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Philadelphia, Princeton University Library, Princeton Ethiopic Manuscript No. 65

Newly catalogued in Beta maṣāḥǝft

Work in Progress
https://betamasaheft.eu/PULet065
Princeton University Library[view repository]

Collection:

GeneralDescriptionPhysical DescriptionAuthors

General description

Princeton Ethiopic Manuscript No. 65: Miracles of Mary

Number of Text units: 107

Number of Codicological units: 1

For a table of all relations from and to this record, please go to the Relations view. In the Relations boxes on the right of this page, you can also find all available relations grouped by name.

Origin

circa 1720

Summary

Miracles of Mary

Date and Provenance: Probably commissioned by the King Dawit III (reigned 1716-21). Though partially erased, the name Dawit appears throughout the text. The form of words does not include the formula "for our king," most often used though this is not always present in royal manuscripts. Dawit appears prostrate in one of the paintings wearing a luxurious Indian dress. Dawit's elder brother, who preceded him as king from 1706 to 1708 following the death of their father Iyasu I (Iyasu the Great) was Täklä Haymanot I and this name seems occasionally to accompany that of Dawit in the partially erased dedications.

As is usual, there is no colophon giving details of provenance. Each of the texts in the main body of the MS [fols. 3-100] closes with an invocation for blessings upon the owners. The names of the original owners, which were written in red, have been erased throughout, though at times somewhat imperfectly. The preceding text makes it clear that the original owner was a man, and the dedication also occasionally mentions a female as well, perhaps his wife or sister. The man's name is in several places recoverable as Dawit, though the space left for it in the black text is too large and the name is usually preceded or followed by decorative punctuation marks (säräz .).

In a few places there are traces of a second name, [Täklä] Haymanot accompanying that of Dawit. The woman's name is in places recoverable as Hadä[fä] Maryam, though elsewhere another name, Awdokseya (?), appears. The names inserted over these erasures are Arkälédes (m.) and Rébén (f.). The script is in keeping with a date during the first half of the eighteenth century, showing many gwelh-like features: large size, regularity of form, a tendency to a top-heavy structure with short letter heads (especially in ò, å), a pronounced hook in the vowel mark of ¶. The modern letter •Á appears in its older form which was still in use until the second half of the eighteenth century. The manuscript appears to have been in western Europe since the 19th century. On the back flyleaf pf the manuscript is a European dealer's or owner's ticket (handwritten on a blue printed label); the number appears to be in a German hand. The manuscript later passed through the hands of the dealer Merton D. Simpson, ca. 1970; the collector Alen Revier, 1971-1997; the dealer Milos Simovic, 1997-2004; and Sam Fogg Rare Books, London, 2004-2012.

Text: The principal text of the manuscript [fols. 7-99] is a collection of 32 miracles of the Virgin Mary. The basic canon of the Miracles, as described by Cerulli, comprised 32 miracles, but Ethiopian collections sometimes include others. The basic collection was subject to addition even before the translation of the Arabic Vorlage into Ethiopic in the fifteenth century, and some Ethiopian collections run to an enormous size. The largest collection known to date (BL Or. 643, dated 1717) contains no less than 316 miracles, though smaller collections are the more usual. Examples of the Ethiopian Miracles of Mary are to be found in all the major collections of Ethiopian manuscripts, such as the Biblioteca Vaticana, the British Library, the Bibliothèque Nationale, the Fonds Conti Rossini of the Accademia Nazionale dei Lincei, the Cambridge University Library, etc. The basic work dealing with the Ethiopian Book of the Miracles of Mary is Cerulli's Il libro etiopico dei Miracoli di Maria, Rome 1943; see also E.A. Wallis Budge, The Miracles of the Blessed Virgin Mary and the Life of Hanna, London 1900, and by the same author, Legends of Our Lady Mary, the Perpetual Virgin, and Her Mother Hannâ, London 1922, and One Hundred and Ten Miracles of Our Lady Mary, London, 1923.

In the present manuscript each Miracle is numbered. Miracle 29 is incorrectly numbered as 30, and those following are consequently incorrectly numbered. The miracles here follow the traditional sequence. Each miracle text closes with a brief hymn to the Virgin Mary. The Miracles are preceded by the short text [fols. 3r-6r].

The manuscript closes [fols. 100v-150v] with a collection of hymns or litanies to the Virgin Mary, including the Hymn of the Flower [Mahlétä S'egé].

Beginning, "The angels worship Mary from within the veil, and they say to her 'Hail to thee, Mary, restorer of the Lamb.'" The section concludes [fols. 5v-6r] with a hymn of salutation [sälam] to the Virgin Mary.

Beginning, "In the name of the Father, and of the Son, and of the Holy Ghost. One God. A miracle of Our Lady, the Holy Twice Virgin, Mary, Mother of God."

The story of Hildefonsus of Toledo [Däqseyos of T'elt'elya in the Ethiopian version], followed by two short hymns.

Hildefonsus [Däqseyos] hands his book of the Miracles to the Virgin Mary. The text reads 'How Däqseyos wrote for her.'

The Virgin offers a throne and a robe to Dexius. The text reads 'How she gave him a throne and a robe'.

An angel strikes down the bishop who stole Hildefonsus' throne. The text reads 'How he fell and died'.

The story of the craftsman who venerated the Virgin Mary constantly.

The craftsman appears before the Virgin Mary. The text [incomplete] reads 'How she blessed this ...'.

The story of the Jew from Akhmim

The Virgin raises up the Jew of Akhmim, who also appears fallen at her feet. The text reads 'How she raised him up.'

The Virgin blesses the Jew of Akhmim. The text reads 'How she made him stand at her right hand.'

The story of the monk Damianus of Philippi

On the left Damianus is shown writing the Virgin's name, whilst on the right she restores his sight.

The story of Pope Leon [Abbas of Romé in the Ethiopic] whose hand was restored after he had cut it off when a woman touched it as he was administering the Eucharist.

In the centre Leon touches the woman, whilst on the right he cuts off his hand. The text reads 'those who receive the body and blood of Our Lord'.

The Virgin restores Leon's hand. The text reads 'How she gave him life'.

The story of Isaac the monk who dedicated his prayers to the Virgin.

The Virgin raises the fallen Isaac, as she had promised him in a dream. The text reads 'How he fell. How she raised him up'.

The story of the daughter of the man of Defra to whom the Virgin appeared from out of her icon and whom she promised to take directly to Paradise.

The Virgin leads the girl to Paradise. The text reads 'How she guided her'. The end of the hymn text following the miracle is included within the frame of the painting.

The story of the painter who fell while decorating a church and was restored by the Virgin.

The painter falls from the scaffolding, but is caught by the Virgin. He is also shown at the top painting the blessed in heaven. The text reads 'How he fell. How she raised him up'.

The story of the sick pilgrim whom the Virgin transported to Jerusalem.

[half-page] The Virgin appears to the sick man, whose head and shoulders appear in a cloud at her feet. The text reads 'How she appeared to the sick merchant'.

The Virgin and three figures stand above the recumbent figure of the merchant-pilgrim.The texts above the painting read 'It is Jerusalem' and 'How she brought him'.

The story of the young man Zacharias who crowned the head of a picture of the Virgin daily with roses.

On the left Zacharias crowns the Virgin's image with roses, whilst on the right he stands before the image. The text reads simply 'How he crowned her'.

The Virgin and angels appear to Zacharias.

The story of Juliana and Barbara who were robbed of their bread whilst on pilgrimage to Jerusalem.

[half-page] The thieves rob Juliana and Barbara. the texts above the figures simply read 'the thieves' and 'the girls'.

The now repentant thieves stand before the Virgin who appears from within her church. The text reads 'How those thieves became monks'.

The story of three Arabs who were shipwrecked, two of whom were saved when they prayed to the Virgin.

[three-quarter page]: On the left all three Arabs appear in the sea, whilst one is swallowed by the whale, whilst on the right the two Arabs who have been saved look on. The text simply reads 'the Arabs'.

The Arabs make their offerings at the church. The text describes the two gifts, 'some wool' and 'this camel'.

The story of the church of 'Eqona that was removed to the edge of the Mediterranean Sea [called Iyariko = Jericho) in the Ethiopian version].

The Virgin appears to the priest and his congregation in a dream.

The church and its congregation is transported to the sea shore. The text above simply gives the name of the church 'Eqona.

The story of the blind priest, Yohannes Bäkänsi, whose sight was restored with milk from the breast of the Virgin.

[three-quarter page] The blind priest stands before the image of the Virgin.

The Virgin restores his sight with milk from her breast. The text reads 'Yohannes the old man whom she cured'.

the story of the rich man from Qwälasyes who was healed by the Virgin of an arrow wound in the eye, sustained whilst fighting the Turks.

[half-page] The rich man and his companions in their boat. The texts read (in the top margin) 'the rich man of the island of Qwälasyes', and (just above the picture) 'the boat; the sail' [SIC].

The rich man is wounded in the ye, and (below) his image is healed by the Virgin.

The story of Elisabeth, daughter of Abraham of Bäderman, whose sight was restored by the Virgin by sprinkling her eyes with milk from her breast.

Her mother brings the blind girl before the Virgin's image. The text in the top margin reads 'How she healed her'.

The Virgin appears to the girl and restores her sight with milk from her breast. The incomplete text above the painting reads 'this is ...'.

The story of the poor widow, the marriage of whose daughters was arranged by the Virgin.

The widow stands before the Virgin's image whilst her daughters are shown seated in the background. The text in the top margin reads 'How she relieved the old woman of her wretchedness'.

The widow is buried whilst her daughters look on.

The story of the two brother scribes, one of whom had been writing a copy of the Miracles of Mary and whose soul was rescued by the Virgin.

The two scribes, described in the text as 'the two brothers'.

The Virgin rescues the scribe's soul from devils.

The story of St. George the Younger whom the Virgin rescued from prison.

St. George in prison on his iron griddle; the Virgin appears to him in the form here of a green dove. The text reads 'How she appeared to him'.

The story of the old priest called Kät'ir, whom the Virgin defended when he was banished from his church.

[half-page] The Virgin addresses the guardian of the church.

The Virgin blesses the old priest, whilst in the top left-hand corner the church guardian is shown expelling him.

The story of the dyer called Näzib who was rescued at the Virgin's behest by St. George from prison where he was falsely detained.

On the left, Näzib and his brother receive the pieces of cloth for dying; top-right, St. George attacks the judge who condemned Näzib falsely; bottom-right, he is shown in prison.

Näzib is acquitted and receives his pardon from the qadi.

The story of the man with a club foot who was healed by the Virgin.

On the left, the man tells the bishop of his ailment, whilst on the right, he is cured of his club foot and gives thanks to the image of the Virgin. The text reads 'she cured the Frank ['afrengawi].

The man shows the bishop his healed foot.

The story of Bishop Mercurius whom the Virgin cured of leprosy.

Top, the archbishop tells Mercurius he cannot serve as a priest whilst he has leprosy; bottom, Mercurius takes his leave of his congregation (?). The text at the top of the painting simply names Mercurius, who seems to be shown twice with his robe pulled off his shoulders to expose his leprosy.

On the right, Mercurius stands before the Virgin, who heals him, whilst on the left, he shows the archbishop that he is now cured.

the story of the woman of Haarlem (Hartälrom in the text here) with a lame foot who was healed by the Virgin Mary.

The woman is born on a litter by her relatives and placed before the image of the Virgin. The text reads 'the lame woman'.

The Virgin cures the woman, who is then shown standing before the Virgin's image.

The story of Abbess Sophia who conceived a child, and whose reputation was saved by the Virgin.

The Virgin supervises the delivery of Sophia's child by angels, who then hand the child to Felix [Filkes in the text here].

the bishop addresses the nuns

Sophia tells her story to the bishop, and Felix [Filkes] verifies it, producing the child.

The story of the rich and dissolute man, Barok of Finqi, who was saved by the Virgin Mary because of his devotion to her.

Barok gives a banquet.

A composite picture showing variously Barok being attacked by his enemies; Barok being nursed; Barok telling his sins to the priest; and the Virgin Mary who oversees all these events.

The story of the deacon Anastasius.

Anastasius stands before the Virgin's image, and (right) she appears to him in a dream in which she tells him he will join her in Paradise. The text simply identifies Anastasius [Anest'asyos].

The story of the monk of the monastery of Abba Samu'el in Qälmon.

The man is attacked by his fellow monks and seized by them. The text reads 'how they seized him'.

The monk stands in prayer before the Virgin's image, having now lost his cap with which he miraculously made a breach in the wall to escape. The text reads 'how threw off the cap from his head'.

The story of the cannibal of Qemer whose soul was saved by the Virgin Mary.

A composite picture showing the cannibal dismembering his relatives; giving water to a leper; the farmers who set out to catch him. the two brief texts simply identify 'the cannibal' and 'the farmers'.

A composite picture showing Christ commanding the devil to surrender the cannibal's soul; St. Michael weighing the cannibal's soul in the balance; the Virgin Mary with Christ's blessing retrieving the cannibal's soul.

The story of the widow's son who was a thief, whom the Virgin saved at his mother's request.

The thief steals from the Virgin's church.

Top, the thief's mother prays before the Virgin's image; bottom, the thief is rescued by St. Michael from his bonds.

The story of the woman who gave birth in a storm at sea with the Virgin's protection.

[three-quarter page] The Virgin shields the woman and her child with her cloak, while the congregation look on from the shore. The text reads 'How she saved her'.

The woman and her child amongst the congregation of her church. The text simply reads 'the faithful'.

The story of the Virgin and the thirsty dog.

The Virgin gives water to the dog from her slipper, whilst below, her companions attempt to drive the dog away from the water jars.

The Virgin and Child with the archangels and below, the prostrate figure of the donor or commissioner of the manuscript.

Beginning, "O Virgin, call to mind before the Keeper of Records who forgets nothing, call to mind, o Virgin, for my sake the birth through you of Him who was born in Bethlehem ...' Followed by a hymn of salutation [sälam] to the Virgin."

a collection of hymns or songs to the Virgin Mary known as the Hymn or Canticle of the Flower [Mahlétä S'egé], beginning, "A flower appeared, shooting forth from the bone of him who greeted thee, the flower of Gabriel…".

containing a painting of an equestrian saint attacking a centaur. Two equestrian saints, Claudius [Gälawdéwos] and Victor [Fiqt'or] are shown in Ethiopian tradition spearing a centaur. There is no text to identify which saint is portrayed here. The painting is in the Second Gondarene style and can be dated to the 18th century.

  1. ms_i1 (check the viewerLocated on folio 1-2. ), Blank
  2. ms_i2 (check the viewerLocated on folio 3-6r. ), Introduction to the Miracles of Mary
  3. ms_i3 (check the viewerLocated on folio 6v. ), Blank
  4. ms_i4 (check the viewerLocated on folio 7r-97v. ), MIRACLES OF MARY
  5. ms_i5 (check the viewerLocated on folio 7r-9v. ), MIRACLE 1
  6. ms_i6 (check the viewerLocated on folio 10r. ), PAINTING 1
  7. ms_i7 (check the viewerLocated on folio 10v. ), PAINTING 2
  8. ms_i8 (check the viewerLocated on folio 11r. ), PAINTING 3
  9. ms_i9 (check the viewerLocated on folio 11v-12r. ), MIRACLE 2
  10. ms_i10 (check the viewerLocated on folio 12v. ), PAINTING 4
  11. ms_i11 (check the viewerLocated on folio 13r-14r. ), MIRACLE 3
  12. ms_i12 (check the viewerLocated on folio 14v. ), PAINTING 5
  13. ms_i13 (check the viewerLocated on folio 15r. ), PAINTING 6
  14. ms_i14 (check the viewerLocated on folio 15v-16v. ), MIRACLE 4
  15. ms_i15 (check the viewerLocated on folio 17r. ), Blank
  16. ms_i16 (check the viewerLocated on folio 17v. ), PAINTING 7
  17. ms_i17 (check the viewerLocated on folio 18r-19r. ), MIRACLE 5
  18. ms_i18 (check the viewerLocated on folio 19v. ), PAINTING 8
  19. ms_i19 (check the viewerLocated on folio 20r. ), PAINTING 9
  20. ms_i20 (check the viewerLocated on folio 20v. ), Blank
  21. ms_i21 (check the viewerLocated on folio 21r-22v. ), MIRACLE 6
  22. ms_i22 (check the viewerLocated on folio 23r. ), PAINTING 10
  23. ms_i23 (check the viewerLocated on folio 23v-25r. ), MIRACLE 7
  24. ms_i24 (check the viewerLocated on folio 25r. ), PAINTING 11
  25. ms_i25 (check the viewerLocated on folio 25v-27r. ), MIRACLE 8
  26. ms_i26 (check the viewerLocated on folio 27v. ), PAINTING 12
  27. ms_i27 (check the viewerLocated on folio 28r-29r. ), MIRACLE 9
  28. ms_i28 (check the viewerLocated on folio 29r. ), PAINTING 13
  29. ms_i29 (check the viewerLocated on folio 29v. ), PAINTING 14
  30. ms_i30 (check the viewerLocated on folio 30r-32v. ), MIRACLE 10
  31. ms_i31 (check the viewerLocated on folio 33r. ), PAINTING 15
  32. ms_i32 (check the viewerLocated on folio 33v. ), PAINTING 16
  33. ms_i33 (check the viewerLocated on folio 34r-35r. ), MIRACLE 11
  34. ms_i34 (check the viewerLocated on folio 35r. ), PAINTING 17
  35. ms_i35 (check the viewerLocated on folio 35v. ), PAINTING 18
  36. ms_i36 (check the viewerLocated on folio 36r-37v. ), MIRACLE 12
  37. ms_i37 (check the viewerLocated on folio 37v. ), PAINTING 19
  38. ms_i38 (check the viewerLocated on folio 38r. ), PAINTING 20
  39. ms_i39 (check the viewerLocated on folio 38v. ), blank
  40. ms_i40 (check the viewerLocated on folio 39r-40r. ), MIRACLE 13
  41. ms_i41 (check the viewerLocated on folio 40v. ), PAINTING 21
  42. ms_i42 (check the viewerLocated on folio 41r. ), PAINTING 22
  43. ms_i43 (check the viewerLocated on folio 41v-43v. ), MIRACLE 14
  44. ms_i44 (check the viewerLocated on folio 43v. ), PAINTING 23
  45. ms_i45 (check the viewerLocated on folio 44r. ), PAINTING 24
  46. ms_i46 (check the viewerLocated on folio 44v-46r. ), MIRACLE 15
  47. ms_i47 (check the viewerLocated on folio 46r. ), PAINTING 25
  48. ms_i48 (check the viewerLocated on folio 46v. ), PAINTING 26
  49. ms_i49 (check the viewerLocated on folio 47r-49r. ), MIRACLE 16
  50. ms_i50 (check the viewerLocated on folio 49v. ), PAINTING 27
  51. ms_i51 (check the viewerLocated on folio 50r. ), PAINTING 28
  52. ms_i52 (check the viewerLocated on folio 50v-52v. ), MIRACLE 17
  53. ms_i53 (check the viewerLocated on folio 52v. ), PAINTING 29
  54. ms_i54 (check the viewerLocated on folio 53r. ), PAINTING 30
  55. ms_i55 (check the viewerLocated on folio 53v-55r. ), MIRACLE 18
  56. ms_i56 (check the viewerLocated on folio 55r. ), PAINTING 31
  57. ms_i57 (check the viewerLocated on folio 55v. ), PAINTING 32
  58. ms_i58 (check the viewerLocated on folio 56r-57r. ), MIRACLE 19
  59. ms_i59 (check the viewerLocated on folio 57v. ), PAINTING 33
  60. ms_i60 (check the viewerLocated on folio 58r-59v. ), MIRACLE 20
  61. ms_i61 (check the viewerLocated on folio 59v. ), PAINTING 34
  62. ms_i62 (check the viewerLocated on folio 60r. ), PAINTING 35
  63. ms_i63 (check the viewerLocated on folio 60v. ), blank
  64. ms_i64 (check the viewerLocated on folio 61r-63r. ), MIRACLE 21
  65. ms_i65 (check the viewerLocated on folio 63v. ), PAINTING 36
  66. ms_i66 (check the viewerLocated on folio 64r. ), PAINTING 37
  67. ms_i67 (check the viewerLocated on folio 64v-66v. ), MIRACLE 22
  68. ms_i68 (check the viewerLocated on folio 67r. ), PAINTING 38
  69. ms_i69 (check the viewerLocated on folio 67v. ), PAINTING 39
  70. ms_i70 (check the viewerLocated on folio 68r-69r. ), MIRACLE 23
  71. ms_i71 (check the viewerLocated on folio 69v. ), PAINTING 40
  72. ms_i72 (check the viewerLocated on folio 70r. ), PAINTING 41
  73. ms_i73 (check the viewerLocated on folio 70v-72r. ), MIRACLE 24
  74. ms_i74 (check the viewerLocated on folio 72v. ), PAINTING 42
  75. ms_i75 (check the viewerLocated on folio 73r. ), PAINTING 43
  76. ms_i76 (check the viewerLocated on folio 73v-77v. ), MIRACLE 25
  77. ms_i77 (check the viewerLocated on folio 78r. ), PAINTING 44
  78. ms_i78 (check the viewerLocated on folio 78v. ), PAINTING 45
  79. ms_i79 (check the viewerLocated on folio 79r. ), PAINTING 46
  80. ms_i80 (check the viewerLocated on folio 79v-81r. ), MIRACLE 26
  81. ms_i81 (check the viewerLocated on folio 81v. ), PAINTING 47
  82. ms_i82 (check the viewerLocated on folio 82r. ), PAINTING 48
  83. ms_i83 (check the viewerLocated on folio 82v-84r. ), MIRACLE 27
  84. ms_i84 (check the viewerLocated on folio 84v. ), PAINTING 49
  85. ms_i85 (check the viewerLocated on folio 85r-88v. ), MIRACLE 28
  86. ms_i86 (check the viewerLocated on folio 89r. ), blank
  87. ms_i87 (check the viewerLocated on folio 89v. ), PAINTING 50
  88. ms_i88 (check the viewerLocated on folio 90r. ), PAINTING 51
  89. ms_i89 (check the viewerLocated on folio 90v-92v. ), MIRACLE 29 [numbered as 30]
  90. ms_i90 (check the viewerLocated on folio 92v. ), PAINTING 52
  91. ms_i91 (check the viewerLocated on folio 93r. ), PAINTING 53
  92. ms_i92 (check the viewerLocated on folio 93v-94v. ), MIRACLE 30 [numbered as 31]
  93. ms_i93 (check the viewerLocated on folio 94v. ), PAINTING 54
  94. ms_i94 (check the viewerLocated on folio 95r. ), PAINTING 55
  95. ms_i95 (check the viewerLocated on folio 95v-96v. ), MIRACLE 31 [numbered as 32]
  96. ms_i96 (check the viewerLocated on folio 96v. ), PAINTING 56
  97. ms_i97 (check the viewerLocated on folio 97r. ), PAINTING 57
  98. ms_i98 (check the viewerLocated on folio 97v-98v. ), MIRACLE 32 [numbered as 33]
  99. ms_i99 (check the viewerLocated on folio 99r. ), PAINTING 58
  100. ms_i100 (check the viewerLocated on folio 99v. ), blank
  101. ms_i101 (check the viewerLocated on folio 100r. ), PAINTING 59
  102. ms_i102 (check the viewerLocated on folio 100v. ), blank
  103. ms_i103 (check the viewerLocated on folio 101r. ), blank except for two lines of pen trials
  104. ms_i104 (check the viewerLocated on folio 101v-104v. ), A hymn to the Virgin Mary
  105. ms_i105 (check the viewerLocated on folio 105r-150v. ), [different, larger hand]
  106. ms_i106 (check the viewerLocated on folio 151r. ), blank leaf with a smaller [190 x 200mm] painted leaf sewn on
  107. ms_i107 (check the viewerLocated on folio 151v-154v. ), blank

Contents

Physical Description

Form of support

Codex

Publication Statement

authority
Hiob-Ludolf-Zentrum für Äthiopistik
publisher
Die Schriftkultur des christlichen Äthiopiens und Eritreas: Eine multimediale Forschungsumgebung / Beta maṣāḥǝft
pubPlace
Hamburg
availability

This file is licensed under the Creative Commons Attribution-ShareAlike 4.0.

Transformed with permission to create a stub record from https://findingaids.princeton.edu/collections/C0776/cPRet1384.xml . See https://github.com/BetaMasaheft/Documentation/issues/1181.

date
type=expanded
26.8.2022 at 00:13:20
date
type=lastModified
5.5.2022
idno
type=collection
manuscripts
idno
type=url
https://betamasaheft.eu/manuscripts/PULet065/main
idno
type=URI
https://betamasaheft.eu/PULet065
idno
type=filename
PULet065.xml
idno
type=ID
PULet065

Encoding Description

Encoded according to the Beta maṣāḥǝft Guidelines. These Guidelines detail the TEI format ruled by the Beta maṣāḥǝft Schema. The present TEI file is enriched with an Xquery transformation taking advantage of the exist-db database instance where the data is stored and of the many external resources to which this data points to.

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Suggested Citation of this record

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Pietro Maria Liuzzo, Eugenia Sokolinski, ʻPhiladelphia, Princeton University Library, Princeton Ethiopic Manuscript No. 65ʼ, in Alessandro Bausi, ed., Die Schriftkultur des christlichen Äthiopiens und Eritreas: Eine multimediale Forschungsumgebung / Beta maṣāḥǝft (Last Modified: 2022-05-05) https://betamasaheft.eu/manuscripts/PULet065 [Accessed: 2024-06-03]

Revisions of the data

  • Eugenia Sokolinski renamed, facs added on 5.5.2022
  • Pietro Maria Liuzzo Created XML record from https://findingaids.princeton.edu/collections/C0776/cPRet1384.xml . See https://github.com/BetaMasaheft/Documentation/issues/1181. on 17.11.2016

Attributions of the contents

Pietro Maria Liuzzo, contributor

Eugenia Sokolinski, contributor

This file is licensed under the Creative Commons Attribution-ShareAlike 4.0. Transformed with permission to create a stub record from https://findingaids.princeton.edu/collections/C0776/cPRet1384.xml . See https://github.com/BetaMasaheft/Documentation/issues/1181.