This manuscript of collected items with twelve historiated initials and prayers in the German language was written by Dorothea von Hof (1458-1501), daughter of Heinrich Ehinger and Margarethe von Kappel. The codex contains the Officium parvum BMV as well as assorted prayers (mainly Marian prayers and prayers from the Passion of Christ), the Hundert Betrachtungen ("Hundred Meditations") from the Büchlein der ewigen Weisheit ("Book of Eternal Wisdom") by Henry Suso, and prayers ascribed to Thomas Aquinas. This manuscript on paper, completed in 1483, was presumably owned by the sisters of the Dominican cloister of St. Katharina in St. Gall, of which Dorothea von Hof is listed as a patroness.
Online Since: 12/21/2010
This prayer book contains prayers from the collection of William III, Duke of Bavaria (ff. 1v-16r), prayers to the Virgin Mary (ff. 17r-39r), prayers for Holy Mass and others (ff. 39v-45v) as well as for Communion (ff. 80r-88v). In between are St. Bernard's verses (ff. 46v-50v) and various other texts of blessings and prayers (ff. 51v-78v). According to a colophon on f. 81v, the texts were written and decorated with pen-flourish and Lombard initials by the professional scribe Simon Rösch. On ff. 89 and 90 (glued onto the back cover), another poem was added in a different hand. The language of the prayers is Swabian. Numerous feminine forms of names suggest a female commissioner, probably a convent of nuns in St. Gall.
Online Since: 06/13/2019
This Breviary can be associated with the Order of the Celestines based on the rubric on fol. 122r. According to the scribe's notes on fol. 211v, 271v, and 319v, it was written by Brother Johannes Mouret from Amiens. The manuscript, executed in tiny handwriting, is decorated with numerous fine pen-flourish initials, as well as a few small pen drawings of faces and dragons in the margins.
Online Since: 06/18/2020
Small format prayer Book on highest quality parchment with Latin and several French prayers. The coat of arms on p. 3 refers to the Montboissier family from Auvergne as commissioner. In addition to a half-page crucifixion scene (p. 3), the manuscript also contains many tiny initials, most of them with animal heads, as wells as numerous miniatures on pp. 97-146, taking up four lines of text with images of saints.
Online Since: 10/13/2016
This small-format prayer book in German contains prayers to Christ, on the Passion and on Communion, to Mary, Mother of God, and to various saints, further prayers on various topics, reflections on the Passion, and devotions according to Johannes Gerson. On f. 38v and 39r there are two full-page miniatures. They depict Christ on the cross with Mary and John (f. 38v) and the Pietà with the instruments of torture (Arma Christi, f. 39r). The manuscript was probably written for a women's convent or for female users, although some male forms also appear in the prayers. According to the ownership note on f. 185r, in the 17th century the book was owned by the Benedictine Convent St. Wiborada in St. Georgen above St. Gall.
Online Since: 12/10/2020
The Directorium perpetuum of the monastery of St. Gall, commissioned by Abbot Franz von Gaisberg (1504–1529), consists of seven volumes (Cod. Sang. 533–539). A total of 36 regulae contain the liturgical rules for the Liturgy of the Hours for all possible annual calendars, due to the variable date of Easter. Each rule begins with Epiphany; the rules for the holidays of the Christmas season until the Vigil of Epiphany (which do not depend on the date of Easter) are compiled in Cod. Sang. 539. Cod. Sang. 533 contains the first and second rule, for when Easter falls on March 22nd and 23rd (reference date in the codex: Septuagesima, January 18th/19th). The illumination of the manuscript is by Nikolaus Bertschi from Rorschach: p. 6 contains a full-page miniature (at the top a Lamentation of Christ with the donor, below Saint Gall and Saint Othmar supporting the coat of arms), p. 7 and p. 65 have initials in gold leaf and richly decorated borders. Unlike the following volumes, this volume was not written by Fridolin Sicher.
Online Since: 06/23/2016
The Directorium perpetuum of the monastery of St. Gall, commissioned by Abbot Franz von Gaisberg (1504–1529), consists of seven volumes (Cod. Sang. 533–539). A total of 36 regulae contain the liturgical rules for the Liturgy of the Hours for all possible annual calendars, due to the variable date of Easter. Each rule begins with Epiphany; the rules for the holidays of the Christmas season until the Vigil of Epiphany (which do not depend on the date of Easter) are compiled in Cod. Sang. 539. Cod. Sang. 534 contains the third through tenth rules, for when Easter falls between the 24th and the 31st of March (reference date in the codex: Septuagesima, January 20th to 27th). The illumination of the manuscript is by Nikolaus Bertschi from Rorschach and an assistant: p. 3, 41, 83, 135, 243, 301 and 360 contain initials in opaque colors (partly on a background of gold leaf) with scrolls or richly decorated borders. This volume was written by the St. Gall cathedral organist Fridolin Sicher. As only one of the seven volumes, this one used to be a liber catenatus.
Online Since: 12/14/2018
The Directorium perpetuum of the monastery of St. Gall, commissioned by Abbot Franz von Gaisberg (1504–1529), consists of seven volumes (Cod. Sang. 533–539). A total of 36 regulae contain the liturgical rules for the Liturgy of the Hours for all possible annual calendars, due to the variable date of Easter. Each rule begins with Epiphany; the rules for the holidays of the Christmas season until the Vigil of Epiphany (which do not depend on the date of Easter) are compiled in Cod. Sang. 539. Cod. Sang. 535 contains the 11th through 17th rules, for when Easter falls between the 1st and the 7th of April (reference date in the codex: Septuagesima, January 28th to February 3rd). The illumination of the manuscript is by Nikolaus Bertschi from Rorschach and an assistant: p. 6 contains a full-page miniature (at the top a Lamentation of Christ, below Saint Gall and Saint Othmar supporting the coat of arms), p. 6a, 54, 108, 164, 211, 263 and 317 contain initials in opaque colors (p. 164 on a background of gold leaf) with scrolls or richly decorated borders. This volume was written by the St. Gall cathedral organist Fridolin Sicher.
Online Since: 12/14/2018
The Directorium perpetuum of the monastery of St. Gall, commissioned by Abbot Franz von Gaisberg (1504–1529), consists of seven volumes (Cod. Sang. 533–539). A total of 36 regulae contain the liturgical rules for the Liturgy of the Hours for all possible annual calendars, due to the variable date of Easter. Each rule begins with Epiphany; the rules for the holidays of the Christmas season until the Vigil of Epiphany (which do not depend on the date of Easter) are compiled in Cod. Sang. 539. Cod. Sang. 536 contains the 18th through 25th rules, for when Easter falls between the 8th and the 15th of April (reference date in the codex: Septuagesima, February 4th to 11th). The illumination of the manuscript is by Nikolaus Bertschi from Rorschach and an assistant: p. 5, 53, 107, 161, 213, 259, 313 and 367 contain initials in opaque colors (p. 213 on a background of gold leaf) with scrolls or richly decorated borders. This volume was written by the St. Gall cathedral organist Fridolin Sicher.
Online Since: 12/14/2018
The Directorium perpetuum of the monastery of St. Gall, commissioned by Abbot Franz von Gaisberg (1504–1529), consists of seven volumes (Cod. Sang. 533–539). A total of 36 regulae contain the liturgical rules for the Liturgy of the Hours for all possible annual calendars, due to the variable date of Easter. Each rule begins with Epiphany; the rules for the holidays of the Christmas season until the Vigil of Epiphany (which do not depend on the date of Easter) are compiled in Cod. Sang. 539. Cod. Sang. 537 contains the 26th through 31st rules, for when Easter falls between the 16th and the 21st of April (reference date in the codex: Septuagesima, February 12th to 17th). The illumination of the manuscript is by an assistant to Nikolaus Bertschi from Rorschach: p. 7, 63, 119, 175, 231 and 287 contain initials in opaque colors with scrolls or richly decorated borders. This volume was written by the St. Gall cathedral organist Fridolin Sicher.
Online Since: 12/14/2018
The Directorium perpetuum of the monastery of St. Gall, commissioned by Abbot Franz von Gaisberg (1504–1529), consists of seven volumes (Cod. Sang. 533–539). A total of 36 regulae contain the liturgical rules for the Liturgy of the Hours for all possible annual calendars, due to the variable date of Easter. Each rule begins with Epiphany; the rules for the holidays of the Christmas season until the Vigil of Epiphany (which do not depend on the date of Easter) are compiled in Cod. Sang. 539. Cod. Sang. 538 contains the 32nd through 36th rules, for when Easter falls between the 22nd and the 26th of April (reference date in the codex: Septuagesima, February 18th to 22nd). The 36th rule (for the extremely rare case that Easter falls on April 26th) contains only the months of January and February, since years with this date for Easter are always leap years, and the previous rule therefore covers all moveable feasts after the last day of February. The illumination of the manuscript is by an assistant to Nikolaus Bertschi from Rorschach: p. 1, 57, 115, 173 and 235 contain initials in opaque colors with scrolls or richly decorated borders. This volume was written by the St. Gall cathedral organist Fridolin Sicher.
Online Since: 12/14/2018
The Directorium perpetuum of the monastery of St. Gall, commissioned by Abbot Franz von Gaisberg (1504–1529), consists of seven volumes (Cod. Sang. 533–539). A total of 36 regulae contain the liturgical rules for the Liturgy of the Hours for all possible annual calendars, due to the variable date of Easter. Each rule begins with Epiphany. Cod. Sang. 539 contains the seven possible rules for the holidays of the Christmas season (which do not depend on the date of Easter) until the Vigil of Epiphany. The illumination of the manuscript is by Nikolaus Bertschi from Rorschach and an assistant: on p. 4 a full-page miniature, on pp. 5, 21, 37, 53, 69, 85 and 101 initials in opaque colors (partly on a background of gold leaf) with scrolls or richly decorated borders. This volume was written by Fridolin Sicher, St. Gallen cathedral organist.
Online Since: 09/26/2017
Lectionary for feast days of saints, written at least partially by St. Gall Abbey Librarian Anton Vogt (around 1486-1529), by order of Prince-Abbot Franz Gaisberg (1504-1529). The illumination (scrolls with flowers and animals, numerous ornamental initials, among them six portrayals of figures) is by the illuminator Nikolaus Bertschi from Augsburg. A calendar (f. Ir-Xv) precedes the lectionary (f. 1r-130r), which then is followed by readings for the commemoratio of the patron saints of St. Gall and of Mary, and by collects for feast days of saints.
Online Since: 06/23/2014
An opulently illustrated large-format gradual containing four-part vocal pieces, from the Cloister of St. Gall, written and illuminated in the year 1562. By order of Prince-Bishop Diethelm Blarer, the Italian Manfred Barbarini Lupus from Correggio composed these challenging vocal pieces, Father Heinrich Keller (1518-1567) wrote the text, and the manuscript illustrator Kaspar Härtli from Lindau on the Bodensee illuminated the first pages with the important holy days of the church year. The volume has richly ornamented borders and numerous miniatures, among them five of full-page size, and contains the heraldic shields of St. Gall monks living at that time; the ornamented pages include many depictions of musical instruments of the period (some of which are no longer known).
Online Since: 12/09/2008
Large-format antiphonary with chants in four parts, written and illuminated between 1562 and 1564. By order of Prince-Abbot Diethelm Blarer (1530-1564), the Italian Manfred Barbarini Lupus from Correggio composed the pieces for four voices - antiphons, responsories, hymns and psalms for the principal feast days of the liturgical year as well as passions according to Matthew, Mark and Luke. Father Heinrich Keller (1518-1567) wrote the text and the illuminator Kaspar Härtli from Lindau on Lake Constance created a full-page All Saints picture with Christ on the cross (f. IVr), as well as a donor portrait with the coats of arms of the then-living members of the St. Gall monastic community (f. 1r).
Online Since: 06/23/2014
Antiphonary for the entire church year, written in German plainsong notation (“Hufnagelnotation”) on four lines. The volume probably originated in a French or Burgundian-Flemish Benedictine monastery; at least since about 1510, it has been part of the library of the Monastery of St. Gall. The book decoration consists of several large initials painted in opaque colors with scrolls and numerous cadels decorated with faces or animal motifs.
Online Since: 06/25/2015
A collection of lives of ancient Roman saints (among them Sebastian, Agnes and Emerentia, Agatha, Lucia, Blandina) as well as a copy of the Vita of Saint Vedastus, Bishop of Arras, by Alcuin of York. The manuscript contains the sermon De ieiunio (On fasting) by St. Ambrose. The codex was written in about 900, most likely at the Abbey of St. Gall.
Online Since: 12/21/2009
Contains, among other items, the most reliable texts of the vitae of saints Richarius, Dionysius, Gregory the Great, Leodegarius, Vedastus, Nazarius, Mark the Evangelist, Kosmas and Damian.
Online Since: 12/31/2005
This manuscript, probably produced in the 14th century in the area around Lake Constance, contains a copy of the main part of the Legenda Aurea by Jacobus de Voragine (pp. 5−691), as well as small parts of the so-called Provincia appendix (p. 691−701). On the last three pages a sermon for the Feast of Saints Peter and Paul (June 29) has been added. The area of Lake Constance is suggested by remains of a document glued to the front and back inside covers (probably parts of the writing “Konstanz”) and also by an ownership note on p. 704 dated to the late 15th or the early 16th century from a community of sisters near Stammheim (Vnnser frouwen ze niderstamhem ist das …). This could refer to the community of Beguines of Haslen in the municipality of Adlikon in the Zürcher Weinland (wine country of Zurich), which was dissolved during the Reformation. This volume has been the property of the library of the monastery St. Gall at least since the middle of the 18th century.
Online Since: 06/23/2016
The oldest German language version of the life history of St. Gall patron saint Notker Balbulus († 912), produced by Hans Conrad Haller (1486/90-1525), a member of the St. Gall religious community, for the Benedictine nuns of the Cloister of St. George above St. Gall in the year 1522. With decorated initials and borders. Following the vita are German prayers as well as a German translation of the tract Exhortationes ad monachos ("Von der geistlichen Ritterschaft der Mönche" or the "Exhortations to Monks") by Abbot Johannes Trithemius of Sponheim (1462-1516).
Online Since: 12/09/2008
German version of the life of Jesus according to the four gospels, in an Alemannic recension. With colorful initials and 21 filled initials, drawn in pen and usually colored. The scribe and probably also first owner, Rudolf Wirt, gives his name at the end of the text on p. 463 as well as the date of the completion of the manuscript on January 9, 1467. The volume originated in one of the women's cloisters of St. Gall and came to the St. Gall Abbey Library between 1780 and 1792.
Online Since: 06/23/2014
A copy of the Alexanderroman (Romance of Alexander) by physician, translator and poet Johannes Hartlieb (1468) of Munich. This is the exemplar that Hartlieb had produced for Duke Albrecht III. of Bavaria (1451-1460) and his wife Anna of Braunschweig by calligrapher Johannes Frauendorfer of Thierenstein in the year 1454, using a professional Bastarda script. It is illustrated with 45 six-by-thirteen-line fully colored initials, possibly by the hand of Bavarian miniaturist Hans Rot. Decorations include numerous simple and intricate vine borders with acanthus leaves, in which a wide variety of animals frolic, and in which one can find many of the flowers of the region. The Romance of Alexander remained one of the most popular prose romances in the German language until 1500.
Online Since: 07/31/2009
The oldest copy of the Chronicle of Konstanz by Gebhard Dacher, made between 1458 and 1472 by the author himself and illustrated with a series of colored pen sketches, among them the oldest known view of the city of Konstanz. Obtained by the Abbey Library of St. Gall in the 18th century, at the latest.
Online Since: 07/31/2009
A painstakingly annoted copy of the work De natura animalium tractatus XIX by Aristotle, in the Latin version by the scholar Michael Scotus († ca. 1235), written during the 13th century, with an opening "I" initial, partly decorated in gold, showing a man sitting before a book. In 1453 this manuscript was owned by one Johannes Kalf from Wangen (in Allgäu); bound in a Kopert (limp vellum) binding.
Online Since: 04/15/2010
This manuscript (also called the “St. Galler Epenhandschrift”) is written in two columns in a very uniform manner by three anonymous primary scribes and four secondary scribes; it offers a fine version of a unique collection of Middle High German heroic and knightly poetry. It contains “Parzival” (pp. 5−288; version D) by Wolfram von Eschenbach, the Song of the Nibelungs (pp. 291−416; version B) with the following lament (pp. 416−451; version B), the poem “Karl der Grosse” (pp. 452−558; version C) by der Stricker, the verse narrative “Willehalm” (pp. 561−691; version G) by Wolfram von Eschenbach, as well as five sung gnomic verses by Friedrich von Sonnenburg (p. 693; version G). Until 1768, when the manuscript was purchased by the Monastery of St. Gall, this volume certainly also contained fragments of the epic poems “Die Kindheit Jesu” by Konrad von Fussesbrunnen and Unser vrouwen hinvart by Konrad von Heimesfurt. These two works were removed from the manuscript of epic poems before 1820 and are now held in the Staatsbibliothek Preussischer Kulturbesitz in Berlin (mgf 1021) and the Badische Landesbibliothek in Karlsruhe (Cod. K 2037), respectively. The manuscript, illustrated with 78 uniformly executed initials by unknown artists from the miniature painting school of Padua, was commissioned by a wealthy client who was interested in Middle High German epic poems. The first owner known by name was the Swiss polymath and universal scholar Aegidius Tschudi (1505−1572) from Glarus, whose estate of manuscripts the Monastery of St. Gall was able to acquire in 1768.
Online Since: 10/08/2015
This manuscript, written in 1499 under the schoolmaster Cunradus Reuschman of Lindau (note on p. 488), contains predominantly works by ancient writers, as well as several works by 15th century Italian authors. All texts have commentaries, and the more important works are generally preceded by an argumentum. Often there are several pages left blank between the texts. In the margins, there are several simple pen sketches (pp. 498–501, 504, 511, 513; on p. 706 and 712 sketches of maps of the world). P. 3 contains a full-page pen sketch of the city of Troy. The individual texts are: Publius Baebius Italicus, Ilias latina (pp. 5–51); Virgil, Georgica (pp. 57–146); Horace, Epistolae (pp. 148–230); Horace, Carmen saeculare (pp. 231–234); Lactantius, De ave Phoenice (pp. 234–241); Persius, Satires (pp. 245–282); Margarita passionis, inc. Cum prope pasca foret (pp. 283–288); Seneca, De providentia (pp. 289–298); Augustinus Datus, Elegantiolae (pp. 323–361); Carmen de dolo et astutia cuiusdam mulieris, inc. Summe procus caveat ducatur ne mala coniunx (pp. 362–365); hymns (pp. 366–388); Parvulus philosophiae moralis (pp. 395–417); Dominicus Mancinus, De quattuor virtutibus (pp. 419–488); Hieronimus de Vallibus, Jesuida (pp. 491–514); Matthaeus Bossus, Oratio in beata coena domini (pp. 515–524); Ps.-Leonardo Bruni Aretino, Comoedia Poliscena (pp. 539–549); Terence, Andria (pp. 563–621); Virgil, Bucolica (pp. 629–660); Horace, Ars poetica (pp. 661–678); Horace, Epodes (pp. 679–692); Ps.-Virgil, Moretum (pp. 692–694); Ps.-Ovid, Remedia amoris, inc. Qui fuerit cupiens ab amica solvere colla (pp. 694–695); Ps.-Ovid, De arte amandi, inc. Si quem forte iuvat subdi sapienter amori (pp. 695–698); a treatise on punctuation, De kanone punctorum (pp. 699); Virgil, Aeneis, lib. 1 and 3 (pp. 701–726 and 741–760); Sallust, De coniuratione Catilinae (pp. 765–802); Sallust, De bello Iugurthino, incomplete (pp. 803–804); Seneca, Epistolae morales (pp. 812–853).
Online Since: 10/04/2018
Marcus Annaeus Lucanus (Lucan, 39-65 AD), "De bello civili" (also known as the "Pharsalia"). Epic poem on the civil war between Pompey and Caesar (48 - 45 BC).
Online Since: 06/12/2006
The parchment manuscript contains Alexander of Villedieu's Doctrinale with the commentary of Master Bertholdus Turicensis. The colophon (p. 123) states the name of this commentator from Zurich, and of the copyist, a certain “Hermannus”, but nothing more is known about them. The volume, laid out in two columns, is carefully articulated: every hexameter of the Doctrinale is generally divided into paragraphs of one or more verses and is copied in a larger size than the commentaries that follow. This commentary is more or less as long as the verses and is moreover full of abbreviations, unlike the text being commented. Elegant pen-flourished initials, typical of upper-Rhine illuminations of the beginning of the fourteenth century, appear throughout this copy. The seal of abbot Diethelm Blarer (p. 59) confirms that the book was at the Abbey Library since 1553–1564 at the latest.
Online Since: 12/20/2023
The Abba-Ababus-Glossar in palimpsest form, one of the oldest manuscripts in the Abbey Library which survives in book form. This glossary, in which each Latin word is explained using another, was apparently written over older texts from the 5th century in the Cloister of Bobbio. The texts underneath, which vary in legibility, include fragments of the Psalms and of the book of Jeremiah from the Old Testament as well as extracts from works by the grammarian Donatus and the Roman poet Terence. Includes a miniature of a speaker in declamatory pose.
Online Since: 12/09/2008
The five parts of this manuscript were written by various scribes, among them the St. Gall Conventual Hans Conrad Haller (1486–1525), who was calligrapher, priest and, from 1523 until 1525, librarian of the monastery of St. Gall; he wrote various works such as a missal and other spiritual literature, as well as a life of Notker Balbulus. In Cod. Sang. 1006 Haller frequently left colophons, e.g., on p. 531 and p. 540. The five parts of the manuscript contain the following texts: part I (pp. 13–45) Prayers on the Passion and – partly in fragments – liturgical plays, among them the Ludus ascensionis on pp. 33-44. Part II (pp. 46–65) a prayer to St. Dorothea, which, according to the scribe, was translated from the Latin and written down in 1430 (pp. 61-62). Part III (pp. 66-80) Der Seele Klageby Heinrich der Teichner. Teil IV (pp. 81–95) liturgy of the hours on the Passion of Christ. Part V (pp. 96-762) a wide variety of devotional texts such as prayers and meditations, among them on pp. 188-190 Ein babst lag uurmals an dem tod, pp. 406–486 St. Anselmi Fragen an Maria and pp. 508–524 a German Salve Regina in rhyme.
Online Since: 12/14/2018
This manuscript was written by the St. Gall monk Jakob an der Rüti (1562-1615), probably for private use. The first part (f. 1r-125r) contains responsories for the principal feast days of the liturgical year with melodies in German plainsong notation ("Hufnagelnotation") and often with directions for processions. These are followed by directions regarding the location of certain Vespers (f. 126r-128r), more directions on the order of processions f. 128v-136v), melodies for the doxology (f. 139r-140v), directions for the Vespers of the boy abbot (abbas scholasticus) on the Feast Day of St. John the Baptist and on the eve of the Feast of the Circumcision (f. 140v-147v), as well as prayers for processions (f. 150r-155v). Jakob an der Rüti decorated the manuscript with several somewhat clumsy pen sketches and borders (full-page decoration f. 1r, 58v-59r and 77v-78r, also representations of figures in initials). On f. 126r he gives his name in initials (F.I.A.R.), on f. 125r his name is written out (erased, legible under UV-light: Per me fratrem Jacobum An der Rüti …um Anno 1582).
Online Since: 06/23/2014
The manuscript contains a number of normative texts from the Cistercian nuns' convent of Günterstal, written partly in German and partly in Latin. It begins with a treatise on simony, in Latin and German, which was written by ‘brůder Johannes' and dedicated to ‘der erwurdigen frowen von Mulhein', presumably Veronica von Mülheim, who was abbess of the convent from December 1504 until her death in May 1508. Johannes may have been a monk from Tennenbach, the Cistercian monastery which had responsibility for the cura animarum of the nuns. The rest of the manuscript contains a number of translations of normative texts from the Cistercian order, including the Liber definitionum and the Ecclesiastica Officia. Their use for nuns is highlighted by the German translations and the inclusion of only relevant chapters. Many of these were also transmitted in the Cistercian nuns' convent of Lichtenthal, near Baden-Baden. Although the convent was never formally reformed, the manuscript points to reforming impulses in the early part of the sixteenth century. The manuscript was bought in 1782 by the St. Gall monk Gall Metzler (1743-1820), parish priest in Ebringen near Freiburg, which was owned by St. Gall.
Online Since: 12/17/2015
Abbot Otmar Kunz's (1564−1577) small format prayer book, with several pages of rich decoration (flowers, vines, animals), was written and illustrated in 1574 by unknown artists. Especially noteworthy are two full page miniatures. On p. 4, Abbot Otmar Kunz, dressed in ceremonial regalia, kneels in a landscape with a city, hills and trees, above him is God with the terrestrial globe and with his hand raised in blessing. On p. 10, the St. Gall abbot, dressed in a simple monk's habit, kneels with Mary and John beneath the Cross of Christ. The prayer book contains (from p. 11 on) the so-called 5 Passion Psalms (Ps 22, 31, 55, 69, 109). These are followed by the 15 Gradual Psalms, the vigil for the deceased, as well as the 7 Penitential Psalms with the Litany of the Saints. After the death of Abbot Otmar, a scribe with the initials FVF added a prayer (pp. 105−109); probably this was Brother Ulpianus Fischer from Überlingen, who joined the Abbey of St. Gall in 1583. In 1594, the former abbot's prayer book belonged to St. Gall monk Georg Spengler († 1609), who was born in Wil. In 1599 the manuscript received its current binding with blind stamp decoration.
Online Since: 06/22/2017
This Festschrift for Fr. Aegidius Hartmann (1691–1776), dean of St. Gall, is titled Corona gloriae et sertum exultationis. The monastery community dedicated it to the dean on the occasion of the golden jubilee of his ordination to the priesthood on 16 October 1766. Three poems, odes and eulogies each praise Fr. Aegidius Hartmann as minister of the sacraments, as pastor and as priest celebrating this jubilee. Each poem is preceded by an emblem of a flower in a garden; the three sections each begin with a wreath of three flowers. The Festschrift was drawn and probably also written by Fr. Dominikus Feustlin (who also wrote the four-volume antiphonary Cod. Sang. 1762, 1763, 1764 and 1795). At the end of the manuscript, two small-format booklets contain texts honoring Abbot Beda Angehrn. He received the first of these, titled Duplicis piique voti unanimis consensio, in 1778 from students in Kreuzlingen. The second, titled Alte und neue Dichtkunst. Ein Tafelgesang, was also presented in 1778 by the Imperial Abbey Petershausen in Constance. Both texts were probably meant for a musical performance since they contain arias and a choral piece each, but they lack any musical notation.
Online Since: 10/04/2018
Pontifical vesperal of St. Gall Prince-Abbott Cölestin Sfondrati (Abbot 1687–1696). It was found in 1846 among the books of St. Gall friar Notker Hager († 1836). This volume contains the chants for Vespers (antiphones and hymns) for the Feasts of Jesus Christ and for the saints' feast days throughout the church year. Only the incipits are each written in German plainsong notation (“Hufnagelnotation”) on five lines. Each feast is decorated with initials in the style of grotesques and with several marginal miniatures (on p. 56 is the oldest colored view of the Monastery of St. Gall). The volume is divided into Proprium de tempore (pp. 1–30), Proprium sanctorum (pp. 31–63), Commune sanctorum (pp. 64–74) and Festum sanctorum reliquiarum monasterii sancti Galli (pp. 75–77).
Online Since: 06/25/2015
This large-format manuscript, which forms a unit with Cod. Sang. 1757, contains chants for the Mass – Proprium de tempore, Ordinarium missae (partially troped), Sequences and votive Masses - in German plainsong notation ("Hufnagelnotation") in a four line-system. Multiple pieces have been deleted and replaced with other pieces. Together with Cod. Sang. 1757, this codex presents the oldest systematic St. Gall records of sequences on a musical staff. Several pages have book decorations in the form of initials (several exquisite filled initials, some with gold leaf) and borders. Heavy decorative fittings with animal heads and mythical creatures. Until 1930, the manuscript was kept in the choir library (first of the St. Gall monastery, later of the St. Gall cathedral).
Online Since: 10/07/2013
Graduale de tempore, commissioned by Prince-Abbot Franz Gaisberg (1504–1529, coat of arms p. 1) and illuminated by the book illustrator Nikolaus Bertschi from Augsburg (initials, miniatures and borders with vine scrolls and animals). The banderole on p. 55, which ends with etc. 156, may give a (false) indication regarding the dating (1506 or 1516?). The chants for the Mass are written in German plainsong notation (“Hufnagelnotation”) on a five line staff. This codex is the largest of the St. Gall Abbey library's manuscripts. Originally it was even larger; for re-binding, the pages were severely trimmed, as can be discerned from the folded lower margin on p. 1 or from the trimmed border on p. 444. Binding with heavy fittings on a red velvet background.
Online Since: 06/22/2017
Summer part of a large-format antiphonary, written by Fr. David Schaller (1581–1636). The winter part is contained in Cod. Sang. 1768. In the beginning there is a calendar for April to November (pp. A-6), followed by the Proprium de tempore (pp. 7–191), the Proprium de sanctis (pp. 195–425), the Commune sanctorum (pp. 429–495), and antiphons for Compline (pp. 497–499). There are two responsories (pp. 501, 503) on attached leaves of paper. The decoration is limited to ornate Lombard initials. The melodies are written in German plainsong notation (“Hufnagelnotation”) on five lines.
Online Since: 12/12/2019
Dominican breviary for nuns, probably written in Southern Germany. The script and decoration follow 14th century models, but the presence of the saints St. Vincent Ferrer (canonized 1453/54) and St. Catherine of Siena (canonized 1461) suggest an origin not before the second half of the 15th century. Numerous initials with gold leaf and scroll ornamentation, illuminated borders on p. 21 and 168 (two dogs, misericordia and Justicia, hunting a stag, Verbum patris). This volume is from the convent of Dominican nuns of St. Katharina auf dem Nollenberg near Wuppenau (Thurgau); according to a note of ownership, it was the property of the convent at least since the 17th century. Since 1930 it has been a deposit of the episcopal library of St. Gall at the Abbey Library.
Online Since: 12/14/2018
Late medieval prayer book. The first part contains an incomplete Office of the Virgin (fol. 1r-45v) with variants for Advent and for the time period between Christmas and Candlemas (fol. 46r-51v), Absolutions, Benedictions, Orations and other short prayers (fol. 51v-68r). The Office of the Dead (fol. 69r-98v), including Vespers, Vigil, and prayers for the anniversaries of the deaths of priests, abbots and other deceased persons, is followed by prayers of indulgence (fol. 99r-111v). The beginning of the Office of the Virgin as well as possibly a calendar preceding it have been lost. The fact that the patron saints of St. Gall, St. Gall and St. Othmar (fol. 56r-56v; fol. 58r-58v), are the only saints mentioned other than Mary and St. Benedict suggests a provenience from the Monastery of St. Gall. The manuscript is written in Gothic script; it is decorated with numerous initials executed in gold leaf and with colorful vine scrolls in the margins of individual pages. The beginning of the Office of the Dead (fol. 69r) is adorned with a small miniature of a catafalque bordered by two Benedictine monks, one of which is holding a prayer book in his hands. The cut leather binding with the monogram S, created by a master whose name is unknown, is particularly noteworthy. The covers show the two Princes of the Apostles, Peter (front cover, with book and key) and Paul (back cover, with book and sword), surrounded by rich vine scroll ornamentation. The Abbey Library of St. Gall was able to acquire this manuscript in June 2006 at a Christie's auction in New York from the collection of the American brewer Cornelius J. Hauck (1893−1967) from Cincinnati (Ex Libris on the inside front cover).
Online Since: 09/23/2014
This manuscript, as yet almost unknown, contains an epistolary following the Ambrosian Rite. It was commissioned in 1342 by the priest Giacomo de Parazo for a church dedicated to St. Fermo not further identified. This manuscript probably reached Tesserete (Canton of Ticino), an area where the Ambrosian Rite was used, in the 15th/16th century; here it was taken apart and rebound, at which time was added a copy of a testament of dubious authenticity written in 1078 by Contessa from the city of Milan for the benefit of the church of S. Stefano in Tesserete. In the 17th century, the manuscript was the property of the Verdoni family of notaries; since the 20th century, it has been held by the parish of Tesserete. On the initial page, St. Ambrose, the patron saint of the diocese of Milan, is represented in an illuminated initial.
Online Since: 12/14/2017
The design concept of this manuscript, both the text and the execution, typify the Parisian 'Horae' tradition of the early 15th century ('Boucicaut-Meister'). The top-level organizational elements in the book's decorative program are seven pages decorated with miniatures; multi-line colorful initials mark the secondary textual divisions. The extremely squared illustrations on the decorated pages include scenes with figures enclosed on three sides by staffs entwined by tendrils with decorative gold, red and blue thorny leaves which completely fill the broad parchment margin. Four lines of text, introduced by a large colorful initial, are inserted between the illustration and the lower decorative staff. The beginning of each of the various offices is marked with such an ornamental page. This book of hours is not only the oldest item in the Carl Meyer collection in the Cantonal Library of Appenzell Ausserrhoden, it is one of its best and most valuable items. It is not know who originally commissioned the manuscript.
Online Since: 05/20/2009
The layperson who commissioned this book of hours is not known by name, but left definite personal traces on the book: he had a full page portrait miniature of himself painted on Fol. 11v, kneeling and accompanied by a coat of arms. The presence of such a prominent portrait of the benefactor indicates considerable ambition on the part of the book's commissioner, who was probably a member of the merchant class. In addition, the portrait was painted by a more talented artist than the other miniatures in the manuscript, which are made in the style of woodcuts. The book of hours could have been intended for use in eastern France. Stylistically, the work displays a provincial character.
Online Since: 05/20/2009
This book of hours is patterned after the liturgical format of the Parisian 'Horae'. It differs, however, in its richer, yet qualitatively narrower range of illustrations: each of the Gospel selections is accompanied by a portrait of its author, and the Marian Office by a complete cycle illustrating the childhood of Jesus. The artist's indirect reception of the originals by the well known Paris illuminator, via a series of intermediate steps, displays numerous misunderstandings or intentional revisions. To the modern eye, accustomed to modern aesthetic norms, the shallow fields, bold juxtaposition of colors, and extremely foreshortened perspective used in these illustrations come across as expressive and inventive. The commissioner of the work is unknown.
Online Since: 06/08/2009
The origin of this manuscript in the northern French-Flemish border region can be determined from its liturgical features, its leather binding with stamped designs and the inscription Robiers Plovrins as well as by a comparison with stylistically similar manuscripts. Another book of hours illustrated by the same artist is held at Claremont near Berkeley, California (USA). This exemplar is a somewhat cruder imitation of the style of scribe and book illustrator Jean Markant, who was quite popular around 1500 in Lille. The commissioner of this volume is unknown.
Online Since: 06/08/2009
This book of hours with a tall, narrow format is a true pocket book, and the framing of the miniatures with architectural elements, crowned volutes, putti, and garlands displays a definite Renaissance influence. The book is illustrated with 16 full-page illuminations and 21 smaller, simpler miniatures by a different artist. One of the full-page illustrations shows the coat of arms of the person who commissioned the book: he was a certain Michel de Champrond (d. August 1, 1539), Lord of Ollé, Advisor and Paymaster of the King. This would indicate that a well-to-do personage, not of noble birth, but part of the court circle, had an elaborate, richly decorated and partially customized prayer book made by a middle quality manuscript workshop as late as the 1530s, when printed Books of hours were already widely available.
Online Since: 06/08/2009
This liturgical manuscript (Sharaknots or Sharakan) contains a collection of over a thousand hymns, organized into eight groups, for use in the Armenian Church. Many of these hymns were composed by prominent figures in the Armenian Church, while others are early translations from sacred hymns of the early Christian Church. The texts include Armenian khaz notation. This manuscript was written by the scribe Simeon in the year 1662 in the city of Brnakot, in the province of Siounik, an important center for liturgical manuscript production in southern Armenia. The book decoration consists of 8 headpieces, 120 ornamental and zoomorphic initials, and numerous simple red initials. The manuscript features its original Moroccan limp vellum binding with blind tooling.
Online Since: 07/04/2012
Liturgical manuscript (Sharaknots), written by the copyist Awetis in Khizan in the province Van in the year 1647 (1096 according to the Armenian calendar). It contains 11 large miniatures and 28 miniatures in the margins, executed and signed by the painter Yovanes Gharietsi. He was one of the most fascinating artists of the late School of Vaspurakan. The manuscript is part of certain hymnals, created for private customers in the region of Lake Van and characterized by bright colors and interlace ornamentation. The manuscript features the Armenian Khaz-notation. The text contains the collection of hymns in use in the Armenian Church, in the same order as in a Hymnarium printed as a first edition in Amsterdam in the year 1664. Three more hymnals of this type, also the result of the collaboration of these two artists, are known: two in Jerusalem and one in Jerewan. Attached in the beginning and at the end are two sheets of parchment containing a part of the Proprium de Sanctis from a Latin breviary from the 13th/14th century.
Online Since: 04/23/2013
Sephardic Bible in Hebrew, produced in the first half of the 14th century in Spain, probably in Castile. The manuscript opens and closes with Masoretic lists (ff. IIr-IXv and 463v to 466v), which, framed by illuminated borders, form “carpet pages”. The biblical text, copied into one or two columns, is accompanied by the Small and Large Masora (rules from the rabbinic tradition regarding the reading and vocalization of the sacred texts), which were written in tiny letters in the margins and in the gutters. These micrographic elements are sometimes enlivened in the lower margins of the pages (about 70 occurrences) or on all four sides of the pages (e.g., ff. 42r-43r, 461v-463r), where they form magnificent geometrical figures and interlace. The first biblical books are introduced by titles that are executed in browned gold on background fields of pink and blue with white scrollwork (f. 1v/Gn, 33v/Ex, 59v/Nb, 77v/Dt, 102v/Js, 125v/Jg). According to a note of ownership (f. 467v) dated 1367 (?), this Hebrew Bible was probably owned by David ha-Cohen Coutinho, member of a family of Portuguese marranos. In the 15th century, it was the property of Moses Abulafia, until his widow sold it, as shown by the sales contract, dated and signed in 1526 in Thessaloniki and placed in the beginning of the book (f. Ir). In the 16th century, the Bible was owned by the Talmudist and Rabbi Abraham di Boton of Thessaloniki (f. 467v). Thereafter its presence is attested in the Zaradel Synagogue of Alexandria in the 19th century (R. Gottheil, „Some Hebrew Manuscripts in Cairo“ in: Jewish Quarterly Review 17, 1905, p. 648). After the Bible entered the fine arts market, it has been in a private collection since 1996.
Online Since: 12/14/2017
A book of hours following the liturgical custom of Rome in Latin, with a calendar in French and a selection of saints venerated in Paris. It contains 17 miniatures created in Paris around 1408/10 in the artistic circle of the Master of Boucicaut, one of the most influential illuminators of the early 15th century. The Master of the Mazarine contributed to the ornamentation, as did pseudo-Jacquemart, who belongs to an older generation of artists and whose contribution can be recognized in the famous Books of Hours of the Duke of Berry. The image of David was painted on an inserted double leaf; it can be attributed to a follower of the artist who illuminated the Breviary of John the Fearless.
Online Since: 12/20/2012
A book of hours in Latin and French, written in the second quarter of the 15th century in Paris, but not illuminated until 1490 in Paris or perhaps in Tours by various artists who shared the work. Two miniatures as well as the decoration of the calendar and of the Office of the Dead are the work of an artist from the circle of the Maître François, a close collaborator of the Master of Jacques of Besançon, who honors Notre-Dame in a veduta of the city of Paris (f. 93r). The luminous colors and the monumental forms of the other miniatures attest to the influence of Jean Bourdichon of Tours. This artist can probably be considered responsible for the Master of the Chronique Scandaleuse, who, during the creation of this manuscript, was still working under the guidance of Jean Bourdichon.
Online Since: 12/20/2012
A book of hours following the liturgical custom of Rome, with a calendar in French. The miniatures are framed by borders decorated with plants that were executed with great botanical precision. This examplar from the late period of the French Book of hours, preserved in its entirety, was illuminated by an important master from this late phase of French book illumination. He was influenced by the Master of Claude de France und was recently identified as the Master of the Lallemant-Boethius. In the small pictures on the borders, he tries to compete with Jean Bourdichon, who introduced realistic flower borders in the marginal decoration of Anne of Brittany's Grandes Heures and in other major works. The Master of the Lallemant-Boethius is also guided by Flemish book illumination of his time. On f. 1r one can read the name of Agnès le Dieu, the owner of the codex in the year 1605.
Online Since: 12/20/2012
A book of hours following the liturgical custom of Rome, with a calendar containing a selection of saints for Langres. The manuscript was illuminated and dated in 1524 by a Master of Bénigne Serre, who was known by the name of his client, a highly-ranked official of the King of Burgundy. The artist was a hitherto unknown illuminator from the circle of the “1520s The Hours Workshop,” which framed the miniatures with Renaissance architecture or added naturalistic flowers and animals to borders. This manuscript contains a number of unusual images, e.g., for the Lauds of the Office of the Virgin, the meeting of Joachim and Anna at the city gate of Jerusalem replaces the usual image of the Visitation. In the 18th century, the manuscript was owned by the family Bretagne of Dijon, whose family members wrote a „Livre de raison“ on several appended pages.
Online Since: 12/20/2012
Two artists, active around 1440/50, contributed to the decorations of this book of hours: the older one, who created only the three miniatures on f. 13v, 105v and 140v, is part of the “Goldrankenstil,” while the younger one is characterized by greater physicality and more vibrant coloring because he was influenced by the innovations of the contemporary painting of the van Eyck brothers. This second artist is responsible for the completion of the Turin-Milan Hours in the year 1440 and also contributed to the Llangattock Book of hours. In 1813 the manuscript was given to the prioress of the Cloister of the Bernardine Sisters of Oudenaarde by the Prince of Broglie.
Online Since: 12/20/2012
A book of hours following the liturgical custom of Rome, with a calendar for the use in Poitiers. All main miniatures are by the Master of Poitiers 30, whose name is derived from two of the miniatures he created in a missal for use in Poitiers, which is kept in the local city library. Earlier he was known by the name Master of Adelaide of Savoy, for whom he created the book of hours Ms. 76 in the Condé Museum in Chantilly. He belonged to the circle of the Master of Jouvenel des Ursins, but was most active in Poitiers, where he influenced later local book illumination.
Online Since: 12/20/2012
A latin book of hours with calendar, containing a selection of saints for Paris as well as several French prayers. At the end of the book, there are tables for the changing holidays beginning with the year 1640; thus it can be assumed that the manuscript was completet around this time. The majority of the miniatures are by the Master of Coëtivy, who presumably also created all compositions and thus also the preliminary drawings. The hand of a second illuminator, who can be identified as the Master of Dreux Budé, is found in the faces of Mary in the image of the birth of Jesus (f. 83v), the Adoration of the Magi (f. 92v) and the Coronation of the Virgin (f. 107r).
Online Since: 12/20/2012
The manuscript contains a psalter for use in Evreux, episcopal city and preferred residence of the kings of Navarre.This is a liturgical book which contains the calendar, the litany and the Office of the Dead, that is, the most important texts of a book of hours. The illumination is the work of an artist who was active in Paris around 1400 and who depicts elegant figures in a picturesque landscape, still on a gold background, while his color palette is already that of the 15th century. This hand is to be attributed to the workshop of the Parisian Josephus-Master. At least two miniatures – the jester miniature (f. 44r) and the miniature of the Office of the Dead (f. 131r) – are attributed to the pseudo-Jacquemart.
Online Since: 12/20/2012
This book of hours, addressed to a woman, contains an entry that can only be read in ultraviolet light (f. 27v) and that mentions a Jaquette de la Barre; she probably was part of the Parisian family of organ builders who, between 1401 and 1404, built the organ of Notre-Dame. The miniatures were created around 1410 by a leading Parisian master, who can be identified as the Master of the Mazarin. Subsequently, borders were added to the manuscript, probably by a Provençal hand. Several scenes stand out from the conventional iconographic program: instead of the penance of David, there is the glory of Christ on Judgment Day (f. 101r); instead of the Mass for the dead, there is the Raising of Lazarus (f. 141r); also unusual is the depiction of the prayer of St. Jerome (f. 139v) in the full vestments of a cardinal.
Online Since: 12/20/2012
Various artists contributed to the illumination of this book of hours. Some simple miniatures are the work of an artist who trained in the circle of the Master of John the Fearless. Many faces of Mary were created by the Master of Marguerite of Orléans, an important book illuminator around 1430. In the 15th century, the manuscript belonged to Guillaume Prevost, as attested by the baptismal entries written in the “Livre de raison” (f. 186v).
Online Since: 12/20/2012
In addition to the unusual book for King Charles VIII described in Utopia Cod. 111, there is another book of hours that was painted by the same artist. Its border decoration remained incomplete, and all the large images follow not the usual canon of images for books of hours, but instead depict unconventional motifs. What strikes the eye in both manuscripts is the motif of the family tree of Adam, which creates an optical link between the volumes and which is not found in other of the book decorator's manuscripts. The almost identical mass of foliage also suggests that the two volumes could belong together, produced for the king at a certain time interval from one another. The premature and unexpected death of Charles VIII after his accident at the Château d'Amboise may explain why the second manuscript was never completed.
Online Since: 10/13/2016
This book of hours was a present from the Parisian publisher Anthoine Vérard to the French King Charles VIII (1470-1498). The monarch was one of the most important figures for the French book trade from 1480 on. His collecting is inextricably linked with the luxurious printed materials of the bookseller and publisher Anthoine Vérard. Especially remarkable are the borders: the margins of all pages are decorated with a pictorial narrative of eight consecutive images showing events from the Old and New Testament. Also noteworthy is the didactic value of this book of hours, since each pair of images has a commentary of several explanatory verses in Middle French. Stylistically this book is closely related to Cod. 110, which was probably also created for the king and was by the same artist.
Online Since: 10/13/2016
This volume is part of an antiphonary in three volumes that was produced in duplicate for the liturgy of Bern's Collegiate Church of St. Vincent, founded in 1484/85. The manuscript contains the entire winter portion of the Temporale, of the Sanctorale and of the Commune Sanctorum according to the liturgy of the Diocese of Lausanne. This volume is the duplicate of volume I, today held in the Catholic parish Saint-Laurent in Estavayer-le-Lac. Originally the volume was decorated with eight initials, of which only two remain (p. 71 and p. 429); they are attributed to the illuminator and copyist Konrad Blochinger, who also added corrections and annotations of the text to the other volumes of this group. After the introduction of the Reformation in the year 1528 and the subsequent secularization of the chapter, the entire group of antiphonaries was sold: four were sold to the city of Estavayer-le-Lac and were used there for the liturgy of the Collegiate Church of St. Lorenz; the other two — including this manuscript — reached Vevey under circumstances that remain unexplained. They are currently held in the historical museum there.
Online Since: 06/25/2015
This manuscript contains the full text of the Pentateuch and haftarot (weekly readings from the Prophets). The manuscript has six illuminated initial word panels found at the beginning of each of the books of the Pentateuch and at the heading of the haftarot. The semi-cursive Sephardic Hebrewscript and other codicological features of this manuscript point toward a Sephardic origin from the second half of the fifteenth century. It is likely that the Braginsky Pentateuch was the work of an artist who was active in the Lisbon School, which is known for producing around 30 distinctive manuscripts characterized by their largely non-figurative decoration: filigree initial word panels, floral and abstract pen work in purple ink, and multicolored dots and flowers.
Online Since: 10/13/2016
The Roman rite, generally known as Nussah Roma, is the oldest order of prayer outside the ancient lands of Israel and Babylonia, retaining many old Palestinian traditions. The ornamentation of this manuscript includes many attractive initial word panels, decorated with geometric designs and floral pen work, usually in red and blue ink. The illuminated opening page contains the initial word Ribbon (Master [of all Worlds]), which is set within a rectangular panel with red and blue filigree pen work and gold-leaf letters. In the bottom border there is an unidentified family emblem depicting a rampant lion. The manuscript was copied by Samson ben Eljah Halfan, a member of the Halfan family of scribes and scholars, whose ancestors were among a group of Jews who were expelled from France in 1394 and found refuge in Piedmont, in northern Italy.
Online Since: 10/13/2016
This codex contains prayers for the circumcision ceremony. The ceremony, depicted on f. 10r, takes place in a synagogue. The prophet Elijah, who will come in order to announce the advent of the Messiah, is considered to be present at the ceremony. An illustration on f. 18r depicts the blessing over wine. The decoration is the work of the illustrator Uri Fayvesh ben Isaac Segal, who was a prominent representative of the so-called Hamburg-Altona school for the production of 18th-century illuminated manuscripts, and who, according to current research, produced at least five more manuscripts in addition to this one. The title page bears the name of the owner, Joseph ben Samuel, as well as a not yet identified coat of arms with the Order of the Elephant, the highest order of the Royal House of Denmark.
Online Since: 12/18/2014
Apart from the daily prayers, this manuscript also contains kabbalistic commentaries and kavvanot (mystical intentions). In the kabbalistic school of Safed (Upper Galilee), the mystical aspect of prayer, as “the vehicle of the soul's mystical ascent to God,” is of great importance. The authorship of this prayer books is generally attributed to Isaac ben Solomon Luria (1534–1572). The manuscript begins with an unfinished title page that contains a decorative floral border in red, yellow and green, but without any text. In the ornamental colorful border there is the inscription “Samuel ha-Kohen, cantor in Broda,” who is either the copyist or perhaps the person for whom the book was written. The manuscript was a part of the collection of Naphtali Herz van Biema (1836-1901), an Amsterdam collector, whose books were auctioned in 1904. Many of these books had previously belonged to his wife's family of prominent orthodox philanthropists and bibliophiles known as the Amsterdam Lehren family.
Online Since: 10/13/2016
This codex contains prayers, blessings and poems for a wedding ceremony, following the custom of the Jews of the island of Corfu. Additional poems are by a variety of poets, some by writers of the Hebrew Golden Age in medieval Spain, others by local authors, such as Elieser de Mordo. This manuscript is of great significance due to a cycle of sixty full-page illustrations from the Book of Genesis, executed in gouache. The illustrations are accompanied by Hebrew inscriptions, usually biblical verses identifying the scenes. They are the work of an artist, probably trained in Venice, who added his monogram in different variants (MC or M.C. MF.) to almost all of the illustrations. The left to right sequence of the pages suggests that a Christian artist must have first created the illustrations, and that the Hebrew texts were added afterwards. This manuscript from the first half of the 18th century, created on the island of Corfu, may have been a bridal gift from a member of the de Mordo family, a family which played an important role on the island at a time when the Venetian rule had to be defended against Ottoman attacks.
Online Since: 12/18/2014
This Miscellany for Life Cycle Events from the last third of the 15th century was probably a wedding gift. It was copied by Leon ben Joshua de Rossi of Cesena. It contains: prayers for circumcision; a formula for a marriage contract from Correggio 1452 (without names); texts for marriage rituals, including a hymn with the acrostic El'azar; a marriage contract, concluded in Parma in 1420 between Judah, son of Elhanan of Ascoli Piceno, and Stella, daughter of Solomon of Mantua; prayers recited at the cemetery with a Grace after Meals for mourners; a ritual for avoiding bad dreams; Ka'arat kesef, an ethical poem by the 13th-century Provençal poet Jehoseph ben Hanan ben Nathan Ezobi; finally, added in a different hand, a personal prayer by Moses Latif for Joab Immanuel Finzi. Immediately following the contract, there is a depiction of a bridal couple (f. 10v). The bride's headdress, clothing and veil correspond to the contemporary fashion of Ferrara, which confirms that the manuscript is of Italian origin, perhaps even from Ferrara.
Online Since: 12/18/2014
This book of prayers for the Mohel, who performs circumcisions, consists of only a few leaves; according to a note on the title page, it was a gift from Mendel Rosenbaum to his brother-in-law Joseph Elsas of Nitra (now in Slovakia, but formerly in Hungary). The manuscript is signed by Leib Zahr Sofer (scribe); the work of this unknown artist shows a close formal relationship to that of the most important calligrapher and illustrator working in Nitra in the early 19th century, Mordecai ben Josl (alias Marcus Donath). The final page has a calligram with the figure of Moses, holding the Tablets of the Law in one hand and pointing to the Pentateuch with the other hand.
Online Since: 12/18/2014
This codex was copied by Eliezer Sussman Mezeritsch and illustrated by Charlotte Rothschild (1807-1859); in addition to the Hebrew text, it contains a German translation. The Haggadah was created by the artist for her uncle Amschel Mayer Rothschild on the occasion of his 70th birthday. This is the only Hebrew manuscript known to have been illuminated by a woman. Charlotte Rothschild was inspired by Christian and Jewish works, e.g., medieval manuscripts, the biblical cycle painted in the Vatican loggias by the workshop of Raphael and the copperplate engravings of the printed Amsterdam Haggadah of 1695. Charlotte Rothschild left her initials in only a single picture, the seder scene of the Passover celebration, on the back of a chair in the foreground of the picture (p. 42). This manuscript presumably served as model for the famous artist Moritz Daniel Oppenheim (1800-1882). In his memoirs he recalls that as a student he created sketches for Charlotte Rothschild.
Online Since: 03/19/2015
Magnificent manuscript with the text of the Haggadah; each page is decorated with rich borders of floral elements and with pen drawings in gold and lapis lazuli surrounding the text. Stylistically the decoration closely emulates Persian miniatures, especially works from the school of Shiraz of the period between 1560 and 1580. The execution of this work is attributed to Victor Bouton, born 1819 in Lorraine and active in Paris as illustrator, heraldic painter and engraver. This attribution is based on another, also sumptuously decorated manuscript signed by the artist, which Edmond James de Rothschild had commissioned as a gift for his mother and which contains a biographical note that this artist had received the enormous sum of 32,000 gold francs from a wealthy Jew for a Haggadah. The only illustration (f. 1v) depicts the celebration on the first evening of Passover; a group of five men and two women in oriental dress sit a the Seder table while the master of the house is reciting the benediction over the wine.
Online Since: 03/19/2015
The practice of decorating marriage contracts was revived in early seventeenth-century Amsterdam under the influence of Italian ketubah artists. In the late 1640s, the well-known Jewish engraver Shalom Italia created a copper engraving for ketubot of the Spanish-Portuguese community, which subsequently inspired an anonymous local artist to create a new modified version of this border, present in this Braginsky Collection ketubah of 1668. For more than two hundred years this border adorned Sephardic ketubot produced in Hamburg, Bayonne, London, New York and Curaçao.The calligraphic text commemorates the marriage of a known Sephardic physician, Daniel Tzemah Aboab.
Online Since: 03/22/2017
In the 17th century, the Jewish community of Casale Monferrato had between 500 and 600 members. The widow Giuditta Leonora, daughter of Abraham Segre, and Moses, son of the deceased Isaak Katzighin, the bridal couple named in this marriage contract, both belonged to the wealthiest families of the community. The contract is surrounded by an ornamental frame. The inner oval frame, which contains six gilded rosettes, is decorated with flowers. Its corner segments each contain a large medallion depicting the four Aristotelian elements (air, water, fire and earth) and smaller medallions depicting, in a counterclockwise direction, the twelve Signs of the Zodiac. The outer frame contains gilt knot motifs as a symbol of the eternal “love knot”; the cartouches in the four corners depict allegories of the four seasons. In addition there are representations of the five senses. The tenth cartouche, at the top, intended for family crests, was never filled in.
Online Since: 10/04/2018
This marriage contract documents the agreements at the betrothal of two Samaritans, Temima, daughter of Isaac, son of ha-Levi Amram, and Abraham, son of Joseph Denufta (ha-Dinfi). Although Samaritans believe only in the Pentateuchand recognize only Moses as prophet, and although the Torah does not mandate that the rights of the wife be protected by a ketubah,the Samaritans adopted thisrabbinic custombased on Exodus 21:9 and 22:6, which mention a kind of dowry. The language of this document is Samaritan Hebrew, written in Samaritan script, reminiscent of ancient Hebrewscript.Reflecting a strict interpretation of the Second Commandment, the decoration of the ketubah is limited to floral and geometric designs in bright colors.
Online Since: 10/04/2018
The Jewish community on the ‘British Rock of Gibraltar' reached its height in the 19th century. At the time this marriage contract (ketubbah) was produced, most of Gibraltar's retail trade was conducted by the local Sephardic community. By the second half of the 19th century, Gibraltar developed its own characteristic type of marriage contract decoration, with large pieces of parchment ornamented in bright colors. The present ketubbah, of which an identical but later copy is preserved at the Israel Museum, Jerusalem (accession n. B72.1066 179/244H, see Sh. Sabar, Mazal Tov: Illuminated Jewish Marriage Contracts from the Israel Museum Collection, Jerusalem: The Israel Museum, 1993), is framed on either side by garlands of flowers, a luxurious red bow at the bottom and surmounted by a crown, which is reminiscent of the Torah crown, however modeled here on the British royal crown. Three other typical motifs of these Gibraltar ketubbot are the initial word of the traditional Jewish wedding day in Gibraltar, Wednesday (ברביעי), enlarged in gold lettering; the sum of the dowry and increment is a factor of eighteen, a number that is also the propitious word ‘Ḥai' (חי) – ‘life', written here in monumental letters sticking out of the small cursive script and lastly, the ornamental monogram in Latin letters at bottom center, which is comprised here of E C B, referring to the bridal couple's first (Elido and Jimol) and last initials (Ben Atar/ Benatar). Elido (אלידו), son of Isaiah, son of the late Ḥaim, called Ben Atar (בן עתר) is marrying the bride Jimol (ג'ימול), daughter of Joseph, son of the late David, called Qazes (קאזיס), whose dowry is 600 Pesos Fuertes (פיזוס פואירטיס) worth of clothing, jewelry and bed linen and incremented by 600 Pesos Fuertes as a gift, to which is added a piece of land measuring 400 cubits and an additional 600 Pesos Fuertes; the total obligation is 1800 Pesos Fuertes.
Online Since: 06/18/2020
The bridal couple mentioned in this marriage contract, Dona Sarah, daughter of Jacob Guttieres Pegna (Peña) and David, son of the late Benjamin Racah (or Raccah), both are members of wealthy families of the Sephardic community of Livorno. As is customary, the ketubah lists the dowry and increment: It consists of a house on the Piazza delle Erbe with a value of 907 piesas, 6 solidos and 10 dinaros da ocho reali di Spagna, plus 150 piesas in cash and an increment valued at half of the dowry. The unusually large ketubah is decorated with interlace design in the style of “love knots”, floral scrolls, a pair of birds and two winged putti supporting a blank cartouche intended for the family emblem.
Online Since: 10/04/2018
This marriage contract between Abraham [Abramo], son of the late Jonathan Judah Finzi, and his bride Ricca, daughter of Gedaliah Senigaglia (Senigallia) names a dowry of 1,800 pezze da ocho reali – 1,200 of which in cash, 300 in gold jewelry, precious stones and pearls, and 300 in clothing and bed linen, and an increment of 360 pezze. The text is in the lower section of the ketubah, inside a monumental double arch. The upper section depicts azure heavens with tiny gold stars. Seated on clouds is the allegory of Fama, who announces the “good name” of the groom with a fanfare.
Online Since: 10/04/2018
As in other ketubot (cf. K69 and K96), here, too, an older frame was reused, one that had been created for a marriage contract 70-80 years earlier. 13 figurative scenes are arranged within an architectural arch; the theme is the biblical story of the wedding of Isaac and Rebecca. The original ketubah may have been created for a bridal couple with these names. The series of scenes begins in the upper right with the Sacrifice of Isaac and continues clockwise with more scenes. At the top Cupid links the two family emblems with a gold ribbon. A „crown of the good name“ tops the scene.
Online Since: 10/04/2018
This ketubah was created in Essaouira by the artist David Nissim Elkaïm (see his initials in Latin letters at the lower left) documents the marriage between Solomon, son of Joshua, son of R. Abraham Makhluf ha-Levi Ben-Susan, and Freha, daughter of Makhluf, son of Masoud, son of Naphtali, grandson of Judah Afriat, both of whom were members of Sephardic families. Numerous characteristics refer to this heritage, such as the writing material (parchment), the status of women, the invocation of God to take revenge for the expulsion of the Jews from Spain, the European style of the decoration of the frame and the Latin monogram of the bride's name.
Online Since: 12/14/2018
David, son of Daniel Coelho Enriques (or Henriques) and Dona Rachel, daughter of Abraham Enriques Da Costa, were members of a families of religious refugees from Spain and Portugal in the town of Bayonne in Southern France near the Atlantic coast. Like other Sephardic ketubot, their marriage contract does not contain depictions of human figures, which distinguishes them from ones from Italy or Amsterdam. The sharp contrast between dark ink and white parchment, the dots and the hatching give the impression of a copper engraving. The verses, written in elegant, square Sephardic script, contain praises of the bride and groom.
Online Since: 12/14/2018
In this 1722 marriage contract between Yishai (Jesse) Hay, son of R. Samuel Pesach, and Berakha Tova, daughter of R. Isaiah Modena, the artist persuasively links decorative elements of Italian art with Jewish symbols and motifs. The decoration contains countless biblical quotations in micrographic script with reference to wedding and marriage ideals.
Online Since: 12/14/2018
Like the 1753 ketubah from Padua (K76), this contract makes use of an older frame. The family emblems therefore have no relation to the bridal couple, Nathan Solomon, son of Jacob Samuel le-Veit Montel, and Bella Rosa, daughter of Moses le-Veit Barukh (De Benedetti). It is even possible that the original ketubah is not from Alessandria, but from further away, possibly Lugo or Ancona. The inner decorative frame contains a ribbon of cutout designs glued onto green fabric. The outer frame is painted; it is decorated with fanciful flowering twigs, medallions and vignettes. The side and bottom borders contain the Signs of the Zodiac.
Online Since: 12/14/2018
This contract celebrates the marriage of Moses, son of Judah, and Esther, daughter of Isaac, that took place in 1900 in Cochin, South India. According to the Indian caste system, the Jews of Cochin, very few of whom live there today, are divided into three groups: the Malabari (or black Jews) - whose namesake is the Indian coast of Malabar -, merchants who boast of their descent from King Solomon; the Paradesi (or white Jews) who arrived in Kerala during the colonial period; and the Meshuhrarim, originally slaves of Jewish merchants, who converted and were freed. The Jewish community of Cochin distinguished itself in numerous artistic fields, especially in the production of ketubbot. Based on its division into two sections, the present contract is typical of Indian production: the upper part of the document is taken up by lengthy blessings and biblical verses, written in square letters, while the lower part contains the actual wedding contract, written in a semi-cursive script. The decoration, consisting of elegant leafy branches in gold (and in yellow for some leaves), simultaneously frames and highlights the texts with its lustrous and shimmering effects.
Online Since: 06/18/2020
This contract is for the marriage of Solomon, son of Abraham, and Rachel, daughter of Elijahu. The total amount of the dowry was set at 26,000 “lion” piastre. This Ketubbah belongs to a type that was particular to Jerusalem between the 1830s and the 1860s. As in other representations, floral decorations in bright colors frame the lower field of text (with the signatures of the bride and groom in the center and the artfully ornamented monograms of two Jerusalem rabbis) as well as the broad band of the tympanum above. In the center of the tympanum is a bouquet of flowers in a vase, flanked to the left and right by cypress trees and date palms, linking the Jerusalem of the present to the promised Jerusalem.
Online Since: 10/10/2019
The bridal couple Solomon, son of Jacob Visino, and Dinah (Gracia), daughter of Samuel Cordovero, were part of the large community of Sephardic Jews living in the thriving, cosmopolitan and multi-ethnic port city of Livorno, where they enjoyed generous privileges bestowed on them by the Medicis, including complete religious freedom. The text is within an architectural frame in the shape of a baroque portal with two double columns. The marriage text is written at right in a Sephardic square script, the conditions at left in a cursive script; these were confirmed by the groom (in Italian) and by the father of the bride (in Spanish). Above the balustrade, two putti hold a cartouche with the emblem of the Visino family. Below that a medallion, framed by the zodiac, shows King Solomon as he joyfully receives the Queen of Sheba.
Online Since: 10/10/2019
The bridal couple, Menahem, son of the deceased R. Samuel Paliano, and Angelica, daughter of Moses Paliano, were members of one of the most respected and richest Jewish families in Rome, as attested by the dowry of 2,500 scudi in cash and an increment of 500 scudi. Delicate rose flowers and tendrils, as well as flying and perching birds are arranged around two concentric oval fields. The family emblem of the Paliani (or Pagliani) family appears above and below the larger oval. The inner oval contains the marriage contract in square script in gold. The outer oval is decorated with careful complete copies of the books Song of Songs, Ecclesiastes, and Ruth, with traditional verses and with biblical benedictions. This micrography is artfully shaped into interlaced scrolls and labyrinthine designs. The leopard, the eagle, the stag and the lion symbolize virtues which, according to Pirkei Avot 5:23, Jews should faithfully observe.
Online Since: 12/12/2019
This Indian ketubbah is characterized by motifs that were brought to India by Baghdadi Jews from Iraq. The formulaic texts in two adjacent fields, for instance, resemble Islamic prayer niches. Below that is written the content of the contract, which attests that Salih, son of Ezekiel Moses, wed Rebecca, daughter of Benjamin Elijah Jacob, who brought a dowry of 3,195 rupees in gold and silver jewelry, clothing and bed linen. Together with the groom's supplement, the total sum reportedly reached 5,555 rupees. In the borders, flowers and birds alternate, and at the top two tigers hold a medallion with an inscription. Two fish facing each other symbolize happiness and fertility for the bridal couple. A small third fish between them probably refers to the hoped-for progeny.
Online Since: 12/12/2019
This promise of marriage between Wilhelm Goldstein and Paula See in Shanghai was confirmed in Chinese before two witnesses, Max Neumann and Gustav Lehmann, as well as Bernhard Cohn, the lawyer for the Jewish community “Communal Association of Central European Jews. Shanghai”. In contrast to the Braginsky collection's other marriage contracts, this is not a Jewish religious document, but an official certificate recording the consent to marry of a couple fleeing persecution in the German-speaking countries. In Shanghai, about 18,000 Jews survived the holocaust.
Online Since: 12/12/2019
This mid-eighteen century Italian Esther scroll was most likely printed and hand-colored in Venice. It is kept in a cylindrical case of delicate filigree, ornamented with floral motifs, that is typical of the later and more refined work of Ioannite silversmiths.
Online Since: 12/20/2016
The Esther story in this megillah (pl. megillot) isn't presented as an historic drama, but rather as a funny satire. The character of Alsatian Jewish life is captured in the ornamentation of the scroll: the whimsical imagery includes peasant figures in colorful local costume and reflections of folk humor. Lively figures, several shown strolling with walking sticks in hand and others gesturing, are interspersed with human busts, owls, and a gargoyle, while the Hebrew text is arranged within octagonal frames approximately 6 cm high. The few known Alsatian megillot share several distinctive characteristics, such as a bright palette of yellow, red, and green; stocky robust figures; and large vibrant flowers. In this Braginsky Collection Esther scroll, the women wear red or blue garments with yellow corselets laced in front, whereas the men are depicted wearing, amongst others, traditional white ruffs, red or blue jackets with culottes, and a variety of hats.
Online Since: 10/13/2016
This megillah is embellished with hand-painted, repeated architectural designs. The text is set between alternating straight and spiral marble columns. The Jews of Italy associated twisted columns with those of the Temple of Solomon, which they believed were brought to Rome by Titus and eventually placed in the Basilica of St. Peter in the Vatican. In terms of style, this scroll resembles the illuminated ketubot produced in Ferrara and Mantua. Accompanying this scroll is a separate sheet of parchment that, in addition to the benedictions, contains a liturgical hymn, korei megillah, recited by the Jews of Italy. Rabbis disagreed as to whether a scroll may include any extraneous text that is not part of the book of Esther. However, in some communities this led to the practice of creating an unattached sheet featuring the three benedictions traditionally recited prior to the reading of the megillah.
Online Since: 03/22/2017
The border design of this Esther scroll is dominated by a baroque arcade featuring four distinctly patterned columns. The arches are surmounted by a balustrade that supports flowering urns, blank medallions, floral scrollwork, and a variety of birds including a crowned double-headed eagle and a peacock. Scenes from the Esther narrative are positioned beneath each of the nineteen columns of text. The engraved border of this scroll was designed by the Italian scholar, artist, and publisher Francesco Griselini (1717-1787), whose engraved border designs were popular in Italy in the eighteenth century. In these illustrations, Griselini has devoted particular attention to architectural settings and spatial perspective. The artist's printed signature is found in the lower left corner of each membrane. The last scene, placed under the final arch, is rarely found on illustrated Ester scrolls. It depicts the Messiah riding on a donkey heralding the return of the exiled Jewish people back to Jerusalem. The text of this scroll was penned by the scribe-artist Aryeh Leib ben Daniel. In his inscription, which follows the concluding benedictions, he informs the reader that he wrote this scroll in Venice in the winter of 1746.
Online Since: 03/22/2017
This profusely illustrated Dutch scroll is distinctive for its thirty-eight illustrations drawn in sepia ink. The decoration of the scroll begins with a triumphal arch reminiscent of Roman Triumphal arches constructed for royal festivities throughout Europe from the fifteenth to the nineteenth century. The scroll also contains some unusual representations. One is of Mordecai standing in a room with a wall filled with books. He is portrayed as a scholar, perhaps reflecting a rabbinic tradition that informs us of his remarkable knowledge of seventy languages, which helped him uncover the plot against Ahasuerus. Another striking illustration is the depiction of two merrymaking dwarves dancing and playing stringed instruments in celebration of the Jews' delivery from destruction.
Online Since: 03/22/2017
This eighteenth-century megillah was created in Lower Saxony and exemplifies a type of folk art decoration and color palette found in other megillot from this region. The most distinctive image in this scroll is the one depicting the hanging of Haman. Bound in chains, he is suspended from the gallows. A venomous snake, a symbol of evil, encircles the upright support of the gibbet. Below, a double-tailed lion, an allegoric embodiment of the Jewish people, is depicted holding a crowned shield and gazing up at the execution. This Braginsky Collection megillah is one of three similar German scrolls containing distinctive images of Haman hanging. Inscriptions on the opening and closing panels of this scroll indicate that this scroll was owned by Berel the son of Abraham Neumark of Hamburg.
Online Since: 03/22/2017
This scroll (on five sheets with 13 columns of text) opens with an impressive sun disk surrounded by the signs of the zodiac. The month of Adar is particularly emphasized, since it was in this month under the sign of Pisces that the extermination of the Jews took place. Each column begins, if possible, with the word ha-melech (the king), which designates the king Ahasuerus in the Book of Esther, but is also an allusion to the never explicitly mentioned and yet omnipresent God. The silver case from around 1800 is crowned by a bouquet of flowers and leaves, which can be found in a similar way on Torah finials (rimmonim) and other Judaica metalwork of the Ottoman Empire.
Online Since: 10/08/2020
Created at the beginning of the 20th century, this Esther scroll (on six sheets with 35 columns of text) could be seen as an attempt to create a national Jewish style by incorporating orientalist and Art Nouveau elements. The origin could therefore be Jerusalem, although other centers in the Ottoman Empire could also be considered. The case is artfully carved from ivory, the megillah was painted in vivid colors and contains floral motifs, as often found in oriental manuscripts.
Online Since: 10/08/2020
The decorative program of this Esther scroll (on 4 sheets with 16 columns of text) was taken from the printed frame design of the Braginsky Megillah S25. The benedictions at the beginning of the scroll are surrounded by figures and episodes of the Esther story: at the top Ahasuerus and Esther on the throne flanked by courtiers; below on the right the conspirators and on the left Haman on the gallows; at the bottom on the right Mordecai in the gate of the palace and on the left Esther and Mordecai writing letters with the orders for the Purim feast. The hexagonal case of chased silver was made in 1806 and belonged to Rabbi Ephraim Fischel of Rozdol in Eastern Galicia.
Online Since: 10/08/2020
This scroll contains one of the most finely executed series of illustrations to be found in decorated megillot (sing. megillah). The highly accomplished artist Wolf Leib Katz Poppers has modeled detailed figures, scenes, and animals with delicate parallel and cross-hatched pen strokes, creating an effect that is strikingly similar to the copperplate engravings of contemporary books. Positioned between a foliate border with animals at the top and a similar one with birds at the bottom, text columns are interspersed with eight elegant full-length characters from the Esther story. Below each of these figures is a small vignette that chronicles the Purim story. It is unusual that the skillfully drawn figures that embellish this scroll are dressed in Ottoman-court clothing. The choice of this type of dress is intriguing, and perhaps the most cogent reason for this combination is that the scroll was produced for a member of a small, affluent community of Turkish Jews who, after 1718, were permitted to live and trade freely in Vienna, while still remaining subjects of the Sultan of Turkey.
Online Since: 10/13/2016
This Esther scroll, which combines Indian and Western traditions in a unique way, contains twenty elaborately illustrated panels flanking the text columns. The reader is shown surrounded by men wearing fezes and children holding drums used as noisemakers to drawn out the name of Haman. Additionally, a group of five women is portrayed in a separate space above labeled ezrat nashim (woman's section). The figures in the scroll are depicted in a mixture of contemporary, Western and non-Western clothing, and often are seated in interiors that portray a similar blend of furnishings. Some of the women, including Esther at times, are shown with a Hindu bindi sign on their foreheads. This scroll comes from the collection of the eminent Sassoon family of Baghdadi Jewish descent. It was most likely created for their personal use. The merging of Jewish scribal traditions and Indian artistic design reflects the Sassoon family's deep involvement in the cultural life of India.
Online Since: 12/20/2016
This hand-written megillah Esther from Venice (type: “Gaster I”, on three sheets with text in 19 columns, all but the last one arranged in pairs), is decorated with a printed and hand-colored decorative border; it can be dated circa 1675 based on almost identical Esther rolls that are dated. This decorative technique was first used in Rome in the late 16th century and later, especially in the 18th century, was widely used in Venice and Amsterdam. Polylobed cartouches below and above the text depict scenes from the Book of Esther.
Online Since: 10/08/2020