HEIDELBERG (GERMANY) – After centuries of separation, one of the most valuable collections of manuscripts from the Middle Ages and Early Modern Age – the Bibliotheca Palatina – has been virtually reunited. Heidelberg University Library digitised not only the German manuscripts in its own holdings but also the Latin codices of this “mother of all libraries”, housed in Rome for nearly 400 years within the walls of the Vatican Library, the Biblioteca Apostolica Vaticana. The Manfred Lautenschläger Foundation provided the long-term financing that made possible this landmark project in scholarly research. A ceremony has been held on 15 February 2018 at Heidelberg University to commemorate the completion of the digitisation. Project is sponsored by Honorary Senator of Ruperto Carola, Dr. h.c. Manfred Lautenschläger.
The technical capabilities of digitisation and the Internet gave the University Library the opportunity to reunite this “treasure of Western culture”, now split between Rome and Heidelberg, into a single virtual library. To this end, Heidelberg University and the Vatican established a cooperation extending over several years. “We are extremely grateful to our Honorary Senator for funding this ambitious idea,” says Heidelberg University President Prof. Dr Bernhard Eitel. The Manfred Lautenschläger Foundation supported not only the digitisation of the German-language manuscripts in Heidelberg. Thanks to the Foundation’s financial support, a University Library digitisation studio was set up in the Vatican to capture the Latin codices. “For us, the virtual reunification of the German and Latin Palatina manuscripts is a dream come true,” emphasises Dr Veit Probst, Director of the Heidelberg University Library.
The Bibliotheca Palatina had a long history even before Pope Gregory XV confiscated it in the Thirty Years’ War and transferred it to the Vatican in 1623. For nearly 250 years, it had grown from two sources – the royal collections of the Heidelberg Castle and the libraries of Heidelberg University founded in 1386. With the exception of the German-language codices, which were permitted to return to Heidelberg in 1816, the Palatina remains a foundation of the Vatican Library in Rome. At the beginning of the 17th century, it was known as “the greatest treasure of Germany’s learned”. As a universal library, it contains not only theological, philological, philosophical, and historical works but also medical, natural history, and astronomical texts. It therefore remains of great interest for a number of academic disciplines. The digitised core inventory of approximately 3,000 manuscripts is now available to everyone over the Internet.
While the Iliad and the Odyssey stand out as the ancient pillars of epic literature from the Western culture, there is complex historicity when it comes to their authorship. In essence, while it may seem controversial, Homer is a semi-legendary character, with oral traditions and romanticism possibly playing their part alongside real life personalities, thus resulting in a refined concoction of fable and history. In any case, beyond the question of single authorship or a string of contributions, most historians believe that the epic poems of the Iliad and the Odyssey were composed some time around the late 8th or early 7th century BC.
And during this epoch, writing was not really familiar to most Greeks – and thus the epic poems were recited and sung for the audiences in selected venues like courts of the renowned leaders and during festivals. According to the University of Cincinnati –
A poet could actually improvise a tale in the six-beat rhythm of Greek verse if he knew the plot of his story, the themes and characters, and had descriptive formulas in mind such as “the wine dark sea” or “Hector, breaker of horses.
And now, Georg Danek of the University of Vienna and Stefan Hagel of the Austrian Academy of Sciences, have painstakingly reconstructed excerpts from the Odyssey, thus presenting to us a rough notion of how the poems sounded when sung in original ancient Greek. According to the duo –
In the course of the last years, we have developed a technique of singing the Homeric epics, which is appropriate for the primarily oral tradition from which these poems emerge.
This particular excerpt is the recreation of the lines 267-366 of book 8 of the Odyssey, in which Demodocus sings about the love of Ares and Aphrodite. And it should be noted that like most historical reconstructions, the melody shouldn’t be comprehended as a ‘precise’ recreation of its ancient counterpart. In any case, even when it came to the scope of ancient Greek recitation, the bards often improvised their texts and altered them in the various performances, while being accompanied by musical instruments like the phorminx, a four-stringed lyre-like craft. To that end, one can actually go through the various musicological theories and linguistic evidences that have rather aided these experts in their fascinating reconstruction….
A powerful 6.5-magnitude earthquake striked central Italy on Sunday morning, the strongest tremor to hit the country since 1980. Numerous buildings have collapsed, among them the ancient basilica of San Benedetto in Norcia, Umbria.
The current monastery was physically located above the 5th century ruins of the house of St. Benedict and his twin sister St. Scholastica, and has been the location of monastic communities since the tenth century AD.
The façade, the side portal and the lower bell tower dated from the late 14th century, and is the only part of the church that survived collapse. In 1570 a portico (Portico delle Misure) was added to the right side, by will of the commune and the ecclesiastical authorities, to act as covered cereals market, this also collapsed. On the side, near the transept, was a spur with a niche housing a Madonna with Child from a local, late-Gothic painter.
The basilica had a Latin cross plan, with a single nave. The apse and the internal dome at the transept dated from the 18th century reconstruction only the 14th-century triumphal arch, restored in the 1950s, remained from the original Gothic nave.
Below are some dramatic images of the church as it was before the quake and now, after collapse. (further updates coming up)
A new earthquake strikes Central Italy. On Wednesday, October 26th 2016, some minutes after 7pm, two tremors reported 5.5 and 6.1 magnitude caused major damages and building collapses in Umbria ad Marche, but luckily no victims.
The beautiful medieval church of St. Salvatore di Campi di Norcia, Umbria, almost completely collapsed. Below are some dramatic images of the church, before and after the strikes.
The epicentres were near the village of Visso, located on the edge of the region of Marche close to the border with Umbria. Visso is just 70 kilometres (45 miles) from Amatrice, striked by a powerful earthquake last August, and also not far from L’Aquila where another tremendous event killed more than 300 in 2009.
PARIS – Reflecting Roman influences and distinguished by unprecedented forms of power, the start of the Middle Ages is marked by the development of original forms of expression which have often been overlooked. The exhibition The Merovingian Age, which will be shown at the Cluny Museum in Paris, France, from October 26th 2016 to February 13th 2017 offers a lavish panorama of the artistic and intellectual productivity of this period of three centuries, beginning with the Battle of the Catalaunian Plains in 451 and culminating with the deposition of the last of the «Kings who did nothing» in 751.
More than 150 objects, sculptures, illuminated manuscripts, works of gold and silversmiths, coins, textiles and even charters have been brought together thanks to a partnership with the National Library of France. Many masterpieces from the Cabinet des Médailles are on show, including the remains of the treasure of King Childeric, the treasure of Gourdon and the famous throne of Dagobert. The Frankish kingdom was one of a multitude of new kingdoms loyal to an enduring imperial ideal inspired by Rome but influenced by Germanic and Anglo-Saxon practices.
The spread of Christianity led to the development of new beliefs : the cult of relics, at the same time as some pagan traditions were incorporated into the liturgical rituals which emerged during this period. This profound originality reveals itself in the artistic production of the Merovingians, and in the wealth of materials and colors that are astonishing even today. The diversity of written forms demonstrates the intellectual expansion which enlivens monastic and episcopal centers, the creative sources where an erudite culture developed. Works of art such as the chasuble of Queen Bathilde, coins, or the charters of Frankish kings attest to the complexity of expressions of power, combining a classical heritage with innovative forms. Manuscripts of the VIIth and VIIIth centuries coming notably from the department of Manuscripts of the National Library of France, the libraries of Laon and Autun, the National Library of Russia, the Vatican Library, and the National Archives of France, are placed in a new dialogue with the collections of the Cluny Museum and the loans from the National Museum of Archaeology at Saint-Germain-en-Laye, the British Museum; the Museum of the art and history of the Jura at Delemont, and the Museum Alfred-Bonno at Chelles.
Musée de Cluny – National Museum of the Middle Ages
6, place Paul Painlevé 75005 Paris
T. + 33 (0)1 53 73 78 16 musee-moyenage.fr
Days and hours of opening
Every day except Tuesday, from 9:15 am to 5:45 pm. Desk closes at 5:15 pm. Closed 1st January, 1st May and 25th December
An exhibition of over 120 illuminated pages and initials from one of the most important collections of miniatures worldwide, once owned by Count Vittorio Cini and presented to the Foundation in 1962
VENICE (ITALY) – A great exhibition entitled Mindful Hands. Masterpieces of Illumination from the Fondazione Giorgio Ciniis due to be staged on the Island of San Giorgio Maggiore in Venice from 17 September 2016 to 8 January 2017 (official opening: Friday, 16 September 2016). Produced by the Fondazione Giorgio Cini, Studio Michele De Lucchi and Factum Arte, the exhibition is being organised with the support of the Helen Hamlyn Trust and the contribution of Pirelli. For the first time in over 35 years more than half of one of the most fascinating, invaluable Fondazione Cini collections will be on show: the collection of 236 miniatures acquired by Count Vittorio Cini from the Libreria Antiquaria Hoepli in Milan in 1939-1940…
Tavoletta scrittoria con caratteri dell’alfabeto venetico conservata al museo Archeologico atestino di Este
La prof. Simona Marchesini, ricercatrice di Alteritas
Alla ricerca delle lingue perdute: dal retico al venetico, dall’osco-umbro all’etrusco. Fa tappa a Verona la Seconda Training School promossa dal gruppo di ricerca europeo AELAW (COST Action “Ancient European Languages and Writings”) costituito nel 2014 per censire e valorizzare le lingue frammentarie d’Europa, di cui l’Italia detiene il primato con oltre 15mila iscrizioni in etrusco, osco, umbro, venetico, messapico, retico, camuno, leponzio e altre lingue di minore entità. A due anni dalla prima scuola di formazione sulle lingue frammentarie della Spagna preromana, tenutosi a Jaca (sui Pirenei), il progetto, finanziato dall’Unione Europea, fa ora tappa nella città scaligera dove dal 5 all’8 settembre 2016 al centro studi sulle interazioni tra popoli Alteritas con sede nel Seminario vescovile, la rete scientifica con capofila l’università di Saragozza, e composta da 24…
BAYEUX (FRANCE) –(via @Minima Medievalia) The 950th anniversary of the Battle of Hastings (1066) marks an excellent occasion to reconsider the so-called “Tapisserie de Bayeux” not only for its historical value, which is already well known by scholars, but by highliting its artistic importance, far from being fully explored. An international Colloquium (“L’invention de la Tapisserie de Bayeux : NAISSANCE, COMPOSITION ET STYLE D’UN CHEF-D’OEUVRE MEDIEVAL”) will be held in Bayeaux from 22 to 25 September at the Bayeux Museum. Papers and talks will be presented by 23 scholars and researchers working in different countries (France, Germany, Belgium, Great Britain, Canada and United States) who will share knowledge and experiences from different disciplines and fields of study (textiles, history of Arts, archaeology, latin language, etc.).
Access is free. Lectures are in French only. Complete programme (also in French language) is available at this link.
DU 22 AU 25 SEPTEMBRE 2016
Direction : Cécile Binet, Pierre Bouet, Shirley Ann Brown, Sylvette Lemagnen, François Neveux, Gale Owen-Crocker
For more info, please visit the official Museum Website
Colour: The Art and Science of Illuminated #Manuscripts on display at Fitzwilliam’s in #Cambridge @FitzMuseum_UK
CAMBRIDGE (UK) – A new exhibition in Cambridge, UK celebrates the Fitzwilliam Museum’s 2016 bicentenary with a stunning display of 150 manuscripts from its rich collections – many on display for the first time. “Colour. The Art and Science of Illuminated manuscripts” shows a collection which ranges from the prayer books of European royalty and merchants to local treasures like the Macclesfield Psalter, from an alchemical scroll and a duchess’ wedding gift to the ABC of a five-year old princess.
The Fitzwilliam preserves the finest and largest museum collection of illuminated manuscripts in existence, and manuscripts were at the heart of the Founder’s collection with which the Museum was established in 1816. Among the treasures which Richard, 7th Viscount Fitzwilliam of Merrion (1745-1816), bequeathed to the University of Cambridge were 130 illuminated manuscripts.
In his 1895 catalogue of the Founder’s collection, the Fitzwilliam Director Montague Rhodes James appealed to potential benefactors to think of the Museum as a place where their ‘manuscripts would be choicely valued, religiously preserved, and minutely investigated.’ Among the bequests and donations which flowed into the Museum over the next two decades was one of the largest and finest private collections of medieval manuscripts. In 1904, the astronomer and inventor Frank McClean bequeathed over 200 volumes and some 130 illuminated fragments. The 1912 bequest of Charles Brinsley Marlay’s eclectic collection included one of the largest groups of illuminated fragments ever amassed – well over 250. These bequests quadrupled and diversified the Museum’s holdings.
The collection grew further under James’ successor, Sydney Cockerell, the longest serving and most acquisitive Fitzwilliam Director (1908-1937) to date. His vision, scholarship and passion for manuscripts have inspired more recent acquisitions, notably the Macclesfield Psalter, purchased in 2005 with overwhelming public support.
The exhibit also showcases advanced research undertaken by the Fitzwilliam’s curators, scientists and conservators involved in the Cambridge Illuminationsand MINIARE projects. It celebrates modern-day discoveries inspired by collections assembled over 200 years. These discoveries can be seen on display at the Museum until December 30th or can be explored online at this link.
VISIONS OF A JUDGEMENT – As reported on the World Digital Library, around the year 776, a monk by the name of Beato or Beatus, possibly the abbot of the monastery of Santo Toribio de Liébana, wrote a work entitled Comentarios al Apocalipsis (Commentary on the apocalypse), which had an extraordinary success in the following five centuries. Thanks to his great erudition, Beato combined in this text, as a summa, many commentaries on the topic of the apocalypse by such authors as Saint Irenaeus of Lyon, Saint Gregory the Great, Saint Isidore of Seville, and the 4th-century scholar Ticonius. The genre of apocalyptic literature appeared in the Jewish tradition in the second century BC and had never ceased to be practiced. Obsessed like his contemporaries with the imminent coming of the end of the world, which, according to the calculations of the six ages was to take place in the year 800 (838 in the Spanish era), Beato wrote this work for the edification of his monks. He emphasized that, after the final terrifying catastrophes announced by Saint John the Evangelist, good would triumph over evil.
The original codex, which most likely was illuminated, has not been preserved. Even though the dreaded date passed without the world coming to an end, copies of Beato’s work continued to be made in the monasteries of the peninsular north (only one extant manuscript was written abroad). Then came the terrifying year 1000 and other feared dates, so the text, linked to a fixed cycle of illustrations, continued to appeal to readers. Thirty-five manuscript copies dating from the ninth century to the 13th century have survived. By semantic extension, these manuscripts are called beato, and 26 of them are illuminated. Two are preserved at the BNE, the National Library of Spain.
EXPO & WEBSITE – The BNE exposition will mainly feature the most iconic manuscript of the corpus, the Codex Vitr/14/2, commissioned in 1047 by King Fernando I of León and Castille and Queen Sancha, and possibly done byFacundo in San Isidoro de León. Its 98 miniatures, endowed with amazing expressiveness, are distributed mostly on colorful horizontal stripes in a unique and unmistakable style that blends the Romanesque with various Mozarab and North African influences. Prominent among them are the Four Horsemen, the vision of celestial Jerusalem, the seven-headed snake, and the destruction of Babylon. The manuscript, owned by the Marquis of Mondéjar in the late 17th century, was confiscated with the rest of his library by Philip V during the War of the Spanish Succession.
The BNE has also announced the creation of a website entirely dedicated to the corpus of manuscripts. The series of the Beatus codexes have been included in the Unesco Memory of the World Register in 2015.