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A Fiftecnth-Century German Evangelary

By MARGARET MUNSTERBERG Ju^ nyj'

THE Library has recently acquired a German manuscript

of the Passion intendecl for populär use rather than for

a church or monastery. It is a finely preserved folio vol-

ume of 109 paper leaves, with more than three hundred illus-

trations and an impressive full-page picture. The book was

written in the middle or latter half of the fifteenth Century; the

German script, two columns to a page, is in a strong, heavy

hand, with rubrics at the heads of sections. Initial letters are

painted red and green; a number enclose sketches of human

faces. Words have occasionally been crossed out and rewritten

;

at the end of the narrative the scribe has replaced the "Amen"in black ink with one in red.

No Compiler or scribe is named, but an epilogue of six leaves,

addressed to a friend named Jos[eph], is signed by Johannes

Braxatoris of Elwang[en], who may have been the Illustrator.

The expert arrangement of Gospel passages and the familiarity

with Church Fathers and scholastics, as well as the translation

from the Latin, suggest that the Compiler received help from

one of the monasteries of the city. This translation is forceful

and simple. A noteworthy characteristic is the frequent use of

Minne — a word associated with Minnelied (love song) rather

than with the Caritas of the Vulgate.

The narrative, which is based on all four Gospels, begins

with the Sunday before Palm Sunday and ends with the Resur-

rection. It is interwoven with commentary and quotations. In

his desire for systematic presentation, the Compiler often re-

sorted to enumeration. For example, there were four succes-

sive ways in which tlie enemies of Jesus plotted to kill him; for

four reasons Christ defended Mary Magdalene's act of anoint-

ing him; fifteen "great things" took place in the house where

the Last Supper was held; for seven reasons Christ bowed his

head on the Gross. "Da ist ein fraug" (there is a question) in-

troduces manj^ a passage of ingenious exposition; and signifi-

cant points are emphasized with the exhortation "Merck"(note!).

The passages beginning with "O" suggest the "seven Os"or "fifteen Os" of the sorrows of Mary in the Books of Hours.The portions pertaining to Mary are of special significance

since, in contrast to the fairly canonical representation of the

rest, they are leg-endary. In medieval Germany the populär

Marian literature took the form of the so-called Marienklagen

(Laments of Mary); and the "Unser Frauen Klage" (OurLad3r's Lament) of the thirteenth Century was especially popu-lär. Besides the lyrical expressions, there were the narrative

Marienleben (Lives of Mary), which had their sources in the

apocryphal Gospels. Most important among the latter is the

Protevangeliimi, or Gospel of James the Minor, designed espe-

cially for the glorification of Mary. Although not accepted bythe Roman Church in ancient times, from the sixth Century onthis gospel was used in medieval homilies. That it was taken

seriously at the time when the Library's volume was made ap-

pears from the Statement (on f.iSr.) : "As we read in the bookof the life of our Lord, which was written by St. James the

Minor, whom Scripture calls a brother of Christ . .."

The manuscript includes comments from more than forty

authorities. The prophets Isaiah and Jeremiah are each quotedat least nine times, the Psalms five times, and there are refer-

ences to Joshua, Solomon, Ezekiel, Job, and the historian Jo-sephits.^The most frequently consulted authority is St. Augus-

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