Discover the Antiphonal, a 13th-century illuminated manuscript and one of the State Library of South Australia's most exquisite treasures.
Captivating visitors with its extraordinary history and meticulous preservation, this 13thcentury illuminated manuscript, created in a central Italian monastery, was acquired in 1945 by the Friends of the State Library. Written on vellum, it contains the text and music for church services from Christmas Eve through to the end of Epiphany. Each service is introduced with a beautifully illuminated initial, including a striking half-page "H."
Antiphonarium ad laudes vesperas, et magnificat a nat. (The Antiphonal) was purchased for £77.10.0 during an auction in 1945 of Arthur Bryant Triggs' rare books collection at his estate in Yass, New South Wales. Its origins trace back to central Italy, possibly near Bologna. Triggs, a wealthy grazier and passionate antiquarian, emigrated to Australia from England in 1887. He was a prolific collector, amassing medieval manuscripts, Bibles, and other rare items, often with the guidance of experts from the British Museum.
In 1992, as the manuscript showed signs of damage due to the delicate nature of the vellum, conservation became a priority. The manuscript was carefully disbound, combining traditional conservation methods with modern technology, which also enabled high-resolution digital imaging to capture every intricate detail.
In 1998, the Antiphonal was made accessible online, offering transcription, translation, and notes, allowing its beauty and significance to be shared with the world while ensuring its protection. Today, ongoing research continues to uncover new aspects of its history, inspiring scholars and cultural institutions alike.
A Rare and Priceless Treasure
The Antiphonal, a 13th-century Italian manuscript, is now one of the Library's most valuable pieces, with an estimated value of $1,000,000 today but, in reality, it is priceless. Its origins are thought to lie in central Italy, possibly near Bologna, and the illuminated artwork shows strong stylistic connections to Nicolo da Bologna's school, suggesting it was created in that region.
One of the most intriguing aspects of the manuscript is a mysterious depiction beneath the Nativity scene—a smudged image of a saint, likely kissed in veneration. This suggests a possible connection to St. Stephen, supported by an illuminated "S" marking St. Stephen’s Day on December 26, as well as references in the text linking his martyrdom to Christ’s birth. The nearby monastery of Santo Stephano in Bologna, which was flourishing in the late 13th century, adds to the mystery of the Antiphonal's origins.
Ongoing Research
The digital preservation of the Antiphonal has opened new doors for scholarly research, fueling ongoing exploration into its history, artistry, and religious significance. Each new discovery enhances the manuscript’s legacy as a unique cultural and historical artefact.
Explore the Antiphonal online and immerse yourself in its timeless artistry today.
A Glimpse into 13th-Century Worship
The Antiphonal contains text and music for the sung responses in Christian church services, spanning from Christmas Eve to the Feast of the Epiphany. It begins with the vespers for Christmas Eve and includes one historiated and thirteen illuminated initials marking key divisions in the text.
It reflects the Temporal cycle of the Christian calendar, celebrating Christ’s birth and incorporating services for saints' feast days during this period. The manuscript follows the structured daily hours of worship: Matins, Lauds, Prime, Terce, Sext, None, Vespers, and Compline.
Created by monks, the Antiphonal reflects the monastic tradition of producing liturgical texts. Wealthier monasteries, such as Santo Stephano, may have owned multiple antiphoners for use throughout the year. A note at the end of the Antiphonal refers to it as "Liber Secundus," suggesting there may have been at least one other volume in the series.
The Antiphonal's illuminated initials, particularly the Nativity scene in the Christmas Day Matins, highlight the manuscript’s connection to religious devotion. The text also displays signs of its oral origins—grammatical inconsistencies and scribal errors suggest that the copying process was often mechanical.
Highlights from the Antiphonal
Page one of the Antiphonal showing an illuminated R.
Page 37 of the Antiphonal showing an illuminated D.
Page 47 of the Antiphonal showing an illuminated Q.
Page 59 of the Antiphonal showing an illuminated T.
Page 71 of the Antiphonal showing an illuminated S.
Page 113 of the Antiphonal showing an illuminated V.
Page 142 of the Antiphonal showing an illuminated V.
Page 155 of the Antiphonal showing an illuminated C.
Page 186 of the Antiphonal showing an illuminated H.
Page 204 of the Antiphonal showing an illuminated E.
Page 233 of the Antiphonal showing an illuminated O.
Page 250 of the Antiphonal showing an illuminated H.
Page 272 of the Antiphonal a later addition to the text.
Page 273 of the Antiphonal an erasure from the text.
Page 303 of the Antiphonal showing an illuminated A.
The Music of the Antiphonal
The Antiphonal features plainsong, or Gregorian chant, written for unaccompanied voices. These chants marked significant moments in the church services, offering a link to ancient Christian worship. A live performance by the group "Flight of Ideas" conducted by Tom Farnon, can be sampled here. The songs are an excerpt of the Antiphonal from the second service for Christmas Day.
Learn more about the recording here. SLSA: OH 591
The music is written in neumes—early symbols used to guide vocal performance. By the 11thcentury, neumes evolved into a form resembling modern square notation. A fragment of an 11thcentury Nocturnal, housed in the State Library’s collection, showcases this earlier style of notation.
Hymns in the Antiphonal follow the simpler Ambrosian chant tradition, while psalms are rendered in a similarly plain style. Over time, church music outside monasteries evolved into more elaborate forms, with composers such as Monteverdi and Handel shaping the future of sacred music.
Conservation efforts
The Antiphonal is crafted on vellum, a durable yet sensitive material made from processed animal skin. Each sheet, carefully prepared, was folded into gatherings and sewn together to form a codex. The manuscript's large size (570 x 395 mm) required skins from several young steers, and the final product was bound with wooden boards, providing both protection and durability.
Conserving the Antiphonal required a collaborative effort between the State Library's conservation and preservation team , and Artlab Australia, ensuring that both historical integrity and modern techniques were employed. The conservation team carefully disassembled the manuscript to clean and repair the vellum, stabilizing the text and repairing damaged areas.
The conservation process involved detailed, step-by-step work: from dismantling and cleaning to repairing the vellum, consolidating the text, and resewing the manuscript. These meticulous efforts ensured that the Antiphonal would remain a testament to the craftsmanship of its creators while preserving its cultural and historical value for future generations.