As the reader approaches the Calendar (fols. 16r-22v) in MS 17, computistical materials gradually come to dominate its pages. These materials present a paradox. Either they are duplicates or virtual duplicates of materials found after the Calendar in Computus Texts and Tables II, or they are isolated items, many apparently unique to MS 17. While the tables following the Calendar reflect Abbo of Fleury's model of a computus compilation, most of the materials included here are not found in Abbonian manuscripts. The post-Calendar tables are carefully and logically organized, while this section seems to have no structure at all. The first part in particular (fols. 8b-12r) resembles the "text-less" or "album" style of Carolingian de cyclo paschali compilation, as found, for example, in Paris, B.N. lat. 5239 or Cologne 83(II).1 This suggests that MS 17's planners were drawing on a number of exemplars, representing different traditions in the design of computus manuscripts: for further discussion, see the background essay "St John's 17 as a computus Manuscript."
3. COMPUTUS TEXTS AND TABLES I fols.8r-15v: OVERVIEW
This section of MS 17 contains the following:
As the reader approaches the Calendar (fols. 16r-22v) in MS 17, computistical materials gradually come to dominate its pages. These materials present a paradox. Either they are duplicates or virtual duplicates of materials found after the Calendar in Computus Texts and Tables II, or they are isolated items, many apparently unique to MS 17. While the tables following the Calendar reflect Abbo of Fleury's model of a computus compilation, most of the materials included here are not found in Abbonian manuscripts. The post-Calendar tables are carefully and logically organized, while this section seems to have no structure at all. The first part in particular (fols. 8b-12r) resembles the "text-less" or "album" style of Carolingian de cyclo paschali compilation, as found, for example, in Paris, B.N. lat. 5239 or Cologne 83(II).1 This suggests that MS 17's planners were drawing on a number of exemplars, representing different traditions in the design of computus manuscripts: for further discussion, see the background essay "St John's 17 as a computus Manuscript."
1 Kühnel 2003, 73.