Meder, Johannes: Quadragesimale de filio prodigo.
Add: Sebastian Brant: In sermones de filio prodigo carmina.
Basel: Michael Furter, 1495.
8vo. a-z8 ⁊8 ↄ8 A-C8 2a8.  leaves (2a8 blank).
Woodcuts, which are, according to BSB-Ink, by ‘The Master of Heintz Narr’ - see Bod-inc.
Woodcut printer's device.
ISTC im00421000; GW M22498; Goff M421; BMC III 783 (IA. 37781); Bod-inc M-166; CIBN M-264; BSB-Ink M-300.
|Shelf-mark:||Sp Coll BD1-g.4 (see main library entry for this item)|
|Provenance:||Regensburg, Bavaria, Benedictines, S. Emmeramus: partially erased inscription on a1r (under ultraviolet lamp) “Monasterio S. Emeramj” “ioh[ann]is mederi [...]”.
William Euing (1788-1874), insurance broker, Glasgow: acquired 27 Dec. 1841; pencil date and price code in Euing’s hand on front flyleaf “27.12/41” and “ba/.”; Euing’s initials and number in pencil “WE/20” on front parchment pastedown; pencil number “65” on front pastedown and on front flyleaf (probably Euing’s inventory number); source unknown.
University of Glasgow: Euing bequest, 1874; University Library bookplate pasted onto loose leaf of paper on which is written the title, imprint and “Curious Specimen of the Wood cuts of 15th Century”.
|Binding:||Germany, 16th-century blind-tooled pigskin over wooden boards. The front cover is decorated with fillets to form a centre panel bordered by two frames. The panel is decorated with a Rautengerank tool to form a pointed oval shape; the inner frame is mitred and decorated with roundels containing an angel holding a psalterium; the outer frame is undecorated. The rear cover is decorated with fillets to form a centre panel bordered by two frames. The panel is divided from corner to corner by fillets to form four triangular compartments which are decorated with heavily-worn pear-shaped stamps containing a bird (eagle?); the inner frame is decorated with roundels containing an angel (as on the front cover) and an oblong stamp with a floriate design; the outer frame is undecorated. The spine is decorated with roundels of a six-petalled flower, a leather title label added in the 19th century. A single brass clasp with catch plate on front board. The front and rear parchment pastedowns are fragments from a liturgical manuscript with musical notation in staveless neumes – perhaps written in the Basle area and probably dating from the second half of the 11th century. The front pastedown contains: (1) the conclusion of the second verse (‘Audivi vocem dicentem’) of the offertorium, ‘Oravi deum meum’, the standard assignment for the seventeenth Sunday after Pentecost; (2) (communion antiphon, complete) ‘Vovete et reddite’, the standard assignment for the seventeenth Sunday after Pentecost; (3) (introit antiphon) ‘Exsultate deo adiutori nostro’, the standard assignment for the Wednesday in September Quarter time; (4) the beginning of the gradualium, ‘Quis sicut dominus’, the standard assignment for the Wednesday in September Quarter time. The rear pastedown contains: the standard assignments for the 21st Sunday after Pentecost. (1) (introit antiphon) latter part: [‘In voluntate tua domine universa sunt] posita et non est qui possit ...’ (2) noted cue to introit verse, ‘Beati immaculate’; (3) (gradualium, complete) ‘Domine refugium factus es’ and its verse (complete) ‘Priusquam montes fierent’; (4) ‘Alleluia melisma’ (complete) with verse (complete) ‘De profundis clamavi’; (5) (offertorium, beginning) ‘Vir erat in terra nomine Iob’. Thanks are due to Emeritus Professor Terence Bailey, University of Western Ontario, and to David Weston, University of Glasgow Library, for the identification of the two fragments. Size: 177 × 117 mm.|
|Leaf size:||167 x 113 mm.|
|Annotations:||Early annotation on a2r pertaining to section of the text “inquit ad filium suu[m] thimotheu[m]”; manuscript correction on e8v (“feria secunda” changed to “feria sexta”); occasional nota marks; 19th-century number and probable price code in pencil on front flyleaf “6154” over “x/x/x/o”.|
|Decoration:||Initials, paragraph marks, capital strokes and underlining supplied in red throughout; red pen-and-ink decoration added to several woodcuts; running headlines underlined in red throughout; some printed signatures underlined in red.|