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Illuminated in a Venetian workshop, this Rituale Romanum was copied during the second half of the 15th century for Archbishop Phillipe de Lévis. It contains the orations according to Roman Rite for various ceremonies such as baptism, purification, marriage, anointing of the sick, last rites, or burials. Carefully written, decorated with colorful floral borders and fine miniatures and augmented with gold leaf, the manuscript is of outstanding quality.
Online Since: 12/13/2013
Ritual for the personal use of Prince-Abbot of St. Gall Diethelm Blarer (1530−1564; cf. his coat of arms on p. 8 and the stamp for his personal library on p. 7); written by the St. Gall monk Heinrich Keller (1518−1567) and illustrated around 1555 by an unknown illuminator from the area of Lake Constance. The St. Gall manuscripts Cod. Sang. 357 and Cod. Sang. 439 were illuminated by this same artist at the same time. The small-format volume contains liturgical texts on the administration of the sacrament of baptism (pp. 9-107), on the readmission of a woman into the circle of believers after giving birth (pp. 107-114), on marriage (pp. 114-141), as well as on the distribution of wine on October 16th, the feast day of Saint Gall, the founder of St. Gall (pp. 144a-154).
Online Since: 09/23/2014
This manuscript consists of two-parts bound together; the first part (pp. 3-26) contains a 15th century ritual with instructions for visits to the sick, for spiritual care for the dying, and for burial (this is cut off in the prayer at the coffin on p. 26). The second part (pp. 27-86) consists of two discourses in defense of polyphonic music, composed by St. Gall monk Mauritius Enck († 1575) at the behest of Abbot Diethelm Blarer (1530-1564). These discourses are meant as prefaces to Manfred Barbarini Lupus' compositions for several voices in Cod. Sang. 542 and 543. Enck defends polyphonic music against widespread criticism, for example for its presumed lascivia (wantonness), and postulates an ideal for church music consisting of a combination with a chorale as the foundation and figural music as embellishment. Thus he describes precisely the compositions of Barbarini Lupus. At the end of the first discourse (pp. 47-48), Enck names the artists who contributed to Cod. Sang. 542 and 543 as well as the time period of their work on the manuscripts (from 1561 to 1563).
Online Since: 09/23/2014
This Rituale originated in the Monastery of Münsterlingen (Canton of Thurgovia); it contains a collection of sermons and chants sung by the nuns for processions in the monastery, followed by a long requiem (54v-72v). The latter is introduced by a miniature depicting St. Michael weighing the souls of the dead. The rubrics are written partly in German and partly in Latin. The style of the three initials in the text is associated with the area of Lake Constance. During a restoration around 1973, two sheets of parchment, which originally were glued to the inside cover of the binding, were removed; they come from an lectionary in pre-caroline minuscule, that can be dated to the beginning of the 9th century (Mohlberg: 11th. century).
Online Since: 04/09/2014