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137:: Vigila, after whom it was named and who was the illustrator; Serracino, his friend; and GarcĂa, his disciple. The first compilation was finished in 881, but was updated up to 976. The original manuscript is preserved in the library of
211:, influence. The use of animals as decoration and for supporting columns also parallels contemporary Frankish usage. More Carolingian and less Byzantine influence is evident in the
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compilation of various historical documents accounting for a period extending from antiquity to the 10th century in
145:. The manuscripts celebrate with illustrations not only the ancient Gothic kings who had reformed the law —
141:(as Escorialensis d I 2). At the time of its compilation, Albelda was the cultural and intellectual centre of the
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The codex contains, among other pieces of useful information, among the earliest mention and representation of
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84:. Among the many texts brought together by the compilers are the canons of the Visigothic
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Interlace
Decoration and the Influence of the North on Mozarabic Illumination (in Notes).
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Zoomorphic
Decoration and the Problem of the Sources of Mozarabic Illumination.
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elements. The interlace patterns and the drapery show
Carolingian, as well
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Salvus of
Albelda and Frontier Monasticism in Tenth-Century Navarre.
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The scribes: Serracino, Vigila, and GarcĂa as drawn by Vigila.
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The illuminations are stylistically unique, combining
157:— but also its contemporary dedicatees, the
321:, Vol. 42, No. 3. (September, 1960), pp 211–218.
122:, and a calendar. It is now in the library of
52:Among the earliest Arabic numerals in the West.
354:, Vol. 23, No. 4. (October, 1948), pp 559–590.
102:writings, historical narratives (such as the
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332:, Vol. 35, No. 1. (January, 1960), pp 17–38.
343:, Vol. 25, No. 1. (Autumn, 1965), pp 33–42.
192:into Spain around the early 8th century.
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383:Medieval history of the Basque Country
129:The compilers were three monks of the
260:"Codex Albeldense: Facsimile Edition"
126:monastery, with the shelfmark D.I.2.
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373:10th-century illuminated manuscripts
337:The Forgotten Early Medieval Artist.
300:Guilmain, "Forgotten," 36–37.
225:in 992 by a different illustrator.
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388:Mozarabic art and architecture
188:. They were introduced by the
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398:10th-century writers in Latin
94:, the decrees of some early
291:Guilmain, "Zoomorphic," 24.
282:Guilmain, "Interlace," 215.
114:), various other pieces of
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27:Chronicle from 9th century
346:Bishko, Charles Julian. "
223:San Millán de la Cogolla
393:10th century in Navarre
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163:Sancho II of Pamplona
135:San MartĂn de Albelda
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43:
35:
335:Guilmain, Jacques. "
324:Guilmain, Jacques. "
313:Guilmain, Jacques. "
243:Chronicon Albeldense
214:Codex Aemilianensis
143:Kingdom of Pamplona
44:People from Toledo.
378:Visigothic Kingdom
169:, and his brother
105:CrĂłnica Albeldense
86:Councils of Toledo
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159:rulers of Navarre
65:Codex Albeldensis
18:Codex Albeldensis
16:(Redirected from
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319:The Art Bulletin
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264:Facsimile Finder
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247:Epitome Ovetense
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91:Liber Iudiciorum
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209:Italo-Byzantine
182:Arabic numerals
175:King of Viguera
165:and his queen,
70:CĂłdice Vigilano
59:Codex Vigilanus
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133:monastery of
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267:. Retrieved
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147:Chindasuinth
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341:Art Journal
205:Carolingian
151:Reccesuinth
139:El Escorial
124:El Escorial
78:illuminated
362:Categories
269:2022-05-27
197:Visigothic
98:and other
74:Albeldense
68:(Spanish:
219:Vigilanus
201:Mozarabic
120:canon law
100:patristic
352:Speculum
330:Speculum
221:made at
108:and the
82:Hispania
76:) is an
308:Sources
184:in the
203:, and
167:Urraca
155:Ergica
153:, and
131:Riojan
88:, the
241:Also
229:Notes
190:Arabs
116:civil
96:popes
186:West
118:and
56:The
368:976
245:or
72:or
62:or
364::
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20:)
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