Frequens sodalium meorum petitio cum quibus conuersando
Fit circumcisus se sociauit eis [mut.]
The presence of the books of Tobias, Daniel, Esther and Judith, as well as the revised version of the rubrics in e.g. Numbers seems to indicate the second edition of the different medieval redactions, seeBeichner (1965), pp. xvii–xx.
The text ends on line 164 in the Book of Judith. On f. 93v the text is almost completely erased, but originally at least half the page carried text, probably the remaining lines of Judith (l. 165-190). There are also traces of a rubric and some additional notes (perhaps by a later hand). Some books are placed in what seems a non-standard order: Machabees is placed between Kings and Tobias, and Esther before Judith.
Quire signatures in Roman numerals visible at the end of quires 1-3.
Condition
Textblock
Parchment very stiff, dark and dirty. Text smudged and difficult to read in a few places. Contemporary repairs in many places, e.g. f. 69.
Layout
1
50
210 ×
60 mm
Guidelines in ink. Pricking (slashing) in the outer margin, as well the upper and lower margin.
Script
Textblock
Hand 1
Pregothic.
Additions
Binding/Endleaves
(LCI)
Top of page, in brown ink by a modern hand: ‘94’; centre page, in black ink: ‘Autor Sacri huius Poematii est PETRVS de RIGA qui claruit pavlo post Annum Christi 1100 Barthius Adversar. Lib. 31. Cap. 15.’; below in brown ink: ‘Stephanii hand’; bottom right corner: a read seal, motif not visible. According to a former librarian's note this is the seal of Magnus Gabriel de la Gardie.
(f. Leaf_1r)
Centre page, in brown ink by a 19th century hand: ‘Petrus de Riga, Auora. Poema Sacrum’; bottom of page by the same hand: ‘Har tillhört Stephanus Stephanius och efter honom Magnus Gabriel de la Gardie’.
(f. SL1r)
In brow ink by a modern hand: 26 lines of text in Latin concerning the author and the present work.
(f. SL2v)
Top of page in brown ink by a modern hand: a copy of the rubric and the first 10 lines of the Aurora.
Textblock
(ff. 1r–91r)
Additions by various hands, of which many are corrections and additions of missing lines in brown ink by the scribe or a contempory hand. Other marginal additions appear to be glosses, e.g. on (f. 82v). Some additions are by a later hand, e.g. on (f. 1r).
Main text in dark brown ink, rubrics in red. The capital in the beginning of each line is placed in a separete column.
(ff. 1r–89r): plain initials over 2-4 lines in red. Some initals carry traces of green pigment in the counterspace.
Binding
Early modern binding. Parchment over cardboard. 2 pairs of leather straps. Spine, in ink: ‘Petrus de Riga No 21’; in ink: ‘96’; stamped in gold: ‘A 169’. LCO, upper part of cover in pencil (faded): ‘Uppbyggelselitt’.
13th century, first half. Origin unknown. According to an earlier librarian's note the manuscript might stem from a Danish monastery. However, no evidence for this exists and the supposition seems to be based on Stephan Stephanius's nationality. However, Stephanius bought many books on the continent, which makes it more likely that the manuscript is of French or German origin.
Provenance
Early provenance unknown. During the early 17th century the manuscript belonged to Stephan Stephanius, whose hand has been identified on LCI. After his death the manuscript was purchased by Magnus Gabriel de la Gardie and was then transferred to the Antiquities Archive. The signum ‘No 21’ on the Spine refers to its placement in this institution. The signa ‘96’ (Spine) and ‘94’ (LCI) have not been identified.
