A pair of black-capped donacobius call
to affirm their territory. Top bird nerd fact for the day- this type of
singing is known as an antiphonal duet - a behaviour few birds are
capable of where two individuals or groups sing alternately at speed
with great precision! Unfortunately I wasn’t recording sound! Filmed in
the southern Pantanal, Brazil, on assignment for @stevewinterphoto, @natgeo and @natgeowild. Follow Steve and I (@bertiegregory) for news on our jaguar film coming soon!
Stunning fragment from a 15th century Italian antiphonary. Begins an antiphon that appears to be for Vespers of Easter Sunday, “Crucifixus surrexit tertia die …;” Psalms 109-112, recited at Vespers on Sunday, follow the antiphon.
Figurative Decoration: historiated initial, full border with miniatures
Source: Philadelphia, Free Library of Philadelphia, Rare Book Department, Lewis E M 074:16
A newly re-edited playlist of mine featuring music composed and performed by women in the medieval era. The mix contains both religious and secular music from Western Europe, Armenia, Byzantium, and Al-Andalus. All pieces date between the 8th and 15th centuries.
Zarmani e Ints | Khosrovidukht (8th Century) Avgoustou Monarchisantos | Kassia (810-865) O Vis Aeternitatis | Hildegard von Bingen (1098-1179) Mout M'abelist Quant le Voi | Maroie de Dregnau de Lille (13th Century) Kharjas: Non Me Mordas Ya Habibi | Andalusian Anon. (13th Century) Sol Oritur Occasus Nescius| Herrad of Landsberg (1130-1198) A Chantar M’er de So Qu'eu no Volria | Comtessa de Dia (1140-1212) Saltarello: “La Regina” | Italian Anon. (14th Century) Amours, ou Trop Tart me Sui Pris| Attributed to Blanche of Castile (1188-1252) Na Maria| Bieiris de Romans (early 13th Century) Conductus: Ave Maris Stella | From the “Las Huelgas Codex” (13th Century) Kharjas: Adir la-na Akwab| Andalusian Anon. (13th Century) Si'us Qu'er Conselh Bela Amia Alamanda| Giraut de Bornelh (1138-1215) and Alamanda de Castelnau (1160?-1223) Mout Avetz Fach| Castelloza (early 13th Century) Deuil Angoisseus| Christine de Pizan (1364-1430) and Giles Binchois (1400-1460) Antiphon: Caritas Habundant in Omnia| Hildegard von Bingen (1098-1179) Mon Chevalier, mon Gracieux Servant | Christine de Pizan (1364-1430)
Image: Sculpture of Mary Magdalene by Gregor Ernhart (c.1502), The Louvre.
Babylonian: The Epic of Gilgamesh The Flood The Epic of Creation
Prophets of Israel: The Old Testament
Hebrew Apocrypha: Testaments of the Twelve Patriarchs The Life of Adam and Eve Conflict of Adam and Eve with Satan The Book of Enoch (1 Enoch) The Secrets of Enoch (2 Enoch)
Homer: Illiad Odyssey
Hesiod: Works and Days Theogony Shield of Achilles
Pindar: Hymns / Odes
Herodotus (5th c. BC): Histories
Thucydides (5th c. BC): Peloponnesian War
Physikoi (Fragments) (7th - 4th c. BC) Thales Anaximander Anaximenes Xenophanes Heraclitus Pythagoras Parmenides Zeno of Elea Empedocles Philoaus and Pythagoreanism Anaxagoras Archaelaus Melissus Leucippus & Democritis Diogenes of Apollonia Sophists (Fragments) (5th c. BC) Protagoras Gorgias Prodicus Hippias Antiphon Thrasymachus Euthydemus & Dionysodorus
Plato (All dialogues) (5th - 4th c. BC): Lysis Laches Charmides Protagoras Hippias Major Hippias Minor Gorgias Meno Euthyphro Apology Crito Symposium Phaedrus Republic Phaedo Cratylus Ion Euthydemus Menexenus Parmenides Theatetus Sophist Statesman Philebus Timaeus Critias Laws
Aristotle (4th c. BC): Categories On Interpretation Prior Analytics Posterior Analytics Physics On the Heavens On Generation and Corruption On the Soul On Memory and Reminiscence On Dreams On Prophesying by Dreams Metaphysics Nicomachean Ethics Politics Rhetoric Poetics
Euclid (4th - 3rd c. BC) Elements
Jewish (various) (3rd c. BC) Septuagint - ‘Apocrypha’
Virgil (1st c. BC): Aeneid
Lucretius (1st c. BC) On the Nature of Things
Tacitus (1st c.): Annals & Histories Germania Agricola
Pliny the Elder (1st c.): Natural History
Epictetus (1st - 2nd c.) Discourses The Handbook
Marcus Aurelius (3rd c.): Meditations
Diogenes Laertius: Lives of Eminent Philosophers
Zosimos of Panopolis (3rd - 4th c.): Cheirokmeta Concerning the true Book of Sophe, the Egyptian, and of the Divine Master of the Hebrews and the Sabaoth Powers
Artist: Giovanni Battista Cavalletto and his son Scipione Cavalletto, in the style of.
Figurative Decoration: Large illuminated initial on fol. 100r in the design of a classical vase; very large historiated initial on fol. 1r (about 105 mm. square) showing the Annunciation, within an elaborate classical surround and with full illuminated border including classical vases and birds (very cropped).
Other Decoration: Rubrics in red, some calligraphic initials with decorative penwork including human profiles, etc.; large and small initials throughout in alternating blue with purple penwork and red with blue penwork.
Source: Bloomington, Indiana University, Bloomington, Lilly Library at Indiana University, Poole 17
A beautiful example of a 14th century antiphonal from Tuscany.
Script: Formal gothic liturgical book hand. Artist: Niccolò di ser Sozzo Music: Square notation on 4-line red staves. Figurative Decoration: Four historiated initials. Other Decoration: Painted and flourished initials.
Contains the common of saints, and the feasts of Corpus Christi, the translation of Francis (25 May), and Anthony of Padua (13 June).
Source: New York, Columbia University, Barnard College Library, MS 1
O Clavis David, et sceptrum domus Israel; qui aperis, et nemo claudit; claudis, et nemo aperit: veni, et educ vinctum de domo carceris, sedentem in tenebris, et umbra mortis.
O Key of David and sceptre of the House of Israel; you open and no one can shut; you shut and no one can open: Come and lead the prisoners from the prison house, those who dwell in darkness and the shadow of death.
May the angels lead you into paradise; may the martyrs receive you at your coming and lead you to the holy city Jerusalem. May choirs of angels receive you and with Lazarus, once poor, may you have eternal rest.
I have that book. With Socrates and Plato as messages. I left my photograph Under a cover in an Exhibit in the Bodleian. It was my way of saying: I am not in a cave. I can be saved by art And connectivity.