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The Opus arduum valde is a Latin commentary on the Book of Revelation, written in England by an unknown scholarly author in the years 1389–1390. The book originated from the early Wycliffite movement and reflects its experience of persecution in apocalyptic terms. In England it soon fell into oblivion, but was adopted by radical exponents of the fifteenth-century Bohemian Hussites. In the sixteenth century Luther obtained a copy of the Opus arduum valde which he had printed in Wittenberg with his own preface in 1528. This remarkable document of religious dissent in late medieval Europe, highly regarded in Lollard and Hussite studies, is now for the first time made available in a critical edition.
Ibn Wāḍiḥ Qui Dicitur al-Yaʿqūbī, Historiae Vol. 1
Abū al-ʿAbbās al-Yaʿqūbī was a Muslim imperial official and polymath of the third/ninth century. On the occasion of the publication of The Works of Ibn Wāḍiḥ al-Yaʿqūbī. An English translation, edited by Matthew S. Gordon, Chase F. Robinson, Everett K. Rowson, and Michael Fishbein (Leiden, 2017-2018), Brill is making the classic Arabic edition of al-Yaʿqūbī’s Taʾrīkh by M.Th. Houtsma (2 vols., 1883) available in paperback for the first time.

Volume 1 covers Pre-Islamic history, from Adam and Eve to the Patriarchs and Prophets of ancient Israel; Jesus and the Apostles; Assyria, Babylonia, and India; the Greek and Persian Empires; a variety of other regions including China and Ethiopia; and a section on the pre-Islamic Arabs. The current volume offers the Arabic text only. The English translation is found in vol. 2 of The Works of Ibn Wāḍiḥ al-Yaʿqūbī.
This set of 8 volumes contains the first 25 SEG volumes from the start in 1923 till 1976, as well as the index to volumes 11-20.
Contributors: , , and
In der ersten deutschen Übersetzung seit 140 Jahren liegt hier einer der berühmtesten Texte der Musikgeschichte erstmals in einer zuverlässigen und für die Praxis konzipierten zweisprachigen Ausgabe vor.
Die Musica Enchiriadis, entstanden in der zweiten Hälfte des 9. Jahrhunderts, tradiert die Theorie des europäischen Tonsystems, entwickelt eine der frühesten Tonschriften, schafft und erweitert die begrifflichen Grundlagen zur Beschreibung von Musik und entwickelt die früheste Form der abendländischen Mehrstimmigkeit. Daher ist es nicht zu viel gesagt, wenn man die Musica Enchiriadis als Grundlage sowohl der Musiktheorie als auch der Komposition in Europa bezeichnet.
J. F. Niermeyer's Mediae Latinitatis Lexicon Minus is a highly practical lexicon, providing researchers, teaching staff and students in the field of Medieval History with concise, essential information. Niermeyer Online on Brill’s Dictionary Platform is still the “compendious lexicon for rapid information” envisaged by Niermeyer and is the only online version based on the very latest print edition (content expanded by 10% in 2002). This last update also provided French, English and German translations for every entry of a Medieval Latin concept. Niermeyer Online offers searches on lemma and full text: searches can be refined by century of use. All entries are contextualized with relevant text passages. Niermeyer’s Lexicon Minus has established a reputation over more than 50 years as an invaluable, authoritative, and highly rated resource for medievalists, and Niermeyer Online is certain to be an indispensable working tool for historians working inside or outside an academic library.
The transmission of the Seneca tragedies first became an object of critical discussion by the Italian humanists and has continued to occupy scholars to the present day. Besides a brief account of the critical work of Jodocus Badius (Ascensiana 1514) and of Girolamo Avanzi (Aldina 1517) the repertory lists systematically the conjectures recorded since M.A. Delrio (Second ed., 1619) down to the year 2007 and arranges them in the context of the critical discussion of the text. Conceived in the first instance as a work of reference for future editors, commentators and critical readers of the tragedies, the repertory is also a mirror of the critical acumen as well as the vagaries in the long tradition of Latin textual criticism.

Die kritische Auseinandersetzung mit der Überlieferung der Seneca-Tragödien beginnt im humanistischen Italien und wird seither intensiv betrieben; entsprechend zahlreich sind die Eingriffe und Vorschläge, welche zum besseren Verständnis des überlieferten Textes vorgetragen worden sind. Neben einem Einblick in die kritische Arbeit von Jodocus Badius (Ascensiana 1514) und von Girolamo Avanzi (Aldina 1517) verzeichnet das Repertorium systematisch die seit M.A. Delrio (2. Ausg. 1619) bis zum Jahre 2007 erfassten Konjekturen und ordnet sie unter jeweiliger Angabe des Fundortes in die textkritische Diskussion ein. Das Repertorium ist in erster Linie als Nachschlagewerk für künftige Herausgeber und Kommentatoren der Seneca-Tragödien gedacht. Als Spiegel von Scharfsinn und Irrungen in der Konjekturalkritik leistet es zudem einen Beitrag zur traditionsreichen Geschichte der lateinischen Philologie.
Latin-French Book of Hours Manuscripts in the Koninklijke Bibliotheek [National Library of the Netherlands], The Hague

General Background
Books of hours were devotional prayer books designed to be used by the Catholic laity in reciting prayers at the eight traditional “hours” of the canonical day, which ran from “matins” before dawn to “vespers” in the evening and concluded with “compline” at bed time. They were without a doubt the most important and widespread books of the Middle Ages throughout Europe. Originating in the thirteenth century they continued to be made well into the sixteenth century, first as handwritten manuscripts, which by the fifteenth century were increasingly mass produced in workshops in the Low Countries and France, and following the introduction of printing after 1480 also in that format. They were in Latin but also frequently contained material, such as prayers, rubrics, rhymes and calendars of saints’ days, in the vernacular. In general they followed a standardized pattern that usually began with a set of prayers and readings in honor of the Virgin Mary (the so-called “Hours of the Virgin”) and also included the Hours of the Cross, the Hours of the Holy Spirit, the Seven Penitential Psalms and the Office of the Dead. Although generally cut from the same cloth, there was room for local variation within certain texts, called a “use”, for example “use of Paris”. Often material of a personal nature, such as favorite prayers, was inserted into the manuscripts and later into the printed books on pages left blank for this purpose. Marginal notes and jottings of a religious or more profane nature were common and books of hours were used to record family history, such as dates of births and deaths, but also to swear oaths and solemn vows, possession of the bible being still quite limited. They came in all price ranges, from lavish custom-made examples adorned with illuminated miniatures or full-page drawings by professional artists commissioned by nobles or wealthy bourgeois to inexpensive mass produced ones with a few illustrations of poor quality. If a person was likely to have any single book at all during this period, it would have been a book of hours. They were prized possessions meant to be used for both private and public devotion and were passed down to family members or other heirs at an owner’s demise, usually with the injunction to remember the deceased in one’s prayers. As a linchpin of the Catholic religion meant “to offer lay people a suitably slimmed down and simplified share in the Church’s official cycle of daily prayer…” (Duffy 2007, p. 59), it is no wonder that books of hours came under attack during the Protestant Reformation of the sixteenth century. In countries where the Reformation triumphed such as England, their production and use disappeared. In countries that remained Catholic on the other hand, such as France, printed books of hours continued to circulate, with new editions, often bilingual Latin-French, being issued right down into the twentieth century.

The collection of the Koninklijke Bibliotheek
Among the medieval manuscripts of the Koninklijke Bibliotheek in The Hague are 37 Latin Books of Hours that also contain parts in French and are included in the library’s collection of French-language Medieval Manuscripts as catalogued by Anne S. Korteweg, which was micropublished previously by Moran (MMP113). The majority are from the fifteenth century (29), while there are also six manuscripts from the sixteenth century and one each from the fourteenth and thirteenth centuries. They find their provenance in various parts of France and the southern Netherlands and follow different “uses” as explained above, the most common in this collection being Rome (16 examples), followed by Paris (8). Virtually all contain varying numbers of miniatures and other forms of embellishment such as initials and border decorations. The microfiches reproduce the entire text of each manuscript, including all illustrations, in black and white. Their availability will further research into a variety of subjects in art history, history of religion and private life, manuscript studies and text studies.

More details
For complete details of each title, see the draft version of the guide, which can be downloaded from our site: The illustrations can be consulted in color on the Koninklijke Bibliotheek’s website (see link on the front of this flyer, right column).

Reference: Eamon Duffy, Marking the Hours: English People and their Prayers 1240-1570 (New Haven and London: Yale University Press, 2007)
Unlike most theologians of his age, Martin Bucer proved to be farsighted with respect to European affairs: In addition to his contacts within Alsace and Germany he established relations with almost every European country. It was his ecumenical attitude that always led him to mediate between the parties in the religious battles of his time. His deep commitment to the goal of reaching agreement can be traced in all his activities, works and letters.
Since the first editor, Jean Rott (Strasbourg), died in 1998, Bucer's correspondence has been edited in Erlangen. This academic edition of source material provides future research with a broad basis for significant aspects of Reformation history about which very little is known. Volume VI covers the period from May to October 1531.
Introduction, Critical Edition, Translation and Notes
This treatise is a sequel to Vives’ On the Education of the Christian Woman, published in Brill’s series, Selected Works of J.L. Vives. It studies the institution of marriage from a male vantage point, with interesting observations on female psychology, anticipating his later work, De anima. Vives insists more here on the weakness and instability of the woman than in the previous treatise, relying on the biological tenets of Aristotle and Galen. Much attention is given to the choice of a wife and to the husband’s role as tutor of his spouse and disciplinarian. The marriage debt is regarded as a necessary evil, as in St. Paul, while the spirituality of the union is exalted. The book was often printed together with the De institutione feminae Christianae and even considered as a fourth book of that work.
The Christian monumental historic-heroic epic Davidiad is the masterpiece of the prolific Croat Humanist Marko Marulić (Marcus Marulus, 1450-1524). The poem, comprising 6765 Latin hexameters, and divided into 14 books, was never published, and eventually even thought to be lost. Marulić's autograph resurfaced in the Biblioteca Nazionale of Turin, although it had been heavily damaged during the huge fire in January 1904. For the present edition the author has collated the original manuscript in Turin, made additional corrections, adopting the suggestions of Veljko Gortan, and reduced his first edition (1957, Mérida) to an absolutely necessary minimum. He has also enclosed a brief Vita Maruli, written by Marulić's contemporary Latin poet of Split, Franjo Božičević (Franciscus Natalis, 1469-1542).