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Das Sakramentar Von Beauvais: Vollständige Faksimile-Ausgabe Der Handschrift Ms. Ludwig V 1 Aus Dem J. Paul Getty Museum, Los Angeles, Elizabeth Teviotdale
Das Sakramentar Von Beauvais: Vollständige Faksimile-Ausgabe Der Handschrift Ms. Ludwig V 1 Aus Dem J. Paul Getty Museum, Los Angeles, Elizabeth Teviotdale
Elizabeth C Teviotdale
A facsimile of a ten-leaf fragment of an illuminated sacramentary. The commentary includes a close examination of the object itself (physical properties, text, writing, and painting), considers the fragment's place in the oeuvre of the main scribe, and evaluates the artistic comparanda. A new understanding—anticipated in the work of Guy Lanoë—of the probable circumstances of the manuscript's creation is offered: that the sacramentary was made almost certainly at the behest of Roger, bishop of Beauvais from 998 to 1016, for his cathedral church of Saint Peter.
The Beauvais Sacramentary In The Getty Museum As A "Coronation Sacramentary", Elizabeth Teviotdale
The Beauvais Sacramentary In The Getty Museum As A "Coronation Sacramentary", Elizabeth Teviotdale
Elizabeth C Teviotdale
Reexamines the evidence--paleographical, art historical, and circumstantial--that Carl Nordenfalk (1907-92) adduced for his hypothesis that Los Angeles, J. Paul Getty Museum, MS Ludwig V 1 (the ten surviving leaves of a sacramentary written and illuminated around the year 1000) was created for the occasion of the consecration in 1017 of Robert the Pious’s ten-year-old son Hugh as his co-ruler. In putting forward this hypothesis, Nordenfalk was building on a suggestion he made first in 1950 that the manuscript was written and illuminated at the behest of Robert the Pious by a Lombard artist named Nivardus, who was working at the …
Abraham, Bosom Of, Elizabeth Teviotdale
Reform, 10th-Century, Elizabeth Teviotdale
Ash Wednesday, Elizabeth Teviotdale
Holy Week, Elizabeth Teviotdale
Palm Sunday, Elizabeth Teviotdale
Canterbury-York Dispute, Elizabeth Teviotdale
Canterbury-York Dispute, Elizabeth Teviotdale
Elizabeth C Teviotdale
Restricted access.
Typology, Elizabeth Teviotdale
Eadwine Psalter, Elizabeth Teviotdale
Jubilee Year, Elizabeth Teviotdale
Pembroke College 302: Abbreviated Gospel Book Or Gospel Lectionary?, Elizabeth Teviotdale
Pembroke College 302: Abbreviated Gospel Book Or Gospel Lectionary?, Elizabeth Teviotdale
Elizabeth C Teviotdale
A consideration of the character of the text of Cambridge, Pembroke College, MS 302, a series of excerpts from the four canonical Gospels in (with one exception) biblical order preceded by an incomplete set of canon tables, a manuscript produced in England in the mid-11th century. Concludes that it was probably created as a private devotional book for a high-ranking Benedictine monk, a prayer book intended to resemble a Gospel book and to present a full account of the life of Christ.
Afterword: Audiences Near And Far, Elizabeth Teviotdale
Afterword: Audiences Near And Far, Elizabeth Teviotdale
Elizabeth C Teviotdale
A reflection on the acquisition and display of medieval art in museums of the American Midwest and on the appearance of medieval works of art from Midwestern museum and library collections in international loan exhibitions.
The Scribes Of Bamberg Lit. 5, Elizabeth Teviotdale
The Scribes Of Bamberg Lit. 5, Elizabeth Teviotdale
Elizabeth C Teviotdale
Identifies the scribes of Bamberg, Staatsbibliothek, MS Lit. 5 (olim Ed.V.9), an illuminated troper made at Reichenau ca. 1000, proposing that seven scribes contributed significantly to the project: a project lead, two text specialists, a rubrication specialist, two notation helpers, and a finisher.
Illustrating The Music Of The Mass: A Case Study, Elizabeth Teviotdale
Illustrating The Music Of The Mass: A Case Study, Elizabeth Teviotdale
Elizabeth C Teviotdale
A study of the figural decoration of a late 11th-century gradual from Toulouse (London, BL, MS Harley 4951, fols. 121-301), concluding that the psalmodic origin of the texts of many chants of the mass informed the way in which those of the 11th century conceived the chants.
The Stammheim Missal As Tribute To Saint Bernward's Interest In Art, Elizabeth Teviotdale
The Stammheim Missal As Tribute To Saint Bernward's Interest In Art, Elizabeth Teviotdale
Elizabeth C Teviotdale
An examination of the circumstances of the creation of the Stammheim Missal (Los Angles, J. Paul Getty Museum, MS 64) and the Ratmann Missal (Hildesheim, Dom-Museum, DS 37) in the decades after the monks of St. Michael's at Hildesheim, where the manuscripts were created, had been granted the privilege in 1150 to venerate their founder, Bishop Bernward (d. 1022) as a saint. Proposes that the Stammheim Missal was not intended to be consulted during the mass, the Ratmann Missal serving that requirement, and that it served rather as a repository of the monastery's liturgy and as a sort of contact …
The Stammheim Missal, Elizabeth Teviotdale
The Stammheim Missal, Elizabeth Teviotdale
Elizabeth C Teviotdale
A study of Los Angeles, Getty Museum, MS 64, a deluxe liturgical manuscript made at and for the monastery of St. Michael's at Hildesheim, probably in the 1170s, with a sketch of the antecedent tradition of illuminated manuscripts for the liturgy of the mass and a discussion of early medieval typological art. All of the manuscript's major illumination is reproduced in color.
Wulfstan [Wulstan, Wolstan] Of Winchester, Elizabeth Teviotdale
Wulfstan [Wulstan, Wolstan] Of Winchester, Elizabeth Teviotdale
Elizabeth C Teviotdale
Originally published in print in 2001, the Oxford Music Online edition may have been edited since and should be cited with date accessed information. Restricted access.
The Stammheim Missal: A "New" Source Of North German Chant, Elizabeth Teviotdale
The Stammheim Missal: A "New" Source Of North German Chant, Elizabeth Teviotdale
Elizabeth C Teviotdale
A survey of the contents of the Stammheim Missal (Los Angeles, J. Paul Getty Museum, MS 64), long known to art historians but unstudied by musicologists, with special attention paid to the sequence collection.
The Frontispiece Miniatures Of The Stammheim Missal, Elizabeth Teviotdale
The Frontispiece Miniatures Of The Stammheim Missal, Elizabeth Teviotdale
Elizabeth C Teviotdale
Examines the frontispiece miniatures of Los Angeles, J. Paul Getty Museum, MS 64, proposing that the direct reflection of the art patronized by Bishop Bernward of Hildesheim (d. 1022) is a key component in the manuscript's role as a testament to Bernward.
Who Was Gevehard?, Elizabeth Teviotdale
Who Was Gevehard?, Elizabeth Teviotdale
Elizabeth C Teviotdale
Discusses the relationship between the Stammheim Missal (Los Angeles, J. Paul Getty Museum, MS 64) and the Ratmann Missal (Hildesheim, Dom-Museum, MS DS 37), a pair of manuscripts produced at and for the Abbey of St. Michael's, Hildesheim, in the second half of the 12th century, focusing on a certain Gevehard, a contemporary monk and priest pictured in the Getty manuscript.
The Getty Anglo-Saxon Leaves And New Testament Illustration Around The Year 1000, Adam Cohen, Elizabeth Teviotdale
The Getty Anglo-Saxon Leaves And New Testament Illustration Around The Year 1000, Adam Cohen, Elizabeth Teviotdale
Elizabeth C Teviotdale
A study of the two surviving leaves of an Anglo-Saxon gospel book (Los Angeles, J. Paul Getty Museum, MS 9), concluding that the text was based on an Irish-influenced recension of the text transmitted to England by Breton manuscripts of the late Carolingian period and that a Carolingian model can also be proposed for the illustrations of the parent manuscript.
The Gospels Of Saint-Gatien, Its Cousins, And The Late Anglo-Saxon Liturgy, Elizabeth Teviotdale
The Gospels Of Saint-Gatien, Its Cousins, And The Late Anglo-Saxon Liturgy, Elizabeth Teviotdale
Elizabeth C Teviotdale
Traces the transmission of an Irish-influenced reading of Matthew 8:23-27 in four Breton and three English manuscripts dating from ca. 800 to the third quarter of the 11th century: Paris, BnF, MS nouv. acq. lat. 1587; New York, NYPL, MS MA 115; London, BL, MS Add. 9381; London, BL, MS Royal 1.A.xviii; Los Angeles, J. Paul Getty Museum, MS 9; Reims, Bibliothèque municipale, MS 9; and Florence, Biblioteca Medicea Laurenziana, MS Plut. xvii.20.
An Episode In The Medieval Afterlife Of The Caligula Troper, Elizabeth Teviotdale
An Episode In The Medieval Afterlife Of The Caligula Troper, Elizabeth Teviotdale
Elizabeth C Teviotdale
A study of a series of thirteenth-century annotations in London, BL, MS Cotton Caligula A.xiv, marking pieces to be copied.
The Text Of Getty Museum Ms 9, Elizabeth Teviotdale
The Text Of Getty Museum Ms 9, Elizabeth Teviotdale
Elizabeth C Teviotdale
Traces the ancestry of the text of the Getty Anglo-Saxon leaves (Los Angeles, J. Paul Getty Museum, MS 9) to a group of Breton gospel books with liturgical formulae in the biblical text.
From Choir Book To Scrap Book: The Initials In Hmml Bean Ms 3, Elizabeth Teviotdale
From Choir Book To Scrap Book: The Initials In Hmml Bean Ms 3, Elizabeth Teviotdale
Elizabeth C Teviotdale
A consideration of the origin of a group of cuttings contained in a 19th-century album (Collegeville, Hill Monastic Manuscript Library, Bean MS 3), with an analysis is the relationship of the initials' figural subjects to the texts they introduced. The cuttings, a series of historiated and decorated initials, were taken from one of a pair of choir books made in northern France or Flanders for a house of Cistercian nuns in the 13th century.
750 Years In The Life Of A Pair Of Cistercian Antiphonals, Elizabeth Teviotdale
750 Years In The Life Of A Pair Of Cistercian Antiphonals, Elizabeth Teviotdale
Elizabeth C Teviotdale
Examines the provenance and dissemination of a multivolume antiphonary produced for the Cistercian nunnery near Cambrai. The MS is presently dispersed through several collections. In 1983 the J. Paul Getty Museum, Los Angeles, purchased from the German art collectors Peter and Irene Ludwig 19 leaves and four cuttings from the MS (MS Ludwig VI 5). In 1992, the Museum acquired an additional 81 leaves (MS 44). One leaf is kept at the Cleveland Museum of Art (inv. no. 85.83), and cuttings are at the Nationalmuseum in Stockholm (B 1730-32) and in a private collection in Collegeville, Minnesota (Hill Monastic Manuscript …
The "Hereford Troper" And Hereford, Elizabeth Teviotdale
The "Hereford Troper" And Hereford, Elizabeth Teviotdale
Elizabeth C Teviotdale
The probability of a Hereford origin for the so-called Hereford Troper (London, BL, MS Cotton Caligula A.xiv (troper) is re-examined. The longstanding opinion that the paintings in the troper share an exclusive stylistic affinity with those in a gospel lectionary known to have been at Hereford at an early date (Cambridge, Pembroke College, MS 302) is challenged, and it is proposed that the Hereford provenance of the 11th-century gospel-lectionary does not constitute reliable evidence concerning the origin of the troper (now also called the Caligula Troper).
Some Thoughts On The Place Of Origin Of The Cotton Troper, Elizabeth Teviotdale
Some Thoughts On The Place Of Origin Of The Cotton Troper, Elizabeth Teviotdale
Elizabeth C Teviotdale
Argues that the first fragment in London, BL, MS Cotton Caligula A.xiv was copied at Winchester Old Minster or at Worcester either for the cathedral priory at Worcester or for a highly-placed individual at Worcester. The published version of a paper given at the fourth meeting of the Cantus Planus Study Group of the International Musicological Society (September 3-8, 1990) in Pécs.
Some Classified Catalogues Of The Cottonian Library, Elizabeth Teviotdale
Some Classified Catalogues Of The Cottonian Library, Elizabeth Teviotdale
Elizabeth C Teviotdale
Eight extant subject catalogs of Sir Robert Cotton's (1571-1631) collection were compiled during the latter half of the 17th century. Their classifications indicate the predominance of English histories. The six complete paper codices appear to have been based on another version, perhaps prepared by Sir William Dugdale (1605-86), apparently no longer in existence. The holdings were apparently compiled from both the collection as it stood in the 1660s and an emperor order catalog. Reprinted in Sir Robert Cotton as Collector: Essays on an Early Stuart Courtier and His Legacy (1997).