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A 15th-Century German Brangelary
Intended for populär use, ratherthan for a Church or monaßtery.V/ritten on paper, it has more thanthree hundred illustrations.
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A Fiftecnth-Century German Evangelary
By MARGARET MUNSTERBERG Ju^ nyj'
THE Library has recently acquired a German manuscript
of the Passion intendecl for populär use rather than for
a church or monastery. It is a finely preserved folio vol-
ume of 109 paper leaves, with more than three hundred illus-
trations and an impressive full-page picture. The book was
written in the middle or latter half of the fifteenth Century; the
German script, two columns to a page, is in a strong, heavy
hand, with rubrics at the heads of sections. Initial letters are
painted red and green; a number enclose sketches of human
faces. Words have occasionally been crossed out and rewritten
;
at the end of the narrative the scribe has replaced the "Amen"in black ink with one in red.
No Compiler or scribe is named, but an epilogue of six leaves,
addressed to a friend named Jos[eph], is signed by Johannes
Braxatoris of Elwang[en], who may have been the Illustrator.
The expert arrangement of Gospel passages and the familiarity
with Church Fathers and scholastics, as well as the translation
from the Latin, suggest that the Compiler received help from
one of the monasteries of the city. This translation is forceful
and simple. A noteworthy characteristic is the frequent use of
Minne — a word associated with Minnelied (love song) rather
than with the Caritas of the Vulgate.
The narrative, which is based on all four Gospels, begins
with the Sunday before Palm Sunday and ends with the Resur-
rection. It is interwoven with commentary and quotations. In
his desire for systematic presentation, the Compiler often re-
sorted to enumeration. For example, there were four succes-
sive ways in which tlie enemies of Jesus plotted to kill him; for
four reasons Christ defended Mary Magdalene's act of anoint-
ing him; fifteen "great things" took place in the house where
the Last Supper was held; for seven reasons Christ bowed his
head on the Gross. "Da ist ein fraug" (there is a question) in-
troduces manj^ a passage of ingenious exposition; and signifi-
cant points are emphasized with the exhortation "Merck"(note!).
The passages beginning with "O" suggest the "seven Os"or "fifteen Os" of the sorrows of Mary in the Books of Hours.The portions pertaining to Mary are of special significance
since, in contrast to the fairly canonical representation of the
rest, they are leg-endary. In medieval Germany the populär
Marian literature took the form of the so-called Marienklagen
(Laments of Mary); and the "Unser Frauen Klage" (OurLad3r's Lament) of the thirteenth Century was especially popu-lär. Besides the lyrical expressions, there were the narrative
Marienleben (Lives of Mary), which had their sources in the
apocryphal Gospels. Most important among the latter is the
Protevangeliimi, or Gospel of James the Minor, designed espe-
cially for the glorification of Mary. Although not accepted bythe Roman Church in ancient times, from the sixth Century onthis gospel was used in medieval homilies. That it was taken
seriously at the time when the Library's volume was made ap-
pears from the Statement (on f.iSr.) : "As we read in the bookof the life of our Lord, which was written by St. James the
Minor, whom Scripture calls a brother of Christ . .."
The manuscript includes comments from more than forty
authorities. The prophets Isaiah and Jeremiah are each quotedat least nine times, the Psalms five times, and there are refer-
ences to Joshua, Solomon, Ezekiel, Job, and the historian Jo-sephits.^The most frequently consulted authority is St. Augus-
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