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description= Folios, Manuscripts, Paleography,
Codicology;
author= Julia Bolton Holloway;
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which may not show on your computer a website the computer of wisdom on textual communities in many ways this modern and electronic technology can return us to more ancient and most beautiful technologies concerning writing our young people hunger for such beauty in the sacred written page producing it clandestinely in revolt on railway carriages and railroad tunnels as graffitti i remember but do not have the citation to an article by norman mailer on this aspect once on a manuscript scrounge in belgium from a train i saw on the side of a barn the most glorious purple background upon which were golden letters of imperial codices we scroll through texts on screen as once had greeks and romans through their rotuli of papyri before the christians invented the bound codex moreover medieval texts were first written out impermanently like e mails on diptyches hinged wax tablets as we see with hildegard von bingen hildegard of bingen writing on hinged wax tablets bottom left lucca manuscript and jan van ruusbroec jan van ruusbroec writing on wax tablets his scribe entering the text upon parchment for two digitalized manuscripts of birgitta s revelationes in their entirety http laurentius lub lu se their scribes then entering this material upon parchment and vellum for posterity if we look carefully at both miniatures a word derived from the minium the red used for rubricating and decorating manuscripts rather than tininess we can see that hildegard is first given a scroll from the hand of god ruusbroec inspired by the dove of the spirit writing in the middle ages was a communal act communing with god and with one s book producer we ourselves on the internet can return to the glorious colours of egyptian roman and medieval texts lost with the cost effectiveness of printed books of black on white and for us colour even gold even light itself unlike what it was for medieval scribes and their rubricators is free best of all is to carry out this task as did medieval contemplatives in prayer in sacred conversation with god who gave us the promise of the rainbow for all young and old schooled and self teaching in the amherst manuscript which is possibly written during julian s lifetime we may be seeing in its corrections julian s own hand putting in lines her scribe has missed if you want to study paleography seriously i suggest the now online otto f ege portfolio and the following manuscript leaves as worthy of study as with languages keep pushing yourself to understand their written words and attempt to hear them in your mind medieval reading was not silent what they quilled and quired was even sung gloriously otto f ege leaf 27 italy gradual this is the opening of julian of norwich s showing of love in the westminster cathedral manuscript u re gracious goode lorde god shewed me in party th e wisdom th e trewthe of th e soule of oure blessed lady saynt mary where in i vnder stood th e reuerent beholdynge th at she behelde her god th at is her maker maruelynge with grete reuerence th at he wolde be borne of her th at was a simple creature of his maky n g th using the single thorn letter s s being long tailed u s and v s the reverse of our practice and n abbreviated with a macron above previous letter the manuscript though giving the date 1368 on its first folio is written out circa 1500 at brigittine syon abbey in england most probably by a brigittine nun wearing st birgitta s specified black veil with white crown and cross joined at the interstices with the five roundels signifying the five wounds of the crucified christ he following leaf or folio is from an illuminated psalter made in italy circa 1480 its script is the lovely rounded bolognan libraria or book hand carried over from the romanesque period and constantly used in italy while france and the north of europe shifted to the spiky gothic script it alternates capitals in reds and blues which as we noted above was a memory system used in manuscripts both pleasing to the eye and memorable to the mind but forgotten with the cost effective black and white only of later printed books julian s amherst manuscript uses similar techniques though there the capitals are all blue with red ornamental penwork flourishes it is suggested you store these files then call them up and expand their images to the original sizes to study them offline the opposite side of this leaf or folio its verso the above being its recto gives at the top of this page in rubrics we learn this is from one of the psalms for vespers at the top of the previous page that these are the psalms for the third week a folio is of two pages the first side being the recto the second the verso and were numbered so rather than by pagination books were bound so that hair and flesh sides matched up together in the gatherings the size of this folio is smaller than that of a modern paper back book s page 158 x 111 millimetres just right for carrying in a pocket when travelling the entire volume was likely bound in brilliant red leather dyed not with cochineal but with kermes beetles with a clasp to keep its pages flat it would have been owned by a monk or a nun and used constantly the psalter featuring in all the seven offices or hours of prayer in the monastery and convent his leaf is from julian s own life time and her own region of england circa 1400 east anglia it is from a breviary s sanctorale for november 1 all saints day here we see that the alternating capitals are in pink and blue with gold leaf that the text is much rubricated and that the script is the spiky northern gothic rather than the italian rounded romanesque the use of rubrication can be seen in such ancient egyptian writings as the book of the dead and usually for sacred words amidst secular ones in julian of norwich s paris manuscript christ s words to her are so rubricated like a red letter bible though in such a manuscript as this rubrics are used to indicate instructions rather than read or sung text the vellum is extremely fine the transparency of it interfering with reproduction the quill is minuscule the leaf which has been badly cropped across the top measures 119 x 89 millimetres his much later and very beautiful leaf of a litany of the saints includes st dionysius and his companions the middle ages apart from abelard believed that st dionysius was the saint who heard st paul preach on the areopagus then converted with demaris to christianity and wrote the works of pseudo dionysius which julian mentions then came to france being martyred at montmartre norwich cathedral west nave and window the gothic style began at st denis attempting to convey in stone and glass the neoplatonic aesthetics of pseudo dionysius then was copied throughout europe including by julian s own norwich cathedral of the most holy and undivided trinity s a n cte dionisi cum so ciis tuis orate pro n obis is half way down the above recto folio the leaf measures 118 x 156 millimetres the manuscript a book of hours is from northern france circa 1470 while this manuscript of the writings of pseudo dionysius in cambridge university library and once owned by cardinal adam easton benedictine of norwich is thirteenth century and victorine from paris nd from spain later than the above is this huge leaf too large for me to scan in its entirety it has come out of a vast book used on a lectern for monks to sing from in choir gradual mass for thursday of easter week fifteenth or sixteenth century its words speak of do min us inducam vos in terras flue ntes lac et mel e alle luya of god leading us into a land flowing with milk and honey the mellifluous music echoing those words the top line is taken up with the mellifluous alleluya then p opulus aquisitionis a n nu n ciate uirtutues et ius alle this is the right hand side of the previous detail i deliberately bought this leaf in the madrid open air antique market hating seeing it cut from an already damaged bound book with a razor rolled up and given to me because of the hole in the parchment repaired originally by sewing but where the sheep s or cow s leg had caused a less than perfect piece of parchment for this particular folio this leaf and others here also show the accumulated grease upon their pages from sweaty fingers we are dealing with human artifacts and the opus dei of the church is indeed labour by the sweat of brow and hand especially where each book involved was made by hand each letter written so and we find the continuation for the alle on the verso where i have scanned a portion of the text on the flesh side of the parchment this folio verso also clearly shows the difference in colouring between hair flesh sides luya qui nos et tenebris uo cauit in admirabile lumen suus alleluya duxit eos domin us in alleluya et inimicos eo when we assembled an exhibition of manuscript leaves owned by faculty members at the university of colorado boulder i was chagrined to find this leaf identified as italian it is spanish i said no it is italian they said i bought it in spain i said but it came from italy they said i explained spanish and italian manuscripts deeply influenced each other italian scribes being in spain and vice versa as i found in my research on brunetto latino and alfonso el sabio s exchanging of manuscripts between spain and florence and that spain adopted italy s beautiful rounded bolognan libraria i also explained that this huge book could easily on the spot be made from the hides of cattle there but not as easily transported over mountains such as the alps and the pyrenees i cannot resist also telling of my experience in the biblioteca nacional in madrid where one pores over medieval manuscripts in a room whose walls are lined with paintings of don quixote poring over medieval manuscripts we know what happened to him in consequence of his reading of medieval romances in the renaissance madness scriptoria t could be wise to ask the context of a manuscript and its scriptorium brian stock s book the implications of literacy speaks of textual communities let us examine the major communities which produced owned and used manuscript books in the middle ages in the early middle ages the writing of books was the exclusive domain of the monastery books being written in their scriptoria sometimes exchanged we know of such exchanges between the abbeys at winchester and fleury st benoit sur loire including the texts of liturgical dramas and they were read usually in carrels in the cloisters and in the refectory out loud the world of the book also included women in convents who were noted as fine readers and writers and scribes and illuminators of books monastic books would be the psalms psalters as above the gospels the bible in its entirety the church fathers the classic texts by roman authors terence virgil lucan statius ovid etc medicinal and herbal treatises etc then in the twelfth century the universities came into being from which women were excluded for centuries to come universities required different kinds of books the decretals being typical also aristotle whose philosophy was to be reconciled with theology with aquinas summae as well as massive commentaries to texts the lecture notes surrounding the text as gloss the universities coincide with the spiky gothic script which may have arisen from the crusaders exposure to islamic and hebrew culture including the arabic translations of aristotle as well as the hebrew bible there would be a later conscious return to the romanesque script for classical texts as deemed more appropriate to them a dislike of gothic which would constitute the humanist scripts and type fonts of the renaissance in both the romanesque and gothic periods besides the bookhands libraria there was also chancery script used for legal documents and charters by church and state which derived from roman cursive script it is important to study this script as well as often information surrounding a book written in libraria can be uncovered in archival research amidst such chancery documents written in that different script some books are even written in chancery script for instance the earliest commedia by dante s fellow chancery student under brunetto latino francesco da barberino while we lack an example of dante s own hand we learn that he typically wrote in chancery script his letters being tall and elegant not rounded for the laity became literate especially the italian merchant class making use of the learning of chanceries and they especially sought out vernacular texts like the roman de la rose the commedia the canterbury tales and the romances of king arthur a dante commedia can imitate a university text with an illumination like those in terence s comedies its text in italian and its gloss in latin upon each page women meanwhile excluded from education prized the book as symbolic of a lost power and desired to own beautiful books of hours for which see quentin massys painting of the flemish merchant and his wife entire websites are given to studying such book of hours there has been some study of the contexts of chaucer s canterbury tales of langland s piers plowman but in reality we need teams of scholars working together on projects in connection with the book those wisdom books produced by alfonso el sabio in spain cross linking with those produced by brunetto latino in exile and in florence next his student dante alighieri and the commedia and the book production centred around birgitta of sweden and christine de pizan who are continuing that tradition of advising rulers of europe on how to govern wisely and well writing prophetic sybilline books somewhere in all this is julian of norwich quietly producing a domestic version a homely version a truly excellent version of birgitta of sweden s massive revelationes not to influence kings but for her even christian her work next being treasured in cloistered communities even and especially where these are driven into exile and illiterate margery kempe copies them and elizabeth barton is made to do so all this we plan to include on our international congresses on the city and the book la citta e il libro here in florence may 2001 2002 2003 paintings can teach us a great deal about books their bindings their readership and their ownership and should be consulted for such purposes far more often than they are at present the virgin at the annunciation is shown surprised at her devotions her lectio divina in the midst of reading a book of the word her psalter or the prophecy of isaiah concerning her monastics in their sober garb black benedictines dominicans in their white carry startlingly brilliant red kermes dyed leather bound and clasped office books vocabulary script model which the scribe has in mind when he or she writes hand the particular scribe s writing duct the distinctive manner in which a particular scribe puts his strokes on the page e g the angle of holding the pen how the pen was cut the degree of pressure holding the pen the dire...
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