DOI Page / Citation link:
https://doi.org/10.11588/diglit.69740#0137
VIII. Praktische Theologie 127
nennt sie ein charakteristisches Beispiel französischer Kunst der Renaissance
(vgl. seine Worte weiter unten). Von besonderem Reiz sind die Bordüren mit
ihren Darstellungen aus der hl. Geschichte, Sibyllen, 48 Totentanzbil-
dern, Jagd- u. Genrebildern aus dem Leben des Volkes.
Printed entirelyori vellum. We cannot do better with regard to this
beautifully illustrated book than quote the words of M r. W. M. I v i n s, Curator of the
Department of Prints in the Metropolitan Museum of Art at New York,
in his volume „Prints and Books“, p. 34—38: „Although there were many Horae prin-
ted at Paris from 1486 to the middle of the next Century, this particular one
is perhaps the fine st of the period prior to 1500, that is, the period
in which the decoration of the Book of Hours, as yet uncontaminated by German and
Italian influence, was purely French in its motifs and handling. It is there-
fore one of the monuments of Renaissance French art. Aside
from its absolute importance as a work of art, this book is interesting for various
historical reasons, as it perfectly illustrates not only the transition from the
written book to the printed one, but also that from the small pain-
ted picture to the print.... Aside from the fascinating openings
which the book affords for investigation and speculation concerning old French man-
ners and traits, both social and religious, the pictures are valuable as showing how
little the essentially French has changed in the passage of time. Incredibly rieh
and fanciful as Ornament, full of the most charming and delight-
ful draughtsmanship and Observation of life, they show that the
Frenchman as a physical and temperamental being was at that epoch much the same
that he is to-day .... but what is really astonishing at first sight is that the illustrations
in this little book, made 420 years ago, should have the same direct contact with life
and should see it in much the same clear-visioned and slightly acrid way that is still
the peculiar heritage of the French — the ability to find joy and poetry
in a presentment of life which glosses over nothin g.“
Fine copy, absolutely complete (the 2 copies in the Bibi. Nat. at Paris
are incomplete); t w o of the full-page c u t s are charmingly illuminated
in gold and colours. Capitals supplied in black; legends in a 16th-century hand
to many figures of the borders surrounding each page.
— Abbildung siehe Tafel III —
249 (HUS, JOHANNES.) Gesta Christi. Memmingen, (Albrecht Kunne), ca.
1498. Got. Typ., 33 Zeil., 12 unn. Bll. m. S. 4°. Hpgt. m. Ink.-Pap. überz.
575.—
Hain 9059. Pr. 2817. B. M. C. II, 608. Nicht bei V. B. Type 5/87a.
H u s ’sche Schriften sind leicht erklärlicherweise selten, diese erschien wohl ab-
sichtlich anonym. Initialen, mit Repräsentanten, nicht eingemalt.
Copies of early editions of H u s’ writings are rare.
Guide-letters, capital spaces left blank.
No copy in U. S. A. according to Census.
250 JACOBUS DE CLUSA (de Jüterbog), ord. Cist. Sermones formales de
praecipuis festivitatibus per annum tarn de tempore quam de sanctis.
O. O., Dr. u. J. (Blaubeuren, Konrad Manez, ca. 1475). Got. Typ., 32 Zeil.,
274 unn. Bll. o. S. Fol. Roter Schwnsldrbd. d. Zeit auf Holzdeckel mit
blindgepreßter Linienverzierung, allen Buckeln, Schließen, auf dem Vor-
derdeckel eingeprägt der Name Paulus Hug, innen ein einge-
branntes Wappen-Exlibris. 1400.—
Hain 9330. Pr. 2657. B. M. C. II, 564. V. B. 631. Type 1/120.
Jacobus de Clusa (auch de Polonia oder de Paradiso), einer der bedeutende-
ren Theologen des 15. Jahrhdts., hielt sich in Krakau u. Erfurt auf.
Sehr schöner Druck aus der einzigen Presse Blaubeurens, im B. M. C. an zwei-
ter Stelle (das S noch auffallend schmal, das t überwiegend spitz). Auf Bl. 123v u. 124v
(hier hs. foliiert 121 u. 122) auffallende Häufung von Abbreviaturen.
MÜNCHEN, KAROLINENPLATZ 2
nennt sie ein charakteristisches Beispiel französischer Kunst der Renaissance
(vgl. seine Worte weiter unten). Von besonderem Reiz sind die Bordüren mit
ihren Darstellungen aus der hl. Geschichte, Sibyllen, 48 Totentanzbil-
dern, Jagd- u. Genrebildern aus dem Leben des Volkes.
Printed entirelyori vellum. We cannot do better with regard to this
beautifully illustrated book than quote the words of M r. W. M. I v i n s, Curator of the
Department of Prints in the Metropolitan Museum of Art at New York,
in his volume „Prints and Books“, p. 34—38: „Although there were many Horae prin-
ted at Paris from 1486 to the middle of the next Century, this particular one
is perhaps the fine st of the period prior to 1500, that is, the period
in which the decoration of the Book of Hours, as yet uncontaminated by German and
Italian influence, was purely French in its motifs and handling. It is there-
fore one of the monuments of Renaissance French art. Aside
from its absolute importance as a work of art, this book is interesting for various
historical reasons, as it perfectly illustrates not only the transition from the
written book to the printed one, but also that from the small pain-
ted picture to the print.... Aside from the fascinating openings
which the book affords for investigation and speculation concerning old French man-
ners and traits, both social and religious, the pictures are valuable as showing how
little the essentially French has changed in the passage of time. Incredibly rieh
and fanciful as Ornament, full of the most charming and delight-
ful draughtsmanship and Observation of life, they show that the
Frenchman as a physical and temperamental being was at that epoch much the same
that he is to-day .... but what is really astonishing at first sight is that the illustrations
in this little book, made 420 years ago, should have the same direct contact with life
and should see it in much the same clear-visioned and slightly acrid way that is still
the peculiar heritage of the French — the ability to find joy and poetry
in a presentment of life which glosses over nothin g.“
Fine copy, absolutely complete (the 2 copies in the Bibi. Nat. at Paris
are incomplete); t w o of the full-page c u t s are charmingly illuminated
in gold and colours. Capitals supplied in black; legends in a 16th-century hand
to many figures of the borders surrounding each page.
— Abbildung siehe Tafel III —
249 (HUS, JOHANNES.) Gesta Christi. Memmingen, (Albrecht Kunne), ca.
1498. Got. Typ., 33 Zeil., 12 unn. Bll. m. S. 4°. Hpgt. m. Ink.-Pap. überz.
575.—
Hain 9059. Pr. 2817. B. M. C. II, 608. Nicht bei V. B. Type 5/87a.
H u s ’sche Schriften sind leicht erklärlicherweise selten, diese erschien wohl ab-
sichtlich anonym. Initialen, mit Repräsentanten, nicht eingemalt.
Copies of early editions of H u s’ writings are rare.
Guide-letters, capital spaces left blank.
No copy in U. S. A. according to Census.
250 JACOBUS DE CLUSA (de Jüterbog), ord. Cist. Sermones formales de
praecipuis festivitatibus per annum tarn de tempore quam de sanctis.
O. O., Dr. u. J. (Blaubeuren, Konrad Manez, ca. 1475). Got. Typ., 32 Zeil.,
274 unn. Bll. o. S. Fol. Roter Schwnsldrbd. d. Zeit auf Holzdeckel mit
blindgepreßter Linienverzierung, allen Buckeln, Schließen, auf dem Vor-
derdeckel eingeprägt der Name Paulus Hug, innen ein einge-
branntes Wappen-Exlibris. 1400.—
Hain 9330. Pr. 2657. B. M. C. II, 564. V. B. 631. Type 1/120.
Jacobus de Clusa (auch de Polonia oder de Paradiso), einer der bedeutende-
ren Theologen des 15. Jahrhdts., hielt sich in Krakau u. Erfurt auf.
Sehr schöner Druck aus der einzigen Presse Blaubeurens, im B. M. C. an zwei-
ter Stelle (das S noch auffallend schmal, das t überwiegend spitz). Auf Bl. 123v u. 124v
(hier hs. foliiert 121 u. 122) auffallende Häufung von Abbreviaturen.
MÜNCHEN, KAROLINENPLATZ 2
