Two Leaves of the Gottschalk Antiphonary

Two leaves of the Gottschalk Antiphonary

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Citation Davis, Lisa Fagin. 1995. Two leaves of the Gottschalk Antiphonary. Harvard Library Bulletin 5 (3), Fall 1994: 38-44.

Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42664026

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Two Leaves of the Gottschalk Antiphonary

Lisa FaginDavis

he 1988 Houghton Library exhibition "The Bible in the Twelfth Century" T included several fragments of medieval manuscripts whose origins were at the time largely unknown. During a tour of the exhibition, Professor Barbara Shailor found two of the fragments to be familiar. They were, in fact, sisters to seventeen fragments she had seen at the Beinecke Rare Book and Manuscript Library at Yale University. Further study led to the conclusion that all of the fragments were once part of the same manuscript, a twelfth-century antiphonary from the Benedictine monastery in Lambach, Upper Austria. 1 In the twelfth century, the scriptorium of the Benedictine abbey in Lambach was a flourishing center of manuscript production. 2 Surviving manuscripts of many genres testify to the quality and breadth of the artistic output of the monastery during this period. Of the twelfth-century survivals, however, one type of manuscript LISA FAGIN DAVIS is an inde- pendent scholar and manuscript is conspicuously absent; no neumed liturgical manuscripts produced at the abbey consultant in the Philadelphia survive intact. Such manuscripts are typically a major source of information about area. the liturgical and musical practice of any monastery, and collation against other manuscripts of the same genre can reveal much about outside influences upon an abbey as well as about its unique liturgical practices. An antiphonary becomes par- ticularly important when it is from a center of manuscript production. Thus, this manuscript is significant liturgically, musically, and art-historically. A total of twenty-seven leaves are now recorded of this manuscript. Two are Houghton pfMS Typ 704, nos. 5 and 6 (hereafter H5 and H6). The others are: Beinecke Rare Book and Manuscript Library MS 481.51 (17 leaves); Saint Louis Public Library Grolier #44; Stiftsbibliothek Lambach Ink.II. 1.i (four leaves serv- ing as flyleaves); Stiftsbibliothek St.Paul-im-Lavanttal Frag. 54/8 (two leaves); and one leaf in a private collection. Fragments of two additional leaves are stubs in the bindings of Lambach Stiftsbibliothek Ink.I/95 and II/ 36.3

1 For the circumstances surrounding the identification of Wiirzburg, and is dedicated to the Assumption of the these and other leaves from Lambach, see R. G. Virgin and to St. Kilian. Babcock, Reconstructing a Medieval Library: Fragments from J See Babcock, Reconstructing a Medieval Library, 104 and Lambach (New Haven, 1993). A study and facsimile of the figures 1 and 56. A preliminary list of antiphonary frag- extant portion of the manuscript is the author's doctoral ments was published by Kurt Holter in "Neue Beitrage dissertation, "Epiphany at Lambach: The Evidence of the zur Geschichte der Stiftsbibliothek von Lambach im Gottschalk Antiphonary," Yale University, 1993. hohen Mittelalter," Kunstgeschichtsforschung und Denkmal- 2 Lambach is on the northern bank of the Traun river, ten pjlege (Festschrift fiir Norbert Wibiral zum 65. Geburtstag) miles southwest of Weis in the Passau diocese. The ab- (Linz, 1986), 95. See also Holter, "Das mittelalterliche bey was founded in 1056 by Adalbero, bishop of Buchwesen des Benediktinerstiftes Lambach" in 900 Jahre The Gottschalk Antiphonary 39

The antiphonary was produced in the second half of the twelfth century. Fif- teenth-century liturgical notations on several of the leaves indicate that the manuscript was used for approximately three hundred years. Eventually, however, monastic customs changed, and the antiphonary became out-of-date. As a result, when the monastery began acquiring printed books between 1460 and 1470, many of the older manuscripts were dismantled for use as bookbinding material (flyleaves, pastedowns, binding stays, or wrap-around bindings). 4 This practice accounts for the folios being used as flyleaves in incunables bound at the abbey. All of the antiphonary leaves bear the scars of this period-sewing holes, shelf marks, ex libris notes, severe trimming-and these also provide clear evidence of the manuscript's Lambach provenance. 5 Early in the twentieth century, the fragments were removed from some of the bindings and sold separately, either by the monastery before sale or by an early buyer or seller. The earliest identifiable owner of the Houghton fragments is the bookseller B. M. Rosenthal, who had acquired the leaves by 1955.6 Although Rosenthal's source is unknown, earlier ownership of the leaves is indicated by the penciled notations in the lower margins of each fragment: "II 8841 XII Jahr." (H5) and "II 8840 XII Jahr." (H6). These are probably shelf numbers from an earlier collection, or stock numbers from an earlier bookseller. Philip Hofer, who purchased the leaves from Rosenthal in 1955, bequeathed them to the Houghton library in 1984. The Houghton leaves are recorded in the Houghton Library exhibition catalog The Bible in the Twelfth Century.7There they are identified as belonging to a "noted missal" from "Milchstatt." This mistaken attribution is based on notes written by Hans Swarzenski on the matte that holds the fragments. That the leaves are part of an antiphonary cannot be disputed, as they contain only musical office liturgy. Moreover, the fragments are clearly part of the same Lambach antiphonary from which the Beinecke leaves were taken: H5 is consecutive with Beinecke MS 481.51.7 (B7) and the folio in private hands (Pi), and H5 was originally conjoint with Beinecke MS 481.51.6 (B6) (see below). Finally, the script and initials of the Houghton fragments are characteristic of the Lambach scriptorium in the late twelfth century. Under abbots Bernhard (r148-II67) and Pabo (n67-1194), manuscript production at Lambach reached its literary and artistic high point. One artist's work is predominant throughout this period: the artist of the Houghton fragments. Some of the finest examples of his work, intricate romanesque initials and penwork min- iatures, can be found in Berlin MS Theo.Lat.Qu.140 (formerly Codex membrana- ceus lambacensis [Cml] XCIII, also known as the "Williram manuscript"). Opposite a donor's portrait is found the inscription "Hie liber est Gotscalci de

KlosterkircheLambach (OberiisterreichischeLandesausstellung 6 The following is written on the folder that holds the frag- 1989) (Linz, 1989), 58 and catalog no. IX.13. He did not ments: know of the Yale, Harvard, or St. Louis leaves. ptMS Typ 704 5 & 6 4 H. Paulhart, MittelalterlicheBibliothekskataloge Osterreichs, = BMR # 15 {initial Ingressus} vol.5 (Vienna, 1971), 51. Noted Missal (fragment); Milchstatt (?) 5 On Beinecke MS 48 r. 5 r. 13' is found the incunable shelf s.XII mark "98," written by the nineteenth-century librarian Philip Hofer, 1984 who wrote shelf numbers on the flyleaves of Lambach "BMR #15" was Rosenthal's stock number for the frag- manuscripts. The nineteenth-century ex libris "Stifts ments. Lambach" is found on Beinecke MS 481.51.6v. 7 Laura Light, The Bible in the Twelfth Century (Cambridge, 1988), 109, nos. 5 and 6. 40 HARVARD LIBRARY BULLETIN

Lambach," written by the rubricating hand. Because the rubricator, scribe and artist appear to have been the same man, this artist/ scribe is known as Gottschalk, 8 and the antiphonary can appropriately be called the "Gottschalk Antiphonary." Gottschalk has been identified as the "Gotscalcus Presbyter" whose death is noted in the Lambach necrology on 2 January, without year given.9 He is also mentioned in a newly-discovered thirteenth-century Lambach mortuary list as "Gotscalcus scolaris et monacus. " 10 The title "scolaris" suggests that he may have been a schoolmaster. A booklist at the beginning of the Berlin manuscript is in Gottschalk' s hand, which indicates that he may have had some connection to the library: it has been suggested that he was the librarian. 11 Gottschalk was active throughout the last half of the twelfth century, although his precise dates are uncertain. The earliest manuscript on which he is known to have worked as an artist is a Lambach rituale (Crnl LXX:Illa), a manuscript that was produced during the abbacy ofBernhard between 1148 and u67. Gottschalk was responsible for most of its initials. 12 Two Lambach manuscripts contain chro- nological evidence for the latter part of his career: Crnl LIV (the vita et miraculaof the abbey's founder-Adalbero, bishop ofWiirzburg-along with briefbiographi- cal sketches of the early Lambach abbots) and Vienna, Osterreichische National- bibliothek CVP 373 (a Lambach chronicle). 13 On folio 11r ofCrnl LIV, Gottschalk records brief biographical sketches of the Lambach abbots from the first, Ekkebert, up through the election of W aesigrimmus in I I 97. Gottschalk describes the abbacy ofWaesigrimmus, but a new hand records the death of the abbot in 1209. Gottschalk had evidently stopped working by then, but was still working five years earlier; the last miracle in his hand is dated 1204. The chronicle in CVP 373 is, in part, a copy of a Kremsmilnster chronicle. The original material begins at the year I I 97, with Gottschalk' s hand. The last entry in his hand is once again dated I 204, a reliable terminusante quernfor his period of productivity. Gottschalk's script is a graceful, consistent, and highly legible romanesque hand. 14 His style is consistent with that used by many scribes at Lambach, a style character- ized by the wavy nature of minims, ascenders, and abbreviation strokes, as well as by the extended shoulder on the terminal r (figure 2, line 6), 15 the ligature of u and s (figure I, line 3), and the long-tailed s (figure 3, line 9). Gottschalk' s hand is

8 Kurt Holter, "Zwei Lambacher Bibliotheksverzeichnisse somewhat later date. This is supported by the fact that a des 13. Jahrhunderts," Mitteilungen des Instituts Jar later Rituale, Cm! LXXIII, which is a copy of Cm! 6stmeichische Geschichtsforschung64 (1956):266. LXXIIIa made around the year 1200, does not include 9 A. Eilenstein, Die BenediktinerabteiLAmbach in 6sterreichob the psalm and litany written in Gottschalk' s hand. der Enns und ihre Miinche (Linz, 1936), 23. See also M. Gottschalk's textual additions to Cm! LXXIIIa were in Fastlinger, "Notae necrologicae lambacenses" in Monu- all likelihood written after the tum of the century. menta GermaniaNecrologicae 4, (Berlin, 1920) 404-6. 13 The Vita et miraculaare edited in I. Schmale-Ott, Vita 10 Stiftsbibliothek Lambach, Frag., no number. The author Sancti Adalberonis(Wiirzburg, 1954), and W. Watten- is preparing a separate study ohhis mortuary list. bach, ed., "Vita Adalberonis Episcopi Wirziburgensis" in 11 Holter, "Zwei Lambacher Bibliotheksverzeichnisse," Monumenta GermaniaHistorica, Scriptores XII (Hanover, 270. A second twelfth-century booklist, at the end of Cm! 1856), 127-38. CVP 373 is edited in W. Wattenbach, XIX, lists "tres antiphonalia villa." At the time the "Auctarium Lambacense" in Monumenta Germania booklist had been completed the Gottschalk Antiphonary Historica,Scriptores IX (Hanover, 1851), 555-61. had only recently been created, so it is surely not one of 1 4 See Davis, "Epiphany at Lambach," 173-78. the "vile" antiphonaries. 1 s In this case, the r is at the end of a syllable, not the end of 12 Gottschalk's scribal hand is found at the very end of this a word. The space left for music between this syllable and manuscript, where he records a psalm and noted litany the next causes the letter to have the extended shoulder (ff.76•-78•). Because he writes at the very end of the as if it were in fact the end of the word. manuscript, it seems likely that this work was added at a The GottschalkAntiphonary 41

, •#' ...... Jjt, 'c,,;,,.,'"'rJ::it;:1;j;.,,. ·'"""'

Detailsfrom the GottschalkAntiphonary.

Figure1 (upper left): Houghton pfMS Typ 704. Detail ef6 recto. Figure2 (upperright): BeineckeRare Book and ManuscriptLibrary MS 481.51. Detail of8 recto. Figure3 (lowerleft): BeineckeRare Book and ManuscriptLibrary MS 481.51. Detail ef6verso. Figure4 (lowerright): Houghton pfMS Typ 704. Detail of 5 verso.

Reproducedwith permissionof the Houghton Library and the BeineckeRare Book and ManuscriptLibrary. 42 HARVARD LIBRARY BULLETIN

distinguishable from the other Lambach scribes by the distinctive rounding at the base of minims, which curve into their feet instead of turning abruptly, and by the slight slant to the right. His ct ligature is also distinctive; the top of the t-ascender curls left into an almost complete circle (figure 2, line 1). It is likely that Gottschalk was also the neumator: space is left between syllables in the text for melismatic passages (figure 1, line 9); changes in the script module correspond to similar changes in neume size; and the neume forms used by Gottschalk as omission marks in other manuscripts correspond exactly to the neumes used in the Gottschalk Antiphonary. 16 Each of the Houghton fragments includes an excellent example of Gottschalk's romanesque initials. This style has been examined in detail by Kurt Holter, who lists several characteristic elements: the distinctive red and purple; the small bands encircling the stem of the letter, which appear to be squeezing the letter and bulg- ing outward as a result; small rings attached to a stem protruding from the body of the letter; and, finally, a single, detached leaf (round at one end, narrowing to a point at the other) divided down its long axis by a jagged line that is pierced by the stem of the letter. 17 All of these characteristics are found in the initial Von fragment 6 (figure 1). These may be compared with initials from the Beinecke leaves, and from other known Lambach products (figures 2 and 3). 18 The initials of the Houghton fragments are historiated. Within the body of the Vis a half-length portrait of the Sponsa Christi, the Bride of Christ. This figure resembles the portrait of Mary in the dedication scene of the Berlin manuscript, where Gottschalk is shown presenting the codex to the Virgin. '9 The portraits of the various saints who surround him, as well as the figure of the Virgin and surrounding angels, share distinct characteristics with the Sponsa Christi:long, spindly fingers, the eyeballs in the upper part of the eye, the single red dot on each cheek, the small circle delineating the chin. The initial I of Houghton pfMS Typ 704 5 shares these features as well (figure 4). The full-length portrait of the Angel Gabriel, here representing the letter I of the word Ingressus,duplicates quite closely Gottschalk's depiction of Gabriel in the Berlin manuscript. 20 The barefoot angel stands with his face turned towards the text. His right hand reaches across his body in a gesture of benediction, while the left holds a scepter that runs from his shoulders to his knees. Gabriel's right wing is fully visible behind him, his left wing only partially so. The lower layer of his robes is outlined in violet, as are his body and facial features. The halo, diadem, and upper layer of robes are drawn in red. The wings, the facial features, the gestures, and the folds of the robe near the feet of the angel closely parallel the angel in the Berlin manuscript. Such parallels between the Houghton figures and the figures in the Berlin manuscript confirm that the two manuscripts were illustrated by the same artist, Gottschalk of Lambach. Folio H5 measures 215 x 288 mm, and H6 221 x 278 mm. Both have been trimmed and are tightly creased and folded IO mm from the inner edge. The tab

i6 See Davis, "Epiphany at Lambach," figure 3. Lambach," Codices Manuscripti 8 (1990):137-47. 17 See K. Holter, "Die Handschriften und Inkunabeln" in 18 Holter, "Die Handschriften und Inkunabeln", plates 234 E. Hainisch, ed., Die Kunstdenkmiiler des Gerichtsbezirkes and 296. See also Babcock, Reconstructing a Medieval U- Lambach, Osterreichische Kunsttopographie, XXXIV/2 brary, figures 1 and 56. (Vienna, 1959), 213-68. See also R. G. Babcock and 19 Holter, "Die Handschriften und Inkunabeln," plate 238.

L. F. Davis, "Two Romanesque Manuscripts from 20 Ibid., plate 292. The GottschalkAntiphonary 43 thus created would have protruded after the first quire (for a front flyleaf) or before the last quire (for a back flyleaf) of the incunable in which the fragments were used as flyleaves. Paste from the spine of the incunable binding can be seen on the outer side of the crease in H5. Along each crease are sewing holes from the incunable binding. On H5, these are 14, 72,143,214, and 277 mm from the top of the folio. On H6, the center three holes are 68, 139, and 210 mm from the top of the folio (the top and bottom holes are not extant). The distances between each of the center three holes on both fragments are exactly the same (71 mm each); this suggests that the two folios may have been used as flyleaves in the same incunable. 21 The inner margins of both leaves have been severely trimmed, with no sign of the antiphonary's original sewing holes. On each folio, 26 lines are ruled (in blind) and written. Both fragments are ruled on the recto, which is the flesh side of H5 and the hair side of H6. The ruling on H6 is partially reinforced with light lead. Bounding lines are double-columns. In the outer margin of all known pages of the antiphonary are tonary-letters, indicat- ing mode and final for every piece. These are written as rubrics on a column drawn to resemble an architectural support. 22 The neumes above the text are of the St. Gall type. Folio H5 contains part of the office for St. Benedict (21 March), from the end of first Vespers through the end of the office. The Benedict office in the Gottschalk Antiphonary is one of the earliest known examples of the rhymed Benedict office "Praeclarum late," a version of the office that became very popular in the later Middle Ages. 23 The office for the Annunciation (25 March) begins on line 8 of the verso. Four other extant folios of the Gottschalk Antiphonary contain offices for Feb- ruary and March. These can be shown to be codicologically related to H5. The feast ofSt. Agatha (5 February) begins in the middle ofBeinecke MS 451.51.5 (B5), and ends on the consecutive folio, B6. A highly abbreviated liturgy for the feast of St. Scholastica (10 February) is next, followed by the feast celebrating the dedication of St. Peter's in Antioch (22 February). The feast of Pope Gregory (12 March) begins on B6v; the folio ends in the middle of Matins. The folio in private hands (P1) begins with the end of Lauds. The single folio that originally separated B6 and PI is missing. The feast honoring the birth of St. Benedict (21 March) begins in the middle of the recto side of P1. H5 is consecutive with this leaf, completing the Benedict office and beginning the Annunciation on the verso. B7 (which is conjoint with B5) immediately follows H5, completing Matins of the Annunciation and ending with Lauds. Because B5 and B7 are conjoint, and B6 and H5 are consecutive with those folios, following B5 and preceding B7 respectively, B6 and H5 must also originally

21 In the lower right corner of H6v is what may be an quire, possibly the final quire of the incunable. abraded shelf number. Lambach shelf numbers are always 22 See M. Huglo, Les Tonaires (Paris, 1971); P. Omlin, Die written in the upper margin of the front flyleaf or first Sankt-Gal/ischen Tonarbuchstaben (Engelberg, 1934); page of the codex; if this was the shelf number of the in- Davis, "Epiphany at Lambach," 41-58; and L. F. Davis, cunable in which the fragments were used as flyleaves, 'Tonary-Letters in Twelfth-Century Lambach,' Plain- then H6 must have been bound upside-down at the front song and Medieval Music (forthcoming). of the book, and H5 bound in back. The width of the 2 3 See Davis, "Epiphany at Lambach," roo-8. crease in H5 indicates that it surrounded a relatively small 44 HARVARD LIBRARY BULLETIN

have been conjoint. Because only one leaf originally separated B6 and PI, and H5 immediately follows PI, PI must have been the second folio of the inner bifolium and B6/H5 must have been the third bifolium of the quire. B5/B7, then, was the second bifolium. In other words, these 5 folios (B5, B6, PI, H5, andB7) originally constituted folios 2, 3, 5, 6, and 7 of an eight-folio quire, as shown below.

Bs B6 ,---

This reconstruction is confirmed by codicological evidence. In his other manuscripts, Gottschalk consistently arranges the quires with the hair side of the outer bifolium facing out, and like sides of the remaining folios facing each other. Such is the case here (the letter [H] indicates the hair side of each folio).

------H-

----- H

H6 contains the Common of Virgins, which would have been found near the end of the antiphonary. No other extant leaves bear a close codicological relation- ship to this folio. The recovery of even part of a twelfth-century antiphonary is noteworthy; that the artist and scribe are identifiable is even more so. The identification and codicological affiliation of the Houghton fragments with the other extant leaves of the Gottschalk Antiphonary adds much to the reconstruction of the manuscript: the full-length portait of folio H5, the half-length portait of folio H6, and a large part of the rare St. Benedict office. It is hoped that this identification will prompt the discovery of additional leaves of the manuscript in other collections.