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Displayed below are some selected recent viaLibri matches for books published in 1475

        Historia Ecclesiastica Gentis Anglorum

      97 (of 98, without final blank) leaves. 40 lines, gothic type, paragraph & capital strokes in red, cont. MS. guide-letters. Small folio (275 x 198 mm.), 18th-cent. English calf (very expertly rebacked with orig. spine laid-down), double gilt fillet round sides with Spencer arms in center in gilt. [Strassburg: Heinrich Eggestein, not after 1475]. First edition. The Venerable Bede (673-735), "was the greatest English historian and one of the greatest European historians of the Middle Ages. It is therefore not surprising that his most important work -- and certainly the one with the strongest appeal to laymen -- should have been one of the first historical books to be printed. The 'Ecclesiastical History of the English People', which is in fact a comprehensive history of the Anglo-Saxon tribes, was completed in 731 and its fame soon spread far and wide. The English scholars and missionaries who worked in the Frankish empire in the eighth and ninth centuries -- men such as Boniface and Alcuin -- were well acquainted with Bede's writings, and manuscripts of the Historia Ecclesiastica were in many monasteries of the Rhine and Moselle regions... "The appearance in Strasbourg of the editio princeps of the Historia Ecclesiastica is less puzzling than might appear at first sight. The publisher, Heinrich Eggesteyn, like all his Strasbourg fellow-printers, specialized in publications for the laity; and the fact that he produced the earliest surviving advertisement sheet (1466) shows that he had a shrewd eye for the market. Moreover, the Rhenish printers -- besides those of Strasbourg, especially those of Cologne -- were obviously interested in the English market...Thus Eggesteyn no doubt reckoned that Bede's masterpiece would sell among the educated public on the continent as well as in England. He was not mistaken: the Historia Ecclesiastica had to be reprinted in 1500 in Strasbourg, and, by Heinrich Gran of Hagenau in Alsace, in 1506 and 1514."-Printing & the Mind of Man 16. This work has considerable musical interest. Bede's writings "constitute some of the most important and informative evidence for musical practice in the 6th, 7th and 8th centuries...The richest of Bede's works, for the light it throws on the importance of music in the development of the English church, is the Ecclesiastical History...Bede clearly testified that the first missionaries to England, sent by Gregory in 597, took with them a Roman manner of singing, and that this manner, often mentioned in conjunction with Gregory, survived and was taught in England well into the 8th century... "Bede's descriptions of music are therefore most important as records of the central role played by the practical art of singing the daily liturgy in monastic life during the early Middle Ages."-New Grove, Vol. 2, p. 345. Provenance: Mainz, Jesuit College (17th-century inscription at end); George John, second Earl Spencer (1748-1834, binding, accession number '1073' on front pastedown); William Foyle (bookplate, sale Christie's, 11 July 2000, lot 117). Fine crisp copy. First few quires with a light dampstain. ❧ Goff B-293. GW 3756. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        TEXT FOR THE MONTH OF MARCH, IN FRENCH

      1475. With an Early Depiction of What Seems To Be Vineyard Grafting 162 x 114 mm (6 3/8 x 4 1/2"). Single column, 16 lines of text in a fine gothic book hand. Text of saints' days in alternating red or blue (special saints in gold), headings and numerals in burnished gold, four one-line initials in burnished gold on a red and blue ground, the usual "K L" (for "Kalends," that is, the first of the month) at top left of recto in the form of gray and white acanthus leaves on a background of brushed gold, verso with quarter panel border featuring blue and gold acanthus leaves and sprays of blue or pink flowers on leafy stems, RECTO WITH THREE-QUARTER BORDER of red, blue, and pink acanthus leaves and flowers on a burnished gold ground, THE LOWER BORDER WITH A ZODIACAL MINIATURE of a white quadruped (surely a sheep, probably a ram) in a pleasant landscape, representing Aries, AND THE OUTER BORDER WITH A MINIATURE SHOWING THE LABOR OF THE MONTH (a man pruning and/or grafting grapevines). A touch of browning to fore edge, a bit of wrinkling to inner margin, minute loss of blue and white paint of acanthus leaves on the recto, one saint's name a bit smudged, two trivial marginal stains, but still in excellent condition, fresh and clean and with the flesh side (containing the painted scenes) quite bright. This very pleasing calendar leaf and those described in the next three entries are extremely animated and altogether charming. The decoration is full of detail and brightness: the name of month, the numbers, and the major saints' days are all in gold, and all occurrences of "A" in the descending sequence of Dominical Letters appear enlarged and gilded. The style of painting is na├»ve, but the leaf is nevertheless engaging and intriguing. In the zodiac miniature, we see the lamb frolicking in green pastures, with blue hills in the distance. It is a reminder that Easter, the sacrifice of the Lamb of God, is coming, when all shall be renewed. Featuring a bare landscape under a cloudy sky, the vineyard scene depicts a worker in a rough jacket apparently pruning with a bladed implement in his left hand and a length of plant in his right. A curious feature of the scene, and one obviously intended by the artist to be noticed, is the presence of a length of white cloth wrapped around a vine at the worker's foot. Whatever other operations are being undertaken, it seems possible, even likely, that, we are seeing an early--and quite uncommon--representation of grafting, an activity that would have involved a cut (with the man's implement) and then some way to secure the pressing together of the grafted elements (with the tied cloth). A small white mass in the foreground probably represents some form of sustenance or refreshment. A gratifying detail that manifests the artist's desire to be representational rather than suggestive is the presence of a second blade tucked inside the worker's belt. Our vintner is absorbed in his labor, the artist having succeeded in infusing his face with concentrated enterprise.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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