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Beato de Liébana códice de Turín, s. XII - Facsímil Aunque la fama como obras de arte que hoy tienen los Beatos se ha fundado en los códices escritos en visigótica. También se ha conservado una quincena larga de manuscritos en letra carolina (la de nuestros periódicos) o en gótica, cuya calidad artística, tanto en la caligrafía como en la ejecución de las miniaturas, no desmerece con relación a las del ejemplar visigótico que sirvió de modelo. Tal es el caso del llamado Beato de Turín, por estar el códice original custodiado en la Biblioteca Nazionale de Turín, signatura Ms. J.II.I (antes lat. 93), del que sabemos con certeza que fue copiado teniendo por modelo al magnífico Beato de Gerona. Obra de Senior, Emeterio y Ende, terminado en tierras de León el año 975, y que donó a la iglesia de Gerona su chantre Juan el año 1078. El Beato de Turín es un códice formado por 214 folios en pergamino de 360 x 275 mm., con el texto dispuesto en dos columnas y 42 líneas por folio.

One of the most precious manuscripts in the Escorial Library is that entitled Codex Conciliorum Albeldensis seu Vigilanus, which was generously donated to Philip II by the Count of Buendía, for the library. The manuscript comprises 429 large-sized folios (455 x 325 mm), written in double columns in Visigothic script, and is very luxurious by the standards of the time. Both text and illumination were finished in 976; it was produced for the Monastery of St. Martin at Albelda (Rioja) by the copyist Vigila, assisted, according to the colophon by to other illuminated named Sarracino and García; all three are pictured among other figures in one of the miniatures. The Monastery of St. Martin at Albelda was founded in the 10th century, when Rioja was governed by the kings of Pamplona, in the most important cultural location of the kingdom, and was even higher up than the no less famous monastery of San Millán de la Cogolla. The scriptorium was highly productive and well run, and the monks produced books on liturgical, spiritual and legal themes. Some of its manuscripts went to other countries, as for example a copy of San Ildefonso's treatise on the virginity of Mary, which was escorted to its destination by French bishop Godescalc du Puy in person, in the middle of the 10th century. The Albelda codex is a monumental compendium of canon and civil law. The main corpus comprises complete accounts of all the general councils, to which were added a selection of canons and decrees by popes up to St Gregory the Great, a contemporary of St Isidore. It also contains the Fuero Juzgo, that is, the civil code used in Spain from the Gothic period up to the 13th century. The work was enriched by the addition of other texts of historical and liturgical rather than legal interest, such as the Life of Mahomet, and the Albelda Short Chronicle or Calendar, in which we find the first mention and drawing in Europe of the Arabic numerals 1-9, without the 0. This is a work of some luxury, embellished with 82 miniatures in brilliant colours, some of them covering a whole folio, with views of towns (Toledo, for example,) and portraits of famous persons. Although this is essentially an Hispanic work, the techniques used for the draperies are not those of the traditional Mozarabic Visigothic style, but rather inspired by Carolingian miniatures. Il codice consta di 304 pagine Size: 225 x 395 Mm.

The most famous Spanish manuscripts of the high Middle Ages are without doubt the copies of Beatus of Liebana's Commentary on the Apocalypse, not so much for their text but because they were illustrated with outstanding miniatures whose drawings and colours, like those of modern comic strips were intended to bring to life certain passages of the Apocalypse. The name Beatus is that of the original author who was a monk who lived around 800 in the Monastery of St. Martin in the valley of Liebana in Cantabria. Modern critics are of the opinion that Beatus based his central text on the work of the North African Ticonius, adding texts from the Church fathers and St. Isidore. The work is in 12 sections or books, each divided into a Storia and an Explanatio. Later editions were included with texts from Isidore's Etymologies and Jerome's Commentary on the Book of Daniel. The Beatus Commentary on the Apocalypse was well known in Castile and Leon during the10th century, perhaps because of the approach of the end of the millennium which might bring the end of the world which was so well illustrated in the pictures and text of the Commentary. The best manuscripts, are in fact those by Magius, Emeterius, Senior and Ovecus, from Zamora, Leon and Palencia. Particularly outstanding are the texts known as the Pierpont Morgan, conserved in New York, and the Valcavado, kept in Valladolid, not simply because they are among the dozen or so best Beatus copies than because they belong the same group as the Seu de Urgell copy. The similarities between the Urgell and Valcavado versions are so strong that it is possible to advance that they must have been produced in the same scriptorium. How did this magnificent manuscript come to the Diocese of Urgell? We know from an inventory of the Seo de Urgell library that it was in the area of the Pyrenees in 1147 already. There was a strong connection between the Counts of Urgell and Alfonso VI and his descendants. Armengol V (1092-1102) married Mary, daughter of Count Pedro Ansúrez, the founder of Valladolid. The Count was from Castile but governed Urgell during the minority of his grandson, Armengol VI. It is quite probable that the book was a gift from Armengol V to St. Otto, bishop, and subsequently patron of the town, who began the building of today's cathedral. The manuscript consists of 239 folios, 7 numbered in Roman numerals, 232 in Arabic, measuring 398 x 270 mm; several folios were removed at some time. The script is Round Visigothic, in two columns. Although there is no colophon and we do not therefore know the exact date of completion, it would appear from the evidence of the script and illuminations to have been completed shortly after 970, like the Valcavado manuscript. The Urgell text contains 79 miniatures, some of which extend over two folios, with a number of others in the medallions of the genealogical trees which appear at the beginning. The style is very much that of the Mozarabic miniaturist tradition associated with Leon: strong colours, bold and vivid, in themselves a major challenge to facsimile reproduction; simplified drawings, reduced to essentials; the representation of people and objects throughout, and the use of superimposed coloured strips to achieve a degree of perspective. Il codice è composto di 239 numerati alla romana e 232 in arabo,la scrittura è carattere visigoticarotonda ripartita in due colonne - contiene 79 miniature di cui alcune occupano due fogli.La tecnica pittorica si inserisce nel quadro della miniatura morarabica della Regione del Leon.La misura è di 398 x 270 mm. mentre il volume di commentario è affidato a Peter K.Klein in lingua Spagnola e tedesca .I due Volumi costano Euro 8.900,00.- Size: 398 x 270 Mm.

Menologio de Basilio II Luzzi, Andrea, Zakharova, Anna Quantità: 1 Descrizione libro: Testimonio Compañía Editorial, S.A., Torrejón de Ardoz., 2008. 1ª eedición. 380 páginas. Codice libro della libreria 006871 - Language : Greek for the Facsimile and spanish text for the commentary Size: 375 X312

CODICE AUREO Facsimile e commentario sotto la direzione di Johannes Rathofer.Madrid 2000 Testimonio Compania Editorial Fogli 171 conformi all'originale le scritture sono disposte in due colonne - le dimensioni del codice sono spettacolari,cosi pure la magnificenza delll'oro.Quest'opera fu creata probabilmente nel Monastero Benedettino di Echternach.La Scrittura del codice è la carolingia - L'insieme dei due codici costa Euro 18.500,00.- Size: 507 x 335 mm.