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1. Leaf from a 13th century Vulgate Bible

Notes:
Leaf was excised from a larger manuscript with cuts visible from previous binding. The leaf has suffered some water damage at the lower edge and is trimmed at the outer margin. Thin parchment likely prepared for a book that was meant to include all of the Bible in a single volume., Each new chapter is marked in the margin by a roman numeral in alternating red and blue letters (IX and X on the recto and XI on the verso). Each chapter begins on a new line, with a pen-flourished 4-line initial in the margin, alternating red with blue flourishing and blue with red flourishing. The text was systematically corrected by a scribe using an ink darker than that of the main text. There is a running head of "DA" on the verso and "NI" on the recto alternating red and blue. Text is written below the top line. The script displays many of the defining features of Northern Textualis, including fusion in the combinations be, de, do, ho, oc, og, oq, pe, and po, elision of cc and pp, use of round (2-shaped) r following o and p, use of the st ligature (and only the st ligature), and use of Tironian et (uncrossed, with the foot turning slightly to the right) indicating a library book script of moderately rapid execution. One feature--the tall, decorated ascenders on the top line of characters--is by Derolez's definition never found in a script of the highest, orformata, grade. Ink flaking from the fleshside with minimal loss of text., Leaf possibly from a Parisian Bible, from Daniel 8:9-10:3 (recto) and Daniel 10:3-11:31 (verso)., 2 columns of 63 lines written in Gothic Northern Textualis, similar to pearl script, ruled in lead with double bounding verticals (4 mm) and intercolumnation of 4 + 4 mm., and Evidence in the text, the manuscript, the quality of the parchment, the script, and the mise-en-page all point to the leaf’s origin as part of a complete Bible copied in Paris in the thirteenth century, the place and time of the golden age of manuscript Bible production. Accompanying documentation notes the leaf was exhibited at the Kalamazoo Institute of Arts in December 1965, at which time it was in the collection of the Lima (Ohio) Public Library. It had formerly been in the collection of the Cleveland manuscript collector and book seller Otto F. Ege (1888-1951).
Date Created:
[1200 TO 1299]
Data Provider:
Western Michigan University. Libraries

2. Bible leaf with historiated initial (Ruth with sheaves and dragons)

Notes:
Holes visible from gathering stitching., On verso: A historiated initial “I” (In diebus unus) opens the book of Ruth and depicts an upright Ruth holding the sheaves in the crook of her left arm, while with her right arm she points to a blue dragon curling above her. A green dragon extends downwards below her feet. The tails of both dragons are flecked with gold leaf. 1-line Roman Numeral chapter number in the margin alternating red and blue with pen flourishes on recto and verso., A single leaf from a Bible with text from Judges 20:35 - Ruth 2:14., 2 column of about 50 lines per column, ruled in plummet in Pregothic or textualis rotunda script., and Produced in France, c. 1230, possibly in a workshop that specialized in moralized bibles. According to the seller, the ornament, figure style, and details of the historiated initial are closest to a number of manuscripts that Robert Branner has grouped around “Leber 6,” a Psalter (Rouen, Bibliothèque Municipale). If this is correct, then the leaf came from the same workshop responsible for the Vienna moralized bible; however, additional research needs to be done. Purchased in 2013 from Boyd Mackus, The Mackus Company, Springfield, Illinois, by Special Collections, Waldo Library.
Data Provider:
Western Michigan University. Libraries

3. Leaf from Magna Glossatura in Epistolas Pauli

Notes:
On verso: corrections in the inner margin in same script as main text., A cut in parchment in the outer margin of recto with no loss of text; stub of conjugate leaf is present; remnant of a mended cut in the inner margin, sewing holes visible; prickings visible on the outer and inner margins., Running title: on recto "GA" and verso "AD" alternating red and blue; biblical quotations underlined in red; 2-line initials in blue or blue with contrasting pen flourishes in red or blue; 1-line initials alternating red and blue., A leaf from Peter Lombard's Magna glossatura in Epistolas Pauli, glossed and written in the intercisum format. Peter Lombard developed the text in Paris in the second quarter of the 12th century during his teaching activities. It became one of the required readings of the faculty of Theology. The leaf is taken from Galatians 6:10. Biblical text is written in short blocks to the left of each column on every second ruled line, the gloss surrounding the biblical text on three sides., 2 columns of 55 lines lead point ruled written in early Gothic script; text written above the top line; on recto: letters written in lead point to indicate placement of colored initials; text written in intercisum format., and The format of the manuscript, and the quality of the parchment and decoration, suggest that this manuscript was intended for a wealthy abbot or bishop or a well-off scholar (see Frońska, Royal Manuscripts (2005)). The script and the decoration suggest a French production. According to Avril, 'Un manuscrit d'auteurs classiques' (1975), pp. 268-69, the decoration might be connected with the second artist of a manuscript containing classical works (Paris, BnF, MS lat. 7936) produced in Paris. Although there are common features between the initials of both manuscripts, 'their historiated initials cannot be ascribed to the same hand' according to Frońska, Royal Manuscripts (2011). A Parisian Bible produced around 1200, now Berlin, Staatsbibliothek Preussischer Kulturbesitz, MS theol. lat. fol. 9, is close to this manuscript in script and decoration (see Ayres, 'Parisian Bibles' (1982), 5-13).
Data Provider:
Western Michigan University. Libraries

4. Leaf from a Book of Hours

Notes:
Excised from a larger manuscript. Housed in a mat frame (255 x 205 mm) with dealer’s prospectus on back of the mat frame., 1-line illuminated initial on a ground of blue with a rinceaux design in blue and red extending into the margin. Rubricated in red. 1-line intials alternating red and blue with contrasting pen flourishes in red or blue. On recto, text of the first line rubric has faded completely. Large initial "D" on recto opens a prayer. Prickings in the inner margin., Leaf from a Book of Hours with text opening to devotional prayers petitioning for Saint Anthony’s intercession., 1 column of 15 lines ruled in red ink written in Northern Textualis Gothic script. Change of hands on verso., and Purchased from Boyd Mackus of the Mackus Company, Springfield, Illinois, by Western Michigan University Special Collections, (M3404E).
Date Created:
[1500 TO 1599]
Data Provider:
Western Michigan University. Libraries

5. Miscellany of sermons by Caesarius of Arles, Eusebius Gallicanus, Eucherius of Lyon, Faustus of Riez, Augustine, Hugh of St. Victor, Pope Benedict XII, and Pope Urban V

Notes:
Many small marginal drawings which include maniculae extending from sleeves of red, blue, and yellow, often reaching from twinkling clouds and holding flowers, vines, or banderoles containing notae or catchwords (examples on ff. 50v, 52, 63v, 66v, 77, 82v, 90, 102, 189v). Other miniatures, some also holding notae and catchwords, are of rosy-cheeked angels (ff. 53v, 58v, 108v, 122v, 130v, 146v, 205v) with yellow hair and their garments, halos, and wings highlighted in red, blue, orange, and yellow. Further marginal drawings, some also bearing banderoles, include crosses and columns (ff. 42v. 44v, 47v, 106v, 177v), a man in a miniature boat (f. 55), lions (ff. 98v and 162v), a bird (f. 154v), a tiny empty tunic (f. 119v), and a monk (f. 138v)., Eighteenth-century binding of smooth tawed leather over cardboard with three sewing support, green and white endbands, label in brown ink at head of spine reading “Semon | es Sancti | Ca’sarij.” Imprints and holes remaining on front and back cover from two ties, the traces of which are visible through paper pastedowns. Some concave warping of boards and discoloration and/or staining of cover and pastedowns. Paper bookplate on inner pastedown of the Bibliothèque du Plessis-Villoutreys including escutcheon with crown above and motto “Dis peu Fais mieux” below. Minor buckling in the first three leaves due to tight binding., Majuscules, letter ascenders and descenders are flourished and washed in yellow throughout. Paraphs marks in blue. Rubics in red. Numberous 2-to-8-line initials in alternating red and blue with contrasting pen flourishes. 6-line parted red and blue initial with pen decoration (f. 92v). One initial in brown holds the face of a young monk (f. 28r). Catchwords, most in banderoles, in tiny miniatures. Some leaves trimmed with occasional loss of some pen flourishings and text., Created during the pinnacle of Avignon’s historical importance, this small miscellany of texts with various sermons features whimiscal drawings in its margins. The marginal ink drawings, all carefully colored, include decorated pointed hands (maniculae) with elaborate sleeves, angels, lions, and a man in a boat. The texts gathered include sermons and monastic rules and the commentaries, which speak to the concerns of the original owner. The miscenllany of texts include selections of sermons from the Regula by Augustine; the Homilia VI-IX by Caesarius of Arles; the Homilia III by Eucherius of Lyon; the Sermo castigationis by Eusebius Gallicanus; the Sermo 23 by Caesrarius of Arles, which could also be attributed to Faustus of Riez; the Regula Sancti Augustini by St. Augustine of Hippo; the Expositio in Regulam Beati Augustini by Hugh of St. Victor; the Bullarum Romanum 4 by Pope Benedict XII; the Corpus iuris canonici by Pope Urban V; and the Homilia II, Homilia VIII, and Homilia X by Eusebius Gallicanus. First and last leaves soiled with no loss of text. Water damage on ff. 15v-16 resulting in the blurring of about 30% of the text along the inner margin. Minute wormhole in first line of the last five leaves. Minor soiling of outer and bottom margins throughout., Text written in 17-21 long lines on ff. 1-184 and 16-19 long lines on ff. 184v-213v by several contemporary scribes in a compact script, except ff. 184v-213v in a larger and freer hand, all in a skilled French cursive tending towards lettre batarde featuring documentary-style flourishing in bottom, outer, and occasionallly upper margins. Frame ruling in faint graphite with bounding lines extending to edges (justification c. 85-95 x 65 mm). Most incipits in an upright and rigid Gothic textualis. Larger text size starting on f. 184v, possibly a change of hands., and Written in several hands at the end of the 14th century or beginning of the 15th century in southern France, possibly Avignon, as suggested by the style of the initials, and to a lesser extend the script, which features some elements borrowed from the Papal Chancery, then in Avignon. Datable between 1369 (it includes a papal bull by Urban V (r. 1362-70) issued on 4 April 1369) and ca. 1400. Given the inclusion of the rule of St. Augustine and Hugh of St. Victor’s commentary on the Rule, the codex was likely made for one of the many groups of canons or monks who followed this Rule, including Augustinian Hermits (Agustin Friars), Dominicans, Praemonstratensians, Trinitarians, Regular Canons, and others. Evidence of the first sixteen sermons (ff. 1-80) by Clements VII link the manuscript to the Celestine priory established in 1392. A bookplate of the Bibliothèque du Plessis-Villoutreys indicates ownership by the Marquis de Villoutreys, probably in the last quarter of the 19th century. Possibly part of a private European Collection at some point. Purchased by Western Michigan University Special Collection from Les Enluminures (TM 992).
Date Created:
[1369 TO 1400]
Data Provider:
Western Michigan University. Libraries

6. Tobit blinded, historiated initial from Apocrypha Bible book of Tobit

Notes:
Chapter division unit beside the inner column on recto. Correction along outer column of recto. Cue mark for chapter 3 in red on verso. “Notas” annotation on verso., Housed in a mat frame (260 x 205 mm), visible on one side only with dealer’s prospectus on the back of the frame. Excised from a larger manuscript., 6-line historiated initial painting of Tobius, asleep. On recto: 5-line decorated initial in blue enclosing vines on a ground of orange; rubricated in red. Running head on recto reads "TOBIE" in alternating red and blue capitals, and on verso reads: "TO." On recto: 5-line initial P in blue with red pen florishes extending into the margins, 2-line initial T in red with blue pen florishes that extend the inner column and into the upper and lower margins. Pearl script on either side of the running title. Capitals touched in red. Guide letter for the Roman numberal III in the inner margin. Roman numbers alternate red and blue., A leaf from a small bible with painted initials before the prologue and first chapter of Tobit. The initials painted on this leaf are stylistically similar to the work of professional artists working in Paris, possibly Johannes Grusch atelier. Historiated initial illustrates Tobit, eyes closed and covered with a blanket, reclining in bed, enclosed by a hybrid animal. Intial decorated with marginal extenders., 2-column of 45 lines ruled in lead written in small gothic textualis (pearl script)., and Based on evidence in the text, this Bible was likely decorated by artists from Paris in the third quarter of the thirteenth century, c. 1250-1270. The motifs and colors used in the red and blue pen initials can be compared with Paris, BnF, MS lat. 16541 (Stirnemann, 1990, no. 39, and p. 70). The style of the painted initials can be compared most closely with the later products of the Johannes Grusch workshop, a rather diverse stylistic group active in the second and third quarters of the thirteenth century (Branner, 1977, appendix VK. pp. 222-223).
Data Provider:
Western Michigan University. Libraries

7. Cutting from Isidore of Seville, Etymologies

Notes:
Edges browning and cracked where the cutting was folded. Small scuffs and stains. Text trimmed away on upper, outer and lower edges., 2-line initial in red with faded blue pen florishes extending into the margin. Ink flaking from recto. Remnant of a single red rubric on recto., Small cutting with the remant of Isidore of Seville’s Etymologies, beginning at Liber 2, section 21, on the figures of words and expressions (De figuris verborum et setentiarum). The Etymologies (also called the Origins) is divided into 20 books concerning a subject-area., and 1 column with the remains of 26 lines ruled in dark red ink written in Protogothic script.
Data Provider:
Western Michigan University. Libraries