Uppsala University Library, Gr. 4
i, 211, i' ff.
f. VIIIv: Evangelist portrait (Matthew)
f. VIIr Scribal invocation: ‘Χ(ρίστ)ε προἡγοῦ τῶν ἐμῶν πονιμάτων· εὔχ(ου) τῶ γράψαντι. / εὐαγγέλιον κατα ματθαίον.’
A modern hand continued the passage ending f. 199r at f. 200r to the end of the Gospel (Jn 21:25): inc. f. 200r: ‘αὐτῷ τὸ τρίτον, φιλεῖς με. καὶ ειπεν αυτῶ κύριε, σὺ πὰντα διδας,.... τὰ γραφόμενα βιβλία. Τέλος τοῦ εὐαγγελίου κατὰ Ίωάννην· Ἰ(ησοῦ)ς.’
Endleaves:Good, except for the one leaf of the beginning of Luke’s Gospel, which is entirely detached (NB Piltz records the beginning of Luke’s Gospel as missing because she may not have seen this leaf at all - perhaps it was not in the correct place). A neat rectangle of parchment has been cut off (with scissors) from the lower right corner of f. 93 and f. 99 .
Hand 1(ff. 1r–66r)The main hand writes a fluid and regular minuscule of small module, upright, a little bit squashed to the line, with small, angular breathings and short, neat accents, but rather large wavy compendia for standard abbreviations. The ink colour is black in the first part, which makes me incline towards considering this hand a thirteenth-century imitation of an earlier hand; the small zeta goes below the line and is often set at an angle; also a feature is the ligature delta-iota. This hand only employs distinctive double-lines initials filled in red ink, such as (f. 7r) (o), (f. 15v) (k), (f. 19r) (h), (ff. 20v–21r) (k), (f. 36v) (p), (f. 37r) (t), (f. 37v) (many), (f. 43r) (p, o), (f. 56v) (large epsilon with bird and whole title) // (Mark) (f. 63r) (epsilon filled in red, but not with double lines), (f. 65r) (a, ornate with flourish and knot). Only hand 1 writes the harmony in the lower margin.
Hand 2(ff. 66v–91v)The ink colour of the main text changes at (f. 66v) to light brown; the ductus is also altered, perhaps in part because of how the pen is cut, into a rather more nebulous, ill-defined result (esp. on flesh-side pages); although still small and regular, the writing appears slightly more slanting to the right; the breathings are "a chiodo" and the compendia are kept short; majuscule kappas are elongated and hooked ((f. 68v)); some letter nuclei are filled in red ink (though this may be a later addition; but cf. (f. 96v) where it seems original); beta is often majuscule in two separate loops; from (f. 75v) the writing becomes at once neater and more fluid, almost as if the first scribe is the one now writing in a dark brown ink; the neatness of the pages is in regular alternation until (f. 90v). The pinax at (ff. 91r–91v) is in classical dark red ink and neat script.
Hand 3(ff. 92r–155r)This hand is also tiny and consciously written as pendant from the line; it adds minute boules or hooks to the very short traits of letters such as chi, lambda, phi. It is a little more irregular. (f. 95r) is written with the lines slanting downwards to the right, without very visible horizontal ruling; NB the genealogy list on (f. 99v) is written in three columns. Around (f. 111r) the hand style becomes rounder and more manneristic, perhaps with another change in hand which is difficult to pinpoint; (f. 112r), for example, exhibits a thinner ductus giving it a more staccato effect. These small variations, that may or may not be of the same hand, make me think this is a later imitative script rather than a genuine 11th-century minuscule. Rare flourishes in the lower margin at (ff. 136v–137r). Note that the pinax at (f. 155r) is not written in red ink, but only rubricated in red.
Hand 4(ff. 156r–199v)Note the wider form of theta and the slightly enlarged epsilons found in this part, though not substantially dissimilar from hand 3. (f. 156r) also has a staccato effect as of purposefully researched neatness; majuscule betas in one stroke.
155 × 120 mm