Diving with and without armor : containing the submarine exploits of J. B. Green, the celebrated submarine diver
Diving
Scuba diving
Great Lakes (North America)
Green, J. B. (John B.), 1826-
Rare Book Room of B&ECPL (repository)
Digital image copyright 2024 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
eng
Autobiography and recollections of a pioneer printer : together with sketches of the War of 1812 on the Niagara frontier.
United States--History--War of 1812
Autobiography and memoir of Eber Dudley Howe, newspaper publisher and critic of the Latter Day Saint movement. Born in 1798 in Clifton Park, New York, Howe was a member of the U.S. Army in Batavia during the War of 1812. He would go on to work at the Buffalo Gazette in Buffalo, New York, as well as papers in Erie, Pennsylvania and Cleveland, Ohio. Howe would go on to publish Mormonism Unvailed in 1834, considered the first anti-Mormon book.
Howe, E. D. (Eber D.), 1798-1885
Telegraph Steam Printing House (publish of original)
Manuscript missel on vellum of the XV century [Book of hours]
Manuscripts, Latin--15th century
Manuscripts, Latin--New York (State)--Buffalo
Liturgy and rituals
Hours
Obsecro te prayer, with masculine forms: . . . [f. 20:] . . . in quibus ego sum facturus, locuturus aut cogitaturus . . . et michi famulo tuo impetres . . . -- 4. ff. 22-38v (in vol. 1) and ff. 39-72 (in vol. 2); f. 72v blank, Hours of the Virgin, use of Rome.
Contains 9 illuminations within decorative borders, and 4 illuminated initials.
Parchment; ff. 72, bound in two volumes with the break between the two between f. 38v and f. 39, which opens lauds with a miniature of the Visitation; 155 x 105 (90 x 63) mm; after the 12 leaves of the calendar, the quires are regularly of 8 leaves, with the catchwords written vertically along the text's inner bounding line; the final gathering retains only 4 leaves. 16 long lines ruled in ink for the text; the calendar in 17 ruled lines. Written in a spikey gothic book hand.
Nine major miniatures, above 3 lines of text, and with slightly rounded tops; full border of acanthus and colored leaves and flowers: f. 13 (gospel of John), John the Evangelist seated on the island of Patmos, inscribing his gospel onto a roll which reads "[I]n Pri[ncipio]," while his eagle looks on; f. 22 (matins of the Hours of the Virgin), Annunciation to the Virgin, in an elaborate Renaissance room with column and sculpted balustrade and a gold-embroidered red bedcurtain, as the Virgin turns towards the kneeling angel, and the Holy Spirit descends to her; f. 39 (lauds), Visitation showing Mary and her cousin, Elizabeth; f. 50 (prime), Nativity with the baby Jesus lying on the extended hem of the Virgin's dress, as Joseph, holding a candle (?), enters the foreground; f. 54 (terce), Annunciation to the shepherds; f. 58 (sext), Adoration of the Three Kings, one of them old, one middle-aged and one young; f. 61 (none), Presentation in the temple, as Simeon, his hands covered with a cloth, reaches out to hold the baby Jesus, with Mary holding him and Joseph waiting; f. 64 (vespers), Flight into Egypt; with Joseph leading the donkey that carries the Virgin and the baby Jesus f. 69 (compline), Coronation of the Virgin as she kneels before Jesus, enthroned, who crowns her as blue angels hover behind.
Four large miniatures, 6 lines in height. When the miniature is on a recto: narrow gold bar along the left border of the text, holding in place sprays of acanthus leaves and colored flowers in the upper and lower margins; when the miniature is on a verso: a wide bar border the length of the text of acanthus leaves and colored flowers or strawberries: f. 14v (gospel pericope of Luke), Luke, seat on a wooden chest, inscribing his gospel on a roll, as his ox reclines quietly beside him; f. 15v (gospel pericope of Matthew), Matthew holding up his pen and looking upwards to God, and his angel kneels behind him; f. 17 (gospel pericope of Mark), Mark, seated on a stool, inscribing his gospel on a roll, as his lion reclines quietly beside him; f. 18 (Obsecro te), the enthroned Virgin holding the baby Jesus.
Major initials to open each of the hours of the Virgin, 3-line height, in blue against deep red grounds, decorated in liquid gold; 2-line and 1-line initials in painted gold against deep red or blue grounds, decorated in gold; line fillers in gold-decorated bands of deep red or dark blue. Rubrics in red. Bound in two volumes, the first of 38 leaves, the second of 34 leaves (foliated as ff. 39-72); binding is modern red morocco; each volume with the same statement of provenance lettered on the front cover: at the top: "Manuscript Missel [sic] on Vellum of the XV Century" and at the bottom: "Presented by James Fraser Gluck to the Buffalo Library A.D. 1886."
Written in France during the second half of the 15th century; the calendar includes the feast of the Dominican, Vincent Ferrer who was canonized in 1455. In addition, the dark colors in the backgrounds of the painted initials is typical of work done at the end of the century. A slip from an auction catalogue is glued to the front pastedown of the first volume: it presumably was retained here because it represents this present manuscript, although the book of hours described on the slip is said to have 164 leaves (as opposed to the present ff. 72), with "14 beautifully painted miniatures" (there are 9 in the book as it now stands); in addition, this slip labels the manuscript it describes as n. 959 in its catalogue, suggesting a very large sale; the slip is assumed to come from an auction catalogue (rather than a sales catalogue) because there is no price associated with it (and the very top of the following entry is just barely visible at the bottom of the slip). The manuscript as it now stands, of 72 leaves, belonged to James Fraser Gluck (1852-1897); he had the book bound in its present red morocco, had the inscriptions placed on the front covers, and donated the now-two volumes (along with a large collection of materials relating to British and American authors) to the Buffalo Public Library in 1886, which is a very early date for interest in medieval manuscripts in the United States.
Calendar in red and black--V. 1, leaves [1-12].
Identified in De Ricci as Horae, Roman use, written in France.
Catholic Church
Buffalo and Erie County Public Library (publisher of digital)
Gluck, James Fraser, 1852-1897
Latin
Buffalo (N.Y.)--Biography.
Women--New York (State)--Buffalo--Biography.
“Love is Stronger than Pain” is the title of Michael O’Brien’s book memorializing the legacy of his mother, Irene Corcoran O’Brien. She lived a life of daily sacrifice, tending to the critical needs of two of her children stricken with a rare, debilitating, painful disease which causes blistering of the skin and deformities. Her faith and unconditional love of John and Maureen enabled them to experience joy in life and inspire others to do the same. WIVB-TV’s Rich Newberg covered the O’Brien story for years, capturing the spirit of John, who honored the wish of his late sister and helped raise funds for a play about her life. “Hit Me Again” was in presented in Buffalo in April 1991. John died in 1992 at the age of 39. He was the oldest survivor of dystrophic epidermolysis bullosa. Maureen was 27 when she passed away in 1984. She died as her mother was changing here dressings. Both brother and sister appeared much older than their years. At John’s funeral it was said by his brothers that “he made friends out of strangers and family out of friends.” The series of reports ends with the tribute to Irene. Newberg interviews Michael who recalls Mother Theresa giving Irene her rosary. There is a scene of the brother and sister in the audience during Mother Theresa’s presentation at Niagara University. Speaking of his mother’s spirit, Michael says, “It was genuine humility…” He added, “She just thought that she was fulfilling God’s will and purpose for her life.”
Newberg, Rich (Reporter, Archivist)
Buffalo & Erie County Public Library (publisher of digital)
Grosvenor Room of B&ECPL (repository)
Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
PS 076 Herman Badillo Bilingual Academy
Journalism, Elementary school
Journalism and education
On September 30, 1997, WIVB-TV created a mentoring program for high school students at the Herman Badillo Bilingual Academy in Buffalo. The goal was to initially expose them to the inner workings of a television newsroom and teach them the basics of broadcast journalism and production. News 4 anchor Rich Newberg and news photographer Tom Vetter conducted workshops with the final goal of creating a TV news magazine program called “The Badillo Beat.” Fernando Correa, an 8th grade student who showed great potential in front of the camera, anchored the program, taking viewers into the heart of Buffalo’s Hispanic community. The purpose was to address important unresolved social issues. The items featured in this compilation include reports on what transpired during the course of the project and the student produced program that was presented to the school on June 23, 1998. Buffalo mayor Anthony Masiello had praised the initiative, telling students at the partnership signing ceremony that they were being given “an opportunity to grow” at a time when “communications is everything.” He said, “We live in an international marketplace. By the time you are adults, we’ll be communicating with all parts of the world every single day visa-a-vis TV and journalism, computers and telecommunications.” The Herman Badillo Bilingual Academy already had facilities and equipment used to videotape important school events. Rich Newberg told them that having entry into a television station and a professional newsroom could be a major step toward a career in broadcast journalism. However, he cautioned them that, “Unless you go for it, unless you want want it badly enough and work for it, it is not going to come to you. All we can offer you is the opportunity to see what television is all about.”
Vetter, Tom (News photographer)
Rice, Marie (Reporter)
Murphy, Kurt (Graphic artist)
Bert Hyde, First Ward historian and lifelong Resident, curator and co-founder of The Waterfront Memories and More Museum, daughter and sister of Buffalo Grain Workers
Grain elevators--New York (State)--Buffalo--Employees
Grain elevators--New York (State)--Buffalo
Grain trade--New York (State)--Buffalo
“Girls didn't go by the waterfront.” Most women and girls who lived in Buffalo's First Ward -- the waterfront community at the heart of Buffalo's once-pulsating grain industry -- never went close to the waterfront or worked among the grain elevators. But the industry was ever-present in their lives, from the grain that their husbands, fathers and brothers blew off their clothes when they came home for lunch, to the grain they sneaked from railcars, to the flour bags that mothers sewed into girls' dresses. Bert Hyde was interviewed by Kate Kaye in Buffalo in February 2020.
Kaye, Kate
https://redtailmedia.org/spilling-grain/
Hyde, Bert
General Mills, inc.--History
“It's like walking next to a jet, that's how loud they are.... That thing was just whistling and screaming.” Don Dodd got his start at General Mills in 1969 and worked there for decades, taking on all sorts of roles. For a time, he was a gunner - literally shooting Cheerios out of a pressurized chamber that created a deafening sound. In the early days churning out breakfast cereal and cake mixes, there were distinct roles for men and women at the plant. And, even though work there could be hot, noisy and grueling, Don and his coworkers often managed to find time for a break, sometimes dashing across the bridge for a 25 cent "adult beverage" at the nearby Swannie House. Don Dodd was interviewed by Kate Kaye in Buffalo in January 2020.
Dodd, Don
[Bert Hyde pictured outside the Waterfront Memories and More Museum with the Lake and Rail Elevator and Buffalo river in the background]
Bert Hyde is pictured outside The Waterfront Memories and More Museum in February 2020, with the Lake and Rail Elevator in the background.
[Former General Mills worker Don Dodd standing in front of table with memorabilia displayed]
Don Dodd displays General Mills and grain related memorabilia at his home in January 2020.
Antiphonaries
Music--Manuscripts
Manuscripts, Latin--Specimens
Parchment; ff. 2, not consecutive nor attached to one another; with a very deep lower border (as if in anticipation of an eventual need to add notes to the page?); 9 lines of text, each preceded by its row of staves; pricking along both the outer and the inner margins that ties in groups of 5 holes to the 1 text line plus 4 stave lines. Formal gothic minuscule that includes both the curled line ("ricciolo") and the small waved line ("ondina") abbreviation marks for, respectively, the preconsonantal "r" and the prevocalic "r"; see Andrea Bocchi, "Riccioli e ondine. L'abbreviazione per vibrante preconsonantica e prevocalica nella gotica italiana dei secoli xiii e xiv," Scriptorium 61 n. 2 (2007) 430-437 and images on pl. 52; at the end of the article, Bocchi places use of these marks in central Italy, and he dates them to the time span of the 13th century and into the early years of the 15th. Music in square notation on 4-line red staves with a custos at the end of the set of staves. Initials of somewhat more than 1-line height (they extend into the staves' second line from the bottom) in plain alternating red with simplistic blue flourishing, and blue with red flourishing; the letter following the decorated initial and occasional other initials throughout the text are touched in red. Rubrics in red that are copied above (not before) the beginning of the relevant piece of text. Early modern pagination in ink in the uppermost outer corner of each side of the leaf.
Written in Italy during the early years of the 15th century. On p. 202, in the center lower margin, the pencilled note: "Mr. Charles D[avenport ?] Champlin, 3-2-36 D" presumably representing the person from whom these two leaves were acquired, and the date of acquisition, March 2, 1936; the initial "D" may represent the librarian. In-house library files cite the name of Louis Charles Elson (1848-1920) but probably incorrectly.
Bibliography: De Ricci. Census, p. 1212, no. 28
Antiphonal, with responsories 2 through 6, and their accompanying versicles, for Quinquagesima Sunday. -- Antiphonal, with responsories 1 through 5, and their accompanying versicles, for Passion Sunday.
Digital image copyright 2023 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
lat
Leaves conjugate but not consecutive; 1st leaf (5 lines) with musical notation; 2nd leaf (15 lines) with text only.
Parchment; one bifolium, i.e. ff. 2, non-consecutive, with the leaves pasted together at the gutter; On f. 1: 5 lines of text and music, the text written in a formal gothic script, the music in square notation on red 4-line staves with a custos at the end of each set of lines; added tones for the antiphons are noted in the margins: 3rd tone on the recto; 5th tone on the verso. Rubrics in red. In the uppermost right corner of the recto, the folio number: 12. On f. 2: 15 lines of text; formal gothic script. In the uppermost right corner of the recto, the folio number: 19. The folio numbers on these two leaves and the basic knowledge that in books of Italian origin and at this date the standard quire size is of ten leaves point to this set of leaves as being the second bifolium in the second quire. On both leaves: 1-line initials (i.e. the height of slightly over one line of text) either in red with purple flourishing, or in blue with dark red flourishing; the painted blue initial on the first recto was originally written as a letter N that was then partially erased to give a majuscule letter I; 4 initials in black ink, with Elefantenr sel.
Written in Italy, probably towards the end of the 15th century; this late date is suggested by the presence of a comma (!) in the text on f. 1 recto. According to De Ricci, the library acquired these leaves from Henkels, in December 1931, and there is a note in pencil in the lower margin of f. 1 reporting this fact: "Henkels 12-8-31 [signed:] E."
Bibliography: De Ricci. Census, p. 1212, no. 27
Office for the Purification of the Virgin (2 February), in part, but with musical notation showing the importance of this feast. -- Office for the feast of Agatha (5 February), at matins, including here the end of the second nocturn and the beginning of the third.
Buffalo & Erie County Public Library (Publisher of digital)
Graduals (Chants)
Illumination of books and manuscripts--Specimens
Miniature of the Annunciation; decorative border.
Parchment; f. 1; 9 lines of text and music, the text written in a formal and very spiky Germanic gothic book hand, and the music in square notation on 4-line staves, with a custos at the end of each line of staves; the vertical rules on either side of the written space are doubled.
A square miniature opens the feast of the Annunciation, the height of almost 2 lines of text and music: enclosed in a wooden frame, in a large and deep Renaissance-style bedroom, with a long hall reaching straight back to a garden, the archangel Gabriel approaches in flight from the upper left, with the Holy Spirit in the form of a dove above the Virgin's head, as she turns backwards from her prayers to see the angel; a large vase with lilies sits in the center of the floor. For another pattern of the same miniature, see, for example, Glasgow, University Library, Hunter MS 25 (S. 2.15), the one full-page miniature in the book (there are nine smaller miniatures), in a breviary with pictures attributed to the Master of the First Prayer Book of Maximilian. This manuscript is discussed in Thomas Kren and Scot McKendrick, Illuminating the Renaissance: the Triumph of Flemish Manuscript Painting in Europe (Los Angeles: Getty Museum, 2003), in a section by Thomas Kren on pp. 317-318, n. 89, with a reproduction of the Hunterian manuscript's miniature of the Annunciation.
In the BECPL manuscript, on the recto, a 2-sided border of interconnecting triangles in red, dark blue, green and yellow, each one decorated with faint drawings; the blue triangle directly below the archangel Gabriel contains a coat of arms: quarterly, 1 and 4, [two or three objects?], 2 and 3, argent [?], two bars [azure?]. The R that opens the chants for the Annunciation is rendered as if a 3-dimensional wooden letter, with shadows, sitting on a gray ground; other initials: two are the height of one line of text and one set of staves, in red; another initial, of the same size, is in black Elefantenr sel with flourishes of curled acanthus leaves, touched in green. Rubrics in red. Foliation in black ink in the center of the outer margin of the recto, and with the same number in early modern foliation in the upper right corner of the leaf: "xciiii" (= 94).
Written probably in Austria during the turn from the 15th to the 16th century; the assigning of this leaf to Italy in De Ricci's Census proves that De Ricci himself had not seen this leaf. According to the BECPL inhouse website, the leaf belonged to Louis Charles Elson (1848-1920), although there is no comment to that effect in De Ricci, and there is no oval or round sticker with Elson's name on the leaf (as there is on the leaves in this library's collection that certainly belonged to Elson). We are very grateful to Peter Kidd, who proposed the similar pattern of the Annunciation in the manuscript held in Glasgow, and to his citation of relevant bibliography
"Formerly used as a wrapper for deeds."--De Ricci
Bibliography: De Ricci. Census, p. 1212, no. 26
Gradual, with the end of the gradual chant and then the communion chant for the feast of St. Benedict (21 March), followed by the introit for the feast of the Annunciation (25 March), with its versicle and the beginning of its gradual; references to other parts of what was once the book that contained this leaf are, on the recto between the rubric and the beginning of the text, "Vultum tuum, fo. 1" and on the verso before the present gradual chant, "Graduale, Diffusa est, [fo.] lii."
Previously classified as RBR MSS. C33G76 1500
Education--New York (State)--Buffalo
Education--New York (State)--Erie County
Bullying
Serious incidents of school bullying were receiving national attention in 2011. President Barrack Obama held a White House conference on preventing bullying after high profile cases of teenage suicides struck a national nerve. In Western New York, worried parents of young victims of bullying were concerned that their school districts were not dealing effectively with the issue. A rash of incidents on school buses targeted students as young as six years old. WIVB-TV Senior Correspondent Rich Newberg reported on young children being tormented and found that school superintendents were reluctant to go on-camera to discuss the issue. Parents said bullies were not being punished, even after repeated incidents were documented. There was enough pubic interest in the growing problem to warrant a special WIVB-TV presentation. On March 2, 2011, large portions of the 5 and 6 o’clock newscasts were set aside to feature a panel of experts who took calls from concerned viewers. They addressed issues including whether or not a targeted child should fight back. Parents were also advised to look for signs indicating that their child might be a victim of bullying. It was noted that victims can carry deep emotional scars. There were calls for serious interventions by school districts that had been reluctant to take direct action against known bullies. The segments ended with high profile celebrities and politicians, including President Obama, offering words of encouragement to those who were being tormented at school. Students were urged not to remain silent and to seek help from those they trust, including parents and teachers. Legendary Buffalo boxer “Baby Joe” Mesi told a group of public school children that he had been a victim of bullying. The former world heavyweight contender said he built up his self confidence by learning how to box. “Too often the voice of the victim, the target of the bully, goes unheard,” said WIVB-TV General Manager Chris Musial. He added, “Young people still feel trapped, abused and tormented. We at WIVB-News 4 and CW23-WNLO are committed to digging deeper in our coverage of this important issue. Whether it begins in the schoolyard or school bus, or in cyberspace through online taunting or texting, we will continue our efforts to find solutions that lead to an end of these horrible actions by bullies.” “The Bully Project” was honored with a national Sigma Delta Chi Public Service Award from the Society of Professional Journalists.
Newberg, Rich
WIVB (Television Station : Buffalo, N.Y.)
Murphy, Kurt (Graphic Artist)
George Richert (Reporter)
Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes without the expressed written permission of WIVB-TV and the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
Parchment; ; f. 1; 7 lines of text and music, the text copied in a highly fractured gothic book hand, and the music in Hufnagelschrift on 5-line red staves, with a custos at the end of each set of staves, with text and music placed within "tram lines" that border the written area on both vertical sides. The opening initial corresponding to the height of 2 lines of text and their corresponding 2 sets of staves in an initial formed of scrolling green leaves, set on a punched gold ground, and enclosed withing a frame of pieces of "wood" in alternating red and blue sections; growing out of the initial, and running the length of the page in its far left border is an extended scroll of multicolored acanthus leaves and gold dots, the entire spray of leaves is roughly trimmed on the left by the knife of the person who removed this leaf from its binding. In the lower margin, an equivalent spray of acanthus leaves, flowers and gold dots, enclosed within a narrow silver frame. On the verso, a calligraphic initial (equivalent to 1 line of text and its music) in the ink of the text. In upper right area of the recto of the leaf, the foliation in red roman numerals, "ccxi."
Written in Austria during the time at the end of the 15th and the beginning of the 16th century. Although the Buffalo and Erie County Public Library states that the leaf was part of the collection of Louis Charles Elson (1848-1920), there are no round / oval stickers on the leaf that assert Elson's ownership of the leaf, nor is that assertion of provenance in the record by S. De Ricci. Formerly in the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library.
Bibliography: De Ricci. Census, p. 1212, no. 25
Antiphonal with the very end of the service for the feast of the Decollation of John the Baptist (29 August) and the beginning of the service for the feast of the Nativity of the Virgin (8 September).
Parchment; ; f. 1; 5 lines of text and music, with the text copied in a formal gothic hand and the music in black square notation on 4-line red staves. Initial S of the height of one line of text and one of music, in dusty rose, infilled with stacked aroid flowers in petals of dark blue, red, green and gray, the whole set on a very spiked gold ground, with a leafy extension in rose and blue; a gold ball in the margin. The initials E and G, the height of one line of text and two (of the four lines of the staves) in white-decorated blue or red, set against a ground of negatively-designed leaves on grounds red and blue or blue alone; the letters X, L, and A (directly following the decorated initials) in elaborate gothic format against a ground of negatively patterned leaves in the ink of the text. On the recto, in the center of the outer margin, the folio number in red roman numerals, "CL." Small round label in the upper innermost corner of the verso, "Elson n. 17."
Written towards the end of the 15th century in Italy, and most likely in Lombardy given the spiky gold ground around the major initial; the rayed gold ball above that initial also occurs in the northern parts of Italy. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This fragment was n. 17 in the Elson collection.
Bibliography: De Ricci. Census, p. 1212, no. 24
Gradual with the end of the sung parts of a mass for many martyrs, and the introit for another mass for many martyrs.
Canon law--Manuscripts
Canon law--Commentaries
Parchment; ; ff. 3 of which the first is a single leaf, and the second two are the innermost bifolium of a quire with consecutive text. Written in a light brown ink by a very unexpert (or very hurried) hand in a compressed gothic book hand in a space that seems to be ruled only for the vertical lines that designate the width of the writing area, although some areas do show the horizontal text lines: e.g. on f. 3v, in the inter-column space adjacent to the gloss's 2-line initial, and on that same page, in the lower right column, where 6 lines were left blank in order to copy the gloss's final line on the very last line available on that page (so that no one could insert other gloss without noticeably interrupting the flow of the text). The number of lines in either the text or the gloss area varies according to the amount of space necessary to copy the gloss that is relevant to the text on that page: the text lines on these leaves varies from 2 columns of 3 lines (on f. 1) to 2 columns of 36 lines (on f. 2); the number of lines of the gloss varies from 2 columns of 60 lines (on f. 1) to 2 columns of 66 lines (on f. 2; but note that the columns have here shrunk in width to where they accommodate only some 4 to 6 letters).
In both the text and the gloss, 3-line initials (although, since the text lines are more widely spaced than those of the gloss, a 3-line initial within the text is larger than an initial of the same spacing in height in the gloss) in alternating dusty rose or in blue, both with some patterning in white, and with flourishing in white-patterned dusty rose; the tendrils of the flourishing end with trilobe leaves or gold balls; in the gloss on f. 1v, the ground of the painted initial is particolored, red and blue. In the gloss on these three leaves, only one 2-line initial with penwork flourishing: on f. 3v, an initial in red with purple penwork. In both texts, paragraph marks alternating in red or in blue. Running headlines: on the verso, "L" (for Liber), and on the recto, the roman numeral in alternating red and blue numbers, "III." Early modern foliation in the upper right corner of the recto: 43; 50; 51.
Written in southern France, possibly in Montpellier given its law school, during the times after the first quarter of the 14th century: either after 21 March 1314, when its text was promulgated by Clement V, or after 25 October 1317, when John XXII, in his bull "Quoniam nulla" promulgated it as an obligatory text. According to De Ricci, this manuscript was acquired from "Weyhe" in March 1921, although it is unclear which "Weyhe" was intended: either the bookstore of the family of Heinrich Weyhe in Salzwedel (some 110 miles west of Berlin, in the former Prussian Saxony), which only closed in 2021 at the death of the last owner, Helga Weyhe; or De Ricci may have intended by the name "Weyhe" the bookstore that belonged to a nephew of that family, Erhard Weyhe whose shop at 794 Lexington Avenue in New York City was active in the 1920s and 1930s; Erhard Weyhe died in 1972. Belonged to the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library.
Text in 2 columns, surrounded by commentary; 65-71 lines of commentary.
Leaves numbered 30-31 and 43, with [book] III in top margin.
Bibliography: De Ricci. Census, p. 1212, no. 21
Clement V, Pope, approximately 1260-1314
Parchment; the lower portion of one leaf, including a very large empty bottom margin. 3 lines of text and 2 lines of superscript red 4-line staves (the topmost set of staves is cut away); written in a formal gothic book hand; music in square notation on 4-line red staves, with a custos at the end of each set of staves. 1-line initials in red with purple flourishing, or in blue with red flourishing. Rubrics in red. The cut-off upper portion may have contained a very nice initial.
Written in Italy during the second half of the 15th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This fragment was n. 31 in the Elson collection.
Bibliography: De Ricci. Census, p. 1211, no. 19
Illumination of books and manuscripts
Manuscripts--New York (State)--Buffalo
The letter D illuminated with colors and gilt, within a frame; excised from large format choirbook.
1 fragment; written in a formal gothic book hand; square black notation on 5-line red staves. The initial (here taken as a letter C), set within a narrow frame in dark brown with 2 gold rules around all sides, formed of an elaborate lavender scroll, shaded with dark blue, and decorated on the cusp of its far left scroll with green and yellow acanthus leaves attached by a knob of the same color; these colors also used for the scroll that closes the 2 front lines of the C; the whole against a dark blue-gray ground that is embellished in the center with a scrolled design of painted gold leaves and flowers; more of the same leaves and flowers are attached to outside parts of the letter.
Written in Spain, possibly during the 16th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Public Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. In the lower margin of side of the fragment treated as the recto, "BECPL." On a small oval label now affixed upside down on the fragment, "No. 25, Elson Collection."
Bibliography: De Ricci. Census, p. 1211, no. 18
Elson, Louis Charles, 1848-1920
Parchment, one bifolium containing the first and the last leaf of, presumably, the first quire of the book (although there may have been a quire with chapter headings that preceded this opening of the text); in the center of the lower margin of the present f. 2, the catchword to the next quire, enclosed in a box: "maius"; 2 columns of 63 lines, ruled in lead; written in a formal gothic book hand. 8-line painted initial in pale pink (?) now much abraded, set on a burnished gold ground with infilling of scrolling leaves in red and blue, and bar borders across the top and bottom margins, and along the inner margin, in all cases matching the reach of the text; on the curve of the lower bar are a fighting rabbit and greyhound, both with wings (or swirling capes); the space containing the gold is heavily outlined in black. 6-line initial opening the text in parted red and blue, decorated with narrow strips of space left in void, infilled with red flourishing, and set on a squared ground with flourishing in purple (?). 2-line initials alternating red with purple flourishing, and blue with red flourishing; paragraph marks alternating red and blue.
Berengarius Fredoli, Inventarium iuris canonici, containing the key points in the Decretum, the Liber Extra and the Liber Sextus. Berengarius (1250-1323), bishop of B̌ziers and appointed cardinal in 1305, wrote the introductory letter of this text to Guillelmus de Mandagot, bishop of Embrun (1295-1311), and dated his letter from Tiveretus (?) on the Sunday after the feast of the Assumption in the year 1300, i. e. on 21 August 1300. This text has not been printed; comparisons here are to another manuscript: Paris, Bibliotḧque nationale de France, lat. 15415. See Giovanna Murano, Opere diffuse per exemplar e pecia. Textes et Études du Moyen ℗ge, 29. (Turnhout: Brepols, 2005), "Berengarius Fredoli," n. 226, p. 306, listing five manuscripts of this text known to her as having been copied from rented pecia; Murano does not list the present bifolium which has not yet been examined for pecia marks
Bibliography: De Ricci. Census, p. 1211, no. 16
Frédol, Bérenger, -1323
Missals
Parchment; formal gothic book hand in two sizes of script; 2 columns of 30 lines, ruled in lead (?). 2-line initials within the text area (except for the letter I, which is placed outside of the text area, and is equivalent to ca. 5 lines in height), alternating gold with dark blue (or black) flourishing, or blue with red flourishing. Rubrics in red. Foliation in red roman numerals in the center upper margin of the recto: CCXXII; what may be modern foliation is in pencil in the lower outer corner of the recto, "130."
Written in France during the first half of the 15th century. This manuscript uses the word "officium" to designate the introit of the mass; such usage is common to books of Carthusian, Dominican or Carmelite rite. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library; initials BECPL stamped in lower margin of the recto. This leaf was n. 20 in the Elson collection; that information in the small ovel label on the uppermost corner of the recto: "No. 20, Elson Collection."
Bibliography: De Ricci. Census, p. 1211, no. 15
Missal, with the mass for the feast of The Chains of Peter (1 August) from its introit through the beginning of its post-communion prayer.