinning expression of the fish emblem have in some book circles given these German Psalters the nickname "Laughing Carp" Psalters. The fish, as is well known, was one of the earliest and most common symbols for Christ. An early acrostic, IESOUS CHRISTOS THEOU HUIOS SOTER (Jesus Christ, son of God, Savior), is based on the letters in the Greek word for fish, ICHTHUS. The lozenge heads on top of many of the vertical pen strokes are characteristic of German manuscripts." (written by Otto F. Ege) In Angular Gothic Script. This manuscript is probably from Germany.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "In 1217, St. Dominic, the founder of the order which bears his name, withdrew from France and settled in Italy. Here, in the next four and last years of his life, he founded sixty more chapters of the Dominican order. Many of the younger members of the order studied at the University of Bologna and, while there, produced a great number of these small portable Bibles, just as did their brothers at the University of Paris in France and the University of Oxford in England. There was a difference in the art of the scriptoria in the various countries. In England and France the ideal of craftsmanship was very high, while at this time, in Italy, a rather casual attitude prevailed. In the XIIIth century Italy was distraught by the long struggle between the papal and anti-imperialistic Guelphs and the autocratic and imperialistic Ghibellines. Little encouragement was given by either party to the arts. This leaf reveals, however, the skill and keen eyesight which were necessary for the writing of ten of these lines to the inch." (written by Otto F. Ege) In Rotunda Gothic Script. This manuscript is probably from Italy.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "This small Psalter leaf illustrates the fact that, although skilled scribes were available in many monasteries in the XIIIth century, some of the monks who attempted to apply and burnish the gold leaf were still struggling with many problems of illumination. The famous treatise De Arte illuminandi and Cennino Cennini's Trattato were both of later date. These works gave directions on how to prepare and use the glair of egg, Armenian bole, stag-horn glue, and hare's foot, and on how to burnish the gold with a suitable wolf's tooth. These books might not have been too helpful, however, for the author of the De Arte Illuminandi adds, "Since experience is worth more in all this than written documents, I am not taking any special pains to explain what I mean." (written by Otto F. Ege) In Angular Gothic Script. This manuscript is probably from France.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "It is usually difficult to distinguish the miniature or portable Bibles made by the young Dominican friars in England from those written in France. At times the colophon tells us that a book was executed in the Sorbonne, the newly founded school of theology in Paris, or in the University Center at Oxford. The Dominican order was founded in 1216 A.D. and soon spread all over Europe. About 1219 A.D., King Alexander of Scotland met St. Dominic in Paris and persuaded him to send some members of his brotherhood to Scotland. From here they spread to England. The original master text was carelessly transcribed again and again. It may even have been incorrectly copied from the Alcuinian text written for Charlemagne. Therefore, "correctories" had to be made. In the latter part of the XIIIth century, Roger Bacon condemned unsparingly manuscripts which, although they were skillfully and beautifully written, transmitted inaccuracies of text." (written by Otto F. Ege) In Angular Gothic Script. This manuscript is probably from England.
Vellum leaf from set number 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "This copy of the Latin version by St. Jerome was made during the period when France stood at the height of her medieval glory. A decade or two before, Louis IX (Saint Louis), the strongest monarch of his age, had made France the mightiest power in Europe. This favorable political situation rendered possible the "golden age" of the manuscript, and Paris became the center in which the finest manuscripts were written and sold. In the quarter century from 1275 to 1300, marked advances were effected in the art. The bar borders came to be executed in rich opaque gouache pigments, with ultramarine made of powdered lapis lazuli predominating. The foliage scroll work inside the initial frame created a style that persisted with little or no change for nearly two hundred years. The script was well executed and was without rigidity or tension. All these elements, together with the sparkle which was created by the casual distribution of the burnished gold accents, give to this leaf a striking atmosphere of joyous freedom." (written by Otto F. Ege) In Angular Gothic Script. This manuscript is probably from France.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "This manuscript, a special gift to a church in the city of Beauvais, was written for Robert de Hangest, a canon, about 1285 A.D. At that time, Beauvais was one of the most important art centers in all Europe. The ornament in this leaf shows the first flowering of Gothic interest in nature. The formal hieratic treatment is here giving way to graceful naturalism. The ivy branch has put forth its first leaves in the history of ornament. The writing, likewise, is departing from its previous rigid character and displays an ornamental pliancy which harmonizes with the decorative initials." (written by Otto F. Ege) In Transitional Gothic Script. This manuscript is probably from France.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "Breviaries were seldom owned by laymen. They were service books and contained the Psalter with the versicles, responses, collects and lections for Sundays, weekdays, and saints' days. Other texts could be included. A Breviary, therefore, was lengthy and usually bulky in format. Miniature copies like the one represented by this leaf are rare. The angular gothic script required a skilled calligrapher. It would be difficult for a modern engrosser to match, even with steel pens, the exactness and sharpness of these letters formed with a quill by a XIIIth century scribe. Green was a decorative color added to the palette in the late XIIIth century in many scriptoria. The medieval formulae for making it from earth, flowers, berries, and metals are often elaborate and strange. This manuscript was written on fine uterine vellum, i.e., the skin of an unborn calf. It evidently had hard use, or may have been buried with its owner." (written by Otto F. Ege) In Angular Gothic Script. This manuscript is probably from England.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "Illuminated Psalters occur as early as the VIIIth century, and from the XIth to the beginning of the XIVth century they predominate among illuminated manuscripts. About 1220 A.D., portable manuscript volumes supplanted the huge tomes favored in the preceding century. This change in size caused the creation of a more angular and compact script. In general, smaller initial letters were used, and writing was done in double columns. At this time the pendant tails of the initial letters are rigid or only slightly wavy, with a few leaves springing from the ends. Later, they became free scrolls, with luxurious foliage, and were extended into all the margins. The blue and lake (orange-red) color scheme with accents of white is a carry-over from the Westminister tradition which prevailed in the previous century. The solid line-filling ornaments at the ends of the verses were a new feature added in the second half of the XIIIth century. Silver and alloys of gold are used on this leaf." (written by Otto F. Ege) In Angular Gothic Script. This manuscript is probably from England.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "The Breviary is one of the six official books used by the Roman Catholic Church in its liturgy. It is a book of prayers for the clergy, giving the directions for all of the various services of the Divine Hours throughout the year. The other five official books are the Pontifical, the Missal, the Ritual, the Martyrology, and the Ceremonial of the Bishops. The angular script in this leaf is executed with great skill and precision. The small and vigorous black initials and the hair line details found in many of the ascenders and terminal letters indicate the work of a superior calligrapher, skilled not only in writing but also in sharpening his quill. The initials and the dorsal decorations also represent the same high standard of craftsmanship. Strangely, the rubrications do not show as great a calligraphic skill. Usually it was the task of a superior scribe to insert the rubrics or directions for conducting the service." (written by Otto F. Ege) In Angular Gothic Script. This manuscript is probably from France.
Vellum leaf from the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "At this period, the St. Jerome Bible was not transcribed as often as one would expect in the country of its origin and the very land which held the seat of the Roman Church. During the greater part of the XIIIth century, while the popes were greatly concerned with gaining political power, art was at a low ebb in Italy, and religious manuscripts were comparatively few and far inferior to the work of monastic scribes in Germany, France, and England. But with the great wealth accumulating in Italy during the XIVth century through commerce and the Crusades, this country soon surpassed in richness as well as in numbers the manuscript output of all other nationalities. The rich black lettering of this manuscript is in the transitional rotunda script and is executed with skill and beauty. It is supplemented by initial letters in rich ultramarine blue and deep cinnabar (vermilion), which colors are reflected in the ornament of the romanesque capitals. All of these factors combine to indicate that the manuscript was executed in central Italy, possibly at Florence." (written by Otto F. Ege) In Transitional Rotunda Script. This manusript is probably from the Netherlands.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "Many Missals, Bibles and Psalters of the XIIth century were written in this fine, bold script. It was a revived form of the IXth century carolingian minuscule. In the absence of miniatures and decoration, it is difficult to assign a manuscript in this hand to a particular country. Some of the letters in this book, however, have been carefully compared with those in a manuscript known to have been ordered in Spain in 1189 A.D. by a certain Abbot Gutteruis, and it was found that the resemblance is striking. It is possible, therefore, that this leaf was written in the same monastery. However, because of the uniformity of all scripts in the early period, many English and French manuscripts could present close similarities in the style of writing." (written by Otto F. Ege) This leaf was probably from Spain or Southern France. In Revived Carolingian Script
Vellum leaf from set number 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege
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Show moreCaption "Small Psalters of this period are comparatively rare, since Psalters were used primarily in the church services and not by the layman. Here, the letters and ornament still retain all the rigidity of the previous century and give no indication of the rounder type of letter or any beginning of the interest in nature that characterized the work of the scribes in France. The filigree decoration, as well as the line-finishing elements, show, however, more creative freedom than either the initial or the text letters. The small burnished gold letters display considerable skill on the part of the illuminator, for it is difficult to control small designs in the gesso used as a base for the raised gold leaf." (written by Otto F. Ege). This vellum leaf was created in Flanders. In Script.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "At important festival services such as Christmas and Easter these small hymnals were generally used by the laymen as they walked in procession to the various altars. Much of the material incorporated in the hymnals was based on folk melodies. Hymns, like the other chants of the Church, varied according to their place in the liturgy. Their melodies are frequently distinguished by a refrain which was sung at the beginning and at the end of each stanza. The initial letter design of this leaf persisted with little or no change for a long period, but the simple pendant spear was used as a distinctive motif for not more than twenty-five years." (written by Otto F. Ege) In Angular Gothic Script, Gregorian Notation. This manuscript was probably from France.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "The Missal has been for many centuries one of the most important liturgical books of the Roman Catholic Church. It contains all the directions, in rubrics and texts, necessary for the performance of the mass throughout the year. The text frequently varied considerably according to locality. This particular manuscript was written by Benedictine monks for the Parochial School of St. John the Baptist in Wurzburg shortly after 1300 A.D. The musical notation is the rare type which is a transition between the early neumes and the later Gothic or horseshoe nail notation. The "C" line of the staff is indicated by that letter, and the "F" simply by a diamond, an unusual method. The bold initial letters in red and blue are "built up" letters; first the outlines were made with a quill and then afterward the areas were colored with a brush." (written by Otto F. Ege) In Gothic Script, Transitional Early Gothic Notation. This manuscript is probably from Germany.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "In the middle of the XIVth century many of the manuscripts show influences from other countries. Illuminators, scribes, and other craftsmen traveled from city to city and even from country to country. While the script of this leaf is almost certainly French, the initial letters and filigree decoration might easily be of Italian workmanship, and the greenish tone of the ink suggests English manufacture. The dorsal motif in the bar ornament is again decidedly French, and the lemon tone of the gold is a third indication of French origin. In England, the burnished gold elements are generally of an orange tint, due to the presence of an alloy; in Italy, they are a rosy color because the underlying gesso or plaster base was mixed with a red pigment." (written by Otto F. Ege) In Angular Gothic Script. This manuscript is probably from France.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "This particular Book of Hours, a devotional prayer book for the layman, was made for the use of Sarum, the early name for Salisbury, England. This text was accepted throughout the province of Canterbury. The manuscript was written about the time Chaucer completed his Canterbury Tales, but evidently by a French monk, who might have been attached, as was often the case, to an English monastery. Again, the book could have been specially ordered and imported from abroad. The initial letter and the coloring and the treatment of the ivy are unmistakably French. The lettering is an excellent example of the then current book hand. There are seven lines of writing to an inch. The words written in red, a heavy color made from mercury and sulphur, show almost the same degree of delicacy as those written with the more fluid ink." (written by Otto F. Ege) In Angular Gothic Script. This manuscript was probably from England.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption: "The Psalter with its one hundred and fifty psalms is the best collection of religious lyrics which the world possesses. It is no wonder, therefore, that it forms an important part of so many medieval manuscripts. The Psalms are found not only in manuscripts of the Bible, but also in Missals, Breviaries, and Books of Hours; and, as they had to be memorized by the priests, they were also transcribed separately. In the earlier periods there was generally a harmonious unity between the spirit of the ornament and the character of the writing. This unity is exemplified in this leaf. The three-lobed, gracefully drawn symmetrical fronds of leaves in the ornament are usually accepted without question as representing the ivy plant. In the Middle Ages many magical and medicinal qualities were attributed to this plant. Unfortunately, fire and water, mice and men have in the course of the centuries often left their damaging marks on manuscript leaves. Some pages of this manuscript book show the effect of having been exposed to dampness." (written by Otto F. Ege) In Gothic Script. This manuscript is probably from France.
Vellum leaf from set 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege.
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Show moreCaption "The fact that this Missal honors particular saints by its calendar and litany indicates that it was made by friars of the Franciscan order. This was established in 1209 by St. Francis. These wandering friars with their humility, love of nature and men, and their joyous religious ferver, soon became one of the largest orders in Europe. This leaf, with its well written, pointed characters and decorative initial letters, has lost some of its pristine beauty, doubtless through occasional exposure to dampness over a period of 600 years. The green tone of the ink is more frequently found in English manuscripts than in French. However, the ornament and miniature on the opening page of the manuscript definitely indicate that it is of French origin." (written by Otto Ege) In Angular Gothic Script. This manuscript is probably from France.
Vellum leaf from set number 37 of the collection of: Fifty Original Leaves From Medieval Manuscripts, Western Europe, XII-XVI Century, compiled by Otto F. Ege
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