A supplementary newsletter ublished jointly by the Faculty-Student Committee to Stop the War in Vietnam, Americans for Reappraisal of Far Eastern Policy A.R.F.E.P., and Students for a Democratic Society S.D.S.-- University of Oregon.
Letter from Samuel A. Snowden to Samuel D. Snowden. Describes attempts to find ship passage to Pacific coast of North America. Relates details of visit to Mr. Warnack, whose brother went to Oregon some years before.
Andrew S. McClure (1829-1898) traveled from Kansas to Oregon in 1853. The collection consists of two typed transcriptions of his journal, chronicling that journey.
Examples mounted on both sides of continuous strip folded accordian fashion to form 33 leaves. Interleaved with translations., Most likely compiled during the late Edo period, circa first half of the 19th century.
Manuscript document. Title devised by cataloger. Date based on style of pen-work ornamentation., Collation: Parchment, ii (modern paper) + 131 + i (modern paper) folios on parchment, modern foliation in pencil, 1-131, lacking five leaves (collation i-vi8 vii8 [-3, lacking one leaf after f. 50, with loss of text] viii8 ix8 [-2, lacking one leaf after f. 64, with loss of text] x8 xi8 [-1, -6, lacking one leaf after f. 78 and one leaf after f. 82, with loss of text] xii8 [-5, lacking one leaf after f. 88, with loss of text] xiii-xvii8 )., Decoration attributed to the Master(s) of Dirc van Delft Group. Rubrics in red, capitals touched in red, 1-line initials alternating in burnished gold and blue throughout, decorated with blue and red pen-work, 2-line initials in burnished gold throughout, decorated alternately with red and blue pen-work, seven 3-line initials in burnished gold on grounds divided in pink and blue, accompanied with borders decorated with bars in burnished gold, pink, and blue; and branches of leaves and flowers in burnished gold (ff. 2v, 21, 24v, 28, 31, 34, 38v), two 7-line initials, one in blue (f. 1), another in pink (f. 44), decorated with geometric pattern in white, on burnished gold grounds with bar borders in burnished gold enlivened with curling branches of flowers and leaves in burnished gold and colors, a small tear in the outer margin of folio 22 and in the lower margin of folio 93., Binding: Bound in eighteenth century brown calf, spine gold-tooled with flowers; red leather label with gilt titling: GETYDEN MANUSCRIP; multi-colored gold brocade endpapers with flowers and leaves; modern fitted case, spine restored, stitching of quires somewhat loosened, small marks of wear on the leather., Lettering: Gothic book-hand (textualis), written in brown ink., Translation from Latin to Middle Dutch by Dutch reformer Geert Grote (1340-1384) in 1383-1384. Grote also added a new text to the standard contents, the Hours of Eternal Wisdom, the Getijden van de Eeuwige Wijsheid, a translation of the Cursus Aeternae Sapientiae by Henry Sus.
Manuscript document. Title devised by cataloger., Collation: Parchment, single leaf, 2 pages., Decoration: Every other line begins with a decorated initial in alternating blue and red pigment. The initials have the opposite color for flourish. The blue flourish either has faded or was never applied and the under-drawing remains in light pink. The text is in black ink. Recto has CCX in the top right and a random pen marking in the right margin. Verso has - 70 - beneath the final line of text., Binding: disbound., Lettering: Written in Italian Gothic Rotunda script.
Manuscript document. Title devised by cataloger., Disbound leaf (2 pages) form a missal., Collation: Parchment, single leaf, 2 pages., Decoration: Initials in red or blue, with opposite color flourishing. The blue flourishing either faded, or was never applied, for only a light pink outline of the flourish remains around the red initials. Text is in black and red, and alternates in size throughout. The text of the verso appears to have been done by a different hand than the recto; the text is much squarer than the recto., Binding: disbound., Lettering: Written in Gothic script (littera textualis semi-quadrata).
Manuscript document. Title devised by cataloger., Collation: Parchment, single leaf, two pages., Decoration: Large initials in red or blue, and non-musical script in red. Music lines are in red, and the notes and corresponding text are in black. On the verso, the initials in black have some flourishing., Binding: disbound., Lettering: Written in Gothic script (textualis prescissa).
Manuscript document. Title devised by cataloger., The text begins with a continuation of Apocalypse 21:19, finishing at the twenty first line of the page. Apocalypse 22 begins at the twenty-second line and makes up the rest of the text of the leaf. Verso is blank., Collation: single sheet., Decoration: One decorated initial in red with blue flourishing; roman numeral XVII alternates between red and blue; last two words in the second column are red; and the rest of the text is in black, with red marks showing the beginnings of new sentences., Binding: disbound.
Manuscript codex. The properties of herbs: hexameter poem on medicinal uses of herbs, written in the late 11th century under the pseudonym of Macer (with reference to the Roman poet and naturalist Aemilius Licinius Macer, d. 16 BC). The French physician Odo de Meung-sur-Loire, known as Odo Magdunensis, has been suggested as the real author, as his name is mentioned in a 12th-century copy of the text (Dresden, Sa_chsische Landesbibliothek - Staats- und Universitätsbibliothek, Dc. 160, f. 37v, explicit) and a number of later manuscripts. The epithet 'Floridus' was added to the name by scribes from the 13th century onwards (Wellcome Library). The text draws from classical and early medieval sources, Pliny (23-79 AD) and Walafrid Strabo (d. 849) in particular. Cited for the first time by Sigebertus Gemblacensis (d. 1112), the poem circulated widely in Europe, both in Latin and in vernacular translations, for the following five centuries, with the number of hexameter lines varying greatly (Wellcome library). The poem is one of the earliest Western documents proving a medieval revival of interest in botany., Collation: Three quires of 8. Catchwords on f. 8b, f. 16b., Decoration: Illuminated capital 'H' on first recto: Brownish-purple with white highlights on raised gold square, filled with foliage in blue and pink, with green foliate extensions and 9 scattered raised gold dots outlined with ink. Four Lombardic capitals, three in red and four in blue; some unfilled capital spaces. Gothic ornamental capitals (same ink and size as script) starts each line. First five divisions have headings in red., Binding: Gray-green paper and brown morocco leather spine over boards. Leather is blind-tooled with four pairs of horizontal lines, each bracketed by a small gold dot. Spine labeled MACER lengthwise in gold. Paper pastedowns and four paper flyleaves at front and back., Script: Rounded Gothic book minuscule in brown ink with rubrication.
Contents: 1. Ff. 1v-107r: Psalms of David. -- 2. Ff. 107v-119r: Biblical Canticles. -- 3. Ff. 119r-125v: Song of Songs, common version. 4. -- Ff. 125v-135v: Praises of Mary [Wəddase Maryam], laid out in one column. arranged for the days of the week (Monday, f. 125v; Tuesday, f. 126v; Wednesday, f. 128v; Thursday, f. 130; Friday, f. 132r; Saturday, f. 133v; Sunday, f. 134v). -- 5. Ff. 136r-139v: Gate of Light [Anqäṣä Bərhan]., Manuscript document. Title devised by cataloger., Item cataloged from existing description in Catalogue of the Ethiopic Manuscript Imaging Project: Volume 1, in which this manuscript is entered as EMIP 73., Quires: protection quire + 12 full quires, ii + 141 folios, 138 x 105 mm. Quire descriptions: quires 1-4, 6-12 balanced; quire 5 adjusted balanced., Binding: four Coptic chain stitches attached with bridle attachments to rough-hewn boards., Overlooked words of text are written interlinearly (f. 138v)., The scribe regularly has to complete a line of text on another line. Much of the problem is addressed through the selection of an appropriate aspect ratio for the codex combined with an appropriate script size. But, where the line of text is still too long, the scribe completes the line of text above the end of the line (e.g., ff. 1v, 2v, 3r, 4v, etc.). This scribe will also reduce the font size at the end of lines to avoid having to go onto the next line (e.g., ff. 55v and 57v).
Manuscript codex. Justinus the historian [was] of unknown date, but not later than 300 or 400 AD. His work is taken from the Historiae Philippicae of Progus Pompeius ... writing the history of Macedonian monarchy ... Justin's work is not so much an abridgment as a selection of those parts [of Trogus' history] which seemed to him most worthy of being generally known--Edward Sandford Burgess notes., Includes two pages of written notes by Edward Sandford Burgess on Justinus and his text, and notes on the veneration of Cicero's texts by later scholars., Collation (Cicero): 50 leaves, Quires of 10 + 2 front flyleaves. No page headings, numbers, signatures. Catchwords in middle lower margin at end of quires., Collation (Justinus): 69 leaves, quires of 10 except last of 9. Catchwords in middle lower margin at end of quires. No page headings, numbers, signatures., Binding: Both works bound together in grained brown morocco over heavy boards. Spine has six panels with gold stamped letters: Argumenta Tullii, Justini Historia, M. S. in chart. Interior covers have gold fillet border with fleurons at corners. Flyleaves have watermark J. Whatman, 1833., Script: Cicero manuscript written in Humanistic minuscule in brown ink; smaller script in Justinus manuscript.
Manuscript codex. Contained in this volume are the fragmentary sermons of Iohannes Halgrinus de AbbatisVilla (died 1237), A French philosopher and writer of Sermons, as well as Papal legate to the court of Fredric II of Spain & Portugal, and Cardinal of Sabina(1227). He has been described as a theological follower of Petrus Cantor and Cardinal Stephen Langton. He studied in Paris with Hugolino of Ostia (Pope Gregory IX) at the University of Paris., Collation: In quires of 10. Catchwords in middle lower margin, no signatures. Marginal headings. Folio numbers., Decoration: Decorative blue and red paragraph marks, some large initials in blue or red. Headings rubricated throughout., Binding: 18th century parchment binding, rounded spine, head and tail bands of green and white thread. Lined with 18th c. Italian figured art paper: foliage designs printed in brown and red on a background of small brown dots. Edges stained brown. 9 blank leaves besides endpapers in front and 10 leaves of index, at end 11 blank leaves and endpapers; flyleaves have a tri-lobed watermark at center Title written in brown ink on spine., Script: Gothic minuscule in brown ink.
Manuscript document, Collation: Parchment, single sheet., Decoration: Two initials in gold and blue with marginal extenders in purple and red; text in black and red., Binding: Disbound., Lettering: Gothic.
Manuscript document, Collation: Parchment, single sheet., Decoration: Initials in red and blue, with red and blue flourishing; running title lettered in red and blue; rubrication., Binding: Disbound., Lettering: Written in a Carolingian minuscule script.
Manuscript document. Title devised by cataloger., Scope and content: Notebook on astronomy: the Elements, the Senses. Institutionum Physicarum, books 6, de Astronomia, 5, of 4 elements, 4th of senses, heat, cold ice, odor, taste, sound, sight., Text mentions astronomical events in 1783 and 1791. With 8 page booklet in English by Edward Sandford Burgess, written in black ink. According to Burgess, the manuscript was written in Paris by a student from, possibly, Italy, circa 1760-1783. Burgess describes a manuscript on astronomy, in which, among other things, the author attacks Ptolemy and Tycho, citing Kepler. He reconciles the Bible and Science, justifying Joshua for saying 'Siste sol', since he was referring to the real motion of the earth to the sun; it was more natural to address the Sun than to say 'Earth stand still'. The Copernicans themselves speak of the motion in terms of the Sun as the moving body, and say, 'The sun falls, the sun rises.' Burgess also describes sections dealing with the five senses. With loose paper label upon which is written in black ink: Latin Ms. on paper/ astronomy / 17th or 18th c., Collation: Octavo. Page numbering restarts in various sections; not all pages numbered; some blank pages. 12 ink diagrams tipped in., Origin: Paris?, Script: Cursive in brown ink with ascender and descender flourishes., Binding: White alum-tawed parchment over boards. Red morocco spine label with gold stamped letters Institutionum Phisicarum LIBER--Manuscript and two gold lines above and below words. Endsheets of marbled paper, blue on white with black and dark red. Pages have holes from a previous side-sewn binding of 9 stations. Two additional flyleaves of thicker paper (late 19th-early 20th century).
Apocalypse with Interpretations, divided into chapters preceded by 72 illustrations. Prologue by St. Andrew, Archbishop of Caesarea, Cappadocia. Final chapter, without illustration: Sign of Second Coming of Christ, ending, Then Hell will be captured by Our Lord Jesus Christ. Copied from a 17th century manuscript., Manuscript codex. Title devised by cataloger., Collation: Quires of 6 at beginning and end. 73 tipped-in illustrations. No signatures or catchwords; folio letters at lower right of text. Four blank flyleaves at front and back., Script: Cyrillic majuscule in black ink with rubrication of page headings and initials. First words of paragraph in red or purple., Decoration: 73 full page watercolor illustrations, drawn loosely in light brown and black ink and very crudely painted with color washes of green, brown, yellow, blue, red, and pink. Rubricated initials with red vine and flower extensions; red floral designs at ends of some books. Page opposite painting #2 (angel appearing to St. John) has a foliage headpiece and a right-side decorative motif, and both are crudely trimmed and pasted-in clippings from woodblock prints. These designs are roughly emulated in a freehand headpiece and right-side motif opposite painting #47 (first of seven vials), with foliage in green, blue, and pink on a pale yellow background; the same colors are used in the initial 'I'. Most other chapter headings simply have a rectangle outlined in black and/or red. There are several Hands of Blessing drawn in margins, some colored in., Paper watermarked alternately with Russian characters for 'F K N G' and 1836; another watermark has oval stamp, Superfine, London. Near the end are two ink stamps of French dealers.
Manuscript codex. Summary: Scholastic philosophy is at first influenced by Platonism through the mediation of St. Augustine from the 13th Century ... by Aristotle's philosophy ... The Stagirite became the official philosopher ... Toward the middle of the fifteenth century [scholasticism] succumbs to the secular and liberal reaction inaugurated by the Renaissance. Weber's History of Philosophy, pp. 202, 239. The Organon, or instrument of philosophy was earnestly studied before and after the dominance of Aristotelian metaphysics under scholasticism. Aristotle is the real founder of logic, and his system of deductive logic, in the opinion of Weber, constitutes his ... claim to fame., Collation: Quarto (228 x 175 mm) in quires of 8 (except vii^4, viii^2, xi^6, xv-xvii^6, xviii^10, xix^6, xxiii^6, xxiv^10, xxv-vi^6, xxv-vi^6, xxviii^4, xxxv^1, xxxvii^4, xli-ii^4, xlvi^10)(to compliment these exceptions ff. 171-172, ff. 187-188, f245 had been removed before writing). No rubrication; no signatures. Catchwords only before missing pages. Four sets of numeration, to reflect the four books in this volume., Decoration: Line diagrams in same black ink on f21v (Diagram describing the rules of argument oppositions) & f32r (Matrix concerning the methods of forming an arguement)., Binding: Vellum over boards 235 x 176 mm, showing 3 raised bands labelled Aristotles XVe siede MSS. With page edges dressed en rouge. Attempted binding repair with at least 4 bands of reused parchment, with text, strapped between interior board and spine., Script: Humanistic cursive in a single hand.
Manuscript document. Title devised by cataloger. Two leaves from a manuscript book of hours, with illuminations depicting the tree of Jesse and the transfiguration of Jesus., Lettering: Written in an Italian humanistic bookhand., Leaf MS 113a: (r): International/Neo-Gothic style architectural frame in gold leaf, washed vermillion and grisaille. Two putti in grisaille with gold leaf wings are on the top left and right of the frame, and a final central putti in the same technique at the bottom. Each side of the frame has one grisaille child-figure. Jesse rests on a blue bed decorated in gold. Jesse is robed in gray and blue. The tree is fully in gold leaf with black outlines. There are six figures on each side, with the Virgin Mary and child at the top center. The twelve figures are variously clothed using blue, vermillion, gold leaf, and green pigments. The Virgin Mary's mandorla and crown are in gold leaf. (v): Border around text is in gold leaf with red outlines. The main text is in black, with the bottom four lines in red. The tree branch and final word Oratio are in gold leaf. Leaf MS 113b: (r): Border is fully in gold leaf, with a heavily foliated decoration in red, green, and blue. A bird can be found towards the bottom left, and a winged insect (a moth perhaps?) sits towards the bottom right corner. The illumination is further framed in an acanthus order column and arch frame in gold leaf with red borders. Christ stands center with a white rob, and his skin, halo and mandorla are in gold leaf. Moses, top left, is robed in white and blue and holds the commandments in gold leaf. Elijah, top right, is robed in black and white with gold leaf accents. The bottom three figures, John, James, and Peter (order unknown) are clothed in blue, white, and gold leaf. They are situated against a green landscape and blue skyline. The text underneath the illumination has a illuminated initial I in blue against a red and gold leaf background. The text is faded black. (v): The border around the text is gold leaf with red outlines. An illuminated O begins the text. It is blue, with a gold leaf background and a red flower in the center. The text is in a faded black. The tree branch and final four lines are in gold leaf., Binding: Disbound.
Manuscript codex. Title devised by cataloger., Bookdealer's description (pasted in): W. Eames catalogue: 6252 Bidpai or Pilpay, Anvari Suheli, or the Persian version of the fables of Pilpay. Neatly written Persian manuscript of 376 leaves of glazed paper, dated A.H. 1219 (A.D. 1804). In the original stained binding but rebacked. This Persian version of the fables of Bidpai was made about the 6th Century., Collation: Large 8vo. Few stitches visible. Catchwords at each foot. Numeration at upper left corner of each recto with Arabic numerals turned vertical. Interlinear and marginal translations. Notes in English., Script: Farsi in Nanta'liq script., Decoration: Rubrication throughout., Binding: Dark Brown morocco with floral arabesques; border of medallions with verdant dressed highlights. The decomposure of the leather shows reuse of pressed paper fragments with writing, as boards. Watermarked endpapers., The Fables of Bidpai came originally from a Sanskrit source. It was brought to Persia in the 6th century A.D. From that version it was translated into Arabic, and from the Arabic into many languages. The best known version is made about the end of the 15th century, by Husain Waiz i Kashifi, entitled Anwar i Suhaili.
Manuscript codex. Title devised by cataloger., Collation: 8vo in quires of 12, q5^9. Signatures in Armenian fashion, at middle of lower margin at beginning and end of each quire. No catchwords or pagination., Script: Armenian book script., Decoration: Large Rubricated initials extending 5 lines., Binding: Original binding, 18th century (?) Brown morocco over wood boards with covers embellished with 3 concentric panels. Spine shows 3 raised bands going into the wood board. On watermarked paper, browned and water-stained at top corners., This article has been described as a treatise on grammar, in Armenian by Stchonghaetzi, from 1725.
Manuscript document, Collation: Parchment, single sheet., Decoration: Initials in red and blue, with contrasting flourishing in blue and red; staves ruled in red., Binding: Disbound., Lettering: Written in a Gothic script., Annotations: Marginal and interlinear annotations in a 16th century hand.
Contents: 1. Ff. 3r-5r: Image of Gabriel. -- 2. Ff. 6r-:13v: Prayer of Incense (Published in Ethiopia, Tənśa'e Zä-Guba'e Press, Addis Ababa, 1951 EC). -- 3. Ff. 14r-37v, 44r-170v: Missal; Rebound in some disorder. Office prayers, f. 14r; ordinary of the Mass, f. 44r; Anaphoras of the Apostles, f. 71r; Our Lord Jesus Christ, f. 77v; John Son of Thunder, f. 89r; Our Lady Mary By Cyriacus of Bəhənsa (called here dərsan homily, not akkwätet), f. 92r; the 318 Orthodox Fathers, f. 104r; John Chrysostom, f. 114; Epiphanius, f. 120r; Dioscorus, f. 127v; James of Sarug, f. 130r; Cyril of Alexandria, f. 138r; Athanasius the Apostolic, f. 145r; Gregory of Armenia, f. 156v; Basil, f. 161v. -- 4. Ff. 37v-38v: The litanical hymn to Christ, For the sake of your Trinity. -- 5. Ff. 38v-39v: Litanical hymn to Jesus Christ. -- 6. Ff. 39v-40v: Halleluiatic hymn to the Trinity. EMIP 39, f. 19r. -- 7. Ff. 40v-42v: Hymn to Saint George. -- 8. Ff. 42v-43v and 174r-176v: Hymn to Mary, You are blessed (Chaîne, Répertoire, no. 292. Most of these hymns (from 4 to 8) are part of the Horologium for night hours. -- 9. Ff. 171r-174r Monastic genealogy of the line of Abunä Ewosṭatewos. Cf. C. Conti Rossini, Il Gadla Filpos e Gadla Yohannes di Dabra Bizan, Atti della R. Accademia dei Lincei. Classe di Scienze Morali, Storiche e Filologiche, vol. VIII, ser. 5 (1903), pp. 154-6; and Getatchew Haile, A Fragment on the Monastic Fathers of the Ethiopian Church, Orbis Aethiopicus: Studia in honorem Stanislaus Chojnacki (ed. Piotr O. Scholz et al), Albstrat (1992), pp. 231-7., Manuscript document. Title devised by cataloger., Item cataloged from existing description in Catalogue of the Ethiopic Manuscript Imaging Project: Volume 1, in which this manuscript is entered as EMIP 72., Quires: 24 full quires, quires 7 and 10 numbered (as 4 and 1 respectively), 177 folios, 140 x 129 mm. Quire descriptions: quires 2-6, 8, 12-23 balanced; quire 24 adjusted balanced; quires 1, 7, 9-11 unbalanced., Binding: four altered Coptic chain stitches attached with bridle attachments to rough-hewn boards.
Manuscript codex. As referenced by Jim Marrow Report: Book of Hours with an Office of the Dead of Autun Use., Collation: 101 leaves in 13 quires of 8 (except 1__, 2_, 8_, 13_). No catchwords, No signatures. Folio numbers in pencil. Much variety in emphatic rubrication., Decoration: Larger 3-to-4 line initials in blue OR burgundy upon a gilded square with white floral tracery introducing chapters. Smaller 1-to-2 line gilt capitals upon blue and burgundy square are used to introduce sentences. In addition, five miniatures are found, and bordered with floral acanthus with accompanying pheasantry. Much variety in emphatic rubrication. Miniature illustrations: 1. (fol. 25r) The Annunciation (Hours of the Virgin, Matins). 2. (fol. 63r) The Crucifixion (Hours of the Cross). 3. (fol. 67r) The Pentecost (Hours of the Holy Spirit). 4. (fol. 70r) David at Prayer (Seven Penitential Psalms). 5. (fol. 85r) Funeral Scene (Office of the Dead)., Binding: Modern red morocco with marbled rose endpapers., Script: In one hand of Gothic cursive called the French Batarde Script, notable is the lowercase g, which is as a minuscule y, with a horizontal bar extending through both ascending strokes.
Manuscript codex. Tractatus de militia, Leonardo Bruni (Leonardus Brunus Aretinus); Epitome of Roman History, Lucius Annaeus Florus; Epistle, Plutarch; Excerpts, Titus Livius; Excerpts, Flavius Josephus A characteristic humanistic MS., containing material of patriotic and philosophic content. Leonardo Bruni Aretino was an eminent classical historian, Chancellor of Florence, under whose direction the book was probably prepared., Collation: In quires of 10. Catchwords in middle lower margin, no signatures. Marginal headings. Folio numbers., Decoration: Decorative blue and red paragraph marks, some large initials in blue or red. Headings rubricated throughout., Binding: 18th century parchment binding, rounded spine, head and tail bands of green and white thread. Lined with 18th c. Italian figured art paper: foliage designs printed in brown and red on a background of small brown dots. Edges stained brown. 9 blank leaves besides endpapers in front and 10 leaves of index, at end 11 blank leaves and endpapers; flyleaves have a tri-lobed watermark at center Title written in brown ink on spine., Script: Gothic minuscule in brown ink.
Treatise on Ethics Confirmed by Passages from the Koran., Manuscript codex. Title devised by cataloger., Collation: XI quires, odd quires of 12 leaves, even of 8 leaves. Catchwords in inner bottom corner of verso. Foliation in pencil, lower right corner, in descending order from 111., Origin: Near East, 19th Century., Script: Turkish written in Arabic in 1 hand of black ink with red pointing and overscoring., Decoration: Inscription on bottom edge of pages in Turkish., Binding: Original half roan, pasted with marbled paper. Inscription on lower edge.
Manuscript codex., Collation: Quires of 12. No signatures or catchwords., Decoration: Lombardic capitals in same ink as text; occasional sketches in margins (pointing hand, sword). Some spaces left for initial letters that were not executed., Binding: Half parchment, covers have tan paper diapered with crescents and dots in brown. 5 sewing stations, sewn in very heavy thread., Script: Rounded semi-Gothic minuscule in brown ink, annotations in 15th c. bookhand, and some in italic cursive.
Manuscript document. Partial translation indicating John 16:22 provided by bookseller: ...your heart shall rejoice, and your joy no one taketh away from you..., Collation: Parchment; disbound sheets., Decoration: Red capitals with pink linework; blue capitals with red linework; staves and foliation in red., Binding: Disbound sewn quire., Lettering: Written in Textura script., Partial translation indicating John 16:22 provided by bookseller: ...your heart shall rejoice, and your joy no one taketh away from you...
Manuscript document, Collation: Parchment, single sheet., Decoration: Initial O of tempera and burnished gold with marginal extenders of ivy tendrils; rubrication in red, blue, and gold., Binding: Disbound., Lettering: Textura.
Manuscript document, Collation: Parchment, single sheet., Decoration: Initials, rubrication, and flourishes in red and blue., Binding: Disbound; leaf trimmed affecting annotations., Lettering: Textura.
Manuscript document. Title devised by cataloger., Recto: the beginning of the May page in a Franciscan calendar. Verso; the June page in a Franciscan calendar., Collation: single sheet (fragment), Origin: Italy., Lettering: Written in Gothic Antiqua., Decoration: Written using red, black, and some blue pigment. The blue pigment is raised and textured. No illumination., Binding: disbound fragment.
Manuscript document, Collation: Parchment, single sheet., Decoration: One initial in blue, with red and green flourishing; rubrication., Binding: Disbound., Lettering: Textura.
A Missal, with Rituals, of the Maronites, a Christian sect of Syrian origin, mainly living in Lebanon, and speaking Arabic, which when written in Syriac characters is called Karshuni. They derive their name from the Syriac Christian Saint Maron (d. 410 CE), whose followers migrated in the 7th c. to the area of Mount Lebanon from their previous location of residence around the area of Antioch, establishing the nucleus of the Syriac Maronite Church. Pages 1-73 I. Missal. Opening page, under heading, begins with three red lines: The Beginning of the Ritual of the Mass, 'In the Name of the Father ... ' At first the priest says, while he takes off his clothes, after washing his hands ... 'Divest me, O Lord, of the sinful garments with which Satan hath clothed me, and clothe me with the chosen garments which are suitable for thy service, and to the praise of thy praiseworthy righteousness, O Father, Son, and Holy Spirit, now and in all time forever.' II. Rituals (each decorated by a headpiece of strapwork) according to: 1. St. Kusostas Baba; 2. St. John the Apostle; 3. St. Murush, Bishop of Tekrit; 4. St. James, Brother of Christ; 5. St. Mark; 6 St. Peter (contents per Professor Kraeling, Dept. of Semitic Languages, Columbia University, 1920 (Probably Emil Gottlieb Heinrich Kraeling (1892-1973), American Lutheran biblical scholar and Aramaicist), Manuscript codex. Title devised by cataloger., Collation: Quires of 10. Catchwords at inner corner, end of each quire. No signatures or numbers. 8 sewing stations. Paper repairs on some pages., Script: Bold, legible, in black ink with rubricated lines, words, and page titles throughout., Decoration: First recto has three-quarter border (top and sides) of geometric interlaced strapwork outlined in black ink and colored with red and grey ink wash; the title is written within the border in red and black capitals. Before each of the six rituals, there is a panel along the top of the page in the same colors and style. Each text page is outlined in red and black. Seven-page section in a different hand written with a thinner pen, sans rubrication., Binding: Re-used parchment over boards, attached with thongs. Marbled edges. Title on spine in brown ink: Missale Maroni. Syriac. Interior title: Missale Maronitarum Syro- /idiomate /Manoscritto.
Manuscript codex. Kalendar ff. 1-12b. The calendar does not include entries for every day of the year, and is approximately half full. Entries in red include St. Agnes, Landoald, Pancras, Boniface, Odulf, Martin, Laurence, Lambert, Remigius and Bavo, Gereon, Willibrord, Lebuin, Nicholas, Thomas, and Steven. St. Donatian was added in a later hand, suggesting the book was not originally made for Bruges usage. Saints such as Agnes, Odulf, Lebuin, and Willibrord point to the use of Utrecht (Lackaff, 1997, p. 3). Names of the months and saints are in a mix of Latin and Dutch. On the versos of January and December are two computation circles, one for finding the Dominical letters in the lunar month of 28 days (f. 1a), and the other for computing the golden number (f. 12r). Each figure includes on its outer, upper right edge the numerals m cccc lxxx iiij dating the ms to 1484 (Lackaff, 1997, p. 3) -- Hours of the Blessed Virgin, ff. 13-52. Compline is followed by 'Salve Regina' f. 49 -- Seven Penitential Psalms and Litany, ff. 53-76 -- Hours of the Cross, ff. 77-91 -- Hours of the Eternal Wisdom, and Trinity, ff. 92-132v -- Prayers to the Virgin and to St. Bernard and St. Thomas, ff. 133-138 -- Prayers of St. James, St. George, St. Augustin, St. Barbara, St. Sebastian, St. Nicholas, St. Anthony, St. Mary Magdalene, St. Margaret; All Saints and Angels, ff. 148-162v -- Vigelia, Office of the Dead etc., ff. 163-203v (with Lessons) -- Seven Prayers of St. Gregory, ff. 205-206., Collation: Quires of 8 plus 2 new flyleaves in front, 3 in back. No titles or signatures, leaves numbered in pencil 1-206., Decoration: Extensively decorated. Illumination is of high quality and originality but shows considerable wear from use., Binding: Modern conservator's binding in style of the period, dark brown leather over wood boards, four raised cords, front and back covers blind-tooled with a grid of vertical and horizontal lines. Gilt edges. Flyleaves of heavy modern paper., Script: Gothic minuscule in brown ink. First two pages have cursive inscription in Latin dated 1603.
Manuscript codex. Title devised by cataloger., Collation: Single quire, 8 sewing stations. Verso of each page has catchword for the next recto at bottom edge., Script: Coptic book script, with headings and occasional passages in Arabic. Text mainly black with some passages in brown ink. On f. 7v, part of a line in silver ink. Decorative swashes on descenders., Decoration: Introductory initials in black with red. Red figures or notations at ends of some lines; some ornamental penwork section dividers., Binding: Limp binding in cream-colored paper; cover consists of external sheet, two lining sheets, and pastedown. Cover edges bound with folded strip of brown paper along head, tail, and fore edge; now missing on tail edges. Spine covered with a strip of brown leather. Both covers have a floral design drawn (not printed) in green ink, with red flowers and green leaves crudely colored with ink wash., Numerous notations and marks on front inside cover. Pasted label Edward S. Burgess. Round label with picture of the Tower of Babel and text Maisonneuve et Cie, editeurs, a la Tour de Babel, Maisonneuve ink stamp, and pencil note Maissonneuve [sic] 1891 cat/6542. Pencil note: Guilmoto/7744. Probably E. Guilmoto, 19th c. publisher, Paris, also associated with the Librarie Orientale et Américaine. Inside back cover, typed label pasted in: 5369 - Prayers in Coptic and Arabic. In the original limp boards. Written on 22 pp., small 4to. 18th century and written in ink, W.[ilberforce] Eames' Sale, Apr. 11, '07, And[erson's]. Wilberforce Eames (1855-1937) was a noted librarian and bibliographer who purchased from Anderson
Manuscript codex., Collation: Quires of 10, the last with 3 blank leaves. Vertical catchwords at end of quire. No signatures or pagination. Leaves lightly numbered in pencil in upper outer corner of recto. 8 sewing stations., Decoration: Initials at beginning of each book. Occasional outer margin vertical penwork designs in black or yellow ink. Leaf 1r: Initial ‘S’ with whitework interlaced vines extending along upper left margin, spaces filled with brown ink wash. Leaf 14r: Yellow initial ‘M’ with interlaced vines in white or with yellow ink wash, background in brown ink. Leaf 32r: Decorative ‘F’, same as previous. Leaf 47r: Decorative ‘S’. Leaf 126r: Decorative ‘L’., Binding: Black morocco leather over boards, impressed with fine diaper pattern and blind-stamped twisted stem border. Gilt title lengthwise on spine: “Mss. S. Bernardi De Consideratione.”, Script: Semi-slanting Italic Humanistic hand with long ascenders and descenders and occasional swashes, in brown ink with black or purplish-blue headings. Comments in yellow or black ink, occasional corrections in same hand in black ink.
Manuscript codex., This translation is by humanist scholar Leonardo Bruni. Probably made from a manuscript brought to Italy by Chrysoloras., Collation: Small folio in quires I-II__, III__., Decoration: 2 initials in red with very fine blue tracery, and in blue with red tracery. f1r [initial large majuscule red 'Q']UI LAUDANT SACTITUTEM TUAM/ bearissime pater opus certe bonum ac pium agere/ pergunt. [TRANSLATION] THOSE WHO PRAISE YOUR HOLINESS, most blessed father, certainly continue to drive the good and pious work. f1r [Superscript marginal addendum in cursive hand] Platonis Phaedon, sive de animo in Leonardo Arentino (latine redditum) f1v [Initial Blue 'I'] PSE affuisti o Pheton ea die qua Socrates venenum bibit in carcere. An ab alio quodam audivisti. [TRANSLATION] Oh Phaeton, were you yourself present on this day when Socrates drinks poison in prison, or did you hear from someone else?, Binding: Contemporary binding of gray linen with olive morocco back with title in gilt: PHAEDON E VERS. LEON ARENTI., Script: upright humanistic Roman hand with much abbreviation.
Manuscript document, Collation: Parchment, single sheet., Decoration: Two initials in red; red flourishing at foot of recto and verso; rubricated in red., Binding: Disbound., Lettering: Gothic cursive.
Manuscript document, Collation: Parchment, single sheet., Decoration: initials in red and blue, one with pen flourishing; rubrication., Binding: Disbound., Lettering: Rotunda.
Manuscript codex. Prologus, Genesis, Exodus, Leviticus, Numeri, Deuteronomiu, Iosue, Iudicu, Ruth, Regu I, II, III, IV. Paralip I, II. Esdras I, II, III. Tobit, Iudith, Hester, Iob, Psalms. Parabole salomonis, Eclesiastes. Cantica, Sapientie, Ecclesiasticus, Ysayis, Iherentia, Lamtatios. Baruch, Ezechihel, Daniel, Osee, Ioel, Amos, Abdia, Ionas, Micheas, Naum, Abacuch, Sophonias, Aggeus, Zachaias, Malachias, Machabeor[um] I, II. Titum, Philemone, Hebraos, Actus, Iacobus, Petrus I, II. Iohannes I, II, III. Iude, Apocalipsis, Interpretations (Hebrew Names), Concordance or Subject Index., Decoration: Illuminated with large initials in gold paint (not leaf) and tarnished silver leaf, blue, red, and green with white tracery. Designs include human faces, grotesque animals, and interlaced vines and strapwork. Capital letters in red and blue. Text pages have runner in alternating letters of blue and red., Binding: Dark green morocco over boards, blind-stamped in diagonal mesh. Gold tooled paneling with corner fleurons inside covers. Deeply tooled gilt crest with monogram TW (Theodore Williams) on front cover; armorial design on back. On six-paneled spine: 'S. S. BIBLIA LATINA. CODEX ANTIQUUS. SUPRA MEMBRANIS'. Gilt and gauffered edges. Two flyleaves of newer, heavier parchment. Text has been trimmed., Script: Minute (1 mm high) Gothic script in brown ink with rubrication. The size is typical of the 13th century, versus the large works of the 12th century (per Sir Edward Maunde Thompson (1840-1929) in Introduction to Greek and Latin Paleography). Includes corrections by another scribe. The uncrossed '7' for 'et' indicates Italian origin. However, the script also shows French influence. The appearance of some rounded letterforms points to an early date for this manuscript showing its strong Carolingian influence., Origin: On the leaf before the MS. commences is a note in a 14th c. hand, 9 lines, in red and black, giving rules for finding the date of Easter from 1350 onward. Also on this leaf the 14th c. owner's name apparently appeared, but has been erased; there remains a note that the MS. cost him 19 florins...Also a further note for finding the date of Easter occurs on the last leaf...repeating the words 'mill'io C.C.C. quinquagesimo. This shows the book is earlier than 1350 (Thomas Thorp, bookseller, London).
Manuscript codex. Gregory's dialogues with his favorite Deacon, intended to honor the memory of the saints of Italy and to edify and instruct his countrymen. In Book IV, Gregory attempts to strengthen their faith in the unseen by proving that the soul does not perish., Collation: Gatherings of 8, the last of 6; signatures to 3, f. 82; 4, f. 124. Book numbers at top recto., Decoration: Two large initials, one in red and one in green, red, and blue. Many small initials in red or green, a few in blue. Each chapter heading has a red capital., Binding: parchment over thin boards, 4 thongs, spine lined with white evenweave fabric. Pastedown and flyleaf of thick rough paper. Written on spine in brown ink: S. Gregory Dialog. and two unintelligible lines., Script: Rounded Gothic minuscule book hand in brown ink with rubrication., Content Note: Dr. Giuseppe Martini (probably Giuseppe Alfredo Martini, bibliophile and collector, 1870-1944), as recorded by Edward Sandford Burgess: Probable date, 1150-60. Ruled with sharp point in style of 12th century. After 1300 green found in polychrome only. Written in North Italy, since it had been in a monastery at Genoa. Looks like the beautiful writing they did in Benedictine monastery, Morimondo, of the order of St. Justin, in the province of Pavia. There they write a peculiar and excellent hand like this. Date is confirmed by opinion of Mr. Minns (possibly Dr. Ellis Hovell Minns (1874-1953)), University reader in Paleography, Cambridge, England, as quoted in 1907 letter from rare books firm P. M. Barnard: It is 12th c...1150-75 Italian...Borne out by monastery inscription. Pierce and Fox argue that it is mid-12th century due to the single column layout and lack of letter fusion typical of later Gothic script. They assert it is not Italian due to the script angularity and the type of abbreviations.
Illuminated Persian Manuscript in Nasta'liq. Odes of Hafiz, short ghazal couplets form a collection under the name Diwan. Each ode of 5-16 couplets, last couplet rhyming the poets name (called the Maqta). Edward G. Browne, in Persian Literature under the Tartar Dominion, states, Many of [Hafiz's] odes are to be taken in a symbolic and mystical sense few will deny; that others celebrate a beauty not celestial and a wine not allegorical can hardly be questioned., Manuscript codex. Title devised by cataloger., Collation: 8vo. First quires of 8 and 12. Catchwords at the foot of each verso. Unknown Signatures. No Pagination., Script: Farsi, Nasta'liq script., Markings: Front free endpaper: £15; 501; 38801; [circled] 45; F. Pollock. H. Young Co. / Liverpool / July 1902 / FP 129 / Persian / Hafz; [overscored]Y; Burgess MS 45; Hafiz; Illuminated MS / CLLT 25 meeting B-8.
Manuscript codex. Title devised by cataloger., Collation: No pagination, No ruling. Much rubrication. Catchwords at the foot of each verso., Markings: Seal stamped in passport format upon f1v. Various other ownership stamps throughout. [Addendum (pasted in rear cover)/(Translated from Arabic by Zahra Albasri)]: From what the writer brought in his book, to detect the thoughts that the Lord Abu Alkhair in unite on from Muftah Alsa'ada (The Key of Happiness) knowledge about how to create fonts. From what he states first, the science of the fonts are the (writing instrument), how to ... also, ibn AlBawab writes in the science of the font a significant poem that he wrote about the tools of writing, and yaqout wrote about that too., Binding: Very straight horizontal grain dark-green morocco with cover flap. Front and Back cover paneled by 2 gilt 4 mm floral borders, with center medallion of the Mohammed. Enveloping flap has similar gilt border.
Manuscript document. Title devised by cataloger. Leaf has modern pencil markings, various stains, a small tear at the bottom (not affecting text) and scattered small holes (some affecting text)., Collation: Single sheet., Origin: France., Lettering: Main text: Continental protogothic book script. Marginal annotation in red ink on recto: English protogothic book script. Annotation in black ink on recto may be in a progothic documentary script., Decoration: Recto: Initials in blue, red, yellow ochre, and green. Instances of initial S have red flourishing; initial V has a flourish on left arm; initial D has green flourish; and initial P has red flourish. Verso: Initials in blue, red, and yellow ochre. Initial C has red flourish; initial F has blue flourishing; and initial I has red flourishing. Rubrication on both recto and verso., Annotations in two hands on recto., Binding: Disbound.
Manuscript document. Contains text from Daniel 2:31-49 and Hosea 1:1-11., Collation: Parchment, single sheet., Decoration: Initials in red and blue, with red and blue flourishing; rubrication., Binding: Disbound., Lettering: Textura., Date from dealer description., Contains text from Daniel 2:31-49 and Hosea 1:1-11.
Manuscript document, Collation: Parchment, single folded sheet., Decoration: Initials and linefill of tempera and burnished gold., Binding: Disbound., Lettering: Textura.
Manuscript leaf (two pages) from book of hours. Title devised by cataloger., Collation: Parchment, single sheet., Lettering: Written in a Gothic hand., Decoration: extensive floral border, gold initials, and line decoration., Binding: Unbound.
Manuscript document. Nativity scene at the start of Prime., Collation: 1 disbound leaf., Decoration: Recto: miniature of the Nativity in the stable: Mary in blue robe and cloak, reaching down to infant Jesus. Joseph sits in green tunic, pink cloak, and blue hood, with an ox and an ass. Behind a wattle fence stands a shepherd in red tunic, light yellow cowl, and black hat. Minimal landscape of grass and five trees in background. Text begins with a large illuminated 'D' with a vine motif in blue and red with whitework, on a background of raised gold. Four short lines of text follow, the third with a decorative bar at end, the fourth with a smaller illuminated 'D' in the same colors. Miniature is framed by a bar border in the same colors along left, right, and foot edges. The whole is surrounded by sprays of stylized acanthus in blue and yellow-brown, stems of small blue flowers with leaves in green or raised gold, and fruits in red or pink., Binding: Framed in dark purple velvet on recto, purplish-brown leather on verso. Pasted note on frame verso: 134. The Nativity. A leaf from a French Horae at the beginning of Prime. The miniature measures 3 1/2 x 2/58 inches, and depicts the Nativity, with the Virgin, Joseph, a shepherd and an ox and an ass adoring the Child; beneath is an illuminated initial D, the whole being surrounded by a border of the line and leaf type; mounted in a frame of dark red velvet. £12-12-0. 15TH cent., Script: Compact Gothic minuscule in brown ink with some ligatures, abbreviations, and rubrication. Recto: one red word (prime); verso: two red words and one red character., Content note: Recto: First verse of the 69th Psalm: Deus in prime aduitoriu[m] meu[m] intende. Domine ad -- Verso: juvandum me festina. Gloria Patri. Sicut erat. Truncated, resumes with hymn: Ueni cr[e]ator spiritus. Mentes tuouru[m] visita, imple superna gratia que tu cr[e]asti pectora. Memento salutis auctor cp[=quod] nostri c[u]ondam corporis ex illibata virgine nascendo forma[m] sumpseris. Maria mater grati[a]e. Gloria tibi domine. Autha. Beginning of Psalm 1: Maria uirgo psalmus. Beatus uir qui non abiit in consilio impiorum: et in uia peccatorum non stetit.
Manuscript document, Collation: two disbound leaves., Decoration: On recto of one sheet, a large 'Q' in elaborate black penwork. On the 2nd sheet recto, a large 'D' in elaborate black penwork, and on verso, a large 'B' in red with diapered background and border in black ink., Binding: Disbound., Script: Gothic script sine pedibus (without foot serifs) in black ink. Staves ruled in red with brown bar lines, notes black., Content note: First leaf recto has the first two lines of Psalm 79: Qui regis Israel, intende qui deducis velut ovem Jo and continues on verso, seph Qui sedes super cherubin, appare coram Effraim, Beniamin, et Manasse. Recto has trimmed red page number xl ... in upper right corner. Second leaf recto: part of the Mass Introit for Christmas Dawn: et vocabitur admirabilis deus princeps pacis pater futuris eculi cuius regni non erit finis. v. Domin[us]. Verso: regnauit decorem induit induit* dominus fortitudinem et precinxit se virtute. Gloria Sec R. Benedictus q. Recto has complete red page number xlviii on upper right corner. *Note: text typically given as indutus est indutus est.
Manuscript codex., Collation: In quires of 10, the last of 8. Parchment leaves enclose the first 5 and last 3 quires, and are in the middle of first 3 quires. Last parchment leaf missing. Five sewing stations. Two pages of another manuscript (same as endsheet pastedowns) used as flyleaves in back, inserted upside down, one with red initial 'N' and one with blue initial 'Q'., Decoration: None. Spaces left for large and small initials which were never executed., Binding: Contemporary polished parchment over pasteboard; creases and thong holes indicate that the parchment was previously used for a different volume. Pastedown of laid paper sheet from another manuscript (with text in two columns and blue initial 'D' on inside front cover), and same (sans initial) upside down on inside back cover. Tapered leather thongs. Headband and tailband wrapped diagonally with white and green thread over thick leather cord., Script: Cursive humanistic script in brown ink. Some paragraph signs in faded red ink.
Manuscript document, Collation: A single leaf, having been pasted onto a piece of paper therefore showing only its recto, introduced by 5 lines of rubrication in its left column., Decoration: Borders include variety of gilt floral and serif, as well as illustrations of the last supper of Jesus, with 13 guests, an angel displays arms of argent chevron upon azure base. Other decoration is a decorated green majuscule 'B' upon gilt square containing an image of a cloaked man praying., Binding: Disbound., Script: Much abbreviated early gothic bookhand. The 'g' is portrayed with a crossbar extending through ascenders. Contains many, less-frequent ligatures.
Manuscript document. Title devised by cataloger., Recto: The second line starting at Ecce begins Psalm 54:8-24. Psalm 24 ends at the seventh line of the second column. Psalm 55 begins at the ninth line and ends at the thirty-second line. Psalm 56 begins at the final line in the second column and continues to verso. Verso: Psalm 56 continues and ends at the twenty-third line of the first column. Psalm 57 begins at the twenty-fourth line and ends at the twelfth line of the second column. Psalm 58 begins at the thirteenth line and ends at Psalm 58:10., Collation: single sheet., Origin: Italy., Lettering: Written in Gothic (littera glossularis) script., Decoration: Text in black ink, with decorated initials in red or blue, with the contrasting color serving as flourishing. The initial letter of each sentence is in red., Binding: Disbound.
Manuscript Codex. Possibly Aristophanis Comoediae, 1860, which would place the ms date later., Collation: Duodecimo in gatherings of 8. Page headings and numbers. No signatures or catch words., Decoration: a few small pen flourishes., Binding: Brown paste paper over boards, red edges. Six sewing stations, 4 over tapes., Script: Minute clear Greek book hand in brown ink, interspersed with Latin notes in cursive. Pencil inscription in Greek on back flyleaf verso, probably another hand.
Manuscript codex. Catalog 346 on Flyleaf. Inscription: “Iste Liber est S. Bartholomei de Azano diocesis Astensis ordinis S. Benedicti congregationis S. Justine Signatus No. 19” [Translation] “This Document is of (the Abbey of) Saint Bartholomeo of Azzano, of the diocese of Asti, of the order of Saint Benedict, the congregation of Saint Justin. Signed No. 19.” This monumental collection of Cannon Law served to largely build from and clarify former collections of such as Decretum Gratani. 5 books divided into titles, with titles subdivided into chapters; following the divisions of ‘Quinque Compilationes Antique.’, Collation: 270 leaves, with 1 leaf removed (having been stained blue). Quires of 12, VII_, XVI_,XX__,XXII_,XXIII(a)_,XXIII(b)__,XXIV__., Decoration: Capitals in blue with red tracery., Binding: Brown Morocco over boards showing 5 raised bands on the spine. Gilded text, “GREGORII IX / DECRETALIUM / LIBRI V / VARORIUM GLOSSAE / CODEX MEMBRANEUS / SAEC. XIII”, Script: Gothic bookhand in multiple hands. With marginalia in multiple cursives., Content Note: This monumental collection of Cannon Law served to largely build from and clarify former collections of such as Decretum Gratani. 5 books divided into titles, with titles subdivided into chapters; following the divisions of ‘Quinque Compilationes Antique.’
Manuscript document. Title devised by cataloger., Right column: Three blessings recited before reading the Megillah of Ester on Purim. The text reads (from top to bottom): “Blessed are You, Lord our God, King of the universe, who has sanctified us with His commandments, and commanded us concerning the reading of the Megillah.” “Blessed are You, Lord our God, King of the universe, who performed miracles for our forefathers in those days, at this time.” “Blessed are You, Lord our God, King of the universe, who has granted us life, sustained us, and enabled us to reach this occasion.” Left column: The top text is the blessing recited after reading the Megillah of Ester. The bottom text is a poem recited after the top text. The text reads (from top to bottom): “Blessed are You, Lord our God, King of the universe, who pleads our cause, judges our suit and avenges our wrong, who renders retribution to all that hate our soul, and on our behalf deals out punishment to our adversaries. Blessed are You, Lord our God, King of the universe, who on behalf of your people Yisra’el deals out punishment to their adversaries.” “Accursed be Human who sought to destroy me; blessed be Mordekhai the Jew; accursed be Zeresh, the wife of him that terrified me; blessed be Esther my protectress, and may HArbonah also be remembered for good.”, Collation: single sheet., Origin: Italy., Decoration: The blessings are separated by an “S” form. Those in the right column have two lines going through the center. On each side of each S” forms is an arrangement of three dots in an upside-down triangle form., Binding: Disbound.
Manuscript document. Twelve initials from a ... French Gothic manuscript mounted on five leaves, and bound in a book. Initials ... painted in dark blue and delicate pink on ground of burnished gold; cameo-like ornamentation, with white pen work; graceful ivy-leaf extensions of varied shape; blue and gold dominant colors. Bound in boards covered with art paper, red morocco back--Bookdealer's description. Includes two inhabited initials., Binding: Disbound.
Manuscript document, Collation: Parchment, single sheet., Decoration: Initials in red and blue, some with white linework and burnished gold; rubricated; three or four words struck through in red on verso., Lettering: Textura.
Manuscript document. Title devised by cataloger., Collation: Parchment, single sheet (two pages)., Decoration: Initials in gold and blue, with purple and red pen-flourishing., Binding: Unbound.
Manuscript codex. Orations. Publius Cornelius Sulla was implicated along with Catiline for the insurrection at the beginning of 62 BCE. Through the efforts of Cicero he was exonerated from all charges., Collation: 25 quires: 24 consisting of 10 leaves, the last of one. Vertical catchwords on last leaf of each quire. No signatures., Decoration: One full page illumination with three-quarter border of interlaced white vines set off by blue, rose, and green, with cherubs, birds, butterfly, and florets. Inside the raised gold initial 'Q' is a medallion portrait of Cicero (in blue robe and pink cowl and cap) holding a book. There are scattered clusters of dots of raised gold, outlined in extremely thin penwork. In the lower margin, there is a medallion which held a coat of arms, now obliterated. 37 large initials in gold and white vine against blue, rose, and green, at first lines of orations., Binding: 19th century parchment, gauffered gilt edges in lattice pattern. Spine title in brown ink: M. Tullii Ciceronis Opera. Pink and blue head and tail bands. One paper flyleaf at front and back, Script: Humanistic minuscule in brown ink, rubrication at chapter openings and page titles. Inconsistent use of long 's' (initial, medial, and final letter). Short ascenders and descenders., Content note: l. 1r M. Tullii Ciceronis de Lege Maniliana Oratio and Quirites incipit feliciter -- l. 7v: M. Tullii Ciceronis pro A. Licinio Poeta Oratio incipit ad iudices -- l. 11r M. Tullii Ciceronis Oratio in Catilinam incipit habita in senatu -- l. 14v M. Tullii Ciceronis in L. Catalina Oratio incipit ad quirites secunda -- l. 21r In Catilinam Invectiva IIII -- l. 24r Crispi Salustii in M. Tul. Ciceronem -- l. 24v M. Tullii Ciceronis Oratio in Crispum Salustin incipit -- l. 26v M. Tullii Ciceronis pro T. Annio Milone Oratio incipit -- l. 36r M. Tullii Ciceronis pro cn. Plancio Oratio ad iudices incipit -- l. 47v M. Tullii Ciceronis pro P. Sylia Oratio ad iudices incipit feliciter -- l. 56v M. Tullii Ciceronis pro A. Cecinna oratio incipit -- l. 68v M. Tullii Ciceronis pro C. Rabirio Posthumo Oratio ad iudices incipit -- l. 72r M. Tullii Ciceronis pro C. Rabirio Perduellione o ratio ad Quirites incipit -- l. 75v M. Tullii Ciceronis oratio pro Roscio Comedo -- l. 81r M. Tullii Ciceronis pro Q. Ligario Oratio ad C. Caesarem incipit -- l. 84r M. Tullii Ciceronis in Vatinium testem Oratio incipit -- l. 89r M. Tullii Ciceronis ad Equites Romanos pridie quam iret in exilium incipit -- l. 92r M. Tullii Ciceronis Oratio ad Qurities in Reditu suo incipit -- l. 95r M. Tullii Ciceronis Oratio ad Senatum post reditum suum incipit -- l. 99r M. Tullii Ciceronis de Provinciis Consularibus Oratio incipit -- l. 106r M. Tullii Ciceronis pro M. Caelio Oratio incipit -- l. 111v M. Tullii Ciceronis de lege Agraria Oratio ad Quirites incipit -- l. 123v M. Tullii Ciceronis de lege Agraria liber primus -- l. 126r M. Tullii Ciceronis de lege Agraria contra P. Rullum liber II incipit -- l. 140r M. Tullii Ciceronis pro M. Marcello Oratio incipit -- l. 143r M. Tullii Ciceronis pro Rege Deiotaro Oratio incipit -- l. 146v M. Tullii Ciceronis pro A. Cluentio Habito Oratio ad iudices incipit -- l. 167r M. Tullii Ciceronis pro L. Flacco ad Iudices Oratio incipit -- l. 177r M. Tullii Ciceronis pro P. Quintio Oratio incipit -- l. 185v M. Tullii Ciceronis oratio pro Domo sua ad Pontifices incipit -- l. 201r M. Tullii Ciceronis pro P. Sextio Oratio incipit -- l. 214v M. Tullii Ciceronis pro L. Cornello Balbo Oratio incipit -- l. 221r M. Tullii Ciceronis pro Sexto Roscio Amerino Oratio incipit -- l. 234v M. Tullii Ciceronis pro L. Murena Oratio incipit -- l. 241r M. Tullii Ciceronis de Responsis aruspicum Oratio incipit.
Manuscript codex. Title devised by cataloger., Collation: Catchwords at foot of each leaf, no signatures or numbers., Script: Nashki script in black with rubrication and some gold lettering., Decoration: Double-page illumination at beginning: each page has an outer border with red and gold floral motifs and curvilinear forms, the background mainly blue and lighter blue, with red areas at outside corners, and touches of black; this border is edged by gold trefoils. Inside this, a border outlined in red and gold with a horizontal panel at top and bottom with gold-on-gold writing, red and gold flowers on blue background, and narrow yellow border; narrower vertical rectangles in red and gold flower and vine motif on blue. Within the borders, a tiny text block of seven lines in black script, interspersed with gold circles bordered by red and green dots. Written throughout in gold-framed panels, interspersed with gold circles bordered by red and green dots. Gilt panel headings on all chapters; gilt marginal headings. Last page written in gold., Binding: Dark red morocco with flap, both covers and flap stamped with all-over floral motif with rectangular border. Inside covers have floral medallion and gold line border. Inside flap has small gold medallion and geometric border. Marbled flyleaves in combed blue, black, red, and yellow on white. Three newer flyleaves at front and back. Gilt and gauffered edges., Annotations: rear free endpapers: The MS was written by the poor Husain Zabd, son of the Sheikh Abdu-r-remez son of the Sheikh Sedru-ddin of the children of Sultan Bedru-d-din. ... agha ibu Mohammed. May god pardon him, his parents, and all Muselmans. Prayer be to God for the Prophet and his family all of them. In the year 1066 (A.D. 1655). G.C.R. At top page: G.C.R.N. 101, New cat. No. 63. John Fiott. Aleppo. Purchased of M.[onsieur Jean Louis] Burckhardt at Aleppo for the same price that he paid for it. Sir John Barker the British Resident at Aleppo, promised it for Burckhardt from Constantinople soon after he arrived in Syria, and having become possessed of one smaller and of less weight, he disposed of it to me, on his departure from Aleppo to Arabia. J. Lee. Repaired. London. In ink in another hand: On leaving Aleppo for Arabia and Egypt, he took nothing with him, but what he could carry on his mare, and had no extra baggage. I accompanied him to Hama and Tripoli and took leave of him there at the English Consul's house. He proceeded to Lebanon and Damascus and returned by Aradus-Latichem [probably Arwad (Arados) island and Latakia, Syria] and Antioch to Aleppo. Date at top of rear free endpaper in pencil: 5/10/37 or 31. Other pencil notes on free endpaper: 366, 825, 15/0.
Manuscript document. Title devised by cataloger., Commentaries on the Book of Numbers by Saint Rabanus Maurus, in 4 volumes. Rabanus Marus was the Abbot of Fulda, as well as the Archbishop of Mainz. This text is a commentary on the Book of Numbers by German teacher and theologian Rabanus Maurus (776-856). The authorship of the text is divulged in three places within the text. The scribe denoted the author as Rabanus Maurus in the phrase that begins the preface, the phrase that begins Book I and the phrase that ends Book IV (see list of contents above). Rabanus Maurus was born of French parents in Mainz in 776. He completed his studies at Fulda and became deacon there in 801. In 802 he traveled to Tours and studied under the famous Alcuin. Rabanus became well-known for his successful teaching and drew many pupils around him as head of the convent school at Fulda. In 822 he was consecrated abbot of Fulda. In 847 he was drawn out of retirement to become archbishop of Mainz. He died on 4 February 856. In addition to successful teaching of literature, science and theology, Rabanus was an erudite Biblical scholar. He wrote commentaries on all of the books of the New and Old Testaments and many of the Apocryphal ones. (McClintock and Strong, p. 1) MS 9 contains commentary on all 36 chapters of the Book of Numbers. The text is divided into four books. Each book is divided into a number of chapters (17, 25, 12 and 12, respectively). However, these chapters and book divisions do not match up with the actual chapter divisions of the Book of Numbers. As a remedy to this problem, another scribe marked the true biblical chapters at the top of the recto and verso of each leaf., Collation: Large folio in 10 gatherings of 8 (except 10_). With signatures. Vertical catchwords at the foot of the final verso of each quire. Rubricated headings on each page indicate book and chapter., Origin: Northern France., Decoration: 3 large and 2 smaller illuminated initials with zoomorphic elements, also alternating blue initials with red tracery, and rubricated initials with blue tracery; f1r (12 line knotted green N upon red square entangled with serif of lion); f2v (11+ line Large blue L with Agape lion in green with floral tail); f63r (blue faced lion inside blue D, upon gold square, 4 lines); f18v (Large blue 35 line L, with foot of a Lion headed bird with floral serif proclaiming from its mouth)., Binding: rebound in 2009, in dark brown calf over laminated boards of 4 layer rag mat board.
Manuscript codex. Jami, the last classic poet of Persia. Beharistan is in prose & verse similar in character and arrangement to the Gulistan (Rose Garden) of Sa'di, and embedded with themes of Sufi mysticism., Collation: 8vo in quires of 8 except I_, XI^__, Final_., Decoration: f1v: headpiece of rectilinear gilt panel upon blue base, with highlights of black, red, white, purple, green and light blue, in floral pattern on gold vines., Binding: Carnelian morocco, edge paneled in a pattern of embossed circles, center medallion on front & rear cover, with two additional embossments repeated above & below., Script: Nasta' liq in black ink, Content Note: Jami, the last classic poet of Persia. Beharistan is in prose & verse similar in character and arrangement to the Gulistan (Rose Garden) of Sa'di, and embedded with themes of Sufi mysticism.
Manuscript document, Collation: Parchment, single disbound sheets., Decoration: 10 minor initials in red, blue, and gold; numerous in text decorative capitals in gold with blue linework, or blue with red linework; vine borders in gold, blue, and red; rubrication; minor line fill in red and blue or gold and blue., Binding: Disbound., Lettering: Written in Textura Quadrata script.
Manuscript document fragment, Decoration: Historiated letter 'h' in pale pink with touches of white, with monk in brown robe at a desk writing in a book, all on a flat gold ground outlined in black.
Manuscript codex., Collation: In quires of 8 (except 1 of 6, 8 of 7, and last of 1). F. 8 first leaf missing. Folio numbers added in brown ink; partially cut off, indicating pages were trimmed. Two blank flyleaves of handmade paper at front and back added in 2011 rebind., Decoration: First page has elaborate illuminated initial and border on three sides with gilding over raised gesso. Large initial C in pink with architectural motif, filled with vines in wash of green, red, and blue, on a background of blue with whitework scrolls, all surrounded by gilding with tiny dotted punch-work. Along left margin, a bar in blue and gold sprouts vines and leaves on three sides. Vines in red or blue ink with painted leaves in pink, green, blue, gold, and red. Scattered raised gold dots outlined with black ink curlicues. Along top, a green acanthus leaf. Along base, a grotesque dragon in red, blue, pink, gold, and green, and a now illegible coat of arms, including red and blue. The document describes a dark brown shield ... across the center a broad fess azure; above rays gules; below, metallic brown. These details may have been more visible in the past than they are now. However, brown is not a normal heraldic color, so this may be discoloration or a bole (clay) wash under gold which has rubbed off. Above the shield are initials M. A. with red penwork flourishes. Throughout, numerous red and blue initial letters, embellished with delicate penwork in alternating purple or red., Binding: 2011 binding by Etherington Conservation Services. Dark brown calf over beveled boards. Blind-tooled in 15th century style: front and back covers have border with small rosettes; within this a frame of larger rosettes; within this a cross motif made up of small and large rosettes. Five-paneled spine with raised cords laced into boards. White linen head and tail bands. Pastedowns and 2 flyleaves of modern handmade paper at front and back. Interrupted borders of frontispiece indicate the manuscript was trimmed. The manuscript was previously bound in a 20th century velvet binding., Script: Rounded Humanistic book hand. A few lines rubricated. Long 's' throughout, short 's' at start of sentence., Illuminated letters: Leaf 33r: Initial letter 'M' in yellow and red, framed in blue, with whitework vines and leaves, on a background of red and white penwork. Green ink sprays with leaves in yellow, green, red, or blue. Leaf 84r: Initial 'I' in yellow with red highlights, on a rectangular background of blue, pink, and dark green with white highlights, and white vines and leaves in an 'X' shape. A spray of green stems with pink and blue flowers emerges from upper and lower left corners of the rectangle. Leaf 113r: initial 'V' made of two curved fish in yellow and orange wash with brown ink; outer background quartered in red and blue with white linework; inner background green with whitework vines and leaves, sprouting two sprays of leaves in green, blue, or red., Formatted Content Note: De Oratore, Libri ff. 1-115. Liber I, f. 1, begins: Cogitanti mihi sepenumero et memoria vetera repententi per beati fuisse. Quinte frater. illi videri solent... Liber II, f. 33: agna nobis pueris. Q. frater si memoria tenes... Liber III, f. 84: Institutendi mihi Quinte te frater. Orator ff. 115-150v, begins: Vtruiii Dificilius aut Maius e[ss]et (negare) tibi s[a]epius idem roganti un effice[re] id quod rogares diu multum q: Brute dubitavi. Ends: Marcii Tullii Ciceronis Oratoris Liber Explet LXXXDI-[?]XII.
Manuscript codex. Title devised by cataloger., No translation of the text has been made but it has been described as, A ritual, not very old. by Dr. Louis Ginzberg of the Jewish Theological Seminary in 1921. This work also contains psalms and hymns., Collation: Quarto in quires varying in number; I, III, V⁶; II, IV¹⁴; VI¹²;VII-XII¹⁰. Catchwords in bottom margin, folio numbers in pencil added later., Origin: Samaria, Mount Gerazim, Nablus, 19th Century. Date given as Ragab 1265, that is, March-April 1887., Script: Samaritan square hand. Intermittent rubrication in same Samaritan Square Hand with some red in Arabic. 118 leaves of text, 2 of index & notes., Decoration: Abecedarion of Samaritan into Arabic inside front cover. Various colophons with staggered rubrication., Binding: Original leather with oriental flap 203 x 165 mm rag paper pasted onto both covers.
Manuscript document. Title devised by cataloger., Recto: lines 1-3 appear to be Luke 11:23, but slightly jumbled. Lines 4 – 10 are Ephesians 5:5. Lines 11-14 are Luke 11:24. The final three lines are Ephesians 5:8 and the beginning of 5:9. Verso: Verso – Lines 1-3 continue Ephesians 5:9. Lines 3-10 are Luke 11:27-28. Lines 10-12 are Luke 4:24. “sua” is tacked onto the end of the 13th line. Lines 13-17 do not match any of the vulgate verses. Transcribed, it appears to read: “Cordibus nostris qu(i)s domi(n)e gauatua beuignus infunde ut ficut abesus cospilibus abstinem (?)ita sensus.”, Collation: single sheet., Origin: France., Lettering: Gothic (textualis prescissa)., Decoration: Some capitals in red and blue and certain text in red, otherwise all text in black. Verso has a thin red and black foliate design at the bas-de-page. Some vertical and horizontal rubrication still visible., Binding: disbound.
Manuscript document. Title devised by cataloger., The leaf contains the entirety of Jeremiah 5. Recto: Mias heading is the tail end of Jeremias. Decorated C begins Jeremiah 5. Verso: Jere heading is the beginning of Jeremias. Decorated C begins Jeremiah 6. Text ends at Jeremiah 6:16, State super vias et..., Collation: Parchment, single sheet., Origin: France?, Lettering: Written in Gothic book hand (textualis prescissa sine pedibus)., Decoration: Mias heading in blue (recto) and Jere heading in red (verso). Initial C (recto) in red with blue flourishing, Roman numerals in red. Initial C (verso) in blue with red flourish. Text is in black ink. Vertical and horizontal ruling still visible., Binding: Disbound.
Manuscript document. Seller describes leaf as being from an early monk's girdle bible; uterine vellum; from the collection of Henry E. Luhrs., Collation: Parchment, single sheet., Decoration: One initial in red, with blue flourishing; rubrication; running title in red and blue., Binding: Disbound., Lettering: Textura.
Manuscript document. Title devised by cataloger. Music in neumatic notation. Numerous small holes in leaf, some affecting text and music., Folio is written on a palimpsest. The previous text has not been identified. Given the similar script running horizontal, it may be assumed that the parchment was reused soon after removal of previous text. Content: Recto – Starting from S: “Si diligitis me mandata mea servate alleluya alleluya alleluya.” Starting from E: “Ego sum via veritas et vita nemo venit ad patrem nisi per me alleluya.” Both are from the Feast of Jacobi Phillipi for Lauds. Verso – Starting from S: “Si manseritis in me et verba mea in vobis manserint quodcumque petieritis fiet vobis alleluia alleluia alleluia.” From Feast of Jacobi Phillipi for Second Vespers. Starting from O: “O crux splendidor cunctis astris mundi celebris hominibus multum amabilis…” From Feast of Inventio Crucis for Vespers., Collation: single sheet., Origin: Italy., Lettering: Written in Italian Gothic Rotunda., Decoration: Recto: lightly decorated S in blue and E in red. Text is in black. Lines of music are in red, with the music notes in black. Some smaller text is in red. Some bar lines and letters have yellow pigment fill. Verso: Lightly decorated S in blue and O in red. Most of the smaller text is in black but some in red. Music lines in red and music notes in black., Binding: Disbound.
A dialog between a court official and a monk on matters of the Buddhist cosmology., Manuscript document. Title devised by cataloger., Collation: The leaves are labeled in sequence with the letters of the alphabet., Decoration: Leaves of palmyra palm strung on red cords between two bevel edge wooden boards; edges decorated in gold with red central stripe. Between lines drawn in turmeric, the text was written with a stylus, then rubbed with petroleum to darken the script.
Manuscript document. Title devised by cataloger., Collation: 5 leaves (2 bifolia and 1 leaf). Leaf measurements differ., Origin: England., Lettering: Gothic script (textualis rotunda)., Decoration: Various decorated initials on each leaf. Pigments used are red, a blue ink that bleeds through the parchment, a very light blue, and possibly a gray pigment for preparatory drawing. 118a, recto: Letter T in red with preparatory decoration lightly visible in gray. Letter D is in blue and red, with a red inner decoration. Letter C in blue with red decoration inside. Both D and C have an outer red flourish extending downwards vertically. Text in black and red ink. Verso only contains some red ink and mostly black ink. 118b, recto: Letter E in red with preparatory inner decoration and flourish. Letter P is blue with inner and outer red flourish. Letter A has preparatory flourish within and around it, and the letter is in red. Letter I is blue with red flourish. Text is in black and red ink. Verso: letter O is red with light gray preparatory flourish. Letter S is blue with red inner and outer flourish. Text is in black and red ink. 118c, recto: Letter P is in red with faint blue inner and outer flourish. Red E with minimal, faint blue flourish. Letter I in red with faint blue flourish. Letters F and I in blue with no flourish. Text is in red and black ink. Verso: blue A with minimal flourish in red. C is blue with red inner and outer flourish. A in red with minimal blue flourish. Letter Q in red with blue inner and outer flourish. Letter F in red with minimal blue flourish. Letter A in blue with no flourish. Letter I in red with blue flourish. Text is in black and red. 118d, recto: letter I in blue with red flourish, and another letter I in red with blue flourish. Ink in red and black. Verso: blue D with red inner and outer flourish. Letter F in red with minimal blue flourish. Letter I in blue with red flourish. 118e, recto: letter C in blue with red inner and outer flourish. Letter M in red with inner and outer blue flourish. Letter F in blue with minimal red flourish. Letter I in red with blue flourish. Text is in black and red ink. Verso, letter I in blue with red flourish. Text in black and red ink., Binding: Disbound.
Manuscript document. Title devised by cataloger., Recto: The first line is the verse said before the Oratio (the oratio starts at the decorated initial on the second line) for Ecclesiasticus 24 for the Hours of the Virgin, Ad Noma (None). However, it is only part of the Oratio. “Prosanctis antiphona” on the ninth line marks the antiphonal for the “Pro Sanctis” from the Hours of the Virgin I, Vespers. Verso: Starting at the decorated initial O on the fourth line is the second section of the Oratio for Pro Sanctis from the Hours of the Virgin I, Vespers. It is cut off after “omnibus”, with the catchword “fidelibus” in the lower margin., Collation: single sheet., Origin: France., Lettering: Written in a bastard secretary hand., Decoration: Contains 3 illuminated initials with burnished gold; inner fill of blue with a flower or other foliate design; framed by a red and white border. On verso, there is a red cross (used as linefill?) with blue dots in each quadrant. Text is in black and red ink., Binding: disbound.
Manuscript codex., This manuscript appears to be a fragment of a larger commentary examining the book of John, or possibly a priest's sermon notes., Collation: 6 leaves., Decoration: Initials spanning 2 lines (5 mm). Straight quadrille lines with small circles at vertices, connecting 3 or more sentences, red underlining., Binding: On 26.5x19 cm, 6 mm thick wood board with chamfered interior edges; hinge and spine of brown leather covering 1/3 of front and rear covers; front rear flyleaves of laid rag paper., Lettering: Written in very small, much abbreviated Gothic script., Formatted Content Note: 1r, col 1. cum semper dixerim veritatem. Jo. xiiij. ego sum via veritas / et via Rom. iij est autem deus verax. / cum semper nos moneam primum[...] -- 6v [mittetur] Notandum quod recundum philosochos homo arbor enerja est eius capilli.
Manuscript document. Title devised by cataloger., This Firman contains grant of access to Turkish waters to a French merchant., Collation: Manuscript: A single page. Inscription in red Turkish letters on Verso. Sultan's seal in black ink. On wire laid paper with watermark., Accompanying the firman is a letter in long hand, on British Museum Stationery: British Museum, London: W.C. July 30, Dear Thompson, the enclosed proves to be a firman granted to the French Ambassador at Constantinople, in favor of a French merchant, Capitan named 'Kazabora' giving him free access to Turkish waters. It is dated A.H. 1235 = A.D. 1820. Yrs. Always. Robert K. Douglas.
Manuscript document, Collation: Parchment., Decoration: Initials in blue and gold, with red and purple flourishing, and red, blue, and gold line decoration., Binding: Disbound., Lettering: Written in a Gothic hand.
Manuscript codex. Title devised by cataloger. Item consists of two summaries of Livy's History of Rome. The variant title, Epitome de Tito Livio Bellorum Omnium Annorum DCO, is from Loeb., Collation: Parchment, fol. i (parchment) + 164 + i (ruled but blank) ; 1-9__ 10_ 11-16__ ; vertical catchwords at foot of the final verso of each quire. Penciled folio numeration in later hand., Origin: Italy. Coat of Arms has been described as of the De Haye family., Script: Humanistic book hand., Decoration: 3 levels. I. f1r: full page border in green, blue, gold, red, fuchsia, brown and flesh. With illuminated capitals containing profile image of each Author; 5 scene medallions of the Foundation of Rome & 7 portrait medallions with profiles of Roman Kings, 1 additional medallion showing frontal bust of Jesus. II. f19v, 42r, 67r contain 4x3 cm illuminated capital with extensive flourishing decoration and golden orbs. III. Gilt Capital for each chapter upon azure, green and fuchsia square, with white highlights, each with a single vine extending up to 9 cm vertically and accompanied by a single orb with black spindles in the margin. Rubrication throughout; gold illuminations; presence of lapis lazuli., Binding: Original brown morocco over wooden boards, 6x3 cm arabesque centerpiece and paneled by a 25 mm rectangular border at a margin of 2 cm, as well as an outer border of blind fillets, the backstrip is in 7 panels, crossed by diagonal lines extended into point on each cover. Remnants of four hasps, 2 on front edge, and one on top and bottom. Silk head and tailbands.
Rich collection of old Indian folk-lore and fables preserved in the Persian versions of Kalilah and Dimnah, originally in Sanskrit., Manuscript codex. Title devised by cataloger., Collation: Catchwords at foot of each leaf; no signatures or numbers., Script: Shekasteh Nasta'liq style or broken Nasta'liq (developed in Iran in the 14th and 15th c. CE), in black with occasional rubricated characters and lines. Occasional English words of translation penciled on margin., Decoration: None., Binding: Brown marbled calf. Spine has 5 pairs of horizontal gold lines. Four flyleaves at beginning, two at end.
Manuscript codex. Identified with the assistance of Jesse King, Steven., Collation: 8 quires of 8, with two leaves missing., Decoration: 3 cm initials in red, blue and yellow with floral motif and open right hand. Much rubrication., Binding: Paneled brown full morocco with floral medallion (binding heavily damaged by fire). Headband: 5 x 9 cm of square braid in red, blue, and yellow.
Manuscript document, Collation: Parchment, single sheet., Decoration: Initials in red and blue; red paraph markings and running title; rubrication., Binding: Unbound., Lettering: Textura script.
Manuscript document, Collation: Parchment, single sheet., Decoration: Initials in blue and gold, one gold initial decorated with green, white, blue, red, and yellow; gold decorations; red, black, and purple flourishing; rubrication., Binding: Disbound., Lettering: Textura script.
Manuscript document, Collation: Parchment, single sheet., Decoration: Initials and linefill in tempera and gold paint; rubrication., Binding: Disbound., Lettering: Ba_tarde.
Manuscript document, Collation: Parchment, single sheet., Decoration: Gold initials decorated with red, blue, white, and black; blue initials; red and blue flourishing; rubrication., Binding: Disbound., Lettering: Written in Textura script.
This Manuscript, Written in Ge'ez, depicts prayer to and commentary regarding St. Michael. Additionally part 3 focuses on the Archangel Rufa'el and his miracles., Collation: I⁴(+1), II-III¹⁰, IV-I⁸, VI-VIII¹⁰, IX⁸, X¹², XI-XIV¹⁰, XV⁸(+1). No flyleaves, running titles, signatures, catchwords, or numbering., Decoration: 3 colored paintings 1. Michael on a pale horse over a dragon saving Berutawit. 2. Madonna and child flanked by angels offering flowers. Infant Jesus holds a book. 3. Raphael standing over prostate patron of book, likely Kidana Maryan., Binding: Oak boards covered with polished brown calf paneled in blind on both covers with 3 ornamental borders. Botonee Cross in the center. Spine tooled in blind with triple fillets forming a hatch pattern. Spine partly detached, with visible sewing structure., Script: Ge'ez Ethiopic Majuscule. In 3 hands of different periods with additions of a fourth of ownership., Handwritten leaf tipped on inside front cover [translated from French]: This Manuscript Belonged to Colonel Gally-Passebosc, killed by the savages of New Caldonia in 1878. This officer had been one of the expedition sent by the English against King Theodore (of Abyssinia) He took possession, after the defeat of that prince, of the tapis (carpet) on which he made his prayers, his shield, and this manuscript. Printed catalog description tipped on inside back cover cites Goodspeed description No. 5393, and states that the other Ethiopic manuscripts secured at this time were presented by this officer to the Bibliotheque Nationale., Quire 1: ff3-5; 22-27 lines; 19th c.; Part I: Hymn to Mika'el (Archangel Michael). Ownership information: Dadalla Maryan and her three sons: Kidana Maryan, Walda Takla Maryan and Gabra Madhen., Quire 2-10: ff6-90; 16 lines; 17th-18th c.; Part II: Dirsana Mika'el (Prayers to St. Michael) with other discourses on the Saint, and accounts of forty of his miracles (divided by rubric into 26 divisions): ff6-18 Dirsana Mika'el, ff22-24 Supplication, ff24-31 Miracles, ff31-35 Exhortation for Commemoration of the 7 Guardian Angels, ff53-73 Miracles, ff73-81 Discourse of Timothy of Jerusalem, ff81-88 Discourse of John, Bishop of Akuesum, ff88-90 Miracle of Mika'el. Ownership information: Walda Maryan original owner, and Kidana Maryan (in brown ink) thereafter., Quire 11-15: ff92-136;; 20 lines; 18th-19th c.; Part III: ff92-108v Discourse of St. John Chrysostom for the festival of Archangel Rapha'el, ff108v-136v: Miracles of Rafa'el. f136r: Hymns to Rufa'el. Ownership information: Fesseha Krestos Petromya and his son Walda Rufael. Secondary owner Kidana Maryan and his wife, Kabrta Salasie.
Contents: 1. Ff. 1r-133v: Psalms of David. -- 2. Ff. 134r-147v: Biblical Canticles. -- 3. Ff. 147v-156v: Song of Songs, Hebraic version. -- 4. Ff. 157r-167r: Praises of Mary [Wəddase Maryam]. Arranged for the days of the week (Monday, f. 157r; Tuesday, f. 158r; Wednesday, f. 159v; Thursday, f. 161r; Friday, f. 163v; Saturday, f. 164v; Sunday, f. 166r). -- 5. Ff. 167r-171v: Gate of Light [Anqäṣä Bərhan]., Manuscript document. Title devised by cataloger., Item cataloged from existing description in Catalogue of the Ethiopic Manuscript Imaging Project: Volume 1, in which this manuscript is entered as EMIP 71., Quires: two protection quires + 17 full quires, quires 2, 4, 6-17 numbered, iv + 173 folios, 185 x 135 mm. Quire descriptions: quires 1-6, 8-17 balanced; quire 7 unbalanced., Overlooked words of text are written interlinearly (f. 90r); and overlooked lines of text are written interlinearly (f. 2v)., This scribe has avoided the problem of lines of text too long to fit on one line by adopting an aspect ratio that leaves ample room for the width of most lines. On a few occasions, the line would have been too long and the scribe finishes the end of the line with words written smaller so as to avoid leftover text (e.g., ff. 2v, 5r, 105v). Occasionally a line is still too long and has to be completed above or below the end of the line. In these cases, the scribe places the material above the line (e.g., ff. 47v, 50r, 60r, 65r, 87r, 107r, etc.) or below the line (e.g., ff. 50r and 65r)., Varia: F. iv: Quotation from Ps 114:3/116:3., Binding: four Coptic chain stitches attached with bridle attachments to rough-hewn boards.
Manuscript codex. Title devised by cataloger., Collation: 44 quires, first ^4, last ^7. Missing final page. 3 hands of an unknown script. Quires are numbered at beginning recto and final verso in lower margin. Marginal notes., Script: The initial hand seems to consist of late-middle Armenian. Other hands seem to reflect the same, though with less certainty due to clarity and personality of their cursive. Read from Left to Right., Decoration: Emphasized red and black initials throughout. Upper edge engraved with key/anchor shape. Rubrication, indicating chapters, with an emphasized capital., Binding: Rich brown morocco over wood board dressed with linear etching along front and back cover, with 3 lines making an X across each face. Buttons from former hasps visible on cover.
Summary: Includes Ghazal 164 and possibly Ghazal 46., Manuscript document. Title devised by cataloger., Lettering: Written in Nasta'liq script., Collation: disbound sheets.
