147:, the figures are painted in profile, with elongated bodies and exaggerated facial features. The use of gold and silver paint, as well as intricate detailing in the clothing and hair, adds to the richness of the image. The story follows Jacob, in the brown and reddish tunic, who wakes up and leads his family across the river. In his trail following him are his wives on donkeys and many servants. After crossing the river Jacob is then seen meeting an angel, seen wrestling the angel, and then the angel blesses him. There are multiple depictions of Jacob shown here to show multiple points of the story. From this story, as read in Genesis the book, Jacob is therefore blessed as Israel, and is blessed by God for the rest of his life. The bridge's architectural forms include a colonnade with Roman columns which references classical architecture as it adapts to the scroll perspective.
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97:(on page 36 of "The Vienna Genesis. Material analysis and conservation of a late antique illuminated manuscript on purple parchment" states "The parchment of Late Antique manuscripts, which date from the 4th–7th century, is made from sheepskin" despite the fact it is called vellum. Its being called vellum is misleading as it would have been lambskin not calfskin, to which vellum specifically applies)
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same person may be represented multiple times within a single illustration. There are both framed and unframed illustrations. The illustrations contain incidents and people not mentioned in the text of
Genesis. These incidents are thought to have been derived from popular elaborations of the story or from Jewish commentaries on the text.
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shows the story of
Genesis 24, in which Abraham's servant, Eliezer, goes to look for a wife for Abraham's son, Isaac. As he travels with ten of Abraham's camels, he stops to give them water, prays that Isaac's future wife will assist him with watering his camels, and Rebecca shows up to help Eliezer.
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painting. The manuscript's illustrations are, in format, transitional between those found in scrolls and later images found in codices. Each illustration is painted at the bottom of a single page. However, within a single illustration, two or more episodes from a story may be included, so that the
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Rebecca is depicted twice to illustrate the continued narrative. She wears a pink dress and is depicted walking from a city in the background, holding a water jug on her shoulder, towards a body of water, next to which lounges a classically inspired female
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depicts a scene from
Genesis 32, where Jacob wrestles with an angel all night. In the illustration, Jacob is shown holding onto the angel's cloak while the angel reaches out to touch him. Similar to
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each with miniatures at the bottom of both sides. It is thought that there were originally about ninety-six folios and 192 illustrations. It is written in
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und Franz
Wickhoff, in: Jahrbuch der kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses, 15/16, 1895; Neudr. Graz 1970.
101:, placing it very firmly in the category of luxury manuscripts. This shade of purple dye was also used to dye imperial cloth.
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Die Wiener
Genesis im Rahmen der antiken Buchmalerei. Ikonographie, Darstellung, Illustrationsverfahren und Aussageintention
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in the first half of the 6th century. It is one of the oldest well-preserved, surviving, illustrated biblical
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The
Iconography of the Creation of Adam and Eve In Early Christian Manuscript Recensions
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Age of spirituality: late antique and early
Christian art, third to seventh century
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translation. The text is frequently abbreviated. There are twenty-four surviving
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Codices
Illustres: The world's most famous illuminated manuscripts, 400 to 1600
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The illustration on folio 12v from the Vienna
Genesis shows the story of
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of
Ethiopia, dating to the 5th and 6th centuries, are as old or older.
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Die Wiener Genesis. Eine kunstwissenschaftliche Bilderbuchgeschichte.
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136:. Rebecca is illustrated a second time at the well with Eliezer.
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289:. Ithaca, New York: Cornell University Press, 1983. pages 21–22.
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Manuscripts of the Greek Bible: An Introduction to Palaeography
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The illustrations are done in a naturalistic style typical of
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231:"The Story of Jacob from the Vienna Genesis – Smarthistory"
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260:, Oxford University Press, Oxford 1981, Plate 8, p. 92.
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Biblical manuscripts of the Austrian National Library
331:Late Antique and Early Christian Book Illumination
196:Robert Milburn, Robert Leslie Pollington Milburn,
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202:, University of California Press, 1988, s. 301.
54:, cod. theol. gr. 31), designated by siglum
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287:Illuminated Manuscripts of the Middle Ages
212:Freeman, Evan; McClanan, Anne L. (eds.).
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360:Digital Images of the manuscript online
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216:. Brooklyn: Smarthistory. p. 111.
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199:Early Christian art and architecture
172:Early Christian art and architecture
400:6th-century illuminated manuscripts
333:. New York: George Braziller, 1977.
299:Walther, Ingo F. and Norbert Wolf.
214:Smarthistory Guide to Byzantine Art
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104:The Vienna Genesis relates to the
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52:Ă–sterreichische Nationalbibliothek
16:6th century illuminated manuscript
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93:with silver ink on calfskin
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317:Metropolitan Museum of Art
364:Austrian National Library
296:Frankfurt: Fischer, 1984.
141:Jacob Wrestling The Angel
62:, probably produced in
38:and Eliezer at the Well
395:Septuagint manuscripts
303:. Köln, TASCHEN, 2005.
60:illuminated manuscript
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336:Zimmermann, Barbara.
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139:The illustration of
27:Wrestling the Angel.
285:Calkins, Robert G.
145:Rebecca at the Well
329:Weitzmann, Kurt.
280:Wilhelm von Hartel
275:Die Wiener Genesis
99:dyed a rich purple
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83:Septuagint
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158:have the
166:See also
108:and the
362:at the
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91:uncials
68:codices
36:Rebecca
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95:vellum
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64:Syria
25:Jacob
321:ISBN
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56:L
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