Western scholarship had previously believed both gospels to date from c. As such, they represent amongst the earliest versional witnesses to the early Byzantine text-type of the Gospels, and are the oldest surviving Ethiopian manuscripts of any kind known to modern scholars. Together, the two manuscripts provide the major witness to the Ethiopic version of the Gospels and have been applied as proof texts for the creation of critical editions of the Ethiopic Gospels by Rochus Zuurmond ( Gospel of Mark, 1989 Gospel of Matthew, 2001) and Michael G. 390–570, while counterpart dating of samples from Garima 1 proposed a date of c. Monastic tradition holds that they were composed close to the year 500, a date supported by recent radiocarbon analysis samples from Garima 2 proposed a date of c. Garima 2, the earlier of the two, is believed to be the earliest surviving complete illuminated Christian manuscript. The Garima Gospels are two ancient Ethiopic Gospel Books. The singing scribe was not alone after all, he was just in a leage of his own.Evangelist portrait of Mark from Garima 2, likely the earlier of the two Garima Gospels His style is so unique that even when he did not write the text himself, his initials, rubrics and musical notation was recognized in another antiphoner, the Saint Lucia Antiphoner, where he was working with, or training, three other scribes. Music notation was a specialist skill, so it is very likely that he was a cantor, responsible for the liturgical singing in his institution, and also responsible for the state of the liturgical books. Secondly, the Homily book scribe was very resourceful and was able to complete a manuscript seemingly without help from others: rubrics, decorated initials and music notation are all entered by the scribe himself. He must have made much more, but at least 90 percent of Norwegian medieval books have disappeared without trace. What can we learn about this scribe from the preserved manuscript material? First of all, he must have been very productive, since we have evidence of four books from his hand. Nearly a decade ago Michael Gullick pointed out that all ‘hands’ were actually those of one person, and now there is general agreement that he is right. At this point the Homily book scribe’s hand was considered to be that of five scribes: four in the Homily book and a fifth one in the liturgical fragments. The fragments from an antiphoner and a missal were first linked to the Homily book in 1968 by the liturgist Lilli Gjerløw, but the significance of her identification was at first not recognized. The latter was founded by Archbishop Øystein Erlendsson himself, and given that both he and his successors had connections to France, it would not be surprising if these connections are reflected in the number of surviving musical manuscripts. It is tempting to speculate that these fragments are related to the town’s religious institutions, more specifically the cathedral chapter and the convent of Elgeseter. The group of fragments from graduals and antiphoners with a Trondheim provenance largely date to the second half of the 12 th century. This was also a time when several Norwegian religious institutions were either founded or expanded – among them the convent of Elgeseter in Trondheim, as well as the cathedral of Nidaros itself. 1196), who, like Eirik, became a canon of St Victor. 1214) – are known to have spent time at the famous Parisian Abbey of St Victor, as did Bishop Tore of Hamar (d. Three archbishops in succession – Øystein Erlendsson (d. Please take a closer look at our selection of virtual manuscripts, and leaf through some of the pages!įrom the middle of the 12 th century and onwards, historical evidence shows that Norwegians regularly travelled to France. To reconnect pieces from medieval manuscripts is one element of the research project ‘From manuscript fragments to book history’. But through digital reproductions we can once again leaf through some of the manuscripts from Norwegian book chests – however fragmentary they may be. We cannot get away from the fact that most of the manuscript is gone. The fact that the binding is gone and the fragments are kept in separate envelopes and boxes, or even still wrapped around paper booklets, is no longer an issue in itself. In a digital format it is easier to visualize the book which once existed. The fragments form a giant book puzzle containing ca 6500 single pieces.įor more than a century scholars have been connecting pieces from the old manuscripts, and the work is still ongoing. Today, the National Archives and other collections hold fragments from about a thousand ‘recycled’ manuscripts. In the sixteenth and seventeenth century thousands of Norway's medieval manuscripts disappeared or were reduced to fragments.
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