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Made in Rome around A.D. 400, the Vatican Vergil is the most famous and the most attractive illustrated book surviving from classical antiquity. David H. Wright introduces this masterpiece of late antique art and shows why it is such an impressive example of the new form of book, the codex, that replaced the traditional papyrus roll and permitted more elaborate illustrations. Here are thirty-two of the most interesting illustrations from the Vatican Vergil, reprinted in full color from the 1980 facsimile published in Graz, Austria, in collaboration with the Vatican Library. Facing each reproduction is the appropriate text from Vergil, in Latin and in English, together with explanatory comments. Wright discusses how the manuscript was made, describing the style of the capital script and of the illustrations as well as their sources in older classical traditions. He examines the Vatican Vergil as an example of the revival of classical culture in pagan circles in Rome at a time when Christian authority was systematically suppressing pagan religion. Finally, he surveys the "afterlife" of the codex, tracing how the work was studied and copied first in the Carolingian era and then in the Italian Renaissance. All the illustrations not reproduced in color are given at full size in black and white in a concluding list of the illustrations that have survived in this unique masterpiece. Made in Rome around A.D. 400, the Vatican Vergil is the most famous and the most attractive illustrated book surviving from classical antiquity. David H. Wright introduces this masterpiece of late antique art and shows why it is such an impressive example of the new form of book, the codex, that replaced the traditional papyrus roll and permitted more elaborate illustrations. Here are thirty-two of the most interesting illustrations from the Vatican Vergil, reprinted in full color from the 1980 facsimile published in Graz, Austria, in collaboration with the Vatican Library. Facing each reproduction is the appropriate text from Vergil, in Latin and in English, together with explanatory comments. Wright discusses how the manuscript was made, describing the style of the capital script and of the illustrations as well as their sources in older classical traditions. He examines the Vatican Vergil as an example of the revival of classical culture in pagan circles in Rome at a time when Christian authority was systematically suppressing pagan religion. Finally, he surveys the "afterlife" of the codex, tracing how the work was studied and copied first in the Carolingian era and then in the Italian Renaissance. All the illustrations not reproduced in color are given at full size in black and white in a concluding list of the illustrations that have survived in this unique masterpiece.
The twenty-eight essays in this collection showcase cutting-edge research in manuscript studies, encompassing material from late antiquity to the Renaissance. The volume celebrates the exceptional contribution of John Lowden to the study of medieval books.
The Protean Virgil argues that when we try to understand how and why different readers have responded differently to the same text over time, we should take into account the physical form in which they read the text as well as the text itself. Using Virgil's poetry as a case study in book history, the volume shows that a succession of material forms - manuscript, printed book, illustrated edition, and computer file - undermines the drive toward textual and interpretive stability. This stability is the traditional goal of classical scholarship, which seeks to recover what Virgil wrote and how he intended it to be understood. The manuscript form served to embed Virgil's poetry into Christian culture, which attempted to anchor the content into a compatible theological truth. Readers of early printed material proceeded differently, breaking Virgil's text into memorable moral and stylistic fragments, and collecting those fragments into commonplace books. Furthermore, early illustrated editions present a progression of re-envisionings in which Virgil's poetry was situated within a succession of receiving cultures. In each case, however, the material form helped to generate a method of reading Virgil which worked with this form but which failed to survive the transition to a new union of the textual and the physical. This form-induced instability reaches its climax with computerization, which allows the reader new power to edit the text and to challenge the traditional association of Virgil's poetry with elite culture.
The textual heritage of Medieval Latin is one of the greatest reservoirs of human culture. Repertories list more than 16,000 authors from about 20 modern countries. Until now, there has been no introduction to this world in its full geographical extension. Forty contributors fill this gap by adopting a new perspective, making available to specialists (but also to the interested public) new materials and insights. The project presents an overview of Medieval (and post-medieval) Latin Literatures as a global phenomenon including both Europe and extra-European regions. It serves as an introduction to medieval Latin's complex and multi-layered culture, whose attraction has been underestimated until now. Traditional overviews mostly flatten specificities, yet in many countries medieval Latin literature is still studied with reference to the local history. Thus the first section presents 20 regional surveys, including chapters on authors and works of Latin Literature in Eastern, Central and Northern Europe, Africa, the Middle East, Asia, and the Americas. Subsequent chapters highlight shared patterns of circulation, adaptation, and exchange, and underline the appeal of medieval intermediality, as evidenced in manuscripts, maps, scientific treatises and iconotexts, and its performativity in narrations, theatre, sermons and music. The last section deals with literary “interfaces,” that is motifs or characters that exemplify the double-sided or the long-term transformations of medieval Latin mythologemes in vernacular culture, both early modern and modern, such as the legends about King Arthur, Faust, and Hamlet.
A unique exploration of the beginnings of biblical illustration and decoration.
A major artistic study of a famous medieval masterpiece
This is a book about Roman comedy, ancient theatre imagery, and seven medieval illustrated manuscripts of Terence’s six Latin comedies. These manuscript illustrations, made between 800 and 1200, enabled their medieval readers to view these comedies as “mirrors of life”.
"Tracing what the library has meant since its beginning, examining how its significance has shifted, and pondering its importance in the twenty-first century, significant contributors--including the librarian of the Congress and the former executive director of the HathiTrust--present a cultural history of the library"--Dust jacket flap.
Lawrence Nees, Godescalc's Career and the Problems of 'Influence' - William Diebold, The Anxiety of Influence in Early Medieval Art - Helen C. Evans, Pseudo-Bonaventura on the Euphrates - Donal Cooper, Franciscan Art and Mendicant Manuscript Illumination in Italy: A Reconsideration of Iconographic Primacy - Robert Gibbs, 'Sober as a Judge': The Influence of Bolognese Law Manuscripts on Ambrogio Lorenzetti's Allegory of Justice in the Good Commune - Lucy Freeman Sandler, Illuminated in the British Isles: French Influence and/or the Englishness of English Art, 1285-1385 - T. A. Heslop, Authority and Imagination in the Illustration of Terence's Comedies - Patricia Stirnemann Anne Ritz-Guilbert, Cultural Confrontations - Ursula Weekes, The Interplay between Prints and Illuminated Manuscripts in Brigittine Convents of the Low Countries during the 16th Century - Scot McKendrick, Between Flanders and Normandy: A Case of Influence within Collaboration between Flemish and Norman Miniaturists? - Rowan Watson, Fit for a King? The Alfonso of Aragon Hours and Baronial Patronage in Late 15th-century Naples - John Lowden, Under the Influence of the Bibles Moralisees - Cecily Hennessy, The Lincoln Typikon: The Influences of Church and Family - Justine Andrews, Crossing Boundaries: Byzantine and Western Influences in a 14th-century Illustrated Commentary on Job - Dei Jackson, A Work Like No Other: Alfonso X's Cantigas de Santa Maria - Kirstin Kennedy, Evidence for the Islamic Source behind the Miniatures in Alfonso X of Castile's 1283 Libro de Ajedrez, dados y tables - David Ganz, Problems of Influence in the Utrecht Psalter