SPECULUM HUMANAE SALVATIONIS PDF

Contents[ edit ] After a short Prologue two pages and Prohemium four , both unillustrated, the first two chapters deal with the Creation, the Fall of Satan , the story of Adam and Eve and the Deluge in four pages. Then follow forty more double-page chapters where a New Testament event is compared with three from the Old Testament , with four pictures each above a column of text. Usually each chapter occupies one two page opening. In all a complete standard version has fifty-two leaves, or pages, and illustrations including a blank page at the beginning and end.

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Akademische Druck- u. Its miniatures, all feather drawings outlined by a sure hand and with a great feel for the use of space, are sparsely coloured in red and blue and make the reader familiar with the very foundations of Christian belief. This codex is not only the oldest illustrated manuscript of the Speculum Humanae Salvationis but also its first bilingual edition, containing the original Latin text and a somewhat abridged German version.

The Speculum Humanae Salvationis is a mirror of human redemption by Jesus Christ and the Virgin Mary, a picture Bible containing systematically compiled accounts from both the Old and the New Testaments, thus forming an extensive synthesis of the Christian history of salvation.

Blue and red backgrounds alternate while the figures emerge before them in the natural colour of the parchment. Their faces are generally lit with friendliness, charm, and a sympathetic mood. Evil faces, in contrast, are smeared in black. Everyday objects are represented: architecture and vestments provide an interesting insight into the culture of the early 14th century, making the manuscript a true treasure trove for the cultural history of this period.

A Late Medieval Book for Religious Edification The Speculum shows the close relation between the New and the Old Testaments, in a number of archetypal series, each of which treats four episodes in both picture and text. A so-called anti-typus opens the series with an event of salvation taken from the canon of the New Testament, thus determining the subject being treated. This is followed by three relevant preview scenes from the Old Testament.

The interrelation of these four events allows the reader to apprehend the inner context of the salvation topic treated. Though the Salvation deed of God according to the New Testament is always preferred as the greater achievement. The great number of biblical scenes shown, and not least its extensive illustration cycle, have made the Speculum Humanae Salvationis the most popular book of religious edification and one of the most widespread works of the Late Middle Ages.

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Akademische Druck- u. Its miniatures, all feather drawings outlined by a sure hand and with a great feel for the use of space, are sparsely coloured in red and blue and make the reader familiar with the very foundations of Christian belief. This codex is not only the oldest illustrated manuscript of the Speculum Humanae Salvationis but also its first bilingual edition, containing the original Latin text and a somewhat abridged German version. The Speculum Humanae Salvationis is a mirror of human redemption by Jesus Christ and the Virgin Mary, a picture Bible containing systematically compiled accounts from both the Old and the New Testaments, thus forming an extensive synthesis of the Christian history of salvation. Blue and red backgrounds alternate while the figures emerge before them in the natural colour of the parchment.

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At the top of each page there are two illustrations; four can be seen when the book lies open. One of the pictures represents an event from the New Testament, while the other three depict Old Testament stories. This late medieval work has come down to us in various languages and formats: in manuscript, as a block book and in letterpress printed editions. Until the late 19th century it was thought that block printing — the technique of printing texts from wooden blocks into which the letters are carved — was a precursor of the art of printing, i. Baron van Westreenen thought that Laurens Jansz. Coster, the alleged inventor of the art of printing in Haarlem, had first practised block printing and had subsequently started to print with type consisting of movable wooden printing types. In light of this, the use of movable metal type would have been the German contribution to the development of the art of printing.

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