%0 Generic
%A Roland, Martin
%C Turnhout
%D 2013
%E Golob, Nataša
%F artdok:7694
%P 181-200
%R 10.11588/artdok.00007694
%T Ulrich von Lilienfeld und die “Originalhandschrift” seiner Concordantiae Caritatis
%U https://archiv.ub.uni-heidelberg.de/artdok/7694/
%V 36
%X Ulrich's Concordantiae mark the final point of the typologicalliterature of the Middle Ages. Due to the inseparable  combination of image and explanatory text the question of autograph must deal with the script and the illustrations.  A dose look at the codicology, palaeography and style of Lilienfeld, Stifts bibliothek, Cod. 151 leads the author to  propose that it was Ulrich, who masterminded the production of the manuscript. He himself started with the writing,  subseqnently relying on other scribes, who might have been Ulrich's students within the convent. Their contributions were  intensively corrected by Ulrich. All the rubra and all the lettering within the illustrations are ofUlrich's own hand.  How can an author communicate over 1000 topics to an illustrator, especially bearing in mind that for very many of  the topics no pre-existing iconographic models were at hand? Ulrich must necessarily have worked dosely with his artist  colleagues, because his own part - which is dearly to be distinguished - is both insignificant and oflow quality.  The "Original Manuscript" of the Concordantiae represents the manuscript type "Author's representative copy".  Because of the direct involvement of the author, this type is rare but Ulrich's case is by no means unique. Especially when  text and illustrations are dosely connected this type is of some importance. Another prominent example is the copy of the  "Klosterneuburger Evangelienwerk" in Schaffhausen, which is the result of intensive cooperation between an excellent  illuminator and the so-called "Österreichischer Bibelübersetzer".