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Tag Archives: psalms

Medieval Latin Hymn Fragment, Part A: “I shall give thanks…”

28 Monday Jan 2019

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bee, captives, charity, Devil, Elizabeth Peterson, faithful, Feast of the Blessed Peter of Siena, fragment, friends, honey, hymn, James T. Svensen, Latin, matins, medieval, nectar, parchment, Peter, poor, prayers, prison, Proper of Saints, psalms, servants, Styx, The University of Utah, usuary, Utah Museum of Fine Arts, Vespers


(ab infantia mea crevit miseratio et ab utero)
…egressa est mecu(m).
Ps(al)lm. Confitebor…(tibi, Domine)
Pecunias suas
no(n) dedit ad usuram
sed pro captiuis

…came out with me.
Psalm. I shall give thanks (to you, O Lord)…
He did not give his money for usuary
but for captives…


ipse commutauit
Ps(alm). Beatus (vir qui timet Dominum)
Magno charitatis exe(m)plo
anima(m) sua(m) pro fidelib(us)
liberandis Domino co(n)secrauit

he himself exchanged it.
Psalm. Blessed (is the man who fears the Lord)
With his great example of charity
he consecrated his spirit to
the Lord for the freeing of the faithful


-fecerant
Liberauit pauperu(m)
a potente et inopem
cui non erat adiutor
Petre

…they had made…
He freed the poor
from the powerful and the poor man
for whom there was no helper.
O Peter,


qui iussu genetricis al-
m(a)e eripis dura domi-
tos catena liberans
plebe(m) prope seruiente(m)
moribu(us) atris. Hoc apis quo(n)-

you who by the order of the kind mother,
freeing from the harsh bond (of slavery), you
rescue people almost enslaved by dark/black customs


dam docuit futurum
insidens quando ma-
nib(us) tenellis, melle fe-
fucu(n)dat pueru(m)-
que sacro nec-
tare complet.
Te pa-
tre(m) nati veneremur om-
es supplices et te pre-
cib(us) vocam(us) ut tuus

A bee settling once taught that
this would be when tender hands
it fructifies/fertilizes and fills
the boy with honey and holy nectar.
We all beseech you as suppliants, Father of the Son,
and we call upon you with prayers so that your…


nostris gemin(us) novetur
cordibus ardor. Vinci vesan(ae)
Sygis et latentes demones
technas animis repelle
ne tuos caeco maculis
subactos carcere claudant.
Qui dedit
vires iter inchoandi, Ad…

Two fold love may revive/alter
our souls. Repel the bonds of the mad/wild
Styx and the hidden tricks of the devil
lest they enclose your servants subject to faults/sins
with the blind prison (of hell).


(Ad)sit ingressis Pater at-
que Patre adsit e-
ternum Geniitus nec
absit Spiritus almus.
Amen. V. Ora pro nobis
Pater Noster Sancte Petre
Mag(nificat) (Hos)an(n)a

Let the Father be present to those entering
and with the Father let the Begotten Son be present eternally
nor let the nourishing Holy Spirit be absent. Amen.
V. Our Father Holy Peter Magnificat Hosanna


Maiorem chari-
tatem nemo habe
ut animam suam po-nat quis pro ami-
cis suis. Ca(n)t. Mag(nifica)t

No one has greater charity/love
than the some one lay down
his life for his friends. Song. Magnificat

~Transcription and translation by James T. Svendsen, associate professor emeritus, World Languages and Cultures, The University of Utah

MS chant frag. 5 — Parchment leaves from the Proper of Saints, Feast of the Blessed Peter of Siena (16 March), Vespers/Matins.

~Description by Elizabeth Peterson, associate professor, Dept. of Art & Art History, The University of Utah, from Paging Through Medieval Lives, a catalog for an exhibition held November 2, 1997 through January 4, 1998 at the Utah Museum of Fine Arts.

 

 

 

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Book of the Week — Geographiae et hyrdrographi reformat

19 Monday Mar 2018

Posted by rarebooks in Uncategorized

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Almagestum Novum, astronomer, astronomy, Benatij, Bologna, Bononi, cosmology, geography, Giovanni Battista Riccioli, heliocentric, Jesuit, John Smith, latitude, longitude, magnetic needle, Modena, navigation, psalms, Ptolemy, stars, sun, surveying, terrestrial meridian, Tycho Brahe


You who laid the foundations of the earth,
So that it should not be moved forever” – Psalm 104, NKJV

“[A]s Geography without History seemeth a carkasse without motion; so History without Geography, wandreth as a Vagrant without a certaine habitation.”
― John Smith (1580-1631)

Geographiae et hydrographi reformat…
Giovanni Battista Riccioli (1598-1671)
Bononi: Ex typographia hredis V. Benatij, 1661
First edition
G114 R54

Giovanni Battista Riccioli, a Jesuit astronomer, was and is still best known for his work on astronomy, Almagestum Novum, 1651, in which he sets out reasons for and against a heliocentric cosmology. Riccioli was also a geographer. Geographia et hydrographiae reformatae libri is his attempt to collate all the geographic knowledge of the time. Riccioli addresses the variation of the magnetic needle, observations on geographical longitudes and latitudes, and several problems relating to navigation. Riccioli took measurements to determine the radius of the earth and to establish the ratio of water to land.

He developed a leveling device for use in surveying. He gave an account of the methods he used in order to determine the length of a degree of the terrestrial meridian. For this purpose, a base-line was measured near Bologna, and a triangulation was formed between that city and Modena, although the stations appear to have been improperly chosen — the angles between them are often less than eight degrees, and only two were observed in each triangle.

The instrument used to obtain the terrestrial angles was similar to the parallactic rulers of Ptolemy. In reducing the distances between the stations to one spherical surface, Riccioli assumed the refraction as constant, and equal to thirty minutes, as it had been determined by Tycho Brahe for celestial bodies in the horizon. The latitudes of the stations were determined by the sun and certain stars, their altitudes being observed with a quadrant whose radius was eight feet. But the declinations were taken from the catalogue of Brahe, and consequently liable to errors amounting to one minute or more.

Riccioli believed that the measures of the ancients were nearly correct. Among his own observations, he chose results which arrived closest to those earlier measures. Thus, his determination of the length of a degree was erroneous.

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We Recommend — The Theophilus Legend in Medieval Text & Image

21 Wednesday Jun 2017

Posted by rarebooks in Recommended Reading

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Abraham, angels, apostate, Associate Professor, Cambridge, Christ, Comparative Literature, Countess of Winchester, D. S. Brewer, Danish, David, demons, Department of World Languages and Culture, Devil, Earl Ferrers of Derby, embossed leather, European, facsimiles, Faustian, France, French, Gothic, illuminations, Ingeborg Psalter, Jerry Root, Jesse, Lady Eleanor de Quincy, Lambeth Apokalypse, Latin, London, manuscript illuminations, medieval, medieval manuscripts, miniatures, Moses, Muller & Schindler, New Testament, Old Testament, ornamental initials, painting, psalms, Rare Books Department, saint, salvation, St. John, Stuttgart, The University of Utah, Theophilus, Theophilus legend, Virgin, Virgin Mary, William III

Theophilus-Legend
“The legend’s popularity is a tribute to its ability to make the plight of individual salvation tangible and visible at a time when that salvation must seem highly uncertain.” — from the Introduction

The Theophilus Legend in Medieval Text & Image
Jerry Root
Cambridge: D. S. Brewer, 2017
PN687 Ts R66 2017

From the publisher’s website: “The legend of Theophilus stages an iconic medieval story, its widespread popularity attesting to its grip on the imagination. A pious clerk refuses a promotion, is demoted, becomes furious and makes a contract with the Devil. Later repentant, he seeks out a church and a statue of the Virgin; she appears to him, and he is transformed from apostate to saint. It is illustrated in a variety of media: texts, stained glass, sculpture, and manuscript illuminations.
Through a wide range of manuscript illuminations and a selection of French texts, the book explores visual and textual representations of the legend, setting it in its social, cultural and material contexts, and showing how it explores medieval anxieties concerning salvation and identity. The author argues that the legend is a sustained meditation on the power of images, its popularity corresponding with the rise of their role in portraying medieval identity and salvation, and in acting as portals between the limits of the material and the possibilities of the spiritual world.”

Jerry Root is Associate Professor of French and Comparative Literature in the Department of World Languages and Culture at The University of Utah.

The Rare Books Department has facsimiles of two of the medieval manuscripts Prof. Root worked with for his book.

PSAUTIER D’INGEBURGE DE DANEMARK (INGEBORG PSALTER)
Graz: Akademische Druck- u. Verlagsanstalt, 1985
ND3357 I5 D4 1985

Facsimile. Produced around 1195 in northeastern France, the Ingeborg Psalter is written in Latin with two flyleafs of inscriptions in French. The illuminations in this work represent a turning point in the history of European painting, when artists left behind abstract and highly stylized forms in favor of a more naturalistic representation of the world. The three-dimensional qualities of the figures, their proportions, and their expressive movements stand out as essential innovative elements in the emerging Gothic style of the early 1200’s. The manuscript is named after its first owner, Ingeborg, a Danish princess and spouse of King Philip II of France, who was expelled by her husband for unknown reasons shortly after their wedding. The beginnings of the psalms are rubricated with ornamental initials. Some of the psalms are illuminated with ornate figural initials depicting scenes from the life of David. A large number of elaborate miniatures of a decisively new style and design greatly influenced the art of illumination in the Gothic period. The illuminations depict episodes from the lives of Abraham and Moses, followed by the root of Jesse marking the transition between the Old and New Testaments. Further illuminations are based on themes taken from the life of Christ. Finally, scenes from the legend of Theophilus are depicted. In this popular medieval epic, the sinner Theophilus devotes himself to the Devil and is saved by the Virgin Mary, thus introducing the Faustian motif for the very first time. Bound in embossed leather. Edition of five hundred copies. University of Utah copy is no. 396.

ND3357-J5-D4-1985-pg36spread
Homage to the Devil, Prayer to the Vigin, Retrieval and Return of Contract

DIE LAMBETH APOKALYPSE
Stuttgart: Muller & Schindler, 1990
BS2822.5 L35 M67 1990

Facsimile. This manuscript was likely commissioned by Lady Eleanor de Quincy, Countess of Winchester (ca. 1230-74), daughter of William III, Earl Ferrers of Derby (1200-1254). It was produced circa 1252-67, probably in London. Eleanor is depicted in one of the illuminations that serve as a visual appendix to the book. St. John’s revelatory vision of the end of the world was a popular subject for medieval illustration, given the emotionally powerful images of clashing armies of angels and demons and terrestrial and celestial upheaval evoked by the text. Seventy-eight miniatures include the Dragon being cast into Hell (Rev. 20:9-10) and Christ sitting in Final Judgment (Rev. 20:11-15). The text, in Jerome’s Latin Vulgate, includes extracts from an eleventh century theological commentary on the Book of Revelations. Illuminated Apocalypses were fashionable in England when this manuscript was produced. The commentary was added to ensure that the reader was correctly guided through an understanding of the biblical symbolism. Illuminations helped with this guidance, but they also served as a statement on the owner’s social position. The more lavish the production, the more prominent the owner, or, at least, the more wealthy. The book was intended to educate, but also to entertain.

BS2822.5-L35-M67-1990-pg46recto
Theophilus goes to the Jewish intermediary: pays homage to the Devil

BS2822.5-L35-M67-1990-pg47spread(curves)
Virgin takes back contract, hellmouth; Return of contract

BS2822.5-L35-M67-1990-pg46Verso
Prayer to the Virgin; Virgin consults Christ

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Book of the Week – Martyrs

19 Monday Aug 2013

Posted by rarebooks in Book of the Week

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Bembo, Bembo italic, Edinburgh, England, Gaelic, Isle of Lewis, Jerusalem, Ken Campbell, Ogma, Oxford, Pictish Ogham, Precentor, psalms, saltire, School of Scottish Studies, Scots, St. Andrews, Stornoway Congregation, Stuart Elliot Rae, Western Isles, Zerkall

Campbell, Martyrs, 1989
Campbell, Martyrs, 1989
Campbell, Martyrs, 1989


Martyrs
Ken Campbell (b. 1939)
Oxford, England: K. Campbell, 1989
N7433.4 C35 M38 1989

https://openbook.lib.utah.edu/wp-content/uploads/sites/65/2013/08/06Martyrs.mp3

 

From the artist’s statement: “One day in Edinburgh I happened to pass the School of Scottish Studies. Remembering some music that I had heard twenty years before and wished to trace, I went in. An extremely patient lady told me it was on a record of polyphonic singing called ‘Gaelic Psalms from Lewis…which was first published in 1615. This stunning music gets right to your soul; it’s very upsetting. It is a style of singing that arose because Gaelic populations of the Western Isles had no psalm books in their native tongue. Consequently a form developed whereby the Precentor (or priest) would sing a line, and then the congregation would follow with great passion and devotion but, being Scots, often at their own speed. This action produces great waves of sound that sometimes start before the Precentor has finished ‘singing the line.’ I got a friend of mine, Stuart Elliot Rae, to transcribe the music for me, and translate the Gaelic to match the text with the music that was being sung. Then I put the note being sung at the top of a stave composed of brass rules. Underneath, I put the syllable that was being sung in Gaelic in woodletter, then below that the Pictish Ogham script equivalent, again in brass rule (Ogham is a Celtic script consisting of grouped lines). This looked faintly martial and certainly not Roman. I thought I would show Gaelic as a thing of beauty. The colour in the book was celebratory: it goes from cool to hot, with royal purple and gold and silver. Each new stanza starts with a representation of the saltire, the St Andrew’s cross, printed from a cut zinc solid that just kisses the small wavetops of the Zerkall paper to appear like granite. The notes are represented by Bembo italic capital Os set on their side. These are strung together at the end of the book, to make the chain that went from the tongue of the Celtic god Ogma as language binding all men…I tried to make this book as simple as I could, allowing such typographic skills as I may possess to carry its elements as a chant for the eye and the heart. The English, in progressively diminishing sizes, is at the back. Copy no. 1 of this edition now rests at the Stornoway Congregation on the Isle of Lewis, whose recorded singing inspired its making. The book is dedicated to those Scots who, circa 1800, when they were but 3% of the population of this nation state, nonetheless supplied 38% of its infantry. Text is Psalm 79, verses 3 & 4: “Their blood have they shed like water round about Jerusalem…’ rendered into Gaelic, (sung to the tune ‘Martyrs’). Printed on double leaves in traditional Oriental format. Edition of 40 copies.

alluNeedSingleLine

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