hoc breuitas fecit sensus (!) coniungere binis (!)
Et sic est finis
Two additions below the text on f. 8v by two different, contemporary or near-contemporary hands. The first one consists of four hexameter lines: ‘Si vis seruare pacem simul hec tria serua / Non des consilium de quo te nemo requirit / Non inuestiges que nec te nec tua tangunt / Non rege que tibi non fuerunt commissa regenda / Ex historia troiana’. The second one is an elegiac distich: ‘Hoc scio pro recto si contra stercora certo / Vinco uel vincor semper ego maculor’, listed in Walther (1964), no. 11061.
INcipit liber naturalissimi poete magistri alani In prouerbiis
A phebo phebe lumen capit
Seperari (!) a te mors perpetua Adherere tibi vita eterna Ad quam nos perducat Qui viuit et regnat in secula seculorum Amen
The title (corrected) and the two first lines of the poem are written on f. 27r. Two additions have been made in the space below, originally left blank. The first addition on f. 27r concerns the invocation ‘annanisapta’ (sometimes spelled ‘ananizapta’), giving one word for each of its letters. The second addition is on rhetoric. Alan's text begins anew on the following page, f. 27v, preceded by a prologue beginning: ‘Incipiunt prouerbia alani ad instructionem morum’.
f. 106rFinitus per me Cristianum Hymmendorpen in Cellula claustrali monasterii sancti Michaelis in luneborge sub anno domini 1474 Die sanctorum apostolorum philippi et iacobi
7(ff. 106v–118v)Excerpts from the Bible, the Church Fathers, verses, and texts on the liturgy and the mass
This section contains excerpts, verses and small treatises written in by many different hands. Among them are: f. 108r: ‘Machmet prophanus decepit arte paganos / Talmod iudeos wicklef anglicos hussoque bohemos’; f. 109r: ‘Roma potens reuerenda rauenna’, Walther (1959), no. 16860; f. 109v: ‘Notandum vina probantur odore colore et sapore unde / Si bona vina cupis hec tria probatur in illis / Forcia formosa fragrancia frigida nec non / Item bonum vinum meliores gignit humores / Gignit humores melius vinum meliores Sunt nutritiua plus dulcia candida vina / Et debet esse clarum / Si fuerit nigrum corpus confert tibi pigrum / Item vina simul cum lacte non debent sumi / Si sumis vina simul et lac sit tibi lepra / Vinum et mulieres apostotare faciunt sapientes’; f. 110r: ‘Verus amor numquam quiescit semper agit et numquam tepescit’; f. 110v
‘Officium misse valet obsequium super omne’, Walther (1959), no. 13151. ff. 111r–118v: A collection on verses and texts mainly on the liturgy and the mass, the first beginning: ‘Collecta dicta misse sit pars ibi prima / Cristi prima dies pars designat pueriles / Pars euangelio dinoscitur altera lecto’.
8(ff. 119r–119v)Excerpt from Bonaventure's Soliloquium de quatuor mentalibus excercitiis
This is an excerpt from Ch. 2, 9 of the ‘Soliloquium’. The last four lines, marked off from the first part by a row of red xs, are from Ch. 2, 6. Below the text on f. 119v additions by two contemporary hands.
Below the text on f. 120v added verses: ‘Femina quem superat numquam viuit sine pena / Libertate caret turpi constrictus habena / Et nisi mors feriat vix rumpitur ista cathena / O felices isti quos non capit ista sagena’ (cf. Werner, p. 32, no. 23); ‘Femina fex sathane fetans rosa dulce venenum / Quod petis fugit quod fugis illa sequetur’ (cf. Werner, p. 32, no. 24); ‘
Ligua (!) beghinalis puer et amor monialis / Ac ouum molle permerdant quodlibet omne ’ (cf. Werner, p. 46, no. 40); ‘Fides notariorum / Iuramentum procuratorum / Opinio doctorum / Consciencia theologorum / permerdant totum forum’.
Below the verses an addition by a different hand of three lines in prose.
10(ff. 121r–151v)Jean Gerson, Opus tripartitum (De praeceptis decalogi, De confessione, De arte moriendi)
INcipit opusculum tripartitum de preceptis decalogi de confessione et de arte morigendi (!) per eximium sacre theoloye (!) professorem magistrum iohannem yerson alme vniuersitatis parisiensis cancellarium et cetera
CRistianitati \suisque/
suus qualiscumque zelator\ibus/ prosperum ad uirtutes
ad hoc ipsum deputato paratus confiteri se continuo presentaret sicut in domo dei parisiensi laudabiliter obseruatur
Explicit opusculum tripartitum de preceptis decalogi de confessione et de arte moriendi Editum per eximium sacre theologie professorem Magistrum iohannem gerson Alme vniuersitatis parisiensis cancellarium
Incipit tractatus bonus eiusdem de modo viuendi omnium fidelium Ad nobiles
REgula prima que spectat ad nobiles potentes et scabinos
Qui hanc regulam secuti fuerint Pax super illos et misericordia Amen
Expliciunt regule puch pulchre de modo viuendi omnium fidelium Edite per eximium sacre theoloye professorem magistrum iohannem gerson Alme vniuersitatis parisiensis cancellarium Scriptum anno et die ut supra et cetera deo gracias
12(ff. 157r–157v)Pseudo-Anselm, Admonitio morienti et de peccatis suis nimium formidanti
Verba Ancelmi
Anscelmi (!)
NOta uerba anscelmi quomodo informandus sit aliquis in extremis frater proximus morti sic interrogetur Frater letaris quod in fide christiana morieris
In manus tuas domine commendo spiritum meum Securus moritur cui hec ante mortem dicuntur nec videbit mortem eternam Hec in scriptis beati anscelmi inueniuntur
On f. 157v a verse has been added: ‘Sunt carnis famule tres lubrica lingua soluti / Renes ingluuies ambiciosa gule / Hec tria displiceant lasciua senecta coacta / Latria pauperies deliciosa petens / Afflictu triplici nos ledunt tres inimici / Serpens vulnificus caro lubrica mundus iniquus / Est ancilla dei simplex elemosina mortis / Antidotum venie porta salutis iter / Est dare leticie vox verbum nobile verbum / mellifluum dantis gloria dantis honor / Est rogo vox miseri vox importuna pudoris / prodiga meroris plena fauoris egens’ (cf. Werner, p. 26, no. 41, p. 29, no. 99 ).
Below the verse a coloured drawing of two people kissing with text in red from Cant. 1:1: ‘Osculetur me osculoris (!) sui canticorum io
’. The drawing points to the text beginning on f. 158r, postils on the Song of Songs.
Incipiunt cantica canticorum Salomonis literaliter Osculetur me osculo oris sui quia meliora sunt vbera tua vino fragrancia vngentis optimis
Ad intellectum istius libri qui cantica canticorum nuncupatur quantum ad sensum literalem est sciendum Quod iste rex salomon
quia sum victa per te nam dilectio tua est sincerissima quare non valeo tibi in hoc coequare
Below the colophon on f. 179v and continuing on f. 180r a number of sayings and verses are added, the first five: Malam uxorem pocius risu quam baculo castigabis / Famulum suis moribus blandientem repelle / Famulum se verecundantem de facili dilige ut filium / Si vis edificare domum inducat te necessitas et non voluptas / Melius est grauem pati famem quam patrimonii vendicionem sed melius est vendere quam se vsuris subicere.
f. 179vAnno et cetera lxxviio in vigilia natiuitatis marie virginis materia hec est completa per me iohannem himendorpp
Edificauit noe altare domino et tollens de cunctis pecoribus et volucribus mundis Obtulit holocaustum super altare Gen viiio Hoc factum est quando egrediebatur de archa post diluuium
manus enim vestre plene sunt sanguine (Isa. 1:15) id est operaciones vestre plene sunt peccatis et ideo frustra offert et cetera
MEmoria fecunda deus pater eternus generatiua intellectualis filii verbi sapiencie coeterne
ut ea que in figuris memoriter ponimus sepe repetere debemus
et sic est finis
In the colophon the text is attributed to the otherwise unknown Johannes Wildruden. The text seems to be a commentary on or a rewrit of the anonymous‘ Memoria fecunda’ from the early 15th century, the earliest extant version of which is edited by Pack (1979), pp. 229–267. A brief text on the miracles of Christ is added after the text on f. 187v.
f. 187vAnno domini incarnacionis lxxxviii in castro Wulff a venerabili viro domino Iohanni Wildruden ibidem protunc diuinorum rectori collectum de quo laudetur deus et pia mater eius
Vidi ciuitatem sanctam iherusalem nouam (Rev. 21:2) apocalipsis xxi Ista ciuitas anagoyce intelligens est superna et celestis patria
Totus mundus in maligno positus est et ergo ve ve ve habitantibus in terra (Rev. 8:13) Apocalipsis et cetera
21(ff. 205r–237r)De psalterio beatae virginis Mariae bulla; exempla et miracula
De psalterio Beate virginis Bulla
SIxtus episcopus Seruus seruorum dei Ad perpetuam rei memoriam ea que ex fidelium deuocione ad dei omnipotentis [...] (f. 206v) Notandum sicud turpiter in gestis pontificum
propterea in corde dabo tibi hanc benedictionem vt sencias ibi distincte filii mei vitam
Et finis est ista
In the bottom margin on f. 237r is written: ‘hic est defectus ad 4or monilia subsequncia quia exemplar non habuit plus’.
22(ff. 238r–243r)German texts on the Marian Psalter
On ff. 238r–242v, excerpts in Latin from Gregory, Jerome, Ambrose, Augustine, Isidore, Origen, Eusebius, Haymo, Cassian, and Hugh of St Victor are written within the text block, at the bottom of each page. On f. 243r further excerpts from Jerome, Augustine, Anselm and Bernhard occupy most of the page.
22.1(ff. 238r–242r)A miracle connected to the Marian Psalter
Wii gudt dat is to bedende den salter der iuncfrouwen Marien mogen gy mercken in dussem nageschrevenn Mirakele
EYn karthuser der Aldererwerdigesten thelerynne goddes gancz ynnich vnd leeff was
in dem verteynhundersten (f. 242r) iare na der bordt christi Salich ys deienne de eynen andern alzo leret
EYn van den vedern de dar storuen Na der bordt christi verteynhunderth iar vnd eynvndedrittigh iar In der karthus by Treere
schrift sy gewesen Godt sy des gelouet Amen
The text is followed by a brief text in Latin with the heading ‘MARIA’ and beginning ‘Maria sic interpretatur’. Four lines of verse in German in red ink follow: ‘Ihesus maria vnd alle hymmelsche schaer / Vns moite geuen de ewigen salicheyt / Dat wy mogen alle komen daer / Dorgh ore vordenst vnd milden barmherticheyt Amen’.
Meditaciones circa psalterium et rosarium beate marie virginis gloriossisime pater noster
1 Per angelum marie nunciatus
10 Qui veniet singulos diiudicare [--- 2 chars ---]
The clauses are followed by a short prayer: ‘Sancte et indiuidue trinitati simplicissime vnitati [...] vt mihi sit auxilium nunc et post hoc exilium Amen’.
The first text concerns eligibilty to celebrate the eucharist; the second comments on John 16:20 drawing on excerpts from Thomas of Aquino and Gregory.
Incipit Epistola Luciferi principis demoniorum Ad potentes et Ad prelatos ad plebanos et curatos Ad episcopos et monachos mendicantes et taxillorum lusores
Lvcifer princeps tenebrarum tristicie profunda regens achirontis
In robur fidem et testimonium omnium et singulorum premissorum
f. 270vExplicit epistola luciferi (f. 270v) principis demoniorum die Solis que fuit xxiiia mensis Augusti Anno domini et cetera 1489 In castro wuluessborgh
Circa decem precepta aliqua sunt prenotanda vt patebit per ordinem inferius
Audi israel et obserua vt facias que precepit tibi deus et bene sit tibi (Deut. 6:3) [...] Spiritus sanctus per organum illud singulare moysen loquens hiis verbis
Vnde tota interior operacio dyaboli videtur esse circa fantasiam et appetitum sensitiuum
Et hec breuiter de x preceptis Ex preceptorio eximii doctoris herpp fratrum ordinis \fratrum/ minorum collectis
Excerpts from the Church Fathers, the Bible, and other authorities on curates and priests, clerical concubinage, silence and speech, poverty, and the seven deadly sins.
Five different oxhead watermarks, all with eyes, ears, and single-line rod with a quatrefoil: ff. 1–36 (also with nostrils); ff. 37–180; ff. 181–204; ff. 205–230 (oxhead and snake (?)); ff. 231–278.
Foliation
Modern foliation in pencil 1-279 (145-149; 264-265; 267; 269-273; 275-279 corrected).
The manuscript is written in gothic cursive by several different hands. The identification of hands is tentative and lists only the hands responsible for larger sections of the manuscript.
Hand 1
(ff. 1r–26v)Gothic cursive. Possibly a new hand on (ff. 21r–26v).
(ff. 158r–179v)Gothic cursive. The scribe is Johannes Himendorpp, see colophon on (f. 179v).
Hand 6
(ff. 181r–204v)Gothic cursive. Possibly a new hand on (ff. 188r–200v) and on (ff. 201r–204v). The letter ‘d’ is often written without a loop on the ascender.
Hand 7
(ff. 205r–230v)Gothic cursive. The letter ‘d’ is often written without a loop on the ascender.
Hand 8
(ff. 231r–237r)Gothic cursive. The letter ‘d’ is almost always written without a loop on the ascender.
Hand 9
(ff. 238r–244r)Gothic cursive. The letter ‘d’ is almost always written without a loop on the ascender.
Hand 10
(ff. 255r–270v)Gothic cursive. The letter ‘d’ is almost always written without a loop on the ascender.
Additions
Binding/Endleaves
(LCI)
In black ink by a nineteenth-century hand: ‘Schürer von Waldheim. Kat. no 105’.
Textblock
(ff. 1r–279v)
There are textual additions by many different hands throughout the manuscript both in the form of briefer comments and keywords from the texts and longer additions in Latin and German, e.g. (f. 20v), (f. 180r) and (f. 204v). Some additions are described in a note under Contents.
(f. 1r)
In the upper margin of (f. 1r) is written: ‘Fasciculus Antiquus’ by an early modern hand, followed by a crossed-out word and an illegible word.
(f. 157v)
A coloured drawing of a man and a woman kissing. Red text from Cant. 1:1 added next to it: ‘Osculetur me osculoris (!) sui canticorum io
’.
(f. 186r)
Two manicules in red in the outer margin.
Decorations
Textblock
Text in black and brown ink. Capitals touched in red. Some rubrics and underlining in red.
(ff. 1r–242r): Plain initials in red over 1-4 lines, a few with interior reserved shapes, e.g. (f. 181r) and (f. 231r).
(ff. 255r–269r): Plain initials in red over 4-5 lines with interior reserved shapes.
Edges coloured in blue-green but the colour has mostly worn off.
Musical Notation
Binding/Endleaves
Five staffs of Hufnagel notation for the ‘Alleluia-verse O consolatrix pauperum Maria’.
Binding
Late medieval binding. Brown leather over wooden boards. 3 double raised bands, 2 single bands. 2 catchplates for hooked clasps on LCO. On Spine, two paper labels: on the upper one traces of an old signum, the lower one is the National Library book label with the current signum in ink. Parchment pastedown on LCI with a mass formulary for the conception of Mary with the Alleluia verse ‘O consolatrix pauperum’ and Hufnagelnotation.
175/175 ×
130/130 ×
65/65 mm
3-line blind tooling. On LCO: a frame filled with a diamond pattern with a small five-petal flower where the lines cross. On RCO: a frame filled with a vertical and a diagonal cross.
Leather is scratched and worn, board showing at places on RCO. Leather is cracked between the covers and the Spine, leaving the cord joints between the spine and the covers visible. The three lower cords joining the spine to the LCO are broken. Clasps and leather straps are missing. Remnants of straps are still attached to the anchorplates on the RCO.
Purchased by the National Library in September 1847 from Schürer von Waldheim. Listed in the catalogue as no. ‘105’ and described as ‘Miscellanea på Latin och Neder Tyska’.
