Manuscript fragment on parchment of Lamentations, 3.13-51 (52-56 obscured). Written at Luxeuil or one of its affiliated houses. Fifteen folios from the original codex survive, most of which may be traced to the Benedictine abbey of Admont in Austria. Most of the verses in the Beinecke fragment have received neumes, possibly added later (11th century?).
Description:
In Latin., Script: Written in elegant Luxeuil minuscule, with headings in uncials., Large initial at beginning of each verse filled with yellow, red, and/or green; headings in green or red., and Removed from a bookbinding; text suffers from holes, stains, creases, and repairs.
Subject (Geographic):
Connecticut and New Haven.
Subject (Topic):
Illumination of books and manuscripts, Medieval, Manuscripts, Medieval, and Music
Manuscript fragment on parchment of 2 leaves from an Advent Sunday antiphonal
Description:
In Latin., Script: praegothica handwriting with Southern features. Notation on four-line staves, marked with letter keys. Headings in bold Uncial. Headings, versals and plain initials in red., and Fragments from an antiphonary, including the first Sunday of Advent and the Feast of St. Lucia (December 13). A bifolium; between the two leaves an unknown number of folios is missing.
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Catholic Church
Subject (Topic):
Liturgy, Advent music, Antiphonaries, Manuscripts, Medieval, and Music
Manuscript on parchment of 3 liturgical rolls, containing Ambrosian Rite Antiphons for Rogation Days, with musical notation
Description:
In Latin., Script: copied by a single hand in Southern Gothica Textualis Libraria. Musical notation in early nota quadrata on four-line staves., Three rolls, consisting of pieces of parchment sewn together., and Liturgical chants for the Monday of the Minor Rogations (the Monday before Ascension day), according to the Ambrosian rite; liturgical chants for the Tuesday of the Minor Rogations; liturgical chants for the Wednesday of the Minor Rogations; and a fragment of a manuscript on parchment pasted onto the verso of roll 3, 13th or 14th century, written in Southern Gothica Textualis Libraria (Rotunda): Albertus Gandinus (1245?-1310?), Tractatus de maleficiis.
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Catholic Church
Subject (Topic):
Ambrosian rite, Antiphonaries, Manuscripts, Medieval, Music, and Rogation days
In Latin., Script: written in gothic script, with notation in nota quadrata., Many illuminated, several historiated initials, the rest in red and black penwork. Made for a church where there was a special veneration for Sts. Lawrence, Concordia and Pope Marcus., Many folios are damaged, some were repaired and all were cut off at the upper and side edges., and Binding: old wooden boards covered with leather; metal corners and center pieces, leather clasps; rebacked.
Subject (Geographic):
Connecticut and New Haven.
Subject (Topic):
Graduals (Liturgical books)., Illumination of books and manuscripts, Medieval, Manuscripts, Medieval, and Music
Manuscript on parchment (palimpsest) of a large collection of medieval alchemies, both speculative and practical. Includes an important group of writings by Johannes of Teschen, notably his Antiphona with musical notation. Also contains works by Arnold of Villanova, Alanus, Geber, Khalid ibn Yazid, and Albertus Magnus
Description:
In Latin., Script: Written in Gothica textualis by a careful but ill-formed hand in which differing letter forms are often not discrete, with annotations by a later 15th-century cursive hand and occasional notes by other hands of the same period., Important capitals painted in red and blue with occasional filiform decoration, rubricated, and capitals frequently stroked red, but without other ornament or illustration., and Binding: Fifteenth century, German. Presumably original, of oaken boards covered with red-dyed hide, sides framed by triple blind fillets, additional fillets drawn diagonally to form a pattern of lozenges; the original back laid down on a new backstrip preserving the four original raised bands, plus head and foot bands, which are drawn into the boards, fastened with wooden wedges, and reinforced with strips of parchment (cut from a 13th-century manuscript with faint writing in a very small gothic hand) which are glued down to the inside boards. On both covers single nailholes near the corners and two such holes in the center of each cover indicate the removal of brass cornerpieces and centerpieces; a single brass catch with iron bar, fastened by three brass nails, is preserved in the upper cover, the clasp missing from the lower cover indicated only by a mark. Modern leather label on backstrip, stamped in silver between rules top and bottom: "ALCHEMICAL | MISCELLANY | MANUSCRIPT | FRANCE 15TH C.".
Manuscript on parchment (thin, fine quality) of a collection of chansons. Written probably at the Aragonese court in Naples in the 1470's, perhaps as a wedding gift for Beatrice of Aragon, who married Matthias Corvinus, King of Hungary, in 1476
Description:
In French., Script: Written by one scribe in batarde, usually one line below each staff, but sometimes text written on every other line of the staves., The style of the Chansonnier's initials points to one of the ateliers active in the service of Ferrante I of Naples, in particular to the shop of Matteo Felice. One 2-line initial (f. 1r) tan, shaded purple and green, with curling floral serifs, blue and puce, filled with curling leaves against burnished gold and blue, with white filigree, against gold ground, framed in blue with white filigree; short, 3-stemmed flowers, gold, with brown hair-spray stems project from upper serif and midpoint; 3 gold dots with hair-spray symmetrically disposed around letter; floral border in outer margin, hair-spray stems with gold and green leaves and flowers, blue, purple, and gold at midpoint and terminals. One-line initials throughout, gold, infilled blue or purple, with white filigree, against irregular grounds, purple or blue, edged in black, with white filigree and two short flowering tendrils, as in border on f. 1v; often with a gold dot with hair-spray adjacent in outer margin., and Binding: 19th-20th centuries. Brown goatskin, blind-stamped, by Henri Marius-Michel of Paris (1846-1925), whose name is stamped inside the front cover. Not in his usual style. Included in the center front and back panels are monograms of Baron Joseph Vitta.
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Frye, Walter, d. 1474 or 5.
Subject (Topic):
Illumination of books and manuscripts, Medieval, Manuscripts, Medieval, Music, and Songs, French
In Latin., Script: Copied by one hand in Northern Gothica Textualis Formata. Rubrics in Gothica Hybrida Formata (Bastarda). Music notation in Nota Quadrata., Red rubrics. Heightening of majuscules in yellow. Alternately red and blue1-line plain initials on ff. 176r-177r. Flourished initials (height: 1 stave + 1 text line) alternately red with purple penwork and blue with red penwork. Cadels (same size) in a rectangular frame decorated with foliage on a yellow background. On f. 1r damaged large golden initial (2 staves + 2 lines of text) on a blue background containing coat of arms of Hugo Gontard, a canon in the collegiate church of St. Genesius (St. Genez) at Clermont-Ferrand in 1515 and "abbot" of the said church, 1519-1545., Many pages badly damaged and faded, especially f. 1r., and Binding: Nineteenth century. Marbled leather over cardboard, repaired. Gold-tooled spine with title on red leather label: "LIVRE D'HEURES". Brown marbled paper endpapers.
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Catholic Church
Subject (Topic):
Liturgy, Illumination of books and manuscripts, Medieval, Manuscripts, Medieval, Music, and Processionals (Liturgical books)
Manuscript on paper of 1) Nicomachus Gerasenus, Harmonicum enchiridion, I-II. 2) Gaudentius, Introductio harmonica
Description:
In Greek., Watermarks: similar to Harlfinger Croix 42; a similar watermark occurs in Beinecke MSS 273 and 274., Script: Written and signed by the scribe Andreas Darmarius, who completed the work in Venice on 26 March 1585., Much rubrication of the text. Small initials, 3- to 1-line, some with floral motifs. Simple headpieces in black and red at beginning of each section., and Binding: Sixteenth century. Lavender edges. Tan leather, flesh side out, over wooden boards with a blind-tooled X and a single line border on each. Probably by the same binder who bound MS 301; almost certainly done in the same bindery.
Musurgia universalis, sive, Ars magna consoni et dissoni in X libros digesta, Musurgia universalis, and Ars magna consoni et dissoni in X libros digesta
Description:
Vol. 2 has title abbreviated, with imprint: Romae : Typis Ludouici Grignani, 1650. and LSFMUSR: From the library of Dragan Plamenac; sales catalog entry pasted on front flyleaf.
Musurgia universalis, sive, Ars magna consoni et dissoni in X libros digesta, Musurgia universalis, and Ars magna consoni et dissoni in X libros digesta
Description:
Vol. 2 has title abbreviated, with imprint: Romae : Typis Ludouici Grignani, 1650. and LSFMUSR: From the library of Dragan Plamenac; sales catalog entry pasted on front flyleaf.
"Minerva and Apollo seated on a bank of clouds, Minerva reaching down to guide by the wrist a female personification of Music, who approaches at left, holding an open book of sheet music, towards Apollo, who holds out his hand; in foreground right, a shield with trophies, including a drum, axe, turban and helmet."--British Museum online catalogue
Alternative Title:
Musick introduced to Apollo by Minerva and Music introduced to Apollo by Minerva
Description:
Title etched within image., Title from Paulson: Music introduced to Apollo by Minerva., Artist signature moved to above the line, lower right., Sheet trimmed to plate mark., and On page 48 in volume 1.
Publisher:
Sold by J. Clark engraver & printseller in Greys Inn
An album of music, songs, engravings, newspaper clippings, chapters from books, broadsides, maps, tickets, a watercolor, etc., all relating to Spring Gardens, Vauxhall with an emphasis on the music performed. Engravings include portraits of actors and performers, politicians, ladies of fashion, views of the gardens, maps, and both songs and engraved musical scores
Description:
In English., Title from spine., and Bound in half sprinkled calf, gilt panelled back, with crimson morocco label and gilt emblems of lyres.
Subject (Geographic):
England, London., and Vauxhall Gardens (London, England)
Subject (Name):
Lowe, Thomas, ca. 1719-1783., Vernon, Joseph, 1737 or 1738-1782., and Stevenson, Miss.
Plate 60. Queen Charlotte's collection of Hogarth works. Leaf 48. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
First etched as a subscription ticket for "A Midnight Modern Conversation" with seventeen men and boys rehearsing William Huggins's oratorio "Judith". Several of the singers hold sheet music with the notes and lyrics legible. In this state the plate has been reduced with the text eliminated, leaving only traces of the first line of text
Description:
Title, date, and state from Paulson. and 1 print : etching on laid paper ; plate mark 173 x 161 mm, on sheet 245 x 207 mm.
Plate 60. Queen Charlotte's collection of Hogarth works. Leaf 48. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
First etched as a subscription ticket for "A Midnight Modern Conversation" with seventeen men and boys rehearsing William Huggins's oratorio "Judith". Several of the singers hold sheet music with the notes and lyrics legible. In this state the plate has been reduced with the text eliminated, leaving only traces of the first line of text
Description:
Title, date, and state from Paulson. and 1 print : etching on laid paper ; sheet 173 x 160 mm.
Plate 60. Queen Charlotte's collection of Hogarth works. Leaf 48. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
First etched as a subscription ticket for "A Midnight Modern Conversation" with seventeen men and boys rehearsing William Huggins's oratorio "Judith". Several of the singers hold sheet music with the notes and lyrics legible. In this state the plate has been reduced with the text eliminated, leaving only traces of the first line of text
Description:
Title, date, and state from Paulson. and Plate mark 175 x 160 mm, on sheet 245 x 207 mm.
Plate 60. Queen Charlotte's collection of Hogarth works. Leaf 48. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
First etched as a subscription ticket for "A Midnight Modern Conversation" with seventeen men and boys rehearsing William Huggins's oratorio "Judith". Several of the singers hold sheet music with the notes and lyrics legible. In this state the plate has been reduced with the text eliminated, leaving only traces of the first line of text
Description:
Title, date, and state from Paulson., 1 print : etching on laid paper ; plate mark 175 x 162 mm, on sheet 190 x 178 mm, mounted on wove paper to 274 x 329 mm., and With double, red line border on mount.
Plate 60. Queen Charlotte's collection of Hogarth works. Leaf 48. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
First etched as a subscription ticket for "A Midnight Modern Conversation" with seventeen men and boys rehearsing William Huggins's oratorio "Judith". Several of the singers hold sheet music with the notes and lyrics legible. In this state the plate has been reduced with the text eliminated, leaving only traces of the first line of text
Description:
Title, date, and state from Paulson. and 1 print : etching on laid paper ; plate mark 175 x 162 mm, on sheet 218 x 196 mm.
Plate 60. Queen Charlotte's collection of Hogarth works. Leaf 48. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
First etched as a subscription ticket for "A Midnight Modern Conversation" with seventeen men and boys rehearsing William Huggins's oratorio "Judith". Several of the singers hold sheet music with the notes and lyrics legible. In this state the plate has been reduced with the text eliminated, leaving only traces of the first line of text
Description:
Title, date, and state from Paulson. and On page 64 in volume 1. Sheet trimmed to: 179 x 162 mm.
Plate 60. Queen Charlotte's collection of Hogarth works. Leaf 48. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
First etched as a subscription ticket for "A Midnight Modern Conversation" with seventeen men and boys rehearsing William Huggins's oratorio "Judith". Several of the singers hold sheet music with the notes and lyrics legible. In this state the plate has been reduced with the text eliminated, leaving only traces of the first line of text
Description:
Title, date, and state from Paulson., 1 print : etching on laid paper ; plate mark 17.4 x 16.3 cm, on sheet 23.1 x 19.8 cm., Mounted on leaf 59 x 46 cm., and Plate 60 in the album: Queen Charlotte's collection of Hogarth works.
