Das Karolingische Sakramentar
- Publisher / Year
- Akademische Druck- u. Verlagsanstalt (ADEVA) – Graz, 1971
Cod. Vindob. 958 - Österreichische Nationalbibliothek (Vienna, Austria)
Although only representing a fragment of the erstwhile manuscript, the Carolingian Sacramentary belongs among the “gems” of the Austrian National Library. This calligraphic masterpiece was made in the Abbey of Saint-Amand in northern France, and although its original owner remains unknown, it can be assumed from the richness and care of its execution that it was destined for a reputed church or a high dignitary of the church, possibly as a little booklet with prayers and consecration formulas for a bishop’s use. Its rich adornment features a great diversity of calligraphy, accomplished frames and marginal decorations including gold and silver, and a combination of Anglo-Saxon ornamental motifs and Carolingian-Frankish scribal art that is found in very few manuscripts, making this sacramentary an exquisite monument to illumination.
The Carolingian Sacramentary belongs among the “gems” of the Austrian National Library, its priceless manuscripts, as one can see from the addition of the letter C (for Cimelien = gems) in the old signature Theol. C. 992. This calligraphic masterpiece was made in the Abbey of Saint-Amand in northern France. We know very little, however, about the commissioner of the manuscript. The richness and care of its execution make us assume that it was destined for a reputed church or a high dignitary of the church. Numerous remarks and glosses added in the margins and occasionally between the lines indicate that this precious manuscript was frequently used, and conveys a lively picture of the thinking at this period.
The literature frequently calls this manuscript a “scramentary fragment” as some essential portions are missing. On a small number of pages, our codex contains a wonderfully written text of the Canon Missae and two pages of text for the consecration of a sub-deacon, of which only a few words at the beginning are lost. This might lead to the conclusion that the artistically decorated pages which were later bound in precious gold brocade constituted a little booklet with prayers and consecration formulas for a bishop’s use.
The texts were executed by several hands in different fonts, the Canon being enhanced by the use of gold ink. The text for the consecration of the sub-deacon and a portion of the Canon text are written in a very even Carolingian minuscule, the red headings on fol. 1r-v in capitalis rustica. The major portion of the canon text was written out by a calligrapher in solemn uncials. The numerous remarks and glosses added in the margins and between the lines bear testimony to the great diversity of calligraphy and provide a deep insight into the historical background of the manuscript. Neume annotations used on some pages above the lines guide the user as mnemonic aids through the melody.
The pages containing the Canon text are surrounded by rectangular ornamental frames the sides of which are filled with intensely entwined interlace making use of different patterns. While the interlace varies from page to page, the corner pieces resemble each other on each double page. A particularly elaborate and imaginative example is found in fol. 5v-6r, where silver bands, seemingly interlaced with the golden borders of the frame, end in animals’ heads whose beaks bite into the golden borders. Two pages hold, in prominent places, only one elaborately stylised word of text (fol. 4r: Vere [dignum et iustum] and fol. 5v: Te [igitur clementissime pater]. The letters are formed of golden borders decorated with elaborate interlace. Fine colorful dots not only line the shafts but also form delicate embroidery on the blank surfaces. This combination of Anglo-Saxon ornamental motifs and Carolingian-Frankish scribal art is found in very few manuscripts and makes this Sacramentary an exquisite monument to illumination.