31:
176:
567:
227:
It is likely that Danila copied this manuscript from an earlier, now-lost, Visigothic manuscript. The title and explicit frames are similar to those found in early manuscripts and the pages written in coloured inks are related to Late
Antique manuscripts written in gold and silver on purple-dyed
219:
in this manuscript. The frames surrounding the explicits and titles are similar in form to frames found in the earliest medieval illuminated books. However, Danila exploited brilliant and contrasting hues of color not found in earlier manuscripts. The decorated initials include initial types
130:
which appears in four locations in the La Cava Bible, is the only explicitly
Christian decoration in the manuscript. Although the form of the Crosses in the La Cava Bible do not appear in other surviving
438:
320:
295:
255:
It is one of the two most important representatives of the
Spanish type of Vulgate text, and in the Old Testament presents a text believed to be derived from very old Italian exemplars. In the
263:
as primary witnesses for almost all the books of the Old
Testament. The text of the Gospels shows signs of being a revision, being mingled with Old Latin elements. The manuscript contains the
49:
239:, it is also equally likely that his initials share in common the models for Merovingian initials. The manuscript gives no indication that Danila was influenced by contemporary
247:, who had Visigothic parentage, do have similar text and organization to that found in the La Cava Bible, something not found in other similar Carolingian manuscripts.
296:
Cava de' Tirreni, Biblioteca statale del
Monumento nazionale della Abbazia Benedettina della Ss. Trinità, Codices Cavenses, Cod.1 Biblia Sacra, manuscript digitalized
114:
indicate that the manuscript was produced in Spain, during the early 9th century. It is unlikely that such a luxury manuscript could have been produced in the
723:
232:). However Danila's use of colour was probably not present in the original manuscript and anticipates the use of colour in later Spanish manuscripts.
708:
688:
713:
276:
536:
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391:
474:
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Pre-Romanesque art in
Asturias is framed between the years 711 and 925, the period of the rise and extension of the Kingdom of Asturias.
552:
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718:
703:
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469:
160:
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384:
79:
144:
140:
628:
515:
71:
56:
667:
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184:
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The decoration of the La Cava Bible is limited to the four crosses mentioned above, frames surrounding
597:
244:
662:
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510:
401:
152:
119:
83:
67:
126:. Additional evidence of an Asturian origin is provided by the decoration of the manuscript. The
644:
306:
236:
188:
369:
464:
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221:
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361:
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commonly associated with
Merovingian illumination. However similar initials also occurred in
454:
216:
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260:
229:
489:
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is in the form of a cross. The text on folio 220 verso, which contains the prefaces by
122:, which was the largest Christian kingdom of the time, the most probable origin of the
53:
682:
618:
208:
148:
30:
581:
211:, is written in the form of a cross. This text is written in red, white and yellow
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136:
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on a blue-stained folio. There is one other folio stained blue and three folios
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The Bible was signed on folio 166v by a scribe named Danila. The location of the
240:
111:
103:
566:
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17:
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illumination. However, Carolingian Bibles produced under the patronage of
350:
164:
87:
204:
200:
91:
602:
174:
156:
127:
123:
63:
59:
29:
363:
Histoire de la
Vulgate pendant les premiers siècles du moyen âge
199:
on folio 143 recto. On folio 100 verso the title frame for the
107:
373:
212:
267:
with the earthly witnesses preceding the heavenly witnesses.
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on folio 1 verso, and the other in the introduction to the
187:
and titles, and decorated initials. There are two linear,
155:. "Cross of the Resurrection" was a prominent feature of
50:
Biblioteca statale del
Monumento Nazionale Badia di Cava
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Specifications about the origin of the word and Bible
637:
611:
590:
574:
545:
524:
498:
447:
426:
419:
106:where Danila worked is not known. However the
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27:Vidigoda Manustric Bible from the 9th century
8:
460:Pilgrimage church of Santiago de Compostela
423:
392:
378:
370:
439:Church of San Juan Apóstol y Evangelista
288:
277:List of New Testament Latin manuscripts
259:the La Cava Bible stands alongside the
235:Although Danila may have been aware of
338:Early Spanish Manuscript Illumination
118:of the Iberian Peninsula. This makes
7:
351:Information about the name "La Cava"
147:commissioned gold crosses, like the
94:folios which measure 320 by 260 mm.
724:9th-century illuminated manuscripts
532:Church of San Salvador de Valdediós
470:Church of San Julián de los Prados
455:Cathedral Basilica of San Salvador
139:devotional art. For example, both
25:
553:Church of San Salvador de Priesca
506:Church of Santa María del Naranco
475:Church of Santa María de Bendones
709:9th-century biblical manuscripts
689:Illuminated biblical manuscripts
565:
537:Church of Santo Adriano de Tuñón
516:Church of Santa Cristina de Lena
52:, Ms. memb. I) is a 9th-century
485:Church of Santiago de Gobiendes
34:Folio 220v of the La Cava Bible
714:Mozarabic art and architecture
191:drawn Crosses, one serving as
179:Folio 69r of the La Cava Bible
135:, the Cross was emphasized in
1:
663:Kingdom of Asturias (718–925)
511:Church of San Miguel de Lillo
323::276v, 1° colomn, 34-36 verse
228:parchment. (For example, see
78:is preserved at the abbey of
434:Santa Cruz de Cangas de Onís
310:, biblical text (1873 p. 24)
480:Church of San Pedro de Nora
308:Codex Diplomaticus Cavensis
740:
400:Pre-romanesque art in the
110:, textual variations, and
90:, Italy, and contains 330
658:
563:
408:
161:San Julián de los Prados
62:, which was produced in
546:5th period (910 to 925)
525:4th period (866 to 910)
499:3rd period (842 to 866)
448:2nd period (791 to 842)
427:1st period (737 to 791)
116:Muslim-controlled areas
490:Cámara Santa of Oviedo
222:Visigothic manuscripts
207:used to introduce the
180:
35:
668:Asturian architecture
178:
80:La Trinità della Cava
33:
719:Religion in Asturias
245:Theodulph of Orleans
237:Merovingian initials
70:during the reign of
704:Vulgate manuscripts
699:Kingdom of Asturias
694:Culture of Asturias
624:Cruz de los Angeles
619:Cruz de la Victoria
465:Church of San Tirso
402:Kingdom of Asturias
153:Cross of the Angels
68:Kingdom of Asturias
48:(Cava de' Tirreni,
645:Camino de Santiago
181:
66:, probably in the
36:
676:
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598:Beatus of Liébana
561:
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365:(1976), pp. 12 ff
340:(New York: 1977).
257:Stuttgart Vulgate
197:prophetical books
16:(Redirected from
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638:Spiritual legacy
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336:Williams, John,
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84:Cava de' Tirreni
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360:Samuel Berger,
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331:Further reading
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321:Comma Johanneum
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265:Comma Johanneum
261:Codex Amiatinus
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230:Rossano Gospels
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163:, near Oviedo,
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575:Infrastructure
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345:External links
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217:stained purple
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45:Codex Cavensis
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18:Codex Cavensis
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591:Major figures
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209:New Testament
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149:Victory Cross
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40:La Cava Bible
32:
19:
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582:La Foncalada
420:Architecture
362:
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291:
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234:
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193:frontispiece
182:
133:Asturian art
101:
44:
43:
39:
37:
241:Carolingian
145:Alfonso III
112:orthography
104:scriptorium
57:illuminated
683:Categories
612:Minor arts
283:References
171:Decoration
141:Alfonso II
76:manuscript
72:Alfonso II
629:Agate box
185:explicits
271:See also
165:Asturias
151:and the
137:Asturian
120:Asturias
88:Campania
189:compass
82:, near
205:Jerome
201:Psalms
157:murals
98:Origin
92:vellum
74:. The
603:Tioda
128:Cross
124:codex
64:Spain
60:Bible
54:Latin
251:Text
213:inks
143:and
108:hand
38:The
159:at
86:in
42:or
685::
224:.
167:.
393:e
386:t
379:v
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
