Parchment Sheets Research Articles

I codici liturgici di Castel Tirolo by Marco Gozzi (review)

Reviewed by: I codici liturgici di Castel Tirolo by Marco Gozzi Jacopo Mazzeo I codici liturgici di Castel Tirolo. By Marco Gozzi (with Roberto Sette). (Monumenta Liturgiae et Cantus, no. 1) Lucca: Libreria Musicale Italiana, 2012. [304 p. ISBN 9788870967074. €30.] CD-ROM, music examples, illustrations, facsimiles, tables, catalogs, bibliographic references, indexes. This edition represents the first thorough study and complete facsimile edition of the codices in the Castel Tirolo with inventory numbers 50218529 (olim 60, hereafter CT 60) and 50218528 (olim 61, hereafter CT 61). The former, copied in the twelfth century, features four liturgical books: a Calendar, a Gradual, a Prosarium, and a Sacramentary. The latter is more recent; it contains a Missal and a Calendar, and dates from the early fourteenth century. Both manuscripts are housed at the Musèo stòrico-culturàle della Provìncia di Bolzano, in Castel Tirolo. These books were used in Castel Tirolo’s chapel, certainly between the thirteenth and the fifteenth centuries, and they feature the musical material for the Masses of the entire liturgical year. This time frame represents the cultural peak of the castle and its community, its most significant period of greatness, richness, and splendor. The book mainly features contributions by Marco Gozzi, while Roberto Sette takes care of the study of CT 60 in a separate chapter. [End Page 86] The book opens with an in-depth literature review, which brings to our attention that the manuscripts have already been subjected to some study; the monks of Solesmes referred to one of the manuscripts, CT60, for their 1957 edition of the Roman Gradual. Despite this, the publication represents the first thorough treatment of the manuscripts. On a larger scale, it represents the inaugural issue of a collection of facsimiles and editions concerning manuscripts that deliver remarkable musical, liturgical, and historical information, the Monumenta Liturgiae et Cantus. The authors’ aim is to make significant musical testimonies widely available to students, scholars, and music enthusiasts. Although the intention is to address a very wide audience, this volume never lacks in detail and scientific accuracy, and unquestionably shows Gozzi’s longstanding expertise in the field. On a practical level, this study represents the expanded, amended, and deepened version of the conclusions stated in Gozzi’s 2011 article on the topic (Marco Gozzi, “I libri liturgici di Castel Tirolo”, in Schloss Tirol, 1971–2011: Neues Leben in alten Mauern: Festschrift anlässlich des 15. Jubiläums des Südtiroler Landesmuseums für Kultur- und Landesgeschichte Schloss Tirol [Bozen: Athesia, 2011], 106–33). More generally, the book means to cover, paraphrasing Gozzi’s words, a relatively unexplored explored area of Gregorian chant, which consists of its late production (after the 1000s) in both smaller and larger European centers (p. 11). Specifically, the main musicological purpose of the work is to explore the provenance and dating of the manuscripts’ content, since liturgical codices are often copied in a context different from that of their original use. The two manuscripts feature songs for the Mass for the entire liturgical calendar, which were used for the services celebrated in Castel Tirolo’s chapel during a period of at least two hundred years, between the thirteenth and the fifteenth centuries. The study of these two manuscripts is likely to interest any scholar of paleography, since the oldest manuscript (CT 60, twelfth century) is in adiastematic neumatic notation, while CT 61 (early thirteenth century) makes use of perfectly diastematic neumes. A detailed but flowing introduction puts both codices in their historical and geographical context. Here, Gozzi addresses introductory matters including a literature review and the history of the manuscripts, as well as a meticulous codicological outline. Some discussion of the Castle and its chapel give necessary historical background for the manuscripts. The description starts with a physical analysis of the exemplar, including paleographic remarks. This is in both cases illustrated with useful images, which help with comparing the different hands that follow one another on the parchment sheets. In the same fashion, the authors analyze the musical notation, giving comparative details for all kinds of neumes. An in-depth analysis of the fasciculation follows Sette’s textual and notational description of CT 60. This is supplied...

Rome’s World: The Peutinger Map Reconsidered by Richard J. A. Talbert (review)

Reviewed by: Rome’s World: The Peutinger Map Reconsidered by Richard J. A. Talbert Jennifer Trimble Richard J. A. Talbert. Rome’s World: The Peutinger Map Reconsidered. Cambridge: Cambridge University Press, 2010. xviii + 357 pp. 7 black-and-white figs., 26 black-and-white plates, 1 table. Cloth, $90.00. The Peutinger Map is a cartographic prodigy. It compresses the Roman Empire and parts of Asia into a ribbon 6.72 meters long but only 0.33 meters tall. The mapmaker removed open water, turned some landmasses on their sides, and squashed others almost flat. What are scholars to do with a map, “si peu correcte et si bizarre,” in the disparaging words of Johann Casimir von Häffelin (36)? Adding to the difficulties, the map we have is a medieval copy, several steps removed from an ancient original. And yet, this is the only map of the Roman world to survive from antiquity; it is enormously important. Richard Talbert has now produced the first full-length study of the Peutinger map in more than ninety years, and with it the first ever photographic presentation of the map in color. Uniquely qualified as the editor of the Barrington Atlas, he draws deeply on Brian Harley’s and David Woodward’s insistence on understanding maps within their own cultural contexts. In five narrative chapters, plus an introduction and conclusion, nine appendices, endnotes, bibliography, index and gazetteer, and extensive online resources, Talbert makes, I think, four major contributions to the scholarship on this map and to ancient cartography. First (chap. 1), Talbert provides an archaeology of the scholarship since the map’s rediscovery around 1500, when it first appears in the record as a bequest to the humanist Konrad Peutinger. Talbert deploys an impressive breadth and depth of research (cf. apps. 1–4 and 6); inter alia, he restores the reputation of Von Scheyb’s mid-eighteenth-century edition. Especially striking is his demonstration of the massive challenges faced by successive editors who tried to provide accurate reproductions of the map; this in turn has been a major obstacle to any kind of systematic commentary or analysis. Case in point: Konrad Miller’s 1916 publication, until now the authoritative modern resource, includes a black-and-white reproduction of the map at two-thirds size—but this was a lithographic reproduction, not photographic, that drew heavily on Scheyb’s engravings (62). These difficulties highlight the groundbreaking importance of the new digital presentation. Talbert’s second contribution is a detailed cartographic analysis of the Peutinger map as a map. Chapter 2, co-authored with Martin Steinmann, is a physical analysis of how, when, and where the surviving copy was made. Parchment sheets were first glued together and the map was then drawn onto them. The water features were painted on first; mountain ranges and cities came next; third were the red lines connecting settlements; writing was added last. Analysis of the letterforms places the Peutinger map in the first quarter of the thirteenth century, perhaps in south Germany or Alsace. In Chapter 3, Talbert then examines the different features of the surviving map in turn: the principal landscape elements, the line work, the nature and placement of the letters and numerals, and the symbols employed, especially for settlements. Oddly, there are no illustrations [End Page 159] in the text and no mention of the enormously helpful illustrations available online: http://www.cambridge.org/us/talbert/talbertdatabase/symbolclass.html. Entirely new in the map’s scholarship is Talbert’s serious attention to the use of color. Only then does Talbert tackle the map’s famous route network (108–21). Modern scholars have assumed that the original map was practical in purpose and have focused on the red lines and numerical distances that link settlements across the map. Talbert persuasively rejects both this assumption and this focus. He explores the map’s relationship to the third- and fourth-century Antonine and Bordeaux itineraries (see also table 1, pp. 158–61), but he points out that the routes and distances on the Peutinger map are not always reliable. There are no total distances provided and no distinctions between more or less direct routes; there are almost no...

Об идентификации славянских фрагментов Fb6+Fb17:3 из Шведской Королевской библиотеки в Стокгольме

Mariya Yovcheva, Dimitar Dimitrov: The Identification of the Slavonic Fragments Fb6+Fb17:3 of the National Library of Sweden The subject of this survey is the contents of the Russian fragments Fb6+Fb17:3, which were defined in some previous studies (Sjöberg 1981, Steensland 2005) as a part of Octoechos (although marked with a question mark). The identification of the texts, based on Slavonic and Greek printed editions, reveals that all the parchment sheets belonged to a Horologion (Ὡρολόγιον), a specific and very popular liturgical book in the Orthodox tradition. Two of the services – for the third and the sixth mesoria have the specific features of the new redaction of the Horologion (according to the Jerusalem typicon) which was layed in the Slavic practice after the liturgical and literary reforms during the 14th century. That is the reason for a later dating of fragments Fb6+Fb17:3. The deciphered text is published here.

Un disegno preparatorio del XIII secolo per un ciclo pittorico sull’Apocalisse

Figures and text from the Book of Revelation cover a large sheet of parchment (395x585 mm) preserved in the Archabbey of Saint Peter in Salzburg, Austria. Illustrating more than thirty scenes set within a geometric diagram, the parchment appears to provide the layout for a monumental program to be painted on the walls and dome of a chapel. This Apocalypse drawing was created within the scriptorium of a library as an intermediate stage between the sources found in manuscripts and the walls of a religious space accessible to a larger public. The drawing offers an extraordinary piece of evidence as to how the iconography of a monumental program might have been conceived by patrons and painters, and to the part played by space and architecture in its design. The paper offers a first assessment of the visual material and of some of the questions at stake in researching this drawing. A longer, in-depth study with a full transcription of its lengthy writings is in progress.

Un fragment de parchemin en semi-onciale du vie siècle (lettres de S. Jérôme, Vie de Malchus)

The binding of a sixteenth-century publication of unknown provenance which was found in the library of a priest of Brussels had been reinforced by a sheet of parchment taken from a volume containing Jerome's letters and hisVita of Malchus. The handwriting is semi-uncial of the 6th century. A study of the text reveals that the editions of the Vita of Malchus which are currently available are unsatisfactory.

A disposable electrochemical immunosensor based on carbon screen-printed electrodes for the detection of prostate specific antigen

A novel screen-printed electrode (SPEs) on sheets of vegetable parchment was prepared. The obtained SPEs were stable, convenient, inexpensive and suitable for large-area screen-printing. With these SPEs, we explored the fabrication of a novel, disposable and highly sensitive electro-analytical immunosensor using graphene nanosheets (GS) and horseradish peroxidase (HRP)-labeled signal antibody functionalized with gold nanoparticles (HRP-Ab2/Au NPs). GS was used to increase the conductivity and stability of this immunosensor due to its fast electron transportation and good biocompatibility. Au NPs could not only provide a large surface area for the immobilization of HRP-Ab2 but also enhance the electroreduction between HRP and H2O2 to amplify the electrochemical signal on the sandwich immuno-complexes modified SPEs. The proposed SPEs were characterized by scanning electron microscopy (SEM), transmission electron microscopy (TEM) and electrochemical methods involving cyclic voltammetry (CV), and electrochemical impedence method. Using prostate specific antigen (PSA) as a model analyte, this immunosensor showed a wide linear range over 6 orders of magnitude with the minimum value down to 2pgmL−1. In addition, this immunosensor could avoid the need of deoxygenation for the electrochemical immunoassay. Thus, it provided a promising potential in clinical applications.

Human Sexuality and Its Problems (Third Edition)

Palimpsest refers to a sheet of parchment where the original ink is scraped away and replaced by new writing. Outlines of the original text are often still identifiable. In more expanded use, palimpsest refers to modified structures in which traces of the original can be identified. The third edition of Human Sexuality and Its Problems is a literary palimpsest, appearing 20 years after the second edition and 26 years since the first. Traces of the earlier editions are easily detected,but theoriginalshavebeensubstantiallyreplaced.Rightly so, because in a quarter-century, the realm of study of human sexuality has expanded, morphed, digitalized, molecularized, and globalized. The great advantage of this volume’s still-visible history, however, is the careful guidance given the reader by its author. Bancroft has been in the midst of much of this transformation of sexuality and sexuality research. As director of the Kinsey Institute for Research in Sex, Gender, and Reproduction from 1995 to 2005, he respectfully but firmly spoke against the demonization of Alfred Kinsey and reacquainted many with the importance of Kinsey’s research. He played a key role in organization of the U.S. Surgeon General’s Call to Action for Sexual Responsibility in 1999. Mostly ignored during the presidential administration of George Bush, the products of that Call to Action represented a remarkably civil and democratic dialog about the role of sex and sexuality in American public health. Bancroft alludes to the Call to Action at several points, most tellingly in the Introduction, where he also frames the new edition in terms of his personal growth during the years between first and third editions. During Bancroft’s tenure as director of the Kinsey Institute, healsohad todeal with attempts within the AmericanHouse of Representatives to withdraw funding for peer-reviewed sexuality research funded by the National Institutes of Health. Aspectsof these and otherdetails relevant tosexuality research are addressed throughout the book. Such details provide an invaluable breadth of perspective that should remind everyone of the importance—but ever-present fragility—of our work. The book’s layers take on additional richness through the occasional emergence of Bancroft’s own voice. Bancroft uses that voice to step away from authorial objectivity to comment (sometimes sternly), to express doubt, or to congratulate the field for its progress. From time to time, he weighs in about ongoing debates. I found the presence of these interjections to be both helpful and refreshing. Like having the opportunity to ask questions of a mentor:‘‘What do you think?’’The questions and answers shape the relations of student and mentor. Or, in this case, they shape the dialog between author and reader. Texts should stimulate thought as well as teach, and a mental dialog with Bancroft filled many quiet mornings as I was reading, or as I moved into my own writing for the day. Human Sexuality and Its Problems is organized in 16 chapters. Roughly half of the book (Chapters 1–10) present detailed summaries of a variety of topics. Chapters 11–16 generally address a variety of sexual problems and treatment/management approaches. Four areas of the book deserve special emphasis. Chapter 2 addresses models of sexuality and the role of theory. A short discussion of epistemology is followed by critiques of two popular contemporary theories—Sexual Strategy Theory and Sexual Script Theory. Bancroft sharply dissects essential limitations of these theories, leaving the reader with negative impressions of both. Bancroft then presents the Dual Control Model, developed with colleagues at the Kinsey Institute. In essence, the Dual Control Model is a metaphor for the J. Dennis Fortenberry (&) Section of Adolescent Medicine, Indiana University School of Medicine, 410 W. 10th St., Room 1001, Indianapolis, IN 46202, USA e-mail: jfortenb@iupui.edu

Kódextöredékek Pauer János székesfehérvári püspök inkunábulumaiban

In the late 19th century a few Quattrocento initials and border ornaments were glued into the incunabula of the Pauer collection in the Episcopal Library of Székesfehérvár. The pictures are by Venetian illuminators painted for liturgical choir books. Bishop of Székesfehérvár János Pauer collected incunabula between 1879 and 1886 and probably obtained five complete large manuscript folios at that time as well. The parchment sheets were probably cut up by printer Kálmán Számmer upon the bishop's commission. Számmer completed the missing initials with hand painting, coloured the printed initials and sometimes composed colourful letters or a whole ornate title-page around a 15th century manuscript fragment stuck into the incunabulum. Among the fragments the most significant pieces are Cristoforo Cortese's signed initial showing St Francis enthroned surrounded by the host of angels and another Cortese fragment of two Franciscan monks. Similarly to the initial showing St Francis' death in the Wildenstein collection (Paris, Musée Marmottan), the illumination was presumably made after 1426, following Cortese's move to Bologna. The closest analogy of the Székesfehérvár composition is a Maiestas domini miniature painted by the “master of 1346” of Bologna. Originally, the codex from which the folio illuminated by Cortese comes was possibly made for a Franciscan community in Bologna, perhaps the Santi Ludovico e Alessio Convent of St Clare nuns ransacked by Napoleon's troops in 1798. The depiction of St Francis surrounded by adoring angels is remarkable for its iconography because it is a so-far unknown variant of the Franciscus alter Christus idea. The illuminator of the other four large initials showing half-length figures of prophets in Székesfehérvár is a later follower of the Master of San Michele a Murano. So far research has linked up three works by this master; the Székesfehérvár pictures show very close kinship with two initials dated to 1470 (New Haven, Yale University Art Gallery, and private collection, resp.).

The Archimedes codex: how a medieval prayer book is revealing the true genius of antiquity's greatest scientist

T his is a fascinating account of the nearly unbelievable ups and downs of the ‘‘Archimedes Palimpsest,’’ a Byzantine codex containing, under the text of a prayer book, a small library of unique ancient texts, including exceptionally important Archimedes treatises. The account is written in alternating chapters by William Noel, Curator of Manuscripts at the Walters Art Museum, Baltimore, and Reviel Netz, Professor of Classics and Philosophy at Stanford University. The story of the three known codices with works of Archimedes is told in the chapters written by Noel. The story begins with Archimedes, a prominent citizen of Syracuse, a Greek city in Sicily, sending letters with a number of his mathematical works for further distribution to colleagues in Alexandria, such as Conon, Dositheus and Eratosthenes. Archimedes was killed in 212 BC, when Syracuse fell to the invading Romans, but copies of his works, written on papyrus scrolls, continued to circulate. Early in the sixth century A.D., Eutocius wrote commentaries to some of Archimedes’s works: Sphere and Cylinder I-II, Measurement of the Circle and Balancing Planes. At about this time, the texts of some of Archimedes’s treatises that were still around were transferred from papyrus scrolls to a new and less fragile medium with greater capacity, codices made of stacks of folded parchment sheets stitched together. A new change of medium in the ninth century involved the transition from majuscule to minuscule, lowercase script. Manuscripts written in the older script were often destroyed. After centuries of neglect, a revival of interest in Archimedes’s texts in the Byzantine Renaissance in the ninth and tenth centuries may be one of the reasons for the survival of three codices with Archimedes treatises, now called Codices A, B and C. A and B both contain the treatises Balancing Planes and Quadrature of the Parabola, while B also contains On Floating Bodies, and A also contains Sphere and Cylinder, Measurement of the Circle, Spiral Lines, Conoids and Spheroids, and Sand-Reckoner. Today, both A and B are lost, but copies of A still survive, and so does a Latin translation of B, made in 1269 by William of Moerbeke, a Franciscan friar. After being lost for nearly a millennium (as is now known, after having spent several centuries being used as any other prayer book at the monastery of St. Sabas in the Judaean desert), Codex C sensationally resurfaced in 1899, when a few lines of a partially erased text visible under the text of a medieval prayer book were reproduced in a catalog of manuscripts in the library of the Metochion of the Holy Sepulcher in Constantinople. The Dane J. L. Heiberg, a prominent Greek scholar, recognized the lines as being taken from a work of Archimedes. Subsequently he went to Constantinople, where he could verify that the prayer book was a palimpsest, with the text of the prayer book written above

μ-XRF/μ-RS vs. SR μ-XRD for pigment identification in illuminated manuscripts

For the non-destructive identification of pigments and colorants in works of art, in archaeological and in forensic materials, a wide range of analytical techniques can be used. Bearing in mind that every method holds particular limitations, two complementary spectroscopic techniques, namely confocal μ-Raman spectroscopy (μ-RS) and μ-X-ray fluorescence spectroscopy (μ-XRF), were joined in one instrument. The combined μ-XRF and μ-RS device, called PRAXIS unites both complementary techniques in one mobile setup, which allows μ- and in situ analysis. μ-XRF allows one to collect elemental and spatially-resolved information in a non-destructive way on major and minor constituents of a variety of materials. However, the main disadvantages of μ-XRF are the penetration depth of the X-rays and the fact that only elements and not specific molecular combinations of elements can be detected. As a result μ-XRF is often not specific enough to identify the pigments within complex mixtures. Confocal Raman microscopy (μ-RS) can offer a surplus as molecular information can be obtained from single pigment grains. However, in some cases the presence of a strong fluorescence background limits the applicability. In this paper, the concrete analytical possibilities of the combined PRAXIS device are evaluated by comparing the results on an illuminated sheet of parchment with the analytical information supplied by synchrotron radiation μ-X-ray diffraction (SR μ-XRD), a highly specific technique.

Thermographic study of microstructural defects in deteriorated parchment sheets

IR thermography has been applied to the study of the aging of ancient books. The structure of some parchment bindings has been analysed in order to detect subsurface damages and features of the assembly technique. The morphology of micro fractures and flaking in parchment and the evidence the produce in the thermographic images have also been studied combining electron microscopy and pulsed thermography. Finally, in order to determine effects of degradation on the thermal transport properties of the parchment, the same technique has been applied for the determination of the thermal diffusivity in parchment sheets showing different preservation states.

A Wicklow skirmish in word and image: time and space in TCD MS 1209/12

Trinity College, Dublin, MS 1209/12, dates from 1599 and consists of a single parchment sheet, measuring 360 X 292 mm, in ink and wash, the colours being principally green, to a lesser extent blue, yellow-brown and reddish pink. It is one of a collection of Irish maps and plans of different kinds and varying provenances assembled by George Carew, who was to become lord president of Munster in the following year. In its account of a military encounter between forces of the English crown and Irish rebels the manuscript immediately strikes us by its combination of image and word, description and narration. At once a historical document, a legal deposition and a personal record, it arises out of one man's involvement in a national event. For the engagement which its creator portrays, and in which he played a part, falls within one of the most turbulent passages in the history of the relationship between the peoples of the islands of Ireland and Britain. My purpose is to examine the complex interaction between the graphic and verbal, narrative and descriptive modes in the document, as well as the interplay between personal interest and the military and political background to the events portrayed.

THE ARCHIMEDES PALIMPSEST: CONSERVATION TREATMENT, DIGITAL IMAGING AND TRANSCRIPTION OF A RARE MEDIAEVAL MANUSCRIPT

The Archimedes Palimpsest, the earliest surviving copy of the treatises of Archimedes, is currently the focus of a major conservation, digital imaging and transcription project based at the Walters Art Museum in Baltimore. The tenth-century manuscript, which contains the text and diagrams of seven of Archimedes’s theorems, was taken apart in the twelfth century and the parchment sheets were recycled for the making of a Christian prayer book. The manuscript is in extremely poor condition, damaged by fire and water, as well as by mold which has stained and perforated the parchment. Four leaves containing the rarest texts of Archimedes are covered over by forged miniatures that were added sometime after 1929. This paper describes the work that is being done currently to disbind the palimpsest and prepare the bifolia for imaging. The removal of adhesive residues, including animal glue and a poly(vinyl acetate) emulsion, and the stabilization of mold-damaged areas, are discussed. Multi-spectral imaging is being used to capture the barely visible writings of Archimedes, which are then being transcribed by an international team of scholars working from high-resolution images produced in visible and ultraviolet light, and pseudocolor. The combined efforts of the imaging scientists and scholars will eventually result in a facsimile and critical edition of the palimpsest, which is expected to change dramatically our current understanding of Archimedes’s thinking and the way in which his work serves as a foundation for modern science.

A Sheet of Parchment from a 10th or 11th Century Torah Scroll: Determining its Type among Four Traditions (Oriental, Sefardi, Ashkenazi, Yemenite)

A Sheet of Parchment from a 10th or 11th Century Torah Scroll: Determining its Type among Four Traditions (Oriental, Sefardi, Ashkenazi, Yemenite)

Miniatures as interpretation: Cambridge, Trinity Hall MS 12

Miniatures as interpretation: Cambridge, Trinity Hall M S 12 The manuscript Cambridge, Trinity Hall 12 came to my attention while collecting information about the medieval French translations of Boethius' Consolatio philosophiae, in preparation for establishing critical editions of those texts. This manuscript contains amongst other things a copy of the lengthy verse translation of the Consolatio, Translation X} a translation dating from the early 1380s in its original form, and dedicated to the young Charles VI. Translation X is itself a reworking of an earlier verse translation (IX) written by the Dominican, Renaut de Louhans. There are at least thirtyfive extant manuscript copies of X, dating from the late fourteenth and the fifteenth centuries, and at least two incunabula. Trinity Hall M S 12 is unlikely to play any major part in establishing a critical edition of this translation.2 Nevertheless, it has its own interest. This article is a series of brief reflections on Trinity Hall 12, not as it relates to the manuscript tradition, but in its o w nright,as an artefact of the early fifteenth century. The manuscript consists of eight quires of varying numbers of sheets, between four and thirteen per quire. Thefirstquire, ff. 1-8, is entirely in parchment, the other quires being a mixture of both paper and parchment; in general, a parchment sheet enfolds a varying number of paper sheets in each of the subsequent quires. A folio missing from the second quire has been * Full bibliographical details of these translations are to be found in N. H The Medieval Consolation of Philosophy: An Annotated Bibliography, New York and London, 1992. The system of numbering these translations that we have adopted is that of A. Thomas and M. Roques, 'Traductions francaises de la Consolatio Philosophiae de Boece', in Histoire litteraire de la France 37 (1938), 419-88, 54 47, rather than that of R. Dwyer, Boethian Fictions: Narratives in the Medieval French Versions ofthe Consolatio Philosophiae, Cambridge (Mass.), 1976. On their chronological sequence, see J. K. Atkinson, 'Manuscript Context as a Guide to Generic Shift: Some Middle French Consolations', in Medieval Codicology, Iconography, Literature and Translation. Studies for Keith Val Sinclair, Leide 1994, pp. 321-32. Critical editions of versions / (M. Bolton-Hall), / / (J. K. Atkinson) and IX (B. M. Atherton) are lodged as PhD theses at the University of Queensland Library. A n edition of V (J. K. Atkinson) should shortly appear in the series of the Beihefte ofZeitschriftfiir romanische Philologie. 2 A critical edition of the translation is being prepared by Marcel Noest as a doctoral dissertation at the University of Queensland; the Cambridge manuscript has been rejected as either a"base or a control manuscript. P A R E R G O N ns 13.2, January \996—Text, Scribe, Artefact 2 J. K. Atkinson inserted after the seventh quire, just after f. 106. The script is a quite rough hybrida currens of the fifteenth century; the ink is black and the texts are rubricated. The pages are ruled and the texts organised in ruled double columns varying in the number of lines per column from thirty-five to fiftytwo . At the end of virtually every verse, a pen line extends thefinalletter of the line to the edge of the column; usually this is with a simple straight line, but occasionally the lines are squiggled on alternate lines, leaving the intermediate lines with no fillers at all. Hence, for the first six lines of rubrics on f. lv b, there are three squiggled lines to six lines of rubrics, and for the final eight lines of rubrics on f. 2v a, there are four (Fig. I).3 The scribe, w h o signs himself simply as .G. at a couple of points in the manuscript and once as .G. dictus Lonielle, completed the transcription of the third and last text, La regale du monde or Le livre dez Mi. estas, on the Eve of the Purification or Candlemas, thefirstof February 1407 (new style). Judging by the script and some of the spelling features, the texts were all copied by the same scribe, w h o would appear to come from the eastern or north-eastern areas of France, Lorraine...

ALTERNATIVE METHODS OF MOUNTING PARCHMENT FOR FRAMING AND EXHIBITION

Summary This article examines two methods of mounting single sheets of parchment for both permanent and temporary display where other well-established methods such as the thread matt cannot be used, and which avoids the risks associated with traditional inflexible mounting methods. The first method described is the reverse thread matt in which the threads used to secure the parchment are taken around the back of a specially designed support-board, which allows such items to remain in existing frames where this is necessary and yet benefit from the advantages of the conventional thread matt. The second method is designed to hold larger sheets of parchment to rigid boards with straps of Japanese long-fibre tissue for framing or display, allowing a certain amount of movement, but providing a necessary safe breaking point should the parchment shrink on exposure to excessively dry conditions. The article also describes how sheets of parchment mounted by either method may be framed.

What year was Yaroslav the wise born in?

Swedish libraries and archives contain a great many Slavic texts on sheets of parchment which originally belonged to the parchment manuscripts seized as war trophies in Northern Russia during the latter half of the 1 6th century. These manuscripts have been 'butchered', and the parchment sheets were then used for covering and binding Swedish governmental documents. While making an inventory of these sheets, I came across 10 pages from a Prologue in the National Archives in Stockholm. These sheets had been used to cover administrative documents, and bear the heading 'Import to Stockholm Anno 159 Г and 'Export from Stockholm Anno 159Г. These sheets belong to the same Codex as a number of pages classified as KB A 787 a 5 in the Royal Library in Stockholm. The sheets in the collection 'Finlandskie fragmenty' (Catalogue No. 4.9.20.) in the Leningrad library of the Academy of Sciences are also part of the same Codex. Photostat copies of the fragments in Leningrad (4.9.20.) and those in Stockholm (KB A 787 a 5) have been published by Widnas (1966). When 1. 1. Sreznevskij (1874) catalogized them, he dated them to the 13th century. The sheets I have discovered in the National Archives contain texts which partially or completely cover 17 and 21 October, and 1,3, and 4 November. One of the texts for that last day 'SvjaScenie Svjatyja Sofija' is of particular interest, as it generally agrees with the text for 1037 in the Nestor Chronicle pertaining to Yaroslav the Wise, and ends with information on his age and date of death (1054 in the Chronicle). It is quite clear that the Prologue text is based on the same source as that of the Chronicle. However, if Sreznevskij is correct in assuming that the manuscript was written in the 13th century, we have here a text version that is about 100 years older than the Laurentius manuscript of 1377, which is the earliest manuscript of the Nestor Chronicle. (The Chronicle is quoted below, according to Miiller 1977). The most important variants and deviations from the Laurentius manuscript have been noted according to Scheffler 1977. Passages in the Prologue which lack an equivalent in the Chronicle are within brackets [ ], and those which differ from the Chronicle are indicated ЬуФ. Here follows the text of the Stockholm Ms RA ТА 1591:

Giovanni di Gherardo da Prato's Designs concerning the Cupola of Santa Maria del Fiore in Florence

Research Article| March 01 1959 Giovanni di Gherardo da Prato's Designs concerning the Cupola of Santa Maria del Fiore in Florence Howard Saalman Howard Saalman Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (1959) 18 (1): 11–20. https://doi.org/10.2307/987890 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Howard Saalman; Giovanni di Gherardo da Prato's Designs concerning the Cupola of Santa Maria del Fiore in Florence. Journal of the Society of Architectural Historians 1 March 1959; 18 (1): 11–20. doi: https://doi.org/10.2307/987890 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search This content is only available via PDF. Article PDF first page preview Close Modal You do not currently have access to this content.

Early Architects of Independence Hall

The Votes of Assembly of the Pennsylvania colonial legislature records that in 1732 Andrew Hamilton, Speaker, a Draught of the State-house, containing the Plan and Elevation of that Building; which being viewed and examined by the several members, was approved by the House.'1 A little later there was dissension in the committee, which also included Dr. John Kearsley and Thomas Lawrence, and it was deposed that: ... the said Andrew Hamilton exhibited to the two Gentlemen concerned with him for carrying on the said Work, a Plan and Elevation of a House or Building, and the same was compared with several other Plans and Elevations, one or more of which were produced by one of the Gentlemen joined in the said Undertaking; and that at least the Plan and Elevation of the Building now erected for the Representatives of the Freemen of this Province to meet and sit in, and for holding the Supreme Court, was not only agreed upon as the least expensive, but also as the most neat and commodious, by the Persons entrusted to build the same, but likewise approved of by the then House of Representatives; whereupon the said Andrew Hamilton, (the Gentlemen employed with him for carrying on the Work declining to attend) proceeded to purchase Materials, and, with the Approbation of the several Assemblies that have been held annually, hath carried on the principal Building, with the Offices, at considerable Length; 2 It has become a tradition that Hamilton, a lawyer, designed the building. Around the year 1890 an unsigned drawing on a sheet of parchment about 13 x 281/2 was discovered among the papers of John Dickinson which seemed to be, and probably was, an early study for the design of the structure-perhaps even the one shown the Assembly.3 The drawing (dated 1732 in a small panel above the central entrance door) represents the main block of the structure pretty much as built.4 Because parchment was a common item of stationery around a lawyer's office in that day, this seemed to some to clinch the argument that Hamilton made the drawing and was the Architect of the building. A recent gift to the National Park Service of photographs and notes collected by Horace Wells Sellers (1857-1933) a contained a photocopy record of payment to Edward Woolley, Philadelphia master carpenter, for what appears to be the working drawings for the State House:

Greek Uncial Fragments in the Library of Congress in Washington

There is preserved in the Rare Book Department of the Library of Congress in Washington a sheet of parchment comprising two folia of a medieval manuscript, each covered on both sides with Greek text in uncial script. Seymour de Ricci, in his Census of Medieval and Renaissance Manuscripts in the United States and Canada (N. Y. 1935, I, 211), lists this unique and precious fragment and describes it as follows:‘Library of Congress, ms. no. 60: Sermons, in Greek. Vel. (VIIIth c.), 2 ff. only (27 × 20 cm.), the 2 outer of a quire, 36 lines to a page, written in sloping uncials….Obtained in 1929 … from Casella of Naples (Ms. Ac. 4189, 10, nn. 1–6); certainly of South-Italian origin.’The catalogue does not undertake to identify the author of the text.