Type: MS

Heading remarks: Corpus iuris canonici editio Lipsiensis secunda post Aemilii Ludovici Richteri curas ad librorum manu scriptorum et editionis romanae fidem recognovit et adnotatione critica cur. Aemilius Friedberg, Graz Akademische Druck-U. Verlagsanstalt 1955-1995 vol. I: Decretum Gratiani (1995) vol. II: Decretalium collectiones (1955), vol. II pp. 6-927; Repertorium fontium historiae medii aevi primum ab Augusto Potthast digestum, nunc cura collegii historicorum e pluribus nationibus emendatum et auctum 11 voll., Roma (1984), vol. V pp. 231-2; Compendium Auctorum Latinorum Medii Aevi (500-1500) cur. Michael Lapidge - Gian Carlo Garfagnini - Claudio Leonardi - Francesco Santi et al., Firenze (2013), vol. IV 4 p. 430. Jakob Wichner, Catalogus codicum manu scriptorum Admontensis (handschriftlich). Admont 1888, 251. Paul Buberl, Die illuminierten Handschriften in der Steiermark I: Die Stiftsbibliotheken zu Admont und Vorau (Beschreibendes Verzeichnis der illuminierten Handschriften in Österreich 4,1 = Publikationen des K. K. Instituts für Österreichische Geschichtsforschung). Leipzig 1911, 152 Nr. 130. Gerhard Schmidt, Materialien zur französischen Buchmalerei der Hochgotik I (Kanonistische Handschriften). Wiener Jahrbuch für Kunstgeschichte 28 (1975) 159-170. Katharina Hranitzky / Michaela Schuller-Juckes / Susanne Rischpler, Die illuminierten Handschriften, Inkunabeln und Frühdrucke der Oberösterreichischen Landesbibliothek in Linz: Handschriften und Frühe Drucke 1440–1540. Teil 1: Österreich, Passau, Italien. Unter Mitarbeit von Anna Reisenbichler. Textband, Tafel- und Registerband (Österreichische Akademie der Wissenschaften, phil.-hist. Klasse, Denkschriften 500, Institut für Kunstgeschichte der Universität Wien = Veröffentlichungen zum Schrift- und Buchwesen des Mittelalters V,6,1). Wien 2018, bei Kat. 44 (Ink. 638), Anm. 12.

Date: from 1275 to 1300 ca. (attributed)

Binding: reboundrebound

Layout: full page

Illustrations: F. 3r: Pope Gregory IX is depicted sitting on a throne with feline-like sculpted knobs; his right hand is elevated with the index finger pointing upwards, his left hand grabs (or hands over) a volume bound with a tie on the fore-edge. The volume is offered to him by a Dominican friar kneeling beside the throne, presumably to be identified with Raymond de Peñafort. Another Dominican friar stands behind Raymond. F. 87v: a secular judge, recognisable by his headgear and his fur-lined cloak, is depicted seated in the centre. On either side of the judge are two men, probably lawyers (the identification is suggested by their long cloaks with side slits); with his right hand, the judge points to the man on his left, who is wearing a headgear similar to his. The man is addressing the judge by raising his finger upwards, while reading from a small piece of paper that he holds in his other hand. On the opposite side, the other lawyer also addresses the judge by raising his right finger upwards and holding up the palm of his left hand. F. 157v: a priest is standing in front of an altar on the right side of the scene; he is depicted while uncovering a chalice from a white cloth, in preparation for the ritual of the Eucharist. Behind him is an acolyte pushing an aristocratic layman (his status is suggested by his long, fur-lined cloak) away from the altar. The man raises both his hands as a sign of acquiescence and walks towards a slender column that might indicate the threshold of the sacred space, from which the layman is excluded. F. 229v: a bishop is standing between a man and a woman, officiating their marriage. He holds the wrists of their right arms, preparing to join their hands to make their union official (dextrarum iunctio). The groom, on the left, raises his left hand to express his consent to the marriage. F. 253v: On the right is a seated pope, identified by a red tiara and a golden dalmatic; he is holding his left hand on his chest and raising his right index finger, perhaps to express an objection. Before him are two kneeling Dominican friars, one of whom joins his hands in prayer, and a standing abbot, recognisable by the crozier in his left hand. The abbot addresses the pope by raising his right index finger, presumably in accusation (given the title of the book, “De accusationibus”). The pope should be the judge in this setting, therefore it must be presumed that the accused party is not depicted.

Iconclass: pope; beard; head-gear: cap; sitting figure; bishop's throne; index finger upwards; codex; kneeling figure; monastic orders, monastic life: Dominicans; tonsure; coat; Canon Law; 'Legge canonica' (Ripa); 'Giudice' (Ripa); sitting on an elevation; lawyer, attorney at law; court session (court of justice); plea, defence; paper (writing material); handwriting, written text; acolyte, chorister, lector, ostiarius, etc. ~ functionaries in Roman Catholic church; priest (Roman Catholic); the Eucharist ~ the fourth of the seven sacraments; chalice; altar-cloths, e.g. veil covering the altar at Lent; altar; column, pillar ~ architecture; strife of laity and clergy; archbishop, bishop, etc. (Roman Catholic); insignia of bishop, e.g. mitre, crozier; shaking hands, 'dextrarum junctio'; gripping someone by the hand or the wrist; clasped hands; couple before the priest ~ marriage; the consent (of marriage); insignia of the pope, e.g. tiara; arm or hand held in front of the chest; hands folded with fingers knit; kneeling on both knees; abbot; accusing; marriage, married couple, 'matrimonium'; 61B2(GREGORYIX) historical person (with NAME) 11H(RAYMUND) the Dominican friar and founder of the Mercedarians, Raymund of Pennafort; possible attributes: crucifix, key, lily

Support material: parchment

Measurements: 195x134 mm

Extent (leaves): 326

Writing: Littera textualis

Subject: Law-canon (ius canonicum)

Genre: TEXTUS (Can)

Period: late medieval

Language: Latin

Completeness: medium — Source: bibliography, digital copy

Editor ICo: CM