Hildesheim Orational

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The Hildesheim Orationale is a work of Ottonian book art and is one of the main works of this era. The parchment manuscript with the dimensions 22 × 16.5 cm, which contains readings and prayers for Mass and the Liturgy of the Hours on 96 sheets , was probably a commissioned work by Heinrich II (reign 1002-1024) for the Hildesheim Cathedral , which he visited in March 1013 and also provided with other foundations. The illustration of four double-sided miniatures, six initial pages and numerous smaller decorative initials is assigned to the so-called Liuthar group or the “school manuscripts” within the Reichenau School of Painting , which are dependent on it . The oak book covers are made at the same time as the book block and show traces of former jewelry fittings.

The orational has been recorded in the Hildesheim Cathedral Library since the 18th century , where it is still kept today (signature: Hs 688). Liturgical additions to the book from the 14th and 15th centuries show that it was used at Hildesheim Cathedral as early as the late Middle Ages. The pictorial concept of the Reichenau painter speaks for the Hildesheim determination from the beginning with the double miniatures for the Assumption of Mary in Heaven and for the Feast of All Saints, with which the patronage as well as the consecration of the Hildesheim Cathedral are emphasized. David playing the harp in the miniature on All Saints' Day is supposed to represent the ruler who gives the gift , who asks for admission to the heavenly prayer community. A Hildesheim determination allows the question of a possible connection between the art of Bishop Bernwards of Hildesheim and the Reichenau scriptorium .

The Hildesheim Orationale was bound together with the Wolfenbüttel Pericope Book in the same workshop . In terms of painting and palaeography, it is still in the Munich Gospel of Otto III. , the Pericopes Book of Henry II and the Bamberg Apocalypse , all of which have been included in the list of World Heritage Sites by UNESCO .

literature

  • Walter Gernsheim : The illumination of the Reichenau . Dissertation Munich 1934
  • Hartmut Hoffmann: Book art and royalty in the Ottonian and early Salian empires . (Writings of MGH 30,1-2) Stuttgart 1986, p. 321.
  • Rainer Kahsnitz: Koimesis - dormitio - assumptio. Byzantine and antiquity in the miniatures of the Liuthar group . In: Festschrift Carl Nordenfalk . Stockholm 1987, pp. 91-122
  • Henry Mayr-Harting: Ottonian book illumination. Liturgical art in the realm of emperors, bishops and abbots. Stuttgart, Zurich 1991, pp. 401-406
  • The manuscripts of the cathedral library in Hildesheim . Part 1. Described by Marlis Stähli, Helmar Härtel et al. (Medieval Manuscripts in Lower Saxony, Vol. 8–9) Wiesbaden 1991–1993, pp. 129–147
  • Alois Schütz: The Seeon Abbey and its scriptorium. In: Medieval writing from the Seeon monastery . Edited by J. Kirmeier, A. Schütz u. a. (Publications on Bavarian History and Culture 28/94). Augsburg 1994. pp. 15-110.
  • Rainer Kahsnitz: Coronas aureas in capite, for the All Saints picture of the Reichenau collector in Hildesheim. In: Festschrift U. Nilgen . St. Ottilien 1997, pp. 61-97
  • Irmgard Siede: On illumination of the Ottonian and Salic times. Critical comments on the state of research with a compilation of important publications from 1963-1999. In: Journal of the German Association for Art Research 52/3 1998/9, pp. 151–196.
  • Bernhard Gallistl: A ruler in the Reichenau Orationale of the Hildesheim Cathedral Library? . In: Wolfenbütteler Notes on Book History 23/1998, 97–131
  • Gude Suckale-Redlefsen: The Book with Seven Seals. Edited by G. Suckale-Redlefsen and B. Schemmel. Exhibition catalog Bamberg. Lucerne 2000, pp. 93-100.
  • Patricia Engel , Bernhard Gallistl: The Reichenauer manuscripts of the cathedral library Hildesheim and the Herzog August library Wolfenbüttel in comparison . In: Wolfenbütteler Contributions 15 (2009), pp. 129–178

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