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Full-Text Articles in Arts and Humanities
Stammheim Missal, 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
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.
Stammheim Missal, Elizabeth Teviotdale
Eadwine Psalter, 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.
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 Pictorial Program Of The Stammheim Missal, Elizabeth Teviotdale
The Pictorial Program Of The Stammheim Missal, Elizabeth Teviotdale
Elizabeth C Teviotdale
A study of the program of illumination revealed in the full-page miniatures of Los Angeles, J. Paul Getty Museum, MS 64. The published version of a paper given at the conference Objects, Images, and the Word, sponsored by the Index of Christian Art, March 23-24, 2001, in Princeton.
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.
A Pair Of Franco-Flemish Cistercian Antiphonals Of The Thirteenth Century And Their Programs Of Illumination, Elizabeth Teviotdale
A Pair Of Franco-Flemish Cistercian Antiphonals Of The Thirteenth Century And Their Programs Of Illumination, Elizabeth Teviotdale
Elizabeth C Teviotdale
A study of Los Angeles, Getty Museum, MS 44/Ludwig VI 5 and related fragments, extant and lost, reconstructing the original programs of illumination of their parent manuscripts, a pair of antiphonals produced in the second half of the 13th century in the Franco-Flemish border region, and establishing a taxonomy of relationships between subjects chosen for the historiated initials and the manuscript's text.
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.
A Fragmentary Cistercian Antiphonal In The Getty Museum And Its Illumination, Elizabeth Teviotdale
A Fragmentary Cistercian Antiphonal In The Getty Museum And Its Illumination, Elizabeth Teviotdale
Elizabeth C Teviotdale
A study of the illumination of Los Angeles, J. Paul Getty Museum, MSS 44 and Ludwig VI 5 (later to be bound as one codex), the remains of a Franco-Flemish choir book produced in the second half of the 13th century. The published version of a paper given at the seventh meeting of the Cantus Planus Study Group of the International Musicological Society (September 4-9, 1995) in Sopron.
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.
Music And Pictures In The Middle Ages, Elizabeth Teviotdale
Music And Pictures In The Middle Ages, Elizabeth Teviotdale
Elizabeth C Teviotdale
Discusses various examples of music and musicians in works of medieval manuscript art.
The Making Of The Cotton Troper, Elizabeth Teviotdale
The Making Of The Cotton Troper, Elizabeth Teviotdale
Elizabeth C Teviotdale
Provides a detailed description of a fragment of an illustrated 11th-century English troper, forming the first portion of MS Cotton Caligula A.XIV (London, BL). The major decoration is an initial and paintings of Christological and hagiographical subject matter.
The Filiation Of The Music Illustrations In A Boethius In Milan And In The Piacenza Codice Magno, Elizabeth Teviotdale
The Filiation Of The Music Illustrations In A Boethius In Milan And In The Piacenza Codice Magno, Elizabeth Teviotdale
Elizabeth C Teviotdale
Proposes a common prototype from the tradition of illustrated manuscripts of Cassiodorus’s Institutiones as the explanation for the close iconographic relationship between music illustrations in a manuscript (here dated to the 11th century) of the De arithmetica and De musica of Boethius (Milan, Biblioteca Ambrosiana, MS C.128 inf.) and in the 12th-century Codice Magno (Piacenza, Biblioteca Capitolare, MS 65). Suggests that the iconography may have originated in a Carolingian scriptorium.
The Drawings And Paintings In An Ottonian Epistle-Lectionary, Elizabeth Teviotdale
The Drawings And Paintings In An Ottonian Epistle-Lectionary, Elizabeth Teviotdale
Elizabeth C Teviotdale
A consideration of the relative chronology of the drawings and paintings in among the five completed miniatures of Berlin, Staatsbibliothek Preussischer Kulturbesitz, MS theo. lat. fol 34, an epistle lectionary, presumably of the 10th century. Concludes that the originally intended iconography of the scenes in the Berlin manuscript is, in each case, distinct from that of the corresponding scene in the Codex Egberti (Trier, Stadtbibliothek, MS 24) and that the iconographic elements which peculiarly link the the Berlin manuscript to the Trier manuscript were added after the paintings were finished.
The Filiation Of The Musical Illustrations In Milano, Biblioteca Ambrosiana, Ms. C 128 Inf. And Piacenza, Biblioteca Capitolare, Ms. 65, Elizabeth Teviotdale
The Filiation Of The Musical Illustrations In Milano, Biblioteca Ambrosiana, Ms. C 128 Inf. And Piacenza, Biblioteca Capitolare, Ms. 65, Elizabeth Teviotdale
Elizabeth C Teviotdale
Proposes a common prototype from the tradition of illustrated manuscripts of Cassiodorus’s Institutiones as the explanation for the close iconographic relationship between music illustrations in a manuscript (here dated to the 11th century) of the De arithmetica and De musica of Boethius (Milan, Biblioteca Ambrosiana, MS C.128 inf.) and in the 12th-century Codice Magno (Piacenza, Biblioteca Capitolare, MS 65). Suggests that the iconography may have originated in a Carolingian scriptorium.