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GRIFFE Georges
Latin 4°
Bordas. 1965. In-8. Cartonné. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 320 pp. Illustrations n&b. Quelques annotations personnelles au crayon à l'intérieur.. . . . Classification Dewey : 470-Langues italiques. Latin
Reference : ROD0012300
Classification Dewey : 470-Langues italiques. Latin
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5 book(s) with the same title
Dictionnaire chinois, français et latin, publié d'après l'ordre de sa Majesté l'Empereur et Roi Napoléon le Grand ; par M. De Guignes, résident de France à la Chine, attaché au Ministère des relations extérieures, correspondant de la première et de la troisième classe de l'Institut.
A Paris, de l'Imprimerie impériale, 1813. 1813 1 vol. fort in-folio (490 x 310 mm.) de : [3] ff. (faux-titre, titre, "Traduction en langue européenne des caractères chinois") ; LVI (introduction, Tableau de l'orthographe et de la prononciation, Préface, Méthode pour trouver les caractères au moyen de la table des deux cent quatorze clefs, Table des deux cent quatorze clefs) ; 1112 pp. ; [1] f. (errata). Ex-libris manuscrit au dos du premier plat Benj Stillwell. (quelques tâches aux marges). Demi-vélin à coins ancien, dos lisse, pièce de titre de maroquin rouge, plats recouverts de papier marbré, exemplaire non rogné à très larges marges. (Défauts d'usage, couture fragile).
Première édition de cet ouvrage majeur, le premier dictionnaire de ce type publié en France, dû à Chrétien-Louis-Joseph de Guignes (1758-1845), sinologue. Ce livre marque une grande avancée dans le progrès des connaissances occidentales de la Chine. Louvrage, chef duvre de typographie, est impressionnant, et sa publication le fait de différents acteurs. Finalement publié en 1813 sous le patronage de Napoléon Ier, sa création avait été entreprise dès 1715. Bien que la page de titre ne le mentionne pas, le présent ouvrage sappuie essentiellement sur le travail de Basile de Glemona Brollo (1648-1704) qui écrivit le premier dictionnaire chinois/latin. Son ouvrage, composé à Nan King entre 1694 et 1699 décrivait quelques 7 000 idéogrammes et en traduisait environ 9 000. Circulant sous sa forme manuscrite, il fut longtemps un outil indispensable pour les premiers sinologues européens, mais malgré quelques tentatives, aucune publication naboutit au 17ème siècle, les éditeurs étant découragés par le coût dune telle entreprise. Au 18ème siècle, à la demande de Louis XIV, Arcade Hoange, Chinois, assisté par Etienne Fourmont, entreprit de réaliser une grammaire et un dictionnaire chinois. Fourmont présenta en 1719 la première étape de leur travail : la table des 214 clefs, au régent qui lautorisa à faire graver tous les caractères nécessaires. A sa mort en 1745, les quelques 110 000 caractères quil a fait graver reviennent à la Bibliothèque du Roi. En 1802, ils sont transmis à la Bibliothèque impériale mais le projet ne prend pas encore de forme définitive. En 1808, cette publication est remise à lordre du jour. On pense la confier à Antonio Montucci de Sienne, mais pour que lofficialisation de cette uvre, commanditée par Louis XIV soir française, on sadresse à Guignes qui reçoit par décret lordre de rédiger et de suivre la publication du Dictionnaire français-latin-chinois. Chrétien-Louis-Joseph de Guignes, fils dun autre sinologue de premier rang, vécut, travailla et voyagea en Chine pendant 17 ans. Il fut le traducteur dIsaac Titsingh, lambassadeur hollandais à la cour de lEmpereur Quianlong de 1794 à 1795. Les membres de la mission de Titsingh étaient les seuls occidentaux acceptés en Chine à la fin de la dynastie Quianlong. Il est également lauteur dun guide de voyage intitulé « Voyages à Peking, Manille et l'île de France, faits dans l'intervalle des années 1784 à 1801 ». Pour la rédaction du présent ouvrage, il était convenu quil utiliserait les caractères gravés par Fourmont. Pour laider dans son travail, on lui confie un exemplaire manuscrit du Vocabulaire Chinois-Latin de Basilio de Gemona, ce texte, le Han-Tsé-sin-Yih (Interprétation occidentale des caractères chinois) étant considéré comme le meilleur lexique composé par des Missionnaires en Chine. De Guignes se contente de donner les traductions françaises, et supervise lédition du texte de Gemona avec les caractères de Fourmont quil fait paraître sous le titre de Dictionnaire chinois, français et latin, en passant sous silence le nom du véritable auteur. En 1814, Abel-Remusat et Klaproth reconnaissent le travail de Gemona et permettent alors quon rende justice à son travail. Malgré la controverse, De Guignes edt élu membre de lInstitut de France, de lAcadémie des Sciences (Géographie et Navigation) et de lAcadémie des Inscriptions et des Belles Lettres. Provenance : Benjamin Stillwell (inscription manuscrite en page de garde). Bel exemplaire à grandes marges de cet ouvrage de référence, chef duvre de typographie du 19ème siècle. 1 vol. in-folio (490 x 310 mm.) of : [3] ff. (faux-titre, title, Traduction en langue européenne des caractères chinois) ; LVI (introduction, Tableau de l'orthographe et de la prononciation, Préface, Méthode pour trouver les caractères au moyen de la table des deux cent quatorze clefs, Table des deux cent quatorze clefs) ; 1112 pp. ; [1] f. (errata). Handwritten bookplate on back cover Benj Stillwell. (some staining to margins). Antique half vellum with corners, smooth spine, red morocco title-piece, marbled paper-covered boards, untrimmed copy with very wide margins. (Worn binding, precarious seams). First edition of this major work, the first dictionary of its kind published in France, by sinologist Chrétien-Louis-Joseph de Guignes (1758-1845). The book marks a major advance in Western knowledge of China. The work, a masterpiece of typography, was impressive, and was published by a number of different people. Finally published in 1813 under the patronage of Napoleon I, its creation had been undertaken as early as 1715. Although not mentioned on the title page, the present work is essentially based on the work of Basile de Glemona Brollo (1648-1704), who wrote the first Chinese/Latin dictionary. His work, composed in Nan King between 1694 and 1699, described some 7,000 ideograms and translated some 9,000. Circulating in handwritten form, it was for a long time an indispensable tool for early European sinologists, but despite several attempts, no publication came of it in the 17th century, publishers being discouraged by the cost of such an undertaking. In the 18th century, at the request of Louis XIV, the Chinese Arcade Hoange, assisted by Etienne Fourmont, set about compiling a Chinese grammar and dictionary. In 1719, Fourmont presented the first stage of their work - the table of 214 keys - to the regent, who authorized him to have all the necessary characters engraved. On his death in 1745, the 110,000 or so characters he had had engraved returned to the Bibliothèque du Roi. In 1802, they were transferred to the Imperial Library, but the project had not yet taken on a definitive form. In 1808, this publication was put back on the agenda. The idea was to entrust it to Antonio Montucci of Siena, but to ensure that the work, commissioned by Louis XIV, would become official in France, Guignes was asked to write and supervise the publication of the French-Latin-Chinese Dictionary. Chrétien-Louis-Joseph de Guignes, son of another leading sinologist, lived, worked and traveled in China for 17 years. He was the translator for Isaac Titsingh, the Dutch ambassador to the court of Emperor Quianlong from 1794 to 1795. The members of Titsingh's mission were the only Westerners accepted in China at the end of the Quianlong dynasty. He is also the author of a travel guide entitled Voyages à Peking, Manille et l'île de France, faits dans l'intervalle des années 1784 à 1801. For this book, it was agreed that he would use Fourmont's engraved typefaces. To help him in his work, he was given a handwritten copy of Basilio de Gemona's Chinese-Latin Vocabulary, the Han-Tsé-sin-Yih (Western Interpretation of Chinese Characters) being considered the best lexicon composed by Missionaries in China. De Guignes confined himself to providing the French translations, and supervised the edition of Gemona's text with Fourmont's characters, which he published under the title Dictionnaire chinois, français et latin (Chinese, French and Latin Dictionary), without mentioning the real author's name. In 1814, Abel-Remusat and Klaproth recognized Gemona's work and allowed it to be published. Despite the controversy, De Guignes was elected a member of the Institut de France, the Académie des Sciences (Géographie et Navigation) and the Académie des Inscriptions et des Belles Lettres. Provenance: Benjamin Stillwell (handwritten inscription on title page). A fine, wide-margined copy of this reference work, a masterpiece of 19th-century typography.
Phone number : 06 81 35 73 35
latin et la litt rature n o-latine au XIXe si cle. Pratiques et repr sentations
, Brepols, 2020 Paperback, v + 299 pages, Size:160 x 240 mm, Languages: French, English, Italian. ISBN 9789492771322.
Summary Le XIXe si cle est connu comme l' poque o l'essor des nationalismes et des langues nationales en Europe a d finitivement rel gu le latin aux marges du monde social. Or, si le latin conna t alors un ind niable d clin, il n'en demeure pas moins tout un temps une langue importante pour les nations modernes. Le pr sent volume tudie les manifestations d'une tradition linguistique pluris culaire qui ne s'est pas teinte l'aube de la modernit . Fruit d'une collaboration internationale, il rassemble des contributions portant sur diff rents pays d'Europe occidentale et centrale. Les auteurs retracent l'histoire du latin au XIXe si cle, s'interrogent aussi bien sur les raisons de son succ s que sur celles de son d clin et pr tent une attention particuli re aux aspects th matiques et stylistiques des textes. La litt rature n o-latine, qui n'est pas indiff rente au surgissement des romantismes europ ens, est pass e la loupe. L'ouvrage met galement en vidence l'inflexion que l'inspiration latine antique a pu donner une oeuvre po tique en langue moderne. TABLE OF CONTENTS Christophe Bertiau, "Le latin, une mati re ?bourgeoise?? Sur le d clin du latin dans l'enseignement l' poque contemporaine" The article refutes the received idea of Latin being a "bourgeois" school subject. It states on the contrary that the political and economic rise of the bourgeoisie accounts for the decline of Latin in secondary education during the last two centuries. Although Latin kept its dominant position in the curriculums throughout the nineteenth century, its supremacy was increasingly challenged by certain exponents of the bourgeoisie, who demanded school learning to be more markedly connected to the professional world. Jan Spoelder, "The decline of Latin as the academic language at Dutch universities and its consequences for education in Latin" In the eighteenth century, Latin lost its status as the universal scholarly language in countries like France, Germany and Britain. However, the Royal Decree of 1815 provided that Latin remained the exclusive academic language in the Kingdom of the Netherlands. More and more tension arose between maintaining classical educational ideals and the with to use the vernacular. Only when the Act on Higher Education was passed in 1876, this meant in practice the end of the mandatory use of Latin at Dutch universities. This new situation also ended the raison d' tre of the Latin school, the kind of education that had prepared for university entrance in the towns of the Dutch Republic and the later Kingdom. This type of school was reorganised to meet the altered requirements of the modern time under the name of Gymnasium. This school, with compulsory Greek and Latin, is still flourishing magnificently at the moment. Patrizia Paradisi, "Il latino nelle cerimonie ufficiali del Regno d'Italia, dall'Universit di Bologna al Campidoglio a Roma (Gandino, Albini e Pascoli)" Patrizia Paradisi stresses the significance Latin displayed for the official ceremonies of the Kingdom of Italy at the time of Giovanni Battista Gandino, Giuseppe Albini and Giovanni Pascoli. It thus appears how Latin was used to compose speeches, letters, an inscription for a medal, a hymn or a journal on the occasion of various ceremonies. Giacomo Dalla Piet , "L'evoluzione stilistica del latino all'interno della curia romana nel secolo XIX" Giacomo Dalla Piet sketches how the Latin style of encyclical letters developed during the nineteenth century. He interprets the adoption of a high style, which was to become increasingly Ciceronian, under the pontificate of Leo XIII as testament to the latter's universalist project and new way of conceiving papacy. ?ime Demo, "Stubborn persistence at the outskirts of the West: Latin in nineteenth-century Croatia" The article gives an insight into the status of Latin in nineteenth-century Croatia. Latin retained there until the mid-century a decided importance as a means of international communication, as a political instrument, as a medium of instruction or as a literary language. However, Croatian tended towards more and more superseding Latin in its uses. As a result, Latin was hardly ever used outside Church and education in the second half of the century. Neven Jovanovi?, "Two gentlemen-translators from nineteenth-century Dubrovnik" The author analyses the Latin translations of Antonio Sivrich and Blasius Ghetaldi, two poets from Dubrovnik. He compares how both translators worked and reflects upon the reasons why they rendered into Latin Italian sonnets and anacreontic poems (Sivrich) or Ivan Gunduli?'s Croatian epos Osman (Ghetaldi). Svorad Zavarsk , "?Et meus vere paradisus audit: mandra, poesis?: The poetry of Antonius Faber" Svorad Zavarsk presents the work of the neo-Latin poet from Bratislava Antonius Faber. He affirms that the main interest of A.?Faber's little classical poetry is its originality. This poetry can be seen as a compromise between traditional neo-Latin poetry and the romantic revival. It epitomises quite good the linguistic situation of Hungary at that time, where the national language was more and more often preferred to Latin. Florian Schaffenrath, "Antonio Mazzetti's neo-Latin epic poem on Emperor Ferdinand I (1838)" Florian Schaffenrath tackles a panegyric (gratulatio) addressed by Antonio Mazzetti to Emperor Ferdinand?I and examines its reception. He highlights the enthusiasm this poem motivated by current political affairs elicited, even though Latin verses no longer were in fashion. Antonino Zumbo, "Scrivere una novella romantica in versi latini: il Polymetron di Giovanni Andrea Vinacci" The article deals with the Polymetron, a romantic short story written in Latin verses by Andrea Vinacci. The story displays a Byronian inspiration and is located in the nineteenth-century Italian independence wars. Both these characteristics suggest that far from a mere formal dialogue with the Ancients has neo-Latin literature always attempted to stay in tune with its time. Romain Jalabert, "Des vers latins romantiques, en France" Romain Jalabert shows that a whole part of nineteenth-century French neo-Latin poetry was opened up to Romanticism. Original Latin poems inspired by Romanticism and Latin translations of poems in modern languages were no oddities. Schools played a leading role in this new tendency. Alphonse de Lamartine enjoyed great success as a source of inspiration for Latin poets. Dirk Sacr , "Colonel William Siddons Young (1832-1901) as a Latin poet" Dirk Sacr presents the life and work of the atypical British neo-Latin poet Colonel William Siddons Young (1832-1901). Young was an army officer in the Bengal civil service. Although some Latinists considered him as the greatest living Latin poet, his Latin verses display imperfections and he rapidly fell into oblivion after his death. But because of his atypical profile, he could serve the cause of Latin as a universal language. Through the figure of Young, this article provides us with an overview of the evolution of living Latin in the late nineteenth century. Marie-France David-de Palacio, "Un epigrammaton liber fin-de-sie cle: les ?latineries? de Jean Richepin" This contribution demonstrates on the basis of Jean Richepin's "Latineries" how a writer can breath new life into his own poetic language by imitating ancient authors. Whereas the style models on the epigrams of Roman Antiquity, and more specifically of Martial, the content exhibits a "Gallic" character.
Latin in Byzantium III: Post-Byzantine Latinitas. Latin in Post-Byzantine Scholarship (15th -19th Centuries)
, Brepols, 2021 Hardback, 490 pages, Size:155 x 245 mm, Illustrations:14 b/w, 8 tables b/w., 2 maps b/w, Language(s):English, Latin, Greek. ISBN 9782503589947.
Summary This volume aims at filling a major gap in international literature concerning the knowledge of the Latin language and literature by Post-Byzantine scholars from the fifteenth to the nineteenth centuries. Most of them, immigrants to the West after the Fall of Byzantium, harmoniously integrated into their host countries, practiced and perfected their knowledge of the Latin language and literature, excelled in arts and letters and, in many cases, managed to obtain civil, political and clerical offices. They wrote original poetic and prose works in Latin, for literary, scholarly and/or political purposes. They also translated Greek texts into Latin, and vice versa. The contributors to this volume explore the multifaceted aspects of the knowledge of the Latin language and literature by these scholars. Among the many issues addressed in the volume are: the reasons that urged Post-Byzantine scholars to compose Latin works and disseminate Ancient Greek works to the West and Latin texts to the East, their audience, the fate of their projects, and their relations among them and with Western scholars. In the contents of the volume one can find well known Post-Byzantine scholars such as Bessarion or Isidore of Kiev, as well as lesser known authors like Ioannis Gemistos, Nikolaos Sekoundinos and others. Hence, hereby is provided a canon of scholars who, albeit Greek, are considered essentially as representatives of Neo-Latin literature, along with others who, through their translations, contributed to the rapprochement - literary and political - of East and West. TABLE OF CONTENTS Preface List of Contributors List of Abbreviations Introductory Note A. Introduction Dimitrios Nikitas, An Overview of Post-Byzantine Latinitas B. Greek Studies in the West and Latin Studies in the East in the Post-Byzantine Period and Early Modern Greek Period Christina Abenstein, Treason, Ambition, and Hardship on the Cultural Entanglement of George of Trebizond's Revised Draft of his Translation of Saint Basil Garyfallia Athanasiadou, Reforming a Translation: Nicholas Secundinus's Contribution to the Revised Translation of Arrian's Anabasis of Alexander Made by Bartolomeo Facio Malika Bastin-Hammou, Aemilius Portus, between Greek Scholar and Latin Humanist: Some Relexions on Aemilius Portus's Edition of Aristophanes (1607) Federica Ciccolella, When Cicero Meets Hermogenes: The Defence of Greek Studies in Quattrocento Italy Ioannis Deligiannis, The Diffusion of the Latin Translations of Greek Texts Produced by Late and Post-Byzantine Scholars and Printed from the Mid-Fifteenth to Late Sixteenth Century Michael Malone-Lee, The Latin Translations of Cardinal Bessarion Andreas ?. Michalopoulos & Charilaos ?. Michalopoulos, Modern Greek Translations of Latin Poetic Quotations in the ??????? ????????? (Theatrum Politicum) Vasileios Pappas, The Translation of Justin's Epitome of Trogus by Ioannis Makolas (1686) C. Latin Texts in the Post-Byzantine and Early Modern Greek Period: Theology and Religion, History and Literature, Politics, Ideology and National Identity Ovanes Akopyan, Latin Studies and Greek Scholars in Early Modern Russia Byard Benett, Augustine's Theology as a Resource for Reconciling the Roman Catholic and Greek Orthodox Churches in the Post-Byzantine Period: Maximus Margunius's Greek and Latin Works on the Procession of the Holy Spirit Ilias Giarenis, Leonardo Bruni and Bessarion: Two Scholars, Two Languages, and Two Versions of Liberty in the Fifteenth Century Nikolaos E. Karapidakis, Latinitas or Romanitas Nostra: Latin Culture in the Seven Islands under the Venetian Domination (XIXth-XIXth century) Han Lamers, What's in a Name? Naming the 'Post-Byzantines' in Renaissance Italy (and Beyond) Nikolaos Mavrelos, Latinitas Graecorum: Latin Language Used by Greeks and Greek Identity in Seventeenth-and-Eighteenth-Century Texts Lorenzo Miletti, Between Herodotus and the Poison Maiden. Laonikos Chalkokondyles and the Death of King Ladislaus of Durazzo Sophia Papaioannou, Exempla Virtutis and Augustinian Ethics in De Statu Hominis by Leonardus, Archbishop of Mytilene Theodosios Pylarinos & Vaios Vaiopoulos, Life and Work of a ???????????? Corfiot: Antonio Rodostamo (???????? ??????????) Konstantinos Staikos, Eugenios Voulgaris's Edition of Virgil's Aeneid Raf Van Rooy, A Latin Defence of Early Modern Greek Culture: Alexander Helladius's Status Praesens (1714) and its Linguistic Arguments Index of names Index of manuscripts
[LIVRE DHEURES FLAMAND A L'USAGE D'UTRECHT . En latin, manuscrit enluminé sur parchemin / FLAMISH BOOK OF HOURS FOR THE USE OF UTRECHT. In Latin, illuminated manuscript on parchment.]
SLND [Pays-Bas ou Belgique, circa 1470-1480]. 1470 1 vol in-12° (186 x 135 mm) manuscrit de [110] ff. de parchemin rédigé à lencre sur réglures tracées à lencre pâle de: [1] f. bl.), [6] ff. Note manuscrite de mariage à l'encre brune sur la 1ére contre-garde datée 1590. (calendrier calligraphié à l'encre brune et rouge sur 32 lignes avec lettrines enluminées), [102] ff. avec texte calligraphié sur 20 lignes, textualis formata ; 14 miniatures pleine page, 22 vignettes enluminés (Péricopes, Obsecro te, O intemerata et suffrages), initiales champies peintes dorées à la feuille avec entrelacs de fleurs trilobées en leur centre (sur six lignes), initiales champies dorées à la feuille (sur deux lignes) parfois avec antennes filigranées et fleuries, initiales dorées ou filigranées dans le texte, encadrements sur fonds criblé doré avec feuilles dacanthe bleues et oranges et petite végétation simple aux couleurs vives, bouts de lignes à lencre rouge et bleue avec un écu doré au milieu (litanies), rubriques, [1] f. bl. (rares salissures, traces dusage ou de frottements, corps douvrage demeuré frais et avec des coloris très vifs). Plein veau à entrelacs d'époque Renaissance avec vestiges de cires colorées et médaillon central (XVIe s.), dos à 5 nerfs orné, plats à riche décors dentrelacs dans encadrement de filets avec frise de feuillages et oiseaux, trace de cire blanche, bleue et rouge dans les entrelacs, roulette sur les coupes, tranches dorées, écoinçons et fermoirs de laiton. (restaurations au dos, petites usures ou défauts dusage)
Somptueux livre dheures à lusage dUtrecht produit à Bruges vers 1470-1480, manuscrit illustré de 36 peintures polychromes dont 14 à pleine page et 22 miniatures et orné de frises dans les marges et de nombreuses lettrines, miniatures identifiées de la main de lartiste « "le Maître du livre de la chasse de Philippe de Clèves". Livre de liturgique destiné aux fidèles catholiques laïcs, le livre d'heures permettait de suivre la liturgie des Heures. Il se distingue du bréviaire ou psautier qui était réservé aux clercs. Fruit dun long développement initié au XIVe siècle pour rendre la liturgie accessible aux laïcs, sa production brille de mille feux au XVe siècle. Les artistes rivalisent dinvention pour orner de leur main ces précieux volumes de dévotion privée. Les frères de Limbourg et Les Très Riches Heures du duc de Berry, Simon Bening et le Livre dheures de Hennessy, Jean Fouquet et les Heures dÉtienne Chevalier, mais aussi une myriade de maîtres encore anonymes à limage du Maître de Bedford, en marquent les grands jalons jusquà lirruption de limprimerie qui en standardise la production. En complément de ce recueil de prières liées aux heures de la journée, le livre d'heures comporte le plus souvent un calendrier pour suivre l'évolution de la liturgie tout au long de l'année, et parfois des psaumes, les évangiles et des offices particuliers. Au moyen âge, avant lavènement de limprimerie, en raison du prix très élevé des manuscrits et de leur faible diffusion, Il est souvent le seul livre possédé par les familles qui parfois y notent leur état civil : mariage, naissances, décès. Cest le cas de notre livre dheures qui porte sur le premier contre plat cette émouvante inscription à lencre brune : « Ce dernier jour de septembre 1590, nous [Nom effacé : Claude Le Paige] lieutenant des gardes de son altesse de Bar Le Duc dune part et Alix de la Taxe dautre part avons épousée en face de la sainte église Catholique au lieu de Mircourt ». Avec sous les signatures lindication « Age 36 ans » et « Agée de 17 ans » et en dessous : « il mourut le 9 mai de lan 1610. Elle mourut le 14 septembre en lan 1622 » Notre manuscrit est entièrement rédigé en latin sur 108 feuillets recto verso. Il débute par les 12 pages du Calendrier à lusage de Rome/Utrecht : Variantes : 19 mars : Landoaldi pbri, 31 mars : Valerie v., 17 avril : Rufi mr., 7 mai : Gaudencii mr ( Godehardus ?), 14 mai : Corone Virginis, 21 mai : Valentis mr., 5 juillet: Donati mr. , 12 juillet: cleti pp., 5 sept. : Saturnini mr (rien à cette date dans CoKL), 12 sept. : Ypoliti, 12 oct. : Marvelli mr., 20 oct. : Asterius mr., 6 nov. : Winnoci abb.. - ff. 7r-9v : Péricopes évangéliques - ff. 11r-14v : Heures de la Croix - ff. 15r-18 : Heures du Saint Esprit - ff. 18r-20 : Missa Beate Marie - ff. 21-23 : Obsecro te et O Intemerata - ff.24-31 : Suffrages (Sainte Trinité, Saint Jean-Baptiste, Saint Pierre, Saint Paul, Saint Jean, Saint André, Saint Laurent, Saint Jacob, Saint Martin, Saint Nicolas, Sainte Catherine, Sainte Agathe, Sainte Barbara, Sainte Marguerite, Sainte Marie-Madeleine, Sainte Anne) - ff. 33r-69v : Heures de la Vierge à lusage de Rome : 33r : Matines 43r: Laudes 50r: Prime (antienne «Assumpta es », capitule « Que est ista » ) f.53r: Tierce f.56r: Sexte - f.59r: None (antienne «Pulchra es » et capitule « In plateis sicut ») f.62r: Vêpres 67r: Complies. - ff. 71r-74v : Officium beate Marie quod dicitur per totum adventum - ff. 76r- 81 : Psaumes pénitentiels - ff. 82-85v : Litanie et pétitions - ff. 87r-108v : Office des morts à lusage de Rome (suivant le relevé de Knud Ottosen, ordre des réponds : 14, 72, 24, 46, 32, 57, 68, 28, 40). Ce livre dheure fait partie dun corpus de dix manuscrits attribués à lartiste « "le Maître du livre de la chasse de Philippe de Clèves" ("the Master of Philip of Cleves's Livre de la chasse"), actif aux Pays Bas de Des détails de plusieurs miniatures ont permis au chercheur du CNRS Anno Wijsman, auteur dun corpus sur cet artiste, de lidentifier par comparaison avec les autres manuscrits : Tête du Christ sur la miniature de la trinité, profil de David en prière Les éléments floraux des frises sont très similaires à d'autres livres d'heures de la région de Bruges produits à cette époque, notamment le graphisme et les couleurs des feuilles d'Acanthe. Liste des miniatures à pleine page : - f.10v : Crucifixion avec la Vierge et saint Jean ; à larrière-plan un paysage de bosquets. - f.14v : Pentecôte dans le Cénacle. La Vierge est entourée des apôtres dans un édifice aux arcades ouverte laissant apercevoir lenceinte dun domaine. - f.17v : Nativité et adoration des anges. La Vierge tient lenfant Jésus devant deux anges agenouillés, dans un édifice gothique à colonnes et aux fenêtres en ogive. - f.31v : Annonciation. La chambre de la Vierge est de teintes orange et vert ; Gabriel porte une longue cape rouge. - f.41v : Visitation. La Vierge et Elisabeth se rencontrent sur le seuil dune chaumière devant une imposante bâtisse lacustre à toit pointu et chien-assis, flanquée dune tour médiévale à toiture bleue, avec pont-levis à larrière. Une entrée par leau est visible derrière la Vierge. - f.47v : Nativité. Lenfant jésus dans son ovale dor est encadré par Marie, Joseph et lange au second plan, ses ailes déployées, dans une sorte de seuil entre intérieur et extérieur dun bâtiment aux fenêtres à croisées. - f.50v : Annonciation aux bergers. Devant un paysage alternant diverses saisons avec à larrière-plan un château médiéval, deux bergers au milieu de leurs moutons reçoivent les rayons du message solaire. - f.53v. : Adoration des Mages. Deux des trois rois mages sont debout, un autre agenouillé. - f.56v. Présentation au Temple. La Vierge est accompagnée de Joseph et dune servante. - f.59v. : Massacre des Innocents. Hérode est représenté debout ordonnant de son sceptre à un soldat, à droite, dabattre son épée sur un nouveau-né couché nu sur le sol ; au loin, une scène montre un soldat tuant le bébé quune femme porte dans ses bras.- f.64v : Fuite en Égypte. La Vierge avec lenfant est sur un âne, précédés par Joseph ; au loin une colonne dont la statue se brise est placée au milieu dun paysage de bosquets. - f.68v. : Assomption de la Vierge. La Vierge au ciel, agenouillée devant le Père, le Christ et lEsprit Saint, reçoit son couronnement dans un écrin flamboyant or et rouge bordé dazur. - f.73v. : Le Roi David. Agenouillé en prière au premier plan, sa harpe et sa couronne posées par terre, il reçoit les rayons divins ; à larrière-plan, un paysage darbres et de montagnes est complété sur la gauche par un château médiéval. - f.84v : Résurrection de Lazare. Jésus debout parmi plusieurs personnages sur un fond de monastère gothique. Les initiales enluminées sont particulièrement soignées ainsi que les frises composées de fleurs diverses dont des feuilles dacanthe et des coquelicots. Les 24 miniatures des saints sont dune grande finesse, avec force de détails à limage du petit diable ailé représenté sur la première, derrière St Jean. Source iconographique précieuse historiquement, les décors, premiers et arrières plans des grandes peintures sont tout aussi finement exécutées, figurant villes, châteaux, habitations et des personnages du moyen âge. Son élégante reliure dépoque renaissance est légèrement postérieure. Cependant le corps douvrage, avec ses larges marges, semble ne pas avoir été rogné et il est possible quelle ait remplacé une première reliure fragile, comme du velours. Provenance : Claude Le Paige (circa 1552-1610), marié à Alix de La Taxe en 1590 à Mircourt [Mirecourt, commune française de Loraine] (inscription sur le premier contre plat transcrite plus haut). Il était le fils de Gérard Le Paige et Isabeau Hardy. Il fut anobli à la prière de l'Electeur de Cologne, par lettres de Charles duc de Lorraine, données à Nancy le 23 novembre 1585, pour services militaires rendus. ( Porte d'azur, à deux pigeons affrontés d'argent, membrés et becqués de gueules, posés sur un montjoye d'or, & surmontés d'une croisette de même, & pour cimier un lion naissant d'argent, tenant de sa patte droite une épée d'armes emmanchée d'or). Cette famille est originaire de la ville d'Angers. Son aïeul, Eustache-Alexandre Le Paige, qui était né dans cette ville, et se disait issu d'une famille noble, revenant des guerres d'Italie où il avait servi le roi en qualité de capitaine, sous le commandement du seigneur de la Trémoille, en passant à Basincourt, duché de Bar, épousa en 1500, Isabeau de La Chaussée. Il fixa sa demeure au dit Basincourt, où il est inhumé en la paroisse dudit lieu (Nobiliaire ou armorial général de la Lorraine et du Barrois Par Ambroise Pelletier, p. 474). Ex-libris manuscrit du XVI e siècle au contre plat inférieur : « François Bey ». Ouvrage dans un exceptionnel état de conservation, très frais plus dun demi-millénaire après sa production. Biblio : « Hanno Wijsman, Luxury Bound. Illustrated Manuscript Production and Noble and Princely Book Ownership in the Burgundian Netherlands (1400-1550), (Burgundica, xvi), Turnhout (Brepols), 2010, p.357, 580-581 » ; "Miniatures flamandes 1404-1482, Bernard Bousmanne et Thierry Delcourt, 2012". 1 vol. 12mo (186 x 135 mm) manuscript of [110] ff. of parchment written in ink on rules drawn in pale ink of: [1] f. bl.), [6] ff. handwritten marriage note in brown ink on 1st counterguard dated 1590. (calendar calligraphied in brown and red ink on 32 lines with illuminated initials), [102] ff. with calligraphy on 20 lines, textualis formata ; 14 full-page miniatures, 22 illuminated vignettes (Pericopes, Obsecro te, O intemerata and suffrages), gilt painted champie initials with interlacing three-lobed flowers in their center (on six lines), gilt champie initials (on two lines) sometimes with filigree and flowery antennae, gilded or watermarked initials in the text, frames on gilded cribbed background with blue and orange acanthus leaves and small simple vegetation in bright colors, line ends in red and blue ink with a gilded shield in the middle (litanies), rubrics, [1] f. bl. (rare soiling, traces of use or rubbing, body of the book still fresh and with very vivid colors). Full calf with Renaissance interlacing with vestiges of colored wax and central medallion (XVIth c.), spine with 5 ornate nerves, boards with rich interlacing decorations in a framing of fillets with frieze of foliage and birds, trace of white, blue and red wax in the interlacing, roulette on the edges, gilt edges, spandrels and brass clasps, ; restorations to the spine (minor wear or defects of use). Sumptuous book of hours for use in Utrecht produced in Bruges around 1470-1480, manuscript illustrated with 36 polychrome paintings including 14 full-page and 22 miniatures and decorated with friezes in the margins and numerous initials, miniatures identified by the hand of the artist "the Master of Philip of Cleves's Livre de la chasse". A liturgical book intended for the lay Catholic faithful, the Book of Hours allowed them to follow the Liturgy of the Hours. It differs from the breviary or psalter which was reserved for clerics. The result of a long development initiated in the 14th century to make the liturgy accessible to the laity, its production shines with a thousand lights in the 15th century. Artists competed with each other to decorate these precious volumes of private devotion with their own hands. The Limbourg brothers and the Très Riches Heures of the Duke of Berry, Simon Bening and the Hennessy Book of Hours, Jean Fouquet and the Hours of Étienne Chevalier, as well as a myriad of still anonymous masters such as the Master of Bedford, marked the major milestones until the advent of printing, which standardized their production. In addition to this collection of prayers linked to the hours of the day, the book of hours most often includes a calendar to follow the evolution of the liturgy throughout the year, and sometimes psalms, gospels and particular offices. In the Middle Ages, before the advent of printing, because of the very high price of manuscripts and their poor distribution, it was often the only book owned by families who sometimes noted their civil status: marriage, births, deaths. This is the case of our time book which bears on the first counter plate this moving inscription in brown ink: "This last day of September 1590, we ... [Name erased: Claude Le Paige] lieutenant of the guards of his highness of Bar Le Duc on the one hand and Alix de la Taxe on the other hand have married in front of the holy Catholic church at the place of Mircourt". With under the signatures the indication "Age 36 years" and "Aged 17 years" and underneath: "he died on May 9 of the year 1610. She died on September 14 in the year 1622". Our manuscript is entirely written in Latin on 108 double-sided sheets. It begins with the 12 pages of the Calendar for the use of Rome/Utrecht: Variants: March 19: Landoaldi pbri, March 31: Valerie v., April 17: Rufi mr., May 7: Gaudencii mr. ( Godehardus ?), May 14: Corone Virginis, May 21: Valentis mr., July 5: Donati mr. July 12: cleti pp., Sept. 5: Saturnini mr. (nothing at this date in CoKL), Sept. 12: Ypoliti, Oct. 12: Marvelli mr., Oct. 20: Asterius mr., Nov. 6: Winnoci abb. - ff. 7r-9v : Evangelical pericopes - ff. 11r-14v : Hours of the Cross - ff. 15r-18 : Hours of the Holy Spirit - ff. 18r-20 : Missa Beate Marie - ff. 21-23 : Obsecro te and O Intemerata - ff.24-31 ff. 24-31 : Suffrages (Holy Trinity, St. John the Baptist, St. Peter, St. Paul, St. John, St. Andrew, St. Lawrence, St. Jacob, St. Martin, St. Nicholas, St. Catherine, St. Agatha, St. Barbara, St. Margaret, St. Mary Magdalene, St. Anne) - ff. 33r-69v : Hours of the Blessed Virgin according to the usage of Rome : 33r : Matins - 43r : Lauds - 50r : Prime (antiphon " Assumpta es ", capitulum " Que est ista ") - f.53 r: Tierce - f.56r: Sexte - f.59r: None (antiphon "Pulchra es" and capitula "In plateis sicut") - f.62r: Vespers - 67r: Compline. - ff. 71r-74v: Officium beate Marie quod dicitur per totum adventum - ff. 76r- 81: Penitential psalms - ff. 82-85v: Litany and petitions - ff. 87r-108v: Office of the dead according to the usage of Rome (according to Knud Ottosen, order of the answers: 14, 72, 24, 46, 32, 57, 68, 28, 40) This book of hours is part of a corpus of ten manuscripts attributed to the artist "the Master of Philip of Cleves's Book of the Hunt", active in the Netherlands from 1470 to 1490. Details of several miniatures allowed CNRS researcher Anno Wijsman, author of a corpus on this artist, to identify it by comparison with other manuscripts: Head of Christ on the miniature of the trinity, profile of David in prayer The floral elements of the friezes are very similar to other books of hours from the Bruges region produced at this time, notably the graphics and colors of the Acanthus leaves. List of full-page miniatures: - f.10v : Crucifixion with the Virgin and Saint John; in the background a landscape of groves. - f.14v : Pentecost in the Upper Room. The Virgin is surrounded by the apostles in a building with open arches, showing the enclosure of an estate. - f.17v: Nativity and adoration of the angels. The Virgin is holding the baby Jesus in front of two kneeling angels, in a gothic building with columns and ogival windows. - f.31v: Annunciation. The Virgin's room is colored orange and green; Gabriel wears a long red cloak. - f.41v: Visitation. The Virgin and Elisabeth meet on the threshold of a thatched cottage in front of an imposing lacustrian building with a pointed roof and a dormer window, flanked by a medieval tower with a blue roof and a drawbridge at the back. An entrance through the water is visible behind the Virgin. - f.47v: Nativity. The infant Jesus in his golden oval is framed by Mary, Joseph and the angel in the background, his wings spread, in a sort of threshold between the interior and exterior of a building with cross windows. - f.50v: Annunciation to the shepherds. In front of a landscape alternating between different seasons, with a medieval castle in the background, two shepherds in the midst of their sheep are receiving the rays of the solar message. - f.53v. Adoration of the Magi. Two of the three wise men are standing, another is kneeling. - f.56v. Presentation in the Temple. The Virgin is accompanied by Joseph and a servant girl. - f.59v. Massacre of the Innocents. Herod is depicted standing and ordering a soldier on the right with his sceptre to strike down his sword on a newborn child lying naked on the ground; in the distance, a scene shows a soldier killing the baby a woman is carrying in her arms. f.64v: Flight into Egypt. The Virgin with the child is on a donkey, preceded by Joseph; in the distance a column whose statue is breaking is placed in the middle of a landscape of groves. - f.68v. Assumption of the Virgin. The Virgin in heaven, kneeling before the Father, Christ and the Holy Spirit, receives her coronation in a flamboyant gold and red box bordered with azure. - f.73v. King David. Kneeling in prayer in the foreground, his harp and crown on the ground, he receives the divine rays; in the background, a landscape of trees and mountains is completed on the left by a medieval castle. - f.84v: Resurrection of Lazarus. Jesus stands among several figures against the background of a Gothic monastery. The illuminated initials are particularly well done, as are the friezes composed of various flowers including acanthus leaves and poppies. The 24 miniatures of the saints are of great finesse, with many details such as the small winged devil represented on the first one, behind St John. Historically valuable iconographic source, the backgrounds, foregrounds and backgrounds of the large paintings are equally finely executed, depicting cities, castles, homes and characters of the Middle Ages. Its elegant Renaissance binding is slightly later. However, the body of the book, with its wide margins, seems not to have been trimmed and it is possible that it replaced a first fragile binding, like velvet. Provenance : Claude Le PAIGE (circa 1552-1610), married to Alix de La Taxe in 1590 in Mircourt [Mirecourt, French commune of Loraine] (inscription on the back of the first cover transcribed above). He was the son of Gérard Le PAIGE and Isabeau HARDY. He was ennobled at the request of the Elector of Cologne, by letters from Charles Duke of Lorraine, given to Nancy on November 23, 1585, for military services rendered. (Door Azure, 2 doves affrontee Argent, membered and beaked Gules, set on a montjoye Or, & surmounted by a crosslet of the same, & for crest a newborn lion Argent, holding from its right paw a sword of arms hilted in gold). This family is from the city of Angers. His grandfather, Eustache-Alexandre Le Paige, who was born in this city, and said he came from a noble family, returning from the Italian wars where he had served the king as a captain, under the command of the lord de la Trémoille, passing through Basincourt, duchy of Bar, married in 1500, Isabeau de La Chaussée. He fixed his residence at the said Basincourt, where he is buried (Nobiliary or armorial general of Lorraine and Barrois By Ambroise Pelletier, p. 474). Handwritten ex-libris from the 16th century on the lower cover : François Bey. Work in an exceptional state of conservation, very fresh more than half a millennium after its production. Biblio : « Hanno Wijsman, Luxury Bound. Illustrated Manuscript Production and Noble and Princely Book Ownership in the Burgundian Netherlands (1400-1550), (Burgundica, xvi), Turnhout (Brepols), 2010, p.357, 580-581 » ; "Miniatures flamandes 1404-1482, Bernard Bousmanne et Thierry Delcourt, 2012".
Phone number : 06 81 35 73 35
Latin in Byzantium I. Late Antiquity and Beyond
, Brepols, 2019 Hardback, 564 pages, Size:155 x 245 mm, Illustrations:22 b/w, Languages: English, French, Italian. ISBN 9782503584928.
Summary 'Latin in Byzantium' explores the linguistic competence, cultural identity, and transmission of Latin texts in the 'noua Roma' between the fourth and the ninth centuries. Drawing together texts from a number of fields (e.g., law, grammar, religion, and tactics) and across a range of different forms (e.g., palaeographic, epigraphic, and papyrological), this important project provides scholars for the first time with an in-depth knowledge of both the Latin-speaking milieux in Byzantium, and of the contexts in which Latin was used. Crucially, the ancient sources studied in this volume are also analysed in their broader political and sociological context, providing rich material for study across different disciplines and making this volume an important resource for closing the gaps between literary and non-literary texts, history, and philology. TABLE OF CONTENTS Preface Rhomaika: Una introduzione - Guglielmo Cavallo General Framework Desuetudine longa? subeunt verba latina : The Transition From Late Antique to Medieval Byzantium and the Fall of Latin - Luigi Silvano Latin in Byzantium: Different Forms of Linguistic Contact - Alessandro Garcea Latin in the Empire: Texts and People La pratique du latin dans l' gypte de l'Antiquit tardive - Jean-Luc Fournet The Use of Latin in the Context of Multilingual Monastic Communities in the East - Claudia Rapp Writing Latin in Late Antique Constantinople - Gabriel Nocchi Macedo The Laws of the Language and the Language of the Laws La lingua degli ??????. Conoscenza e uso del latino nell'Oriente greco di iv secolo attraverso l'opera di Libanio - Andrea Pellizzari Asymmetric Exchange: Latin Speakers Learning Greek and Greek Speakers Learning Latin in Late Antiquity. On the Evidence of Grammars and Bilingual Texts - Juan Signes Codo er L'insegnamento di Prisciano - Michela Rosellini - Elena Spangenberg Yanes Sur un silence de Jean le Lydien - Marc Baratin Justinianus Latinograecus. Language and Law during the Reign of Justinian - Thomas Ernst van Bochove Latin as a Medium at the Service of the Power Le rituel des acclamations : de Rome "Byzance" - Fr d rique Biville L'univers grec et latin d'un po te africain : Corippe et Byzance - Vincent Zarini Latin Inscriptions in (Early) Byzantium - Andreas Rhoby Latin Texts as Sources La traduction du latin en grec Byzance : un aper u g n ral - Bruno Rochette Modelli latini per poemi greci? Sulla possibile influenza di autori latini sulla poesia epica tardoantica - Gianfranco Agosti Latin and the Chronicon Paschale - Christian Gastgeber Sulla conoscenza del latino nell'Oriente romano nel periodo tra Maurizio ed Eraclio (582-641): il caso degli storici-funzionari e di Giovanni di Antiochia - Umberto Roberto Latinismi e cultura letteraria nei frammenti di Pietro Patrizio: per un'indagine sul De cerimoniis e sugli Excerpta Historica Constantiniana - Laura Mecella Latin Literature in Johannes Malalas's Chronicle - Olivier Gengler Appunti per un lessico grecolatino tardoantico: la traduzione latina di Gregorio di Nazianzo trasmessa dal Laur. S. Marco 584 - Alessandro CaponeLatin Vocabulary Transmitted across Space and Time On the Use of Latin Legal Terminology in the Byzantine Legal Treatise De actionibus - Jos -Domingo Rodr guez Mart n Per lo studio dei rapporti tra istituzioni di giustiniano e libri basilici - Massimo Miglietta Latinit cach e Constantinople (VIe - moiti XIIIe si cles) - Peter Schreiner I latinismi nella lingua greca moderna - Johannes Niehoff-Panagiotidis Index of Names Index of Places
