https://bridwell.omeka.net/items/browse?advanced%5B0%5D%5Belement_id%5D=44&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Latin&sort_field=Dublin+Core%2CTitle&page=3&sort_dir=d&output=atom2024-03-29T11:00:37-04:00Omekahttps://bridwell.omeka.net/items/show/2268Full Russell’s Oasis red goatskin, the color chosen to symbolize the blood of Christ. Front cover with a large tilted cross composed of many small handmade shapes tooled in blind describing the overall outline of the cross. When both front and back covers are viewed together, the cross tilts far to the right creating four quadrants of various sizes. The four interior corners of the cross and the four quadrants both reinforce the four books of The Imitation of Christ. At the intersection of the horizontal and vertical elements of the cross, the four corners are each delineated by delta shapes of solid gilt leather. Title tooled in gold on a flat spine, edges gilt. Endpapers of purple suede to symbolize the royalty of Christ and the justice of God.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2270Beveled double boards layered with hand-laid paper, vellum spine lining, seven raised bands, sewn in headbands. Scarlet Harmatan goat hide molded on a bas-relief sculptural substrate of Arches watercolor paper layered in three planes. Endpapers hand painted to complement the colors of the text block, the leather, and the painting. The red and gold color scheme honors Didot's 1788 design, while motifs of reflection/imitation, monastic arches, the Trees of Life around the Water of Life, and the Light are included. The triple arch on the front cover frames a painting of a golden morning sun reflected upon still waters. The arches on the back cover frame a sculpted Tree of Life by the Pilgrim's Road. Lettering modeled on Janon Carcain's 1486 edition of the text.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2272Full terracota goatskin, green goatskin doublures, and Cave paper endpapers. The four books of the text are represented by the four pages of different colored green goatskin onlays circling in and surrounding the dusting of gold which represents the final book's emphasis on the individual's union with Christ through the Sacrament or Holy Communion. These leaves tooled in gold to loosely reflect the style of tooling popular in France at the time of the publication of the text. Title and author tooled in blind along the fore-edge of both the front and back boards. Leaves on doublures are floating down and towards the text taking the reader into the book. My hope is to combine old and modern imagery using both traditional and recent developments in design binding.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2274Full purple goatskin binding; sewn-in leather hinge; leather doublures surface gilt and tooled in palladium, with tripartite corner motifs with onlays; double core silk headbands; neutral endpapers matching the text. The outside of the book is meant to be plain. The titling represents the fumbling part of the human condition, although spiritual illumination is found, with direction, within.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2278Gebrochener Rücken (modified Bradel) binding with text sewn onto tapes. Covers made of cerise-colored silk, embroidered in metallic gold with Chi-Rho symbol on the front cover and Alpha-Omega symbol on the back cover. Symbols framed by lace, over-sewn with seed pearls and garnets. Hand-sewn silk headbands, edge decoration of acrylic paint in two colors, and endpapers of a muted shade of metallic gold. The inspiration for this design is derived from embroidered books of the seventeenth century held in Bridwell Library’s Special Collections. The design is intended to invoke ecclesiastical imagery to underscore the significance of this text to the church, while the materials suggest the richness of its contribution to the history of spiritual formation.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2280The design is in keeping with this book of devotion and duty to Christ. Binding in medieval style to reflect the time period in which the book was first written. Plain brown or light brown leather, Coptic stitching for the binding, title in black letter embossed in red on spine.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2282Front and back covers with gold fillets between red and burgundy/brown rays, gold fillet at edges of board faces. Title and author gold tooled on spine. Blind tooling around inner edge of front girandole, DIXITQUE DEUS FIAT LUX (with gold leaf illumination), and around inner edge of back girandole, VIDEMUS NUNC PER SPECULUM IN AENIGMATE (with silver leaf illumination), each girandole to be slightly rounded and elevated, blind tooled, circular indentations on frames of girandoles. Gold leaf illumination in halo of candle. Endsheet design is a relief print suggestive of fur.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2284Dark brown calfskin with transparent vellum incorporated in the design, vellum with ink drawing of a robot, in darker metallic colors, and a god, with warm colors. Marbled flyleaves to match brown calfskin of covers. Design depicts a futuristic looking God and a broken down robot in the Creation scene. The Imitation of Christ discusses the finding the soul, offering solace on one's spiritual life, and the Eucharist. The intention is to show God eagerly wanting the robot (man) to not be so afraid and to turn and face him. Humans live in a routine life, not thinking about their actions, and so this God is trying to break man from this routine.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2286Based on simplified French binding. Endsheets of Fabriano Roma handmade paper. Harmatan goatskin in dark green and biscuit cover the front and back boards. Insets on front board include the focal design and title. Larger inset based on centuries-old cuir-ciselé technique. Inner cross in scarlet represents Christ's blood shed for mankind. Seven diamond-shaped cutouts are for the "biblical seven" symbolizing fullness, completeness, or perfection as referred to in the text. Cut in center of cross further emphasizes the love God had in His reunion with men. Smaller inset hand lettered using gothicized italic hand.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2288Design is intended to evoke the fundamental purpose of Christian life represented in the text, characterized by its emphasis on the interior life and withdrawal from the world. Book to be bound in black leather with cover design and title embossed in gold, representing how the text emphasizes devotion to the Eucharist as a key element of spiritual life. Endpapers were chosen for the design, which seems to bring out one's own personal life, ever winding and blossoming throughout time.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2290Using a three-cover-board structural binding, the volume will be covered in white goatskin leather with red leather doublures. Cover design will be a contemporary cross of wood made of veneers and leather onlays. At the intersection of the vertical and horizontal elements of the cross, a faux ruby-like stone will be embedded in a metal bezel. Headbands will be hand sewn in colors complementing those used for the cover and the leather onlays. Title on spine.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/1824This processional was written for use by canons of the Praemonstratensian Order at the Basilica of St. Peter and St. Paul in Ilbenstadt, Germany, near Frankfurt am Main. Signed by the scribe Frater Jeremiah Moeller.]]>2022-11-26T12:54:27-05:00
BRMS 96. Processionale rurale ad usum Ecclesiae Ilbenstadiensis. [Ilbenstadt, Germany], 1712. Decorated manuscript on paper, signed by Frater Jeremiah Moeller and dated 1712.
]]>https://bridwell.omeka.net/items/show/228This processional was written for use by canons of the Praemonstratensian Order at the Basilica of St. Peter and St. Paul in Ilbenstadt, Germany, near Frankfurt am Main. Signed by the scribe Frater Jeremiah Moeller. ]]>2022-11-26T12:54:03-05:00
]]>https://bridwell.omeka.net/items/show/1800A significant record of the essential role of memory in late-medieval piety, the Roseum memoriale provides summaries of each chapter of the Bible (omitting Psalms) in 1,194 short mnemonic verses. So as to insure memorization in the proper sequence, the first word of each verse falls neatly into alphabetical order.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1799Biblical history written by Peter Comestor, Chancellor of Notre Dame in Paris. In Bridwell Library's manuscript, several dates added by the scribe provide evidence that the entire manuscript was produced between March and August of 1466. An additional inscription records that the text belonged to the Benedictine Monastery of St. Legér in Luzerne, Switzerland.]]>2022-11-26T12:54:27-05:00
BRMS 93. Peter Comestor (d. 1178). Historia scholastica. [Luzerne, Switzerland], 1466. Manuscript on paper, dated by the scribe several times in Spring–Summer 1466.
]]>https://bridwell.omeka.net/items/show/1724Biblical history written by Peter Comestor, Chancellor of Notre Dame in Paris. Bridwell Library's manuscript of the Historia scholastica is one of many that were expanded with commentaries. Where necessary, the scribe divided the column into two and inserted the corresponding commentary, framed in red or brown ink.]]>2022-11-26T12:54:25-05:00
]]>https://bridwell.omeka.net/items/show/492Biblical history written by Peter Comestor, Chancellor of Notre Dame in Paris. One of the most important teaching texts of the middle ages. ]]>2022-11-26T12:54:08-05:00
]]>https://bridwell.omeka.net/items/show/1821Produced in Flanders for use in England, this richly illuminated manuscript includes a set of eight illustrations of scenes from the Infancy of Christ, such as the Annunciation and the Nativity, which traditionally introduced the eight sections of the book's principal reading, the Hours of the Virgin Mary. The illustrations reflect the influence of the "Boucicaut Master."]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1715Produced in Flanders for use in England, this richly illuminated manuscript includes a set of eight illustrations of scenes from the Infancy of Christ, such as the Annunciation and the Nativity, which traditionally introduced the eight sections of the book's principal reading, the Hours of the Virgin Mary.]]>2022-11-26T12:54:25-05:00
]]>https://bridwell.omeka.net/items/show/422This Book of Hours, the most popular book of the Middle Ages, reflects the influence of the "Boucicaut Master". Included are full-color miniature paintings.]]>2022-11-26T12:54:06-05:00
]]>https://bridwell.omeka.net/items/show/1823This manuscript contains excerpts from the gradual and antiphony used in Diocese of Béziers in Languedoc in southern France.]]>2022-11-26T12:54:27-05:00
BRMS 58. Die XXVIII. Aprilis Festum S. Aphrodisii primi Episcopi Bilterrensis martyris & civitatis patroni. [Béziers, France, ca. 1730]. Manuscript on paper.
]]>https://bridwell.omeka.net/items/show/227This manuscript contains excerpts from the gradual and antiphony used in Diocese of Béziers in Languedoc in southern France.]]>2022-11-26T12:54:02-05:00
]]>https://bridwell.omeka.net/items/show/234Previously preserved as binders' waste, this gradual was written in Italy for liturgial use. This gradual includes texts and music from the Vigil for the Feast of the Ascension with adiastematic neumes.]]>2022-11-26T12:54:03-05:00
]]>https://bridwell.omeka.net/items/show/233Antiphonal written in Italy for liturgical use. The music and text is the beginning of the first antiphonal response "Post Passionem" performed on Ascension Sunday.]]>2022-11-26T12:54:03-05:00