The Appearance of Artes praedicandi in Medieval Manuscripts

The Appearance of Artes praedicandi
in Medieval Manuscripts
Siegfried Wenzel
Artes praedicandi generically are (mostly medieval) treatises that deal
with the art of preaching. They vary considerably in their scope. Some
include Jonger discussions of the office of preaching itself, its institution,
purposes, and demands, as weil as the qualities and dispositions that a
preacher of the word of God should have, above all holiness of life and
pertinent knowledge. Others focus on how to build a good sermon and
describe the structure of what is usually called the modern, or university,
or thematic, or scholastic sermon form. This, in essence, is built upon a
selected biblical text, called „thema,“ which is then divided into partsusually
three, although two or four or even more are considered as weil.
In making the division the preacher must obey precise logical and
grammatical principles, and the parts that are derived from the division
must be shown to have biblical support, in other words, they must be
confirmed with biblical „authorities.“ These parts are then developed by
means of a number of different processes which the preacher can select
and use at his convenience, such as subdivisions, distinctions, biblical
stories, secular exempla, name etymology, or authoritative quotations
from Scripture, theologians, philosophers, and poets. Treatises that in
this fashion deal with sermon technique and teach how to structure a
sermon from its thema to the closing formula, 1 would call complete artes
praedicandi, whereas those longer works that include discussions of the
nature of preaching and the requirements of a preacher may be called
comprehensive. In contrast to both, one also finds limited artes, that is,
shorter works that deal only with a single aspect of sermon making, such
as modes of amplification, and may !ist eight orten or over forty ways in
which a preacher can expand his subject matter, without discussing his
choice of a thema or processes of making the division. The following
remarks will deal with the complete artes praedicandi. As their title indicates,
building a good sermon was considered an art, a technique that
APPEARANCE OF ARTES PRAEDICA.YDI 103
demands knowledge and skills comparable to those of a painter or sculptor
or poet or even a mason. And this technique such works set out to
teach.
Although only a small percentage of surviving artes praedicandi have
been edited and studied (less than two dozen out of the approximately
240 titles listed in the standard handlist of artes praedicandi),1 it is fair to
say that all ofthese works appear in their manuscripts in the company of
works that are not of the same genre or by the same author-in other
words, in volumes for which the term „miscellanies“ is appropriate.2
Even the most comprehensive artes never travel entirely alone. For
instance, the longest of them, the Summa de arte praedicandi by Thomas
of Chobham, from the 1220s, which occupies over three hundred pages
in its modern edition, has been preserved together with other theological
works;3 and the same is true of the equally comprehensive though
shorter Ars componendi sermones by the English Benedictine monk
Ranulph Higden, written probably between 1340 and 1350.4 This
characteristic traveling in the company of other theological texts is even
more pronounced in the case of the shorter complete artes. Their
preservation will open a window on central questions discussed in this
volume.
Harry Caplan, Mediaeval „Artes Praedicandi“: A Hand-List, Cornell Studies in
Classical Philology 24 (lthaca, NY: Cornell University Press, 1934); Hany Caplan,
Mediaeval „Artes Praedicandi“: A Supplementary Hand-List, Cornell Studies in
Classical Philology 25 (Ithaca, NY: Cornell University Press, 1936). See also
Marianne G. Briscoe, Artes Praedicandi / Barbara H. jaye, Artes Orandi, Typologie
des sources du moyen äge occidental. fase. 61, A-Vl.B.4 and A-Vl.D.4*
(Turnhout: Brepols, 1992); Siegfried Wenzel, „The Arts of Preaching,“ in The
Cambridge History of Literary Criticism II, The Middle Ages, ed. Alastair Minnis
and lan Johnson (Cambridge: Cambridge University Press, 2005), 84-96.
Cf. Siegfried Wenzel, „Sermon Collections and Their Taxonomy,“ in The Whole
Book: Cultural Perspectives on the Medieval Miscellany, ed. Stephen G. Nichols and
Siegfried Wenzel (Ann Arbor, MI: University of Michigan Press, 1996), 7-21.
Franco Morenzoni, ed„ Thomas de Chobham, Summa de Arte Praedicandi, Corpus
Christianorum Continuatio Mediaevalis 82 (Turnhout: Brepols, 1987), lxv-Jxvii.
Margaret jennings, ed„ The Ars Componendi Sermones of Ranulph Higden O.S.8.
(Leiden: Brill, 1991), xli-xlv.
106 SIEGFRIED WE>:ZEL
but to avoid confusion 1 shall refer to it by its initium, Predicacio est.12
Now, at the end of its sequel, that is, of Quamvis, there is still another ars
praedicandi, which begins without title or rubric and turns out to be the
Ars praedicandi by jacobus de Fusignano, here preserved
incomplete. jacobus was a Dominican friar from the Roman province
who died in 1333. His Libellus artis predicatorie is a much langer and
elegant treatise of some 11,000 words, preserved in many manuscripts
all over Europe. In the University College manuscript, then, our short
treatise Quamvis appears sandwiched in between two other artes
praedicandi that are significantly different.
The fourth manuscript, Cambridge University Library, Gg.6.20, holds
even greater riches. lt begins with the very lang and well-known De
modo componendi sermones by the English Dominican Thomas
Waleys,13 written about 1340, and then adds three more shorter artes
including an abbreviated version of Quamvis.14
But it is the fifth manuscript where things really become complicated.
This is Cambridge, Corpus Christi College, 423. The volume is made up of
at least three different booklets, of which only the second is of interest
here.1s lts scribe begins with the opening sentences of Quamvis. When he
reached the end of his initial announcement that he will treat three parts
(thema, division, and development), he evidently feit that a definition of
„sermon“ was needed. So he turned away from Quamvis and went to a
different treatise, one that begins with a definition of „sermon.“ This
happened to be Predicacio est (see above), and he then copied not
only its opening sentence but the entire treatise. After that, he returned
to Quamvis where he had left off and now copied it to its normal end.
12 Caplan, Mediaeval „Artes Praedicandi“: A Hand-List, no. 121, and Caplan, Mediaeval
„Artes Praedicandi“: A Supplementary Hand-List, no. 121. Edited in Woodburn
0. Ross, „A Brief Forma Praedicandi,“ Modem Phi/ology 34 (1937): 337-44.
13 Caplan, Mediaeval „Artes Praedicandi“: A Hand-List, 32. Edited in Theodore-Marie
Charland, Artes praedicandi: Contribution a /’histoire de la rhetorique au moyen
iige (Paris: ]. Vrin, 1936), 328-403; translated by Dorothy E. Grosser, ed„ „De
modo componendi sermones,“ MA thesis, Cornell University, 1949.
14 They are: Circa autem artem faciendi sermonem sive collationem, fol. 101 v-104v
(Caplan, Mediaeval „Artes Praedicandi“: A Supplementary Hand-List, no. 23a); an
abbreviated version of Quamvis, fol. 104v-106v; and Geoffrey Schale, OSA, De
modo sermocinandi, fol. 107r-lllv. See Charland, Artes praedicandi, 37, 90, 97.
is M. R. James, A Descriptive Catalogue of the Manuscripts in the Library of Corpus
Christi College, Cambridge, 2 vols. (Cambridge: Cambridge University Press,
1912), vol. 2, 322-28.
ÄPPEARAXCE OF ARTES Pll.AEDICA.VDI 107
When he had gotten so far, he continued to write down some more illustrative
sermon material, part of which comes from another very popular
work on preaching, the Ars concionandi that has been attributed to Bonaventure,
though erroneously.16 Finally, in a new quire, the scribe
(apparently the same) copied another treatise on sermon making, that
by the Oxford master Simon Alcok, written probably in the 1430s.
Alcok’s work is what 1 have called a limited ars praedicandi, dealing only
with ways to divide and expand the sermon thema, which Alcok lists by
suchkeywordsasAd, quare, per, propter,andsoon,whichformthe
initium of his work.17 Each of these ways is briefly explained and then
illustrated with one or more examples-features that obviously made
Alcok’s treatise a very useful and practical instrument for preaching and
guaranteed its popularity, as can be seen in the number of extant manuscripts
and early printed books in which it has been preserved.
Thus, examining the manuscript environment of one particular treatise
(Quamvis) has led at once to eight other works of the same genre. lt
would appear that for medieval scribes an ars praedicandi possessed a
strong force to attract one or even more works of the same kind. This
attraction-or, from the scribes‘ point of view, the urge to gather more
than one ars praedicandi in one manuscript-was by no rneans limited to
short treatises, such as Quamvis or Hie docet Augustinus or Vade in
domum. lt also affected longer arts of preaching. In one manuscript, for
example, Quamvis, as we have seen, is accompanied by the fourteenthcentury
ars praedicandi of Thomas Waleys. The latter, weil known to
modern students from its edition by Charland, gives instruction on how
to build a sermon and also discusses the office and quality of the
preacher. lt does so in a total of roughly 25,000 words, or 77 pages in
Charland’s edition.18 Incidentally, the edited text is only Part One-the
complete work must have had two more parts in which Waleys gave
sample sermons to illustrate his teaching.19 What has been preserved of
Parts One and Two appears in one manuscript (Cambridge University
Library Gg.6.20) together with Quamvis. Elsewhere it is, in a partial or
16 Caplan, Mediaeval „Artes Praedicandi“: A Hand-List, no. 114. Bonaventura, Opera
omnia, 9 vols. (Paris, 1864-1871), vol. 9, 8-21.
11 Caplan, Mediaeval ‚:4rtes Praedicandi“: A Hand-List, no. 8; edited by Mary F.
Boynton, „Simon Alcok on Expanding the Sermon,“ Harvard Theological Review
34(1941):201-16.
lU Charland, Artes praedicandi, 327-403.
19 Charland, Artes praedicandi, 94-95.
108 SIEGFRIED WF.\’ZEL
abbreviated form, accompanied by the similarly comprehensive art of
preaching by the English Benedictine monk Ranulph Higden,20 or by
shorter works, such as the artes praedicandi by Richard of Thetford (see
below) or Simon Alcok.21
Such grouping affects not only artes composed in the fourteenth and
fifteenth centuries but can be equally found in works that originated
earlier. A good case is the work of an Englishman who flourished around
1245, Richard of Thetford.22 His Ars dilatandi sermones, as the name
already indicates, is not a complete but a limited art of preaching that
deals only with the amplification or development of a sermon. For that,
Thetford offers eight modes, which he analyzes, illustrates, and puts into
logical relations with one other. judging by the surviving manuscripts it
must have been one of the most popular works on sermon making that
were read and copied in the Middle Ages. For modern readers it has
become familiar as Part Three of an ars praedicandi attributed to St.
Bonaventure and printed as such in the late-nineteenth-century edition
of Bonaventure’s works, though Thetford’s treatise evidently has nothing
to do with the Franciscan theologian. In any case, the Ars dilatandi
sermones appears in several manuscripts of the thirteenth century, and
in one ofthem it is paired with what may be considered the earliest work
on the art of preaching, the De arte praedicatoria by Alanus of Lille ( died
1203).23
lf, therefore, many codices contain two or three or even more arts of
preaching, usually copied by the same scribe, one may wonder whether
these are attempts to create anthologies-deliberate endeavors to collect
into one volume a number of works by the same author or works
that belong to the same literary genre.24 Such anthologizing clearly
20 Ranulph Higden, Ars componendi sermones, Caplan, Mediaeval ·~rtes Praedicandi“:
A Supplementary Hand-List, no. 156; edited by jennings, The Ars Componendi
Sermones.
21 See above, n. 16.
22 Richard ofThetford (fl. c. 1245), Ars di/atandi sermones, Caplan, Mediaeval „Artes
Praedicandi“: A S11pplementary Hand-List, no. 154. Edited in Bonaventura, Opera
omnia, vol. 9, 16-21 (pars tertia); and by George j. Engelhardt, ed„ „Richard of
Thetford: A Treatise on the Eight Modes ofDilatation,“ Allegorica 3 (1978): 77-
160 (with translation).
23 Printed in PL 210, col. 111-98; translated by Gillian R. Evans, Alan of Lille, The
Art of Preaching (Kalamazoo, MI: Cistercian Publications, 1981).
24 Cf. Siegfried Wenzel. „Sermon Collections and Their Taxonomy,“ in The Whole
Book, 19-20.
APPEARA:-;CE OF ARTES PRAEDICA.VDI 109
occurred in the textual history of the works of single authors (such as St.
Jerome, or Robert Grosseteste, or Geoffrey Chaucer) and-more pertinently
for our present concerns-of works belonging to the same genre,
such as tracts on spiritual guidance. Can the same perhaps be claimed for
artes praedicandi? One manuscript so far not mentioned that might
qualify is codex Ottoboni 396 in the Vatican Library, a small fifteenthcentury
volume, which contains five artes praedicandi in sequence
though written by different hands.2s A similar case from England may be
Oxford, Bodleian Library, Bodley 5, written about 1400, which contains
two copies of Higden’s art of preaching, plus Waleys’s treatise (that is,
Part One mentioned earlier), plus another short work on composing
sermons.26 Unfortunately, this manuscript lacks a number of quires, so
that we do not know what eise it might have contained originally.
However, 1 do not believe one can cla1m that scribes collected several
artes praedicandi in order to produce a genre anthology. These works
usually do not stand alone but are accompanied by different theological
material. Even the just mentioned Ottoboni manuscript contains different
matter before and after the five artes. Such other material would
have been of use to preachers without exactly giving instruction on how
to build a sermon. A fine example is provided by Oxford, Bodleian Library,
Bodley 630. Here the short Predicacio est thematis assumpcio is
followed by a concordance of the gospels, a list of the books of the Bible,
and another !ist of liturgical lessons-all furnishing matter that preachers
were advised to rely on in their sermon making. Another good example
is Richard of Thetford’s limited work on sermon amplification.27 In
many manuscripts it is accompanied by moral comments on biblical
books (1, K. L), explanations of biblical names (8, F), collections of exempla
(D, H), or bestiaries (D, K). Some of its manuscripts include collec-
2s Caplan, Mediaeval „Artes Praedicandi“: A Supplementary Hand-List, nos. 52, 84,
62, and 31. Between 84 and 62 occurs Raymund Lull’s Ars abreviata predicacio·
nis.
26 Circa scienciam composicionis sermonum, Caplan, Mediaeval „Artes Praedicandi“:
A Supplementary Hand-List, no. 24.
21 The following information has been gleaned from catalogue descriptions of the
following manuscripts: Cambridge, Corpus Christi College, 441 (A); Pembroke
College, 275 (B); Lincoln, Cathedral Library, 59 (C); London, British Library,
Harley 3244 (D); Royal 4.8.viii (E); Lambeth Palace Library, 477 (F); Oxford,
Bodleian Library, Bodley 848 (G); Rawhnson C.317 (H); Magdalen College, 168
(!); Merton College, 249 (K); and Worcester, Cathedral Library, F. 84 (L).
110 SIEGFRIED WE:-!ZEL
tions of quotable authorities on theological and moral matters, such as
the Scintillarium by Defensor of Liguge (8), or medieval bestsellers of
moral exhortation such as lnnocent lll’s De contemptu mundi (E, H, K) or
meditations attributed to St. Bernard and others (A). Nor are longer
didactic works missing, such as the Elucidarium (D, G) or the handbook
on pastoral matter by William of Wetheringsett (D) or the Templum Dei
by Grosseteste (D). Still other works that accompany Thetford’s Ars dilatandi
sermones deal more exclusively with penance, whether in a short
set of verses (Peniteas cito, in 8, K), or expositions of the Ten Commandments
(G), or the chief vices (A. D, G, H). Canonical matter is not lacking
either (H, L). And of course entire sermons, individually or in sets, occur
almost everywhere (8, C, F, 1, K. L). All this goes to show that preaching
arts were collected and written down together with other matter for
eminently practical purposes, namely to instruct and help men who
preached the word of God and also heard people’s confessions and were
often engaged in other pastoral work. In that respect these books might
be called anthologies for preachers, in which artes praedicandi form a
part.
8ut why were arts of preaching collected and copied in groups of two
or three or even more? At least part of an answer may be found in the
opening words of Quamvis: „Although in regard to sennon making a certain
art cannot be handed on … “ Certa ars, I suggest, here means „a fixed
or uniform technique,“ a suggestion that gains strength from the expansion
of this phrase in one manuscript to unica et certa ars.za lndeed,
while artes praedicandi may agree in the basic structure of the scholastic
sermon they teach, they differ in the deta ils with which they treat individual
aspects, in their emphases on one sermon part or another, and of
course also in the illustrative examples they provide. Such differences
often reflect different approaches to sermon making taken by actual
preachers of the time. Robert 8asevorn, for example, in his long work,
discusses not only different styles of preaching used in the patristic age
and the earlier Middle Ages but also structural differences cultivated by
his contemporaries at Paris and at Oxford. And at one point he even
declares that „there are almost as many different ways of preaching as
there are able preachers,“ a statement echoed by his contemporary
Thomas of Waleys: „One can hardly find two preachers composing their
ze Cambridge, Corpus Christi College, 423.
APPEARA ‚ own sermons who in every respect agree in their sermon form.“29 It
seems, then, that if you wanted to give helpful instruction on sermon
making, copying out two different works was better than onc, and three
was even better.
The appearance of artes praedicandi in the manuscripts may also
shed some light on the actual use of these works. Modern students of
medieval preaching often display a certain diffidence with respect to
this. They will allow that such works were produced in great numbers
but then claim that it is „uncertain whether in themselves they exerted
any great influence upon medieval preachers or the way they
preached.“30 Now, it is certainly beyond question that these artes describe
and analyze retrospectively what preachers were actually doing
and had been doing in their sermons, for their authors themselves say so.
Having acknowledged this much, one will notice that these artes again
and again state principles and rules for the benefit of their readers, telling
them in no uncertain terms to do this and not to do that, and constantly
adding illustrations. Their overall mode of discourse is didactic
and exhortative. They wcre ostensibly written for instruction, and the
very form of their preservation suggests strongly that what they had to
say and show was eagerly received and, as countless surviving sermons
demonstrate, followed in practice.
29 Charland, Artes praedicandi, 243 and 321.
Jo M. Micheie Mulchahey, „First the Bow is Bent in Study.“ Dominican Education Before
1350 (Toronto: Pontifical Institute of Mediaeva I Studies, 1998), 4 73.
Medieval Manuscript Miscellanies:
Composition, Authorship, Use
MEDIUM AEVUM QUOTIDIANUM
SONDERBAND XXXI
Medieval Manuscript Miscellanies:
Composition, Authorship, Use
edited by
Lucie Dolezalova and Kimberly Rivers
Krems 2013
Reviewed by
Holly Johnson
and Farkas Gabor Kiss
Cover design by Petr Dolefal
with the use of MS St. Gallen, Stiftsbibliothek, 692
(photo Stiftsbibliothek St. Gallen)
GEDRUCKT MIT UNTERSTÜTZUNG
VON
CHARLES UNIVERSITY RESEARCH DEVELOPMENT PROGRAMS
„UNIVERSITY CENTRE FOR THE STUDY OF ANCIENT AND MEDIEVAL
INTELLECTUAL T RADITIONS“
AND
„PHENOMENOLOGY AND SEMIOTICS“ (PRVOUK 18)
BOTH AT THE FACULTY OF HUMAN!TlES, CHARLES UNIVERSITY IN PRAGUE
UND DER
CZECH SCIENCE FOUNDATION
WITHIN THE RESEJl.RCH PROJECT
„INTERPRETING AND APPROPRIATING ÜBSCURITY
IN MEDIEVAL MANUSCRIPT CULTURE“
(GACR P405/10/P112)
Alle Rechte vorbehalten
– ISBN 978-3-901094-33-.10
Herausgeber: Mediwn Aevum Quotidianurn. Gesellschaft zur Erforschung der materiellen
Kulrur des Mittelalters, Körnermarkt 13, 3500 Krems, Österreich. Für den Inhalt verantwortlich
zeichnen die Autoren, ohne deren ausdrückliche Zustimmung jeglicher
Nachdruck, auch in Auszügen, nicht gestattet ist. Druck: KOPITU Ges. m. b. H., Wiedner
Hauptstraße 8-10, 1050 Wien, Österreich.
List of Figures
Acknowledgements
INTRODUCTION
Table of Contents
Lucie Dolefalova and Kimberly Rivers
1. TAXONOMY AND METHODOLOGY
Medieval Miscellanies and the Case of Manuscript British library,
Cotton Titus D.XX
Greti Dinkova-Bruun
The Art of Regensburg Misce/lanies
Adam S. Cohen
looking for the Purpose behind a Multitext Book:
The Miscellany as a Personal „One-Volume library“
Eva Nyström
II. AUTHORSHIP AND NON-AUTONOMY OF TEXTS
Non-auconomous Texts: On a Fifteenth-Century German „Gregorius“ Manuscript
1
14
34
70
[Constance, City Archive, Ms. A 11) 84
Diana Müller
The Appearance of „A rtes praedicandi“ in Medieval Manuscripts 102
Siegfried Wenzel
Creating the Memory of God in a Medieval Miscellany: Melk MS 1075,
Jean de Hesdin (fl. 1350-1370), and late Medieva/ Monastic Reform 112
Kimberly Rivers
Multiple Copying and the lnterpretability of Codex Contents:
„Memory Miscellanies“ Compi/ed by Ga/lus Kemli {1417-1480/1) of St Gall 139
Lucie Dolefalova
III. USE
An Educational Miscel/any in the Carolingian Age: Paris, BNF, Tat 528 168
Alessandro Zironi
The Constitution and Functions of Collections of Patristic Extracts:
The Example of the Eucharistie Controversy (9th-11 th centuries) 182
Stephane Gioanni
Theological Distinctions, Their Col/ections and Their Effects. The Example
ofln Abdiam and In Naum 194
Csaba Nemeth
The Wiesbaden Miscel/any.
The Deli berate Construction of a Haphazard Collection 218
Kees Schepers
An Interpretation of Brunetto Latini’s Tresor in a
Fifteenth-Century Miscel/any Manuscriptnuscripts 240
Dario del Puppo
The Romances of British Library, Cotton Vite/lius D.111 256
Elizabeth Watkins
Contributors 270
Index librorum manuscriptorum 275
General Index 279
Colour Plates 285
Figures
Figure 1: Munich, Bayerische Staatsbibliothek, Clm. 14731, fol. 78r, Table ofthe
Temple Showbread (Mensa propositionis). See also the colour plate at the end of
the volume.
Figure 2: Munich, Bayerische Staatsbibliothek, Clm. 14731, fo l. 80r, Noah’s Ark. See
also the colour plate at the end of the volume.
Figure 3: Munich, Bayerische Staatsbibliothek, Clm. 14731, fo l. 82v-83r, Labyrinth/
Jericho. See also the colour plate at the end of the volume.
Figure 4: Munich, Bayerische Staatsbibliothek, Cl m. 14731, fo l. 83v, World map. See
also the colour plate at the end ofthe volume.
Figure 5: Munich, Bayerische Staatsbibliothek, Clm. 13002, fo l. 7v, Microcosm. See
also the colour plate at the end ofthe volume.
Figure 6: Munich, Bayerische Staatsbibliothek, Cl m. 13105, fol. 83r, Initials from
Honorius, lnevitabile. See also the colour plate at the end of the volume.
Figure 7: Munich, Bayerische Staatsbibliothek, Clm. 13074, fol. 81v-82r, Scenes from
the Life of James the Less. See also the colour plate at the end of the volume.
Figure 8: Munich, Bayerische Staatsbibliothek, Clm. 14159, fol. 187v, Sons of Noah
diagram. See also the colour piate at the end of the volume.
Figure 9: An example of an easily recognizable break between codicological units,
where the blank Jeaf at the end ofthe preceding unit was later used for personal
annotations by an owner ofthe book (Cod. Ups. Gr. 8, fo l. 87v- 88r).
Figure 10: Compared to Figure 9, the break between the units is here less apparent,
since the space left over at the end ofthe quire was in a second relay utilized by
the scribe himself. The micro-texts added at the end ofthe unit link up with the
preceding narrative and rhetorical texts, whereas the next unit, beginning on f.
104, is devoted to medical texts (Cod . Ups. Gr. 8, fo l. 103v-104r).
Figure 11: Drawing of a cherub. Vienna, Österreichische Nationalbibliothek, Codex
Vindobonensis 12465, fol. 75v. By permission ofthe Österreichische
Nationalbibliothek. See also the colour plate at the end ofthe volume.
Figure 12: Drawing of a seraph. Vienna, Österreichische Nationalbibliothek, Codex
Vindobonensis 12465, fol. 76v. By permission of the Österreichische
Nationalbibliothek. See also the colour plate at the end ofthe volume.
Figure 13: Conrad Celtis’s mnemonic alphabet, Melk, Stifstbibliothek, 1075, pp. 878-
79. Image provided by the Hili Museum and Manuscript Library, Collegeville, MN.
Figure 14: Alphabetic table to the Rule of St. Benedict: Si9nationes capitulorum
Re9ulae S. Benedicti secundum a/phabetum. Melk, Stifstbibliothek, 1075, pp. 881-
82. Image provided by the Hill Museum and Manuscript Library, Collegeville, MN.
Figure 15: St. Gall, Stiftsbibliothek, 972b, p. 150, Cena nuptialis.
Figure 16: St. Gall, Stiftsbiblioth ek, 293, p. 29, Cena nuptialis.
Figure 17: St. Gall, Stiftsbibliothek, 692, p. 13, Cena nuptialis.
Figure 18: St. Gall, Stiftsbibliothek, 692, cover.
Figure 19: Paris, BNF, lat. 17371, fol. 153 (electronic elaboration).
Figure 20: Paris, BNF, lat. 528, fol. 71v (electronic elaboration).
Figure 21: Paris, BNF, lat. 5340, fol. 146v, 11’h century.
Figure 22: Wiesbaden, Hessisches Hauptstaatsarchiv, 3004B10, fol. lv: Salvator
Mundi ( copyright Hessisches Hauptstaatsarchiv). See also the colour plate at the end
of the volume.
Figure 23: Wiesbaden, Hessisches Hauptstaatsarchiv, 3004 B 10, fol. 2v (copyright
Hessisches Hauptstaatsarchiv). See also the colour plate at the end of the volume.
Figure 24: Wiesbaden, Hessisches Hauptstaatsarchiv, 3004 B 10, fol. 3r (copyright
Hessisches Hauptstaatsarchiv). See also the colour plate at the end ofthe volume.
Figure 25: Wiesbaden, Hessisches Hauptstaatsarchiv, 3004 B 10, fol. 24v: The
Adoration ofthe Magi (copyright Hessisches Hauptstaatsarchiv). See also the colour
plate at the end of the volume.
Figure 26: New Haven, CT, Beinecke Library, 1030, c. 52v.
Figure 27: New Haven, CT, Beinecke Library, 1030, c. 53r.
Figure 28: New Haven, CT, Beinecke Library, 1030, c. 2r.
Acknowledgements
This volume contains selected, peer-reviewed and revised contributions to
an international conference Medieval Manuscript Miscellanies: Composition,
Authorship, Use, which took place at the Charles University in Prague on
August 24-26, 2009. The event and the publication of the book were
supported by the Gerda Henkel Stiftung, a junior research grant to Lucie
Dolefalova from the Grant Agency of the Academy of Sciences of the Czech
Republic, no. KJB801970701 („Remembering One’s Bible: Reception of
Summarium Biblie in 13t1‘-15th c.“), by two Charles University Research
Development Programs: „University Centre for the Study of Ancient and
Medieval lntellectual Traditions“ and „Phenomeno-logy and Semiotics“
(PRVOUK 18) both undertaken at the Faculty of Humanities, Charles
University in Prague, and by a three-year post-doc grant to Lucie
Dolefalova from the Czech Science Foundation „Interpreting and Appropriating
Obscurity in Medieval Manuscript Culture,“ no. P405/10/Pl12,
carried out at the Faculty of Arts, Charles University in Prague. lt was
possible to finish editing the book thanks to a Sciex-CRUS fellowship to
Lucie Dolefalova at the „Mittellateinisches Seminar“ at the University of
Zurich. We are also grateful to Petr Dolefal who designed the book cover, as
weil as to Adela Novakova who prepared the index.
Further gratitude goes to the Centre for Medieval Studies, part of the
Philosophical Institute of the Academy of Sciences in Prague for providing
the rooms for the conference. We are especially ind ebted to all the
contributors for their kind patience du ring the editing process.