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One copy is held in Paris in Bibliothque Nationale. D.Ž.] In the Royal Library of Stockholm (Kungliga biblioteket) there is a huge Czech book Gigas Librorum from the 13th century, which in the 14th century was in Prague. Here is the photo of the table of Croatian Glagolitic Script in Gigas Librorum: One can clearly see that the table is written on a separate vellum leaflet, subsequently glued to the page of Gigas Librorum.
There is also another copy in the Codrington Library at All Souls College, Oxford (q.14.9); it was probably part of the founding bequest of Christopher Codrington in 1710. Franciscan Museum in Ljubuški, Franciscan seals in Croatian Cyrillic Many of the Croatian Cyrillic inscriptions are carved on tombstone monuments, called stechak. It was due to the Croatian glagolites in Prague that the Croatian glagolitic alphabet had been written on the inner part of the cover page. The photo of the page of on which one can see the table of the Glagolitic Script can be seen on the internet page of the Royal Library in Stockholm. Nenad Hancic-Matejic for information about the web adress.
One of the prayers written in Croatian cyrillic ends with "Amen" written twice: first in the Glagolitic and then in Croatian Cyrillic. Austrian royal envoy Jerolim Zadranin writes a letter in Croatian Cyrillic on 11 February 1543 from Constantinople to Croatian Ban (governer) Baćan and other Croatian dignitaries to be in peace with neighbouring Turks (Carski poslanik Jerolim Zadranin piše hrvatskom ćirilicom banu hrvatskom Baćanu i ostalim poglavarima 11. u Carigradu, da budu u miru sa susjednim Turcima:) derived from Croatian name (Harvat = Hrvat = Croat): Godine 1552. An important leaf containing Croatian Cyrilic text written in 1543-1563, as well as (to a minor extent) Croatian Glagolitic and Latin, can be seen in the so called Klimpeh Missal (Klingenbacher Missale, printed in 1501): Hvala samomu Bogu :č:f:m:g: Otče naš ki jesi na nebeseh sveti se ime tvoje pridi kraljevstvo tvoje budi volja [tvoja] kako na nebi tako i na zemlji kruh na vsagdanji daj nam ga danas i od- pusti nam duge naše kako i mi odpušćamo dužnikom našim i unevedi nas u napast [na] izbavi nas od nepriazni amen 1564 Cancio de reureccione domini Kristuš je gore ustal naše grehe odapral i ke je on tu ljubil sobum je je gore uzel kirieleišon aleluja aleluja Bog vsamogući ustal je gore s mertvih hvalmo Bog s veseljim s veselemi pesnami krieleišon aleluja Vu grobi je ležal trideset i šest or potom toga gore ustal koga je otac zobudil kririeleišon aleluja aleluja Kristuš gore ustal si nam na peldu dal si ar bihmo i mi ustajali s tobom prebivali krielešon aleluja aleluja Stupi doli na pakal dobre osloboditi hude ondi ostaviti velike muke tarpeti kririeleišona aleluja Maria prečista nebeska si roža moli za nas gospodina svojega sina slatkoga krireleišon aleluja Finis per me Georgium Vuković de Jastrebarska 1561 Gaudet puer Inonorificabilitudinetitacionitatibus Veseli se dite velkim počtenje jest Filipović Zdravo budi božju pop Juray Simanić 2(2011)2: 44–67, where a somewhat different transcription is provided.
It is, admittedly, slightly less complete than the Paris copy, lacking 19 leaves. Ralph Cleminson (University of Portsmouth, UK) for information about the Oxford copy. In 2012 an international conference "Croatian Cyrillic Heritage" (Hrvatska ćirilična baština) has been organized by Croatian Academy of Sciences and Arts, on the occasion of 500 years since the first printed Croatian Cyrillic book. According to the Austrian palaeographer Thorvi Eckhardt, the graphics of the Bosancica (Croatian Cyrillic) shows the greatest independence and individuality among all the national Cyrillic Scripts - Bulgarian, Macedonian, Montenegrin, Serbian, Ukrainian, Byelorussian, Russian (see her monograph Die slawischen Alphabete, Studium Generale VIII, 1967, p. She was also the first scholar to indicate the political loading in discussions about the Bosanica. Undersigned on the glagolitic leaflet is Opat Divich, hardly readable.
In recent decades Serbian authors have openly monopolized Croatian Cyrillic as an exclusively Serbian Script. A detailed palaeographic analysis of numerous epigraphic monuments found in Croatia and Bosnia-Herzegovina, related to inscriptions written in the Croatian Cyrillic, is contained in a monograph of Vinko Grubisic: "Grafija hrvatske lapidarne cirilice", KHR, Mnchen-Barcelona, 1978. The same name can be seen on the neighbouring leaflet, glued on the same page to the right, containing the table of Croatian Cyrillic, signed lisibly with the name of the same Opat Divinic.
It is interesting that some of the Croatian Catholics, who visited the Vatican in the 17th and 18th century, left their signatures written in the Croatian Cyrillic, which they call expressly the Croatian script.
Thus, the Croatian Cyrillic includes the following three major regions: The name of `Bosančica' (or `bosanica') is of a relatively recent provenance - it has been created by a Croat Ciro Truhelka in 1889, at that time a very young, 24 years old scientist.