{"id":15839,"date":"2024-01-19T08:59:29","date_gmt":"2024-01-19T07:59:29","guid":{"rendered":"https:\/\/www.muellerundschindler.com\/credentials\/"},"modified":"2024-01-19T08:59:29","modified_gmt":"2024-01-19T07:59:29","slug":"credentials","status":"publish","type":"page","link":"https:\/\/old.muellerundschindler.com\/en\/credentials\/","title":{"rendered":"credentials"},"content":{"rendered":"

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Business Lounge vom April\/Mai 2023-10-20<\/h3>

The Munich facsimile publishing house, which specialises in the most precious editions, has now presented one of the most beautiful manuscripts of the so-called Carolingian Renaissance as a facsimile edition: The most famous book of the Middle Ages, the Coronation Gospels of the Holy Roman Empire. […] The complete facsimile edition of the Coronation Gospels, true to the original, can in future be used for research purposes instead of the original, thus enabling an almost authentic experience and, above all, the greatest possible protection of the fragile original manuscript – but it can also be purchased in a limited edition of 333 hand-numbered copies.<\/p>

(Original in german)<\/p><\/div>

business-lounge-vom-april-mai-2023-10-20<\/div>
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M\u00fcnchner Abendzeitung 29.12.2012<\/h3>

It doesn’t get more elaborate than this: a Munich publishing house has produced a facsimile of the legendary Coronation Gospels of the Holy Roman Empire […] The Munich-based facsimile publishing house from the Bertelsmann Group specialises in these high-quality reproductions in the field of<\/em><\/p>

medieval and early modern illuminated manuscripts. If you include the beginnings in Lucerne, the company has been in the highly specialised business for almost forty years, but the Coronation Gospels tops everything.<\/em><\/p>

(original in german)<\/p><\/div>

M\u00fcnchner Abendzeitung 29.12.2012 <\/div>
<\/div><\/div><\/div>

Frankfurter Allgemeine Zeitung vom 03.12.2011<\/h3>

The Sacramentary of Henry II, lavishly decorated with miniatures, decorative pages and initials in gold and silver and a finely chiselled ivory sculpture on the heavy cover, costs as much as a brand-new Golf. This masterpiece from Munich-based Faksimile Verlag is unlikely to become a bestseller, but most editions from the German market leader […]<\/em><\/p>

are long out of print. […] Facsimiles of the past obviously have a future. They help to preserve the Western heritage, make it accessible to scholars and keep it available so that an original only needs to be picked up for material research. What Lascaux II is to cave art, the facsimile is to book illumination: the replica preserves and protects the fragile cultural monument.<\/em><\/p>

(original in german)<\/p><\/div>

frankfurter-allgemeine-zeitung-vom-03-12-2011<\/div>
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Dpa vom 02.11.2010<\/h3>

The faithful reproduction of the sacramentary has great advantages, explains<\/em><\/p>

manuscript expert Fabian. For conservation reasons, it is hardly possible to examine the original. “You can leaf through the facsimile and go into detail. And you don’t damage the original”.<\/em><\/p>

(original in german)<\/p><\/div>

Dpa vom 02.11.2010<\/div>
<\/div><\/div><\/div>

Br – Online.de am 02.11.2010<\/h3>

“The Director General of the Bavarian State Library, Rolf Griebel, called the Sacramentary of Henry II an “outstanding cultural monument of European importance”. It was necessary to “secure its irretrievable materiality and quality for the next generation”. According to Griebel, the “excellent facsimile edition with its original appearance” fulfils “the very highest standards”. <\/em><\/p>

(original in german)<\/em><\/p><\/div>

Br-online.de am 02.11.2010<\/div>
<\/div><\/div><\/div>

Staatliche Museen zu Berlin – Preu\u00dfischer Kulturbesitz<\/h3>

“The value of facsimiles, which are produced in excellent quality and come as close as possible to the original, should not be underestimated. They bring the magnificent treasures of book illumination closer to a wider audience, not only by conveying the enjoyment of art and the context of a work, but also by enabling the haptic experience of turning the pages of a book, which is often very limited in the original. Especially in our digital age, this is an important experience, without which it is hardly possible to understand a masterpiece of book art. ”<\/p>

(Original in german)<\/p><\/div>

Dr. Dagmar Korbacher, Direktorin- Kupferstickkabinett - Staatliche Museen zu Berlin, Preu\u00dfischer Kulturbesitz<\/div>
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Freie Universit\u00e4t Berlin<\/h3>

“Even if fragile medieval manuscripts – usually no longer accessible to the public in the original – are now often available digitally:<\/p>

The image on the display cannot replace the experience of holding a book object in your hand. It teaches nothing about proportions and weight, about the materiality of pages and binding or the splendour of the decoration, about the relationship between inside and outside, image decoration and text body, about binding and manageability. In general, digital copies deprive their readers and viewers of those sensory experiences that cannot be accessed via a screen presentation (even if it is in 3D). In view of the unavailability of the originals, faithful facsimiles, which make it possible to physically experience the diverse object dimensions of a medieval book, prove time and again to be an unsurpassable means of research, exploration and teaching. They are irreplaceable, especially in the context of university and book science education and training: we experience a correspondingly intensive demand and use in the library. ”<\/p>

(Original in german)<\/p><\/div>

Dr. Ulrike Tarnow, Leitung Bibliotheksbereich 06 - Geschichts- und Kulturwissenschaften<\/div>
<\/div><\/div><\/div>

Florida State University<\/h3>

Although nothing can compare to turning the pages on an original medieval manuscript, holding in one\u2019s hands a facsimile of a beautiful and authentically reproduced illuminated manuscript comes as close as possible for most of us. Those of us whose scholarship focuses on medieval manuscripts cherish working with the originals, but regularly traveling to see them can be prohibitively expensive. Owning the facsimile or having access to it at our university libraries is therefore essential for our research. Even more importantly when teaching students, faithfully produced facsimiles are indispensable, since they reproduce the size, weight, proportions, and feel of the original, crucial factors for the history of the codex that cannot be ascertained by examining online digital images.<\/p><\/div>

Richard K. Emmerson, Visiting Distinguished Professor - Department of Art History<\/div>
<\/div><\/div><\/div>

Kunsthistorisches Institut – Universit\u00e4t Bonn<\/h3>

Even as a book, facsimiles open up the book space as it is, allowing the reader to experience all the dimensions of opening and closing pairs of images and\/or text pages in a way that no screen or digital presentation can ever realise. They are therefore indispensable for research and teaching, not least thanks to the commentary volumes.<\/p>

(Original in German)<\/p><\/div>

Prof. Dr. Harald Wolter-von dem Knesebeck,Professor f\u00fcr Kunstgeschichte mit besonderer Ber\u00fccksichtigung des Mittelalters Direktor des Paul-Clemen-Museums des Kunsthistorischen Instituts Stellvertretender gesch\u00e4ftsf\u00fchrender Direktor des KHI<\/div>
<\/div><\/div><\/div>

The British Library<\/h3>

We are always delighted to work with the team at Mueller & Schindler to create facsimiles of some of the British Library\u2019s celebrated treasures. We admire the spectacular production values but also applaud the team\u2019s innovative application of new digital technologies.<\/p><\/div>

John Lee<\/div>
<\/div><\/div><\/div>

Biblioth\u00e8que nationale de France<\/h3>

Les \u00e8ditions M\u00fcller & Schindler et Faksimile Verlag sont des partenaires de la Biblioth\u00e8que nationale de France depuis de nombreuses ann\u00e9es. Les fac-simil\u00e9s sont toujours d\u2019une excellente qualit\u00e9 et r\u00e9alis\u00e9s dans le plus grand respect du manuscrit original.
\nNous sommes toujours tr\u00e8s satisfaits du travail effectu\u00e9 qui est extr\u00eamement exigeant et rigoureux et qui contribue \u00e0 la valorisation de nos collections.<\/p><\/div>

S\u00e9bastien Petratos<\/div>
<\/div><\/div><\/div>

Bodleian Library<\/h3>

The facsimiles of M\u00fcller & Schindler and Facsimile Verlag are known the world for their very high quality. It is a pleasure to work with them in preserving and reproducing of our written and painted cultural heritage.<\/p><\/div>

Dr Samuel Fanous, Head of Publishing<\/div>
<\/div><\/div><\/div>

Aus einem Brief von Herrn Dr. Paul Gichtel an den M&S Verlag, 1980<\/h3>

I said with pleasure: because the facsimile conveys the original to such an extent that when I leaf through it, I almost succumb to the illusion of sitting in front of it again, Cod.germ.51…<\/p>

(Original in German)<\/p><\/div>

<\/div><\/div><\/div>

Aus einem Brief des Direktors der Herzog August Bibliothek Wolfenb\u00fcttel, 1972<\/h3>

I would finally like to thank you officially and very warmly for the facsimile edition of Ulrich Boner’s “Edelstein”. You have provided us with a wonderful, impressive and honourable work. We presented No. 1 to the Federal President on 2 November in the afternoon, and the President was extremely happy about this gift.<\/p>

(Original in German)<\/p><\/div>

<\/div><\/div><\/div>

Aus einem Brief der F\u00fcrstlich F\u00fcrstenbergischen Hofbibliothek an den M&S Verlag, 1968<\/h3>

The delivery of the first copy of the long-awaited Song of the Nibelungs caused quite a storm here. It was the same for all of us: we picked up the piece, opened it and for a moment were in doubt as to whether it wasn’t the original after all, because the original was lying next to it.<\/p>

(Original in German)<\/p><\/div>

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