A Checklist of Musical Instruments in Fifteenth-Century Illuminated Manuscripts at the Pierpont Morgan Library

Notes ◽  
1974 ◽  
Vol 30 (4) ◽  
pp. 759
Author(s):  
Edmund A. Bowles
Keyword(s):  
Fifteenth Century ◽  
Musical Instruments ◽  
Illuminated Manuscripts ◽  
Morgan Library

Anna Russakoff, Imagining the Miraculous: Miraculous Images of the Virgin Mary in French Illuminated Manuscripts, ca. 1250-ca. 1450. Studies and Texts, 215; Text Image Context: Studies in Medieval Manuscript Illumination, 7. Toronto: Pontifical Institute of Mediaeval Studies, 2019, xviii, 194 pp., ill.

Mediaevistik ◽  
2020 ◽  
Vol 32 (1) ◽  
pp. 541-544
Author(s):  
Juan Carlos Bayo
Keyword(s):  
Fifteenth Century ◽  
Middle Ages ◽  
Old French ◽  
Illuminated Manuscripts ◽  
Virgin Mary ◽  
Systematic Analysis ◽  
Medieval Manuscript ◽  
French Speaking ◽  
Image Context ◽  
Panel Paintings

This monograph deals with illuminated manuscripts created in French-speaking regions from the mid-thirteenth to the mid-fifteenth century, i.e., from the earliest narratives of Marian miracles written in <?page nr="542"?>Old French to the codices produced at the Burgundian court at the waning of the Middle Ages. Its focus, however, is very specific: it is a systematic analysis of the miniatures depicting both material representations of the Virgin (mainly sculptures, but also icons, panel paintings, altarpieces or reliquaries) and the miracles performed by them, usually as Mary’s reaction to a prayer (or an insult) to one of Her images.

Modern Literary Manuscripts in the Morgan Library

PMLA ◽  
1952 ◽  
Vol 67 (1) ◽  
pp. 3-36
Author(s):  
George K. Boyce ◽  
Pierpont Morgan Library
Keyword(s):  
Paradise Lost ◽  
Illuminated Manuscripts ◽  
Scientific Interest ◽  
Historical Writings ◽  
Morgan Library ◽  
Modern Era

The Pierpont Morgan Library divides its manuscripts, somewhat arbitrarily, into two principal groups, the “Medieval and Renaissance” and the “Autograph.” Though neither term correctly describes all the materials classified in its group, the division serves well enough to distinguish the handwritten books of the period prior to the spread of printing from the more varied manuscripts of the modern era.The Morgan “Autographs” comprise the originals of literary and historical writings (with some others of primarily artistic, musical, philosophical, or scientific interest), all letters, and all documents save only those which are in effect illuminated manuscripts. Among these “Autographs” are many manuscripts which are not strictly autograph at all: some are original, though not in the author's hand (Book i of Paradise Lost being an illustrious example of this class, which includes many letters and most documents); others are copies which, for one reason or another, have a particular importance (manuscripts of Crashaw, Sterne, or Keats, for example).

A Rhenish 'Sammelband’ of the Fifteenth Century Libri impressi cum notis manuscriptis—IV

Traditio ◽  
1946 ◽  
Vol 4 ◽  
pp. 429-435
Author(s):  
Curt F. Bühler
Keyword(s):  
Fifteenth Century ◽  
Present Writer ◽  
Common Occurrence ◽  
Printed Books ◽  
Morgan Library

Libri impressi cum notis manuscriptis—IVUnder the title ‘A South German “Sammelband” of the Fifteenth Century’ the present writer recently published an analysis of a composite volume of early printed books and manuscript texts in the Pierpont Morgan Library. Another volume of the same sort also found in the Morgan Library (PML 22222) presents a similar problem for investigation; the results of such study seem sufficiently important to justify the publication of the pertinent details. Only one other manuscript of but one of the eleven manuscript texts found in the volume is listed as being in America, thus indicating that these works are not of common occurrence. Neither the incipits nor the titles are noted in the standard works of reference, though the literary contents of the volume are varied in scope and interest.

Antonis Rogiersz. uten Broec. Een verluchter uit Utrecht, werkzaam in de Zuidelijke en de Noordelijke Nederlanden

2004 ◽  
Vol 117 (3-4) ◽  
pp. 119-136
Author(s):  
Klaas Van Der Hoek
Keyword(s):  
Fifteenth Century ◽  
Illuminated Manuscripts ◽  
Circumstantial Evidence ◽  
Biographical Data ◽  
City Of God ◽  
Archival Material ◽  
Reciprocal Influence ◽  
Southern Netherlands ◽  
Identification Research

AbstractActive in the Southern Netherlands in the mid-fifteenth century was a miniaturist who signed his work twice and who can be identified as Antonis Rogiersz. uten Broec. In addition to his contributions to the two manuscripts in which he included his name, he worked on three other Southern-Netherlandish manuscripts. Antonis' style as manifested in these five manuscripts reemerges in a group of illuminated manuscripts produced in Utrecht in the 1460s. They are attributed to the so-called Master of the Boston City of God. On the basis of stylistic arguments and circumstantial evidence of a codicological nature, I believe that this until now anonymous miniaturist is no one less than Antonis uten Broec. To substantiate this identification, research was conducted in the Utrecht archives on the Antonis uten Broec known from Southern-Netherlandish manuscripts. He appears to have been a member of a family that had been living and working in Utrecht for generations. It can hardly be doubted that Antonis' roots are in Utrecht and it is certain that he was buried there in 1468/'69. No matter how fragmentary, the mentions in Utrecht archival material afford biographical data on one of the generally anonymous miniaturists in the Northern Netherlands. At this point, of these artists, Antonis uten Broec is the best documented and, moreover, pursued his career in both the Northern and Southern Netherlands. This knowledge adds to our insight regarding the mobility and reciprocal influence of artists in both regions.

scholarly journals Identifying Medieval Fragments in Three Musical Instruments Made by Antonio Stradivari

Fragmentology ◽  
10.24446/v4ub ◽  
2021 ◽  
Vol 4 ◽  
Author(s):  
Jean-Philippe Échard ◽  
Laura Albiero
Keyword(s):  
Fifteenth Century ◽  
Musical Instruments ◽  
Common Origin ◽  
Relative Dating ◽  
Book Of Hours ◽  
The Common ◽  
To Come ◽  
The Hill ◽  
Made In

This article identifies ten fragments, used as reinforcements in the sounding boxes of three instruments made by Antonio Stradivari (Cremona, c.1648-1737), which are now kept at the Ashmolean Museum in Oxford (the ‘Cipriani Potter’ violin, 1683, and the ‘Hill’ guitar, 1688), and at the musée de la Musique in Paris (the ‘Vuillaume’ guitar). The fragments appear to come from a single book of hours, made in Italy no later than the mid-fifteenth century. This identification allows the documentation of the use of parchment fragments in the making process of Stradivari. The authors discuss what the common origin of parchment fragments found in three distinct instruments implies for the authenticity and relative dating of their making. Finally, this study sheds light on the potential of documenting reused parchment fragments, which are widely present in many string musical instruments produced in the sixteenth to eighteenth centuries.

Sign in / Sign up

Export Citation Format

Share Document