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      • The New Series (2001-)
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        • 2019 Anniversary Symposium Registration
        • 2019 Anniversary Symposium Registration Open
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A Leaf with Patchwork from the Saint Albans Bible

December 29, 2025 in Fragments, Manuscript Studies

A Leaf with Patchwork
from the Saint Albans Bible
in the Collection of William Voelkle

Double columns of 46 lines in Gothic Script
with 2-line Decorated Initials, Bar-Extensions,
Foliate Ornament,
and Marginal Inhabitants (Monkey, Dragon, Bird)

Northern France, circa 1330

Psalms 107:14 ([facerimus uir-]/tutem et ipse)
– 108:31 (a persequentibus [animam meam] )
and 109:2 ([tuorum te-]cum principium . . . )
– 110:6 (. . . operum suorum / [adnuntiabit populo suo])

Plus Cut-Out with Patch apparently from the Same Bible
Cut out (in 14 lines of one column):
Psalms 109:1–2 (Dixit Dominus domino meo . . . tuorum te-/]cum principium)
Replacement Patch (in 14 lines pasted to opposite side):
Epistle of James 1:11–15 (peccatum uero cum / [consummatum fuerit]

[Posted on 27 December 2025]

Collection of William Voelkle, Framed Leaf from the Saint Albans Bible: Recto under glass. Photograph by William Voelkle.

Our series of RGME Workshops on “The Evidence of Manuscripts, Etc.”, continues to uncover more leaves from the fragmentary manuscripts which the workshops consider, by request. Now we report another leaf from the Saint Albans Bible, with which our workshops began.

We set the stage by reviewing two leaves which generated our interest in this manuscript and its fragments. They belong to the Farrell and Weber Collections respectively, with portions from the Old Testament and the New Testament respectively.

The ‘new’ leaf belongs to the Collection of William Voelkle. Its pieced-together pieces represent parts of one Book from the Old Testament and another from the New Testament.

The patchwork, replacing a cut-out portion with a cutting from elsewhere in the volume, resembles a phenomenon which we explored previously in another fragmentary Vulgate Bible, the larger Lectern Bible dispersed by Otto F. Ege as his Number 14.

  • Patch Work in Otto Ege MS 14
Beinecke Rare Book & Manuscript Library, Otto Ege Collection, MS 14, Genesis Opening Leaf: Recto, Detail of Patch.

Beinecke Rare Book & Manuscript Library, Otto Ege Collection, MS 14, Genesis Opening Leaf: Recto, Detail of Patch.

Beinecke Rare Book & Manuscript Library, Otto Ege Collection, MS 14, Genesis Opening Leaf: Verso, Detail of Patch.

Beinecke Rare Book & Manuscript Library, Otto Ege Collection, MS 14, Genesis Opening Leaf: Verso, Detail of Patch.

1. The Farrell Leaf
(from the Book of Numbers)

Our workshops first examined a leaf on loan to the RGME with part of the text of the Book of Numbers in a Latin Vulgate Bible in double columns of 46 lines in Gothic script, with decorative elements. Reports of our discoveries about that leaf have been reported in our blog on Manuscript Studies.

  • A Latin Vulgate Leaf from the Book of Numbers (Part 1)
  • Latin Vulgate Bible Leaf in the Collection of Jennah Farrell, Part 2: Provenance
  • The Latin Vulgate Bible Leaf in the Farrell Collection Part 3: The Full Leaf

Collection of Jennah Farrell, Manuscript Leaf in Mat: top left. Photograph by Jennah Farrrell.

Recto

Collection of Jennah Farrell, Single Leaf from the Book of Numbers in a Medieval Latin Vulgate Bible manuscript. Full extent of the leaf, unframed: Recto. Photography by Mildred Budny.

Verso

Collection of Jennah Farrell, Latin Vulgate Bible Leaf: Verso with Ruler. Photograph by Mildred Budny.

2. The Weber Leaf
(from the Acts of the Apostles)

As the workshops progressed, our Associate Richard Weber revealed another leaf from this manuscript in his collection, to join our blogposts about various items in his collection. Unlike the first leaf considered in our workshops, from the Old Testament Book of Numbers, this leaf belongs to the New Testament portion of the bible, from within the text of the Acts of the Apostles. See

  • The Weber Leaf from the Saint Albans Bible

Collection of Richard Weber, Leaf from the Saint Albans Bible, Verso: Top Left. Photograph by Richard Weber.

Recto

Collection of Richard Weber, Leaf from the Saint Albans Bible, Recto. Photograph by Richard Weber.

Verso

Collection of Richard Weber, Leaf from the Saint Albans Bible, Recto. Photograph by Richard Weber.

Collection of William Voelkle, Framed Leaf from the Saint Albans Bible: Recto under glass. Photograph by William Voelkle.

3. The Voelkle Leaf
(from the Psalms
and the Epistle of James)
—A Patchwork Leaf

Next, our Associate William Voelkle sent a photograph of his leaf from the Saint Albans Bible.

About the leaf, William Voelkle reported that

I purchased the leaf from Philip Duschnes (NY dealer) August 10, 1983, as ‘repaired.’ The historiated miniature had been cut out and replaced with another section of the text.
— email of 29 December 2025

About Duschnes and his business, see, for example Philip C. Duschnes.

Contained within a glass-fronted frame, the leaf shows one side, but turns the other side to the back of the frame, where it remains hidden.

We examine the visible side, with glimpses also of the opposite side as revealed by show-through and other evidence.

Recto (the Visible Side)

Collection of William Voelkle, Framed Leaf from the Saint Albans Bible: Recto. Photograph by William Voelkle.

The page has no running title, unlike some other parts of the Saint Albans Bible (see above).

Mainly the text on the page presents part of the Book of Psalms, plus a replacement patch for fourteen lines cut out from one column, which removed the first lines of Psalm 109.

A modern pencil note at the left opposite line 3 of the left-hand column identifies the number of the Vulgate Psalm (“108”) which opens there (Deus laudem meam me tacueris). It seems likely that the note postdates the dismemberment of the manuscript, so that an identification of the contents of the leaf might be appropriate, starting with the first of the Psalms on the page.

Rubrication in red pigment announces the start of Psalms 108 and 110 — perhaps it did so also for the opening of Psalm 109, but that title would have been lost in the cut-out.

Show-through from the opposite side reveals (in mirrored view) the presence of polychrome bar ornament in verticals along the inner and outer margins as well as the intercolumn — that is, at the left-hand side of both columns of text on that page and, to a less marked extent, at the right-hand side of the outer column — and in branching formations at both upper and lower margins.

The Texts:
Parts of Two Different Books of the Bible

The visible side of the leaf carries text principally from the Book of Psalms. It begins midword within Psalms 107:14 ([facerimus uir-]/tutem et ipse) and ends within Psalms 110:31 (operum suorum / [adnuntiabit populo suo]). The text carries the full text of Psalm 108, but only the last part of Psalm 109, because its first lines have been cut out and removed, taking the opening initial and the adjacent section of its intercolumnar bar ornament at the left. Untouched was the bar ornament at the right-hand side, along with the full-length bird perched in profile upon its foliage.

The Psalms text in column a and the upper and lower parts of column b:

Psalms 107:14 ([facerimus uir-]/tutem et ipse) – 108:31 (a persequentibus /[animam meam])
and (after the gap produced by the cut-out)
Psalms 109:2 (tuorum te-/]cum principium) – 110:1–6 (operum suorum / [adnuntiabit populo suo])

Missing text cut out from column b:

Psalms 109:1–2 ([Dixit dominus Domino meo . . . tuorum te-]cum principium)

Replacement patch of fourteen lines in a single column:

Epistle of James 1:11–15 (Exortus est enim . . . peccatum uero cum / [consummatum fuerit]

Untouched in the cutting process was the bar ornament at the right-hand side, along with the full-length bird perched upon its foliage. Seen in profile facing left, the bird raises its offside leg and its head to look up to the left. Might the bird perhaps depict a thrush or strike?

Collection of William Voelkle, Framed Leaf from the Saint Albans Bible: Recto under glass, Midsection with patch. Photograph by William Voelkle.

A patch in the second column supplies a passage of fourteen lines of text where the original text had been cut out — presumably as a specimen of text and/or decoration. The supplied portion presents similar layout, script, structure, and intercolumnar border decoration as characteristic of the Saint Albans Bible, so perhaps or presumably another leaf from the same book supplied the gap. Certainty about the source of the replacement might become clearer if, say, the portion of the Epistle of James in the volume can be identified either intact or defective.

Collection of William Voelkle, Framed Leaf from the Saint Albans Bible: Recto under glass, Detail with patch. Photograph by William Voelkle.

The bar ornament at the left on the replacement patch is broader than the bar ornament which it supplants or interrupts in the intercolumn of the Psalms leaf, although its undulating ornamental pattern and coloring resembles that bar. The extensions to the left from the replacement bar imply that this patch came from a left-hand column on its former page, reaching into the inner margin.

The Decoration and Figural Ornament

Ornamented initials stand at the openings of the individual Psalms, as inset 2-line polychrome capitals within frames. From their left-hand side, extensions might rise or descend along the side of the column of text to curve into the upper or lower margins in elaborate branching foliate motifs. The individual verses of the Psalms open within the continuous lines of text as inset 1-line capitals, rendered alternately in blue pigment or gold, within beds of penline decoration.

Top

Collection of William Voelkle, Framed Leaf from the Saint Albans Bible: Recto under glass, Top. Photograph by William Voelkle.

Bottom

Collection of William Voelkle, Framed Leaf from the Saint Albans Bible: Recto under glass, Lower portion. Photograph by William Voelkle.

Seen in profile, the animated elements in the lower margin comprise

1) a charming undulating dragonesque creature with raised wings at the outer right, an elongated neck, and an open-mouthed head facing right with a dog-like head having pointed ears and a bearded lower jaw; and

2) an upright monkey striding toward the left. In its outstretched hands this creature holds an implement which might depict a spindle and whorl.

Below the monkey’s feet, two foliate terminals of the border ornament have descending streaks of ink and pigment which damaged the page at an unknown stage.

Collection of William Voelkle, Framed Leaf from the Saint Albans Bible: Recto under glass, detail: monkey. Photograph by William Voelkle.

Questions or Suggestions?

Do you know of other leaves from this Bible? Do you know of other works by the same scribe(s) or artist(s)? We welcome your feedback.

*************

Tags: Collection of Richard Wagner, Collection of William Voelkle, Fragmentology, Jennah Farrell Collection, manuscript fragments, Manuscript Illumination, Otto Ege MS 14, Patchwork in Manuscripts, RGME Workshops on the Evidence of MSS Etc., Saint Albans Bible, Vulgate Bible Manuscripts
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2023 Pre-Symposium on “Intrepid Borders” before the Spring Symposium

March 9, 2023 in Uncategorized

Intrepid Borders:
Marginalia in Medieval and Early Modern Books

Baltimore, Walters Art Museum, MS. W.148, folio 33v, detail. Image via Creative Commons.

A Virtual Lightning Talks / Half-Day Symposium
of the Research Group on Manuscript Evidence

co-organized by Katharine Chandler,
Jennifer Larson,
and Jessica L. Savage

Friday, 24 March 2023
2:00 – 5:30 pm E.D.T. (GMT-4) by Zoom

The Research Group on Manuscript Evidence invites you to attend our innovative half-day virtual symposium to be held on the afternoon of Friday, 24 March 2023. It features two sessions of Lightning Talks (between 15–18 minutes each) which have been selected from the Call for Proposals.  Here is how we presented the Call:

  • 2023 Pre-Symposium Call for Papers: “Intrepid Borders” Lightning Talks.

With strong and plentiful responses, the Program has been selected, filling the afternoon.

This exploratory event about book marginalia and borders (including drolleries, glosses, inscriptions, and annotations) will kick off the Research Group’s virtual Spring Symposium to be held the next day on Saturday, March 25th.

As part of the RGME’s Theme for the Year 2023, “Materials & Access”, the pair of 2023 Spring and Autumn Symposia considers interlinked areas “From the Ground Up” (Spring) and “Between Earth and Sky” (Autumn).  For information about the Spring Symposium and registration for it, see:

  • 2023 Spring Symposium “From the Ground Up”

The set of Sessions on “Intrepid Borders” for the afternoon Pre-Symposium is co-organized by

Katharine Chandler, Jennifer Larson, and Jessica L. Savage.

Registration for “Intrepid Borders” is required, and can be made through its portal:

  • https://www.eventbrite.com/e/intrepid-borders-pre-symposium-for-2023-spring-symposium-tickets-512253994487

After you have registered, the Zoom link will be sent out shortly before the event.

Baltimore, Walters Art Museum, MS. W.148, folio 33v. Detail: Bottom, with fighting creatures. Image via Creative Commons.

Baltimore, Walters Art Museum, MS. W.148, folio 33v. Detail: Bottom, with fighting creatures. Image via Creative Commons.

Vision for the Lightning Talks

The borders of books are usually narrow places where reader-viewers of manuscripts touched, turned, and lingered on pages. As a space to develop writing and decoration, marginalia, or “things in the margin,” might be integral to the design of a manuscript, or their marks could be extraneous additions to the page.

Papers might explore the interaction of readers with texts through annotations and glosses, and investigate the many varied inscriptions and their purposeful inclusion in book borders. Papers might also zero in on the iconographic programs and decorative surrounds in manuscripts, which evolved over the late Middle Ages and into the early modern period, and which contain compelling visual evidence of the whimsical and fantastic.

Read the rest of this entry →

Tags: 2023 Pre-Symposium on "Intrepid Borders", Anatoli’s Malmad ha-Talmidim, Book of Kells, Clumber Park Chartrier, Decoration in Books, Early Modern Studies, Ethiopian Hymn Anthologies, Flower Collection, Flower-Strewn Borders, Glosses, Lightning Talks, Manuscript Illumination, Manuscript studies, Manuscripts of Dante's Divine Comedy, Marginalia, Readers in 16th-century Scotland, RGME Symposia, Tridentine Reform in Mons: Belgium, Unknown Readers
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2023 Pre-Symposium Call for Papers: Intrepid Borders Lightning Talks

January 9, 2023 in Announcements, Manuscript Studies, RGME Symposia

Call for Papers

Intrepid Borders:
Marginalia in Medieval and Early Modern Books

A Virtual Lightning Talks / Half-Day Symposium
of the Research Group on Manuscript Evidence

Proposals due by Sunday, 12 February 2023

The Research Group on Manuscript Evidence seeks proposals for lightning talks (between 15–18 minutes each) for a half-day virtual symposium to be held on the afternoon of Friday, 24 March 2023.

This exploratory event about book marginalia and borders (including drolleries, glosses, inscriptions, and annotations) will kick off the Research Group’s virtual Spring Symposium to be held the next day on Saturday, March 25th. As part of the RGME’s Theme for the Year 2023, “Materials & Access”, the pair of 2023 Spring and Autumn Symposia considers interlinked areas “From the Ground Up” (Spring) and “Between Earth and Sky” (Autumn).

The set of Sessions on “Intrepid Borders” for the afternoon Pre-Symposium leading to the Spring Symposium are co-organized by Katharine Chandler, Jennifer Larson, and Jessica L. Savage.

Baltimore, Walters Art Museum, MS. W.148, folio 33v. Detail: Bottom, with fighting creatures. Image via Creative Commons.

Baltimore, Walters Art Museum, MS. W.148, folio 33v. Detail: Bottom, with fighting creatures. Image via Creative Commons.

Vision for the Lightning Talks

The borders of books are usually narrow places where reader-viewers of manuscripts touched, turned, and lingered on pages. As a space to develop writing and decoration, marginalia, or “things in the margin,” might be integral to the design of a manuscript, or their marks could be extraneous additions to the page.

Papers might explore the interaction of readers with texts through annotations and glosses, and investigate the many varied inscriptions and their purposeful inclusion in book borders. Papers might also zero in on the iconographic programs and decorative surrounds in manuscripts, which evolved over the late Middle Ages and into the early modern period, and which contain compelling visual evidence of the whimsical and fantastic.

Proposals for Talks

We seek short abstracts (~200–250 words) detailing your title and topic as it fits with the above parameters, to reach us by the end of Sunday, 12 February 2023. Speakers will be notified in the following week of their acceptance.

Research works-in-progress and work from emerging scholars in manuscript studies are especially encouraged to submit their ideas for inclusion in the program.

Please send your abstracts through the linked Call for Papers Google Form.

More information about the 2023 Spring and Autumn Symposia can be found at: 2023 Spring and Autumn Symposia.

We look forward to your proposals.

*****

Fantastic fighters in the lower margin, Douce–Walters Homiliary, Walters Art Museum, MS. W.148, folio 33v.  On the manuscript, see The Digital Walters.

Baltimore, Walters Art Museum, MS. W.148, folio 33v, bottom right, with fighting creatures. Image via Creative Commons.

*****

Tags: Borders, Lightning Talks, Manuscript Illumination, Marginalia, Medieval manuscripts, RGME Symposia
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Lead the People Forward (by Zoey Kambour)

February 13, 2022 in Manuscript Studies, Uncategorized

Lead the People Forward:
The Contemporaneity
of the Medieval Iberian Haggadah

Zoey Kambour, MA

15 February, 2022

Pursuit by the Egyptians. Detail of Figure 4 (see Figure 4b below). Manchester, John Rylands Library, Rylands Heb. MS 6, fol. 18v, lower. Copyright of the University of Manchester.

[Editor’s Note: This blogpost, by GuestBlogger, Zoey Kambour, is published through the process of peer review by three expert reviewers, each of whom we thank. Thanks are due to the owners of the manuscripts and photographers for permission to reproduce the images here of the medieval manuscripts and architectural structures.

About Zoey, see linkedin.com, uoregon.academia.edu/ZoeyK (with CV), and below.  We thank Zoey for proposing to contribute to our blog, preparing this essay from on-going research interests and projects, joining the peer-review process, responding to questions and suggestions, completing the presentation for publication in this format, and obtaining the permissions to reproduce the illustrations here. Congratulations!

Zoey’s essay in the format of a blogpost presents its scholarly structure with Text, interlinked Notes, Acknowledgments, Zoey Kambour’s Biography, and Figures. All the full-size Figures appear in a group at the end, with details along the way.]

“Lead the People Forward”

Passover is a holiday that focuses on the personalized retelling of Exodus — the second book in the Torah, which tells the story of the plight, liberation, and departure of the Israelites under the prophet Moses in Egypt. In this retelling, the participants must see themselves as if they were liberated from Egypt.[1]  In addition, the exercise facilitates reflection on how the story of Jewish liberation applies to the current moment.  During a time of stress and loss, such as the current  pandemic, Passover is a deeply unifying holiday; it reminds the Jewish people of their deep connection to each other, despite the quarantined distance, through their suffering and fight for freedom. Passover conveys a message of hope that applies to any current moment.

The Haggadah (plural Haggadot), the text recited at Seder, is not liturgical, but rather a guide. The participants follow the order of prayers and interactions with the ritual foods displayed on the Seder plate. After the Seder, Exodus is retold in the Maggid portion of the Haggadah.[2]  However, unlike a standard liturgical text, the worshippers are encouraged to ad lib, improvise, and add their own unique spin upon the story of Exodus during the performance.

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Tags: British Library Add MS. 27210, Castillo Templario de Ponferrada, Golden Haggadah, Illustrations of Exodus, Manuscript Illumination, Manuscript studies, Medieval Architecture, Medieval Clothing, Medieval Iberian Hagaddah, Medieval manuscripts, Rylands Haggadah, Rylands Hebrew MS. 6, Santa Maria de Léon Cathedral, Visual Anachronism, Zoey Kambour
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2020 Spring Symposium: Save the Date

February 15, 2020 in Announcements, Conference, Conference Announcement, Events, Index of Medieval Art, Princeton University, Reception, Uncategorized

New York, Grolier Club, \*434.14\Aug\1470\Folio. Flavius Josephus, De antiquitate Judiaca and De bello Judaico, translated by Rufinus Aquileinensis, printed in Augsburg on paper by Johannn Schüsseler in 2 Parts, dated respectively 28 June 1470 and 23 August 1470, and bound together with a manuscript copy dated 1462 of Eusebius Caesariensis, Historia ecclesiastica.

New York, Grolier Club, *434.14Aug1470Folio.

“From Cover to Cover”

Activities Devoted to Manuscripts, Early Printed Books & Beyond
From Collecting & Cataloguing to Deciphering & Beholding

2020  Spring Symposium
of the Research Group on Manuscript Evidence

Princeton University
Friday & Saturday 13–14 March 2020

 

Update 5 April 2020

The Symposium Booklet, with illustrations and Abstracts of Papers, is now published and available for download.
See Keeping Up: Updates for Spring 2020.

The Abstract of one paper in the 2020 Symposium Booklet has been expanded to a Draft Paper, available for Feedback:

  • “A Quick Introduction to Indian Manuscripts for the Non-Specialist”, with examples and illustrations,
    downloadable here.

Update 9 March 2020

This event is now cancelled, as Princeton University and other institutions respond to current health concerns, and take precautions regarding travel and meetings of various kinds in person.
The Symposium might be rescheduled, conditions permitting.  

Meanwhile, the Research Group aims to complete the Symposium Booklet and distribute it to contributors, registrants, and others, as a souvenir of our speakers’ good intentions.  Already, as a sign of appreciation, we have adopted the custom of posting on our website the abstracts of contributors who become unable to attend to present in person (as with the 2018 Congress, among others).

This time, under wider — even global — circumstances affecting the ensemble as a whole, we wish to show appreciation for the remarkable enthusiasm and dedication for the collaborative event demonstrated by our hosts, sponsors, speakers, moderators, and others.  This knowledge is something to remember with satisfaction, gratitude, and praise.

The publication could, perhaps, give a token to show for our shared efforts, and to demonstrate something of the spirit of dedication and focus which prepared to assemble for the event itself.

This aim might help to ease some of the disappointment over cancellation, while the cancellation itself might ease some uncertainties about travel at present.

P. S.  Only once before, in more than 30 years of activities in many centers in the United States and elsewhere (see our Events and Congress Activities}, has the Research Group had to cancel an event.  It, however, was only 1 Session among 7 sponsored and co-sponsored Sessions at the 48th International Congress on Medieval Studies in May 2013, when the Session organizer and 2 presenters were unable to travel to the Congress.  We honored their intentions to contribute by continuing to record their abstracts and the statement of purpose of the Session on this  website.

Similar solidarity pertains to our record of this intended 2020 Spring Symposium.  A summary of this Update appears in its own post.

Here we preserve the description of the event in the updated version just before the decision to cancel this Symposium, among many gatherings at Princeton University and elsewhere at the beginning of the week in which the Symposium was planned to take place.

*****

What We Planned

Saint Andrew. Oil on Canvas. Artus Wollfort (1581–1641). Private Collection, Public Domain. Via Wikipedia Commons.

Saint Andrew. Oil on Canvas. Artus Wollfort (1581–1641). Private Collection, Public Domain. Via Wikipedia Commons.

We announce the next Symposium of the Research Group on Manuscript Evidence, to be held at Princeton University on Friday afternoon and Saturday, 13–14 March 2020. This event follows from, and builds upon, our earlier events, including our 2019 Anniversary Symposium, also held at Princeton University.

Our subject this time: “From Cover to Cover”.   Some say, “That Covers It”.  (We might well agree.)

Such activities include Collecting, Curating, Conserving, Cataloguing, Deciphering, Editing, Reading, Teaching, Translating, Displaying, Accessing, Beholding, Reconsidering, and More.  Cover to Cover.

Naturally, these activities need not necessarily occur in that order, and often they appear in combination.

In addition we consider activities dedicated to manuscripts, early printed books, and beyond, in terms (as is our custom) of both media and chronology.  As often, we consider medieval manuscripts and early printed books from Western Europe, but also— as usual — we examine materials from other cultures, languages, and time-frames.

This recognition of the processes (necessarily integrated) infuses the collection of presentations and conversations which our Symposium aims to gather.  In a nutshell:  Food for Thought, Refreshments included.

For which ability, we have Sponsors, Hosts, Trustees, Associates, Contributors, and Volunteers heartily to thank.

Sponsors

Research Group on Manuscript Evidence

Department of Art & Archaeology, Princeton University

The Index of Medieval Art at Princeton University

Program in Medieval Studies, Princeton University

James Marrow and Emily Rose

Barbara A. Shailor

Celia Chazelle

The Schoenberg Institute for Manuscript Studies

The Bibliographical Society of America

Vassar College

On the Road

Poster 1 for 2019 Anniversary Symposium, with symposium information with images of manuscript and early printed pages..

Poster 1 for 2019 Symposium

Poster 2 for 219 Anniversary Symposium, with symposium information and 2 images of cropped initials, from 12th-century Latin manuscripts, from the Princeton University Art Museum.

Poster 2 for 2019 Symposium

Following upon, and building upon, the success of our Anniversary Symposium last year, we prepare the 2020 Spring Symposium.  Its date is now set, as is the Schedule.  (See below.)

For our 2019 Anniversary Symposium, see its Report and its freely downloadable 2019 Anniversary Symposium Booklet.  Like the Booklet, the 2 Posters (seen here) illustrate examples of manuscripts (Western and non-Western) showcased in the Symposium, its papers, and its workshops.

All these publications, as customary, are set in our very own copyright multilingual font Bembino , and designed and laid out according with our Style Manifesto.  This font is freely available through our website, for your use – whether individual, nonprofit, or commercial.

Both the font, and its descriptive Booklet, are downloadable here .  We have also prepared a booklet showing its abilities in setting multiple languages, both Western and non-Western.  See Multi-Lingual Bembino . Plus our Style Manifesto .

Cover Story

Now we turn to our 2020 Spring Symposium.  Please register (details below).

Poster 1 for the 2022 Spring Symposium.

Gladly we list the Sponsors, Speakers, and Moderators.

Speakers and Moderators (in alphabetical order)

Philadelphia, University of Pennsylvania Libraries, Lawrence J. Schoenberg Collection, MS LJS 101, folio 1v. Opening of Boethius's translation of Aristotle's "Peri erimenias" within a collection of secular and classical texts, France, possibly at the Abbey of Fleury (Saint-Benoît-sur-Loire), 9th–11th centuries. Photograph courtesy OPenn.

Philadelphia, University of Pennsylvania Libraries, Lawrence J. Schoenberg Collection, MS LJS 101, folio 1v. Photograph courtesy OPenn.

Paris, Bibliothèque nationale de France, MS latin 190, folio 1r. Opening page of the Commentarii notarum tironiarum, with an enlarged initial decorated with interlace and foliate ornament. Image via gallica.bnf.fr.

Paris, Bibliothèque nationale de France, MS latin 190, folio 1r. Photograph via gallica.bnf.fr.

Christine E. Bachman (Art History Department, University of Delaware and Graduate Student Fellow 2019–2020, Schoenberg Institute for Manuscript Studies, University of Pennsylvania)

Mildred Budny (Director, Research Group on Manuscript Evidence, Princeton)

Raymond Clemens (Curator, Early Books and Manuscripts, Beinecke Rare Book and Manuscript Library, Yale University, New Haven)

Meghan Constantinou (Librarian, The Grolier Club, New York, New York)

Barbara Williams Ellertson (Books as Symbols in Renaissance Art and Research Group on Manuscript Evidence)

Lynley Anne Herbert (Curator of Manuscripts and Rare Books, The Walters Art Museum, Baltimore, Maryland)

Carson Koepke (Program in Medieval Studies, Yale University)

Laura Light (Director and Senior Specialist, Text Manuscripts, Les Enluminures)

John T. McQuillen (Associate Curator, Printed Books & Bindings, The Morgan Library & Museum, New York, New York)

Bernard Maisner (Bernard Maisner and Bernard Maisner, Master Calligrapher)

New York, Morgan Library & Museum, PML 7, folio P2r. Blockbook of Apocalypsis Sancti Johannis, printed in Germany circa 1468. Revelation 15:1, with hand-colored illustration.

New York, Morgan Library & Museum, PML 7, folio P2r. Blockbook of Apocalypsis Sancti Johannis, printed in Germany circa 1468. Revelation 15:1, with hand-colored illustration.

Sabrina Minuzzi (Researcher in Early Modern History, Marie Skłodowska-Curie Fellow, Ca’ Foscari University of Venice)

Ronald D. Patkus (Associate Director of the Libraries for Special Collections and Vassar Head of Special Collections, Vassar College, Poughkeepsie, New York)

Pamela Patton (Director, Index of Medieval Art at Princeton University)

Lynn Ransom (Curator of Programs, The Schoenberg Institute for Manuscript Studies, University of Pennsylvania Libraries)

Helmut Reimitz (Professor of History and Director, Program in Medieval Studies, Princeton University)

Jessica L. Savage (Art History Specialist, Index of Medieval Art)

Barbara A. Shailor (Department of Classics, Yale University, and President, Bibliographical Society of America)

       David W. Sorenson (Independent, Quincy, Massachusetts)

Kelly Tuttle (Project Cataloger, Manuscripts of the Muslim World, University of Pennsylvania Libraries)

Eric White (Curator of Rare Books and Acting Curator of Manuscripts, Special Collections, Firestone Library, Princeton University)

Princeton University Library, Rare Books and Special Collections, William H. Scheide Library, 53.8. Latin Bible in double columns of 49 lines, printed in Strasbourg by Johann Mentelin, not after 1460 CE.

Princeton University Library, Rare Books and Special Collections, William H. Scheide Library, 53.8. Latin Bible (printed in Strasbourg by Johann Mentelin, not after 1460 CE.) Photograph courtesy Princeton University Library, Rare Books and Special Collections.

The Aim

In a nutshell.

2020 Spring Symposium Announcement, describing the scope of the event, listing the Sponsors, and citing the link to the registration form.

2020 Spring Symposium Announcement, describing the scope of the event, listing the Sponsors, and citing the link to the registration form.

The Plan

Day 1

Friday 13 March: Classes, Workshops, Discussion, and a Reception

1) 12:00–1:00, 12:00–1:30, or 12:00–2:00pm (By Invitation)
Seminar Room of the Index of Medieval Art

“Comparing Notes about Databases:  Past, Present & Futures”
An Informal Discussion

2–3) 1:00–2:45 pm or 3:00–4:45 pm
Classes on Site at Firestone Library (Registration Required and Space Limited)

For registration for these classes and the symposium, see below.

“Material Evidence: A Workshop with 15th-Century Manuscripts and Incunabules”

Classes given (twice) by Eric White, Curator of Rare Books, Princeton University Library, in the Large Classroom of Floor C (Rare Books and Special Collections) at Firestone Library

Please gather in the Lobby at the entrance to Firestone Library, for special escorted access to Floor C, where there are lockable lockers (free) for your coats and cases, before entry to Special Collections.

2) Class 1:  Meet at 1:00 for 1:15–2:45 pm

3) Class 2 (repeated):  Meet at 3:00 for 3:15–4:45 pm

or

4) Session 3:00–5:00 pm
106 McCormick Hall

“Materials, Processes & Products:  A Workshop”

This workshop offers presentations by Bernard Maisner on “The Materials and Methods of Medieval & Renaissance Manuscript Gold-Illumination Techniques” and by David W. Sorenson on “An Introduction to Indian Manuscripts for the Non-Specialist”, along with curated displays of original materials in private collections and demonstrations of results from their close study.

5) Reception

5:00–7:00 pm
Lobby outside 106 McCormick Hall

Florence, Galleria degli Uffizi, Anonymous, Still Life, German school of the XVI century, circa 1510, oil on wood, 70.2 × 65 cm. Opened book with fanned leaves showing pages of text and music set out in double columns and adorned with decorated initials and illustrations. Image via Wikimedia, public domain.

Florence, Galleria degli Uffizi, Anonymous, Still Life of an Illuminated Book, German school of the XVI century, circa 1510. Opened book with fanned leaves. Image via Wikimedia, public domain.

Day 2

Saturday 14 March:  Sessions, Refreshments, and Reception

106 McCormick Hall and its Lobby

6) 10:00 am – 5:30 pm

Sessions, Coffee Breaks, Lunch, and Discussion

7) Reception (5:30–7:00 pm)

2020 Symposium "From Cover to Cover" Poster 2

2020 Symposium Poster 2

*****

The Schedule

The Schedule is available here.

*****

Registration

Please register for the Symposium.  We offer the Registration form as a downloadable pdf .

*****

Maps and Directions

Here.

*****

Please Contact us with questions and suggestions.

Watch this space and visit our FaceBook Page for updates.

Floral Motif as Lower Border in a Book of Hours. Photography Mildred Budny.

We invite you to donate to our nonprofit educational mission. Donations may be tax-deductible. We welcome donations in funds and in kind: Contributions and Donations .

Please join us at the symposium, open to all.  You can register here .

*****

Tags: Early Printing, manuscript fragments, Manuscript Illumination, Manuscript studies, Medieval Manuscript Fragments, Medieval Studies, Medieval Writing Materials, Spring Symposium
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Revisiting Anglo-Saxon Symposia 2002/2018

May 1, 2019 in Abstracts of Conference Papers, British Museum, Conference, Manuscript Studies, The British Library, Uncategorized

Revisiting Beloved Ground

[Published on May 1, 2019]  A personal post by our Director.

A New Look

© The British Library Board, Royal MS 1 E vi, folio 4r. Reproduced by permission

© The British Library Board, Royal MS 1 E vi, folio 4r. The Royal Bible of Saint Augustine’s Abbey, Canterbury. 

We have returned from a trip to London for multiple views of the exhibition of Anglo-Saxon and related manuscripts at The British Library, and for a visit to its companion set of conferences to showcase work by selected elder and younger scholars.

My review does not have the purpose of providing a purview as such of the exhibition or the conferences.  Other venues have provided more-and-less expert evaluations of the exhibition and its scholarly events.

It was lovely to see the manuscripts — in most cases, again, for I have seen them in person in their current collections.  It took decades of travel, decades of dedication, and worth the view.

#turnedthepages

Suffice it to say that I, for one, can state accurately as well as precisely that, with determination, time, travel funding, part-time work, and perseverence, topped by a deep and abiding love of the subject, along with permission by the custodians, I have been able to examine closely and directly, and to turn the pages of almost all the manuscripts (and many of the documents) on display. A labour of love.

Having the opportunity to view the gathered manuscripts of course demands praise for the organisers of the exhibition and the enlightened donors for its accomplishment. Having the opportunity to attend the conference and to view the exhibition of course commands recognition that I have myself had to pay for that privilege, in travel, housing, conference dues, exhibition entrance, and the like. It is important to record, with thanks, the generous donation of 2 tickets for attendance by a Research Group Associate, which made it possible to continue to view the exhibition in company.

I talk about logistics because these matters, also, matter.

You all who talk, and with reason, about the need to have funding in order to persist and persevere with this and or that field of study, I hear you.  Funding applications, part-time jobs, free-lance work, supposedly ignominious independent scholarly endeavors all must hold their place.  Sometimes hard work.

Center Stage

For me, it was important to see, in person, again, some manuscripts which I love deeply. That comes from close and appreciative knowledge. Did I mention my favorite hashtag. #turnedthepages.  Here, aplenty, in this exhibition, it applies.  And then some.

Plus, the exhibition is nontrivial.  See here:  Anglo-Saxon Manuscripts.

It was a special delight to see as the first images for the concluding plenary lecture such a view, from “my thesis manuscript”, and from such an excellent speaker.

The Thesis is available without charge via British Library Manuscript Royal 1 E.vi: The Anatomy of an Anglo-Saxon Bible Fragment (1985) or ethos.bl.uk (order no. thesis00342356)

Julia Smith introduces The Royal Bible of Saint Augustine's Anbbey Canterbury in her Plenary Lecture December 2018. Photograph by Mildred Budny

Julia Smith introduces The Royal Bible of Saint Augustine’s Abbey Canterbury in her Plenary Lecture December 2018.

Revisiting the Territory

Interesting, isn’t it, that there remain on the scene in this new “international conference” at The British Library so many Anglo-Saxonists that participated in the 2002 British Museum Symposium of the Research Group on Manuscript Evidence?

2002 Poster in monochrome for the 'Form and Order' Symposium at The British Museum.The 2002 BM Symposium:

Form and Order in the Anglo-Saxon World

Its Program:

2002 BM Program

Its Program Booklet, with Abstracts of Papers:

British Museum Colloquium Booklet

Reception at the 2002 British Museum Colloquium. Photography © Mildred Budny

Reception at the 2002 British Museum Colloquium.

Instructive, don’t you think, that the speakers and presiders from that Colloquium in 2002 are mostly represented among the speakers, presiders, and attendees of the 2018 British Library International Conference?  Here, in the order in which they appeared on our 2002 Program, they are:

Dáibhí Ó Cróinin
Richard Gameson
Rosamond McKitterick
Andy Orchard
Simon Keynes
Helen Gittos
Alan Thacker
Carol Neuman de Vegvar
Michael Ryan
Susan Youngs
James Graham-Campbell
Jane Hawkes
Carol Farr
Nancy Netzer
Mildred Budny
Michael Wood
Elizabeth M. Tyler
Leslie E. Webster

Coffee Break at the 2002 British Museum Colloquium.

Coffee Break at our 2002 British Museum Colloquium.

Some others on our 2002 Program could not be present in 2018 because they had died. We remember them with esteem.

A few others on our 2002 Program did not, alas, feel included sufficiently in 2018 to attend the British Library event.

We remember both events with appreciation for the conversations, presentations, and collegiality.

Coffee Break at the 2002 British Museum Colloquium.

At our 2002 Colloquium.

Reception at the 2002 British Museum Colloquium.

At our 2002 Colloquium Reception:  Sue Youngs and Joyce Hill.  Photograph by Mildred Budny.

Tags: 2002 British Museum Colloquium, 2018 British Library Symposium, Anglo-Saxon Manuscripts, British Library MS Royal 1 E. vi, Manuscript Illumination, Manuscript studies, Research Group Symposia
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Design & Layout of “The Illustrated Catalogue”

October 12, 2018 in Bembino, Design, Interviews, Manuscript Studies, Parker Library, Photographic Exhibition, Reports, Uncategorized

Gold stamp on blue cloth of the logo of the Research Group on Manuscript Evidence. Detail from the front cover of Volume II of 'The Illustrated Catalogue'Continuing our series of interviews and reports, we explore the processes by which Mildred Budny’s 2-volume Insular, Angl0-Saxon, and Early Anglo-Norman Manuscript Art at Corpus Christi College, Cambridge:  An Illustrated Catalogue (“The Catalogue” or “The Illustrated Catalogue”) was designed, laid out, and typeset to camera-ready copy for its publication as a set of 2 volumes of “Text” and “Plates”.

Now we present a joint interview with the Author and the Layout Designer of “The Illustrated Catalogue”.

For information about that publication see Insular, Anglo-Saxon, and Early Anglo-Norman Manuscript Art at Corpus Christi College, Cambridge: An Illustrated Catalogue.

Our interview appears in the new Booklet describing “The Design and Layout of ‘The Illustrated Catalogue’ “.  This 16-page booklet is available freely as a pdf for quarto-size pages:

  • As a series of consecutive pages.
  • In foldable booklet form suitable for printing on 11 1/2 in. × 17 in. sheets.

Front Covers for Volumes I & II of 'Insular, Anglo-Saxon, and Anglo-Norman Manuscript Art at Corpus Christi College, Cambridge: An Illustrated Catalogue' by Mildred Budny, with the title of the publication and the gold-stamped logo of the Research Group on Manuscript Evidence, co-publisher of the volumes

 

Some of the background for preparing this ground-breaking publication is described in the “Interview with our Font & Layout Designer” (published in print on 25 September 2016 and online on 6 October 2016), with illustrations, and downloadable here.

For the progress and development of our Research Group Publications, please see our Publications. We invite your contributions, suggestions, and feedback.

*****

Tags: Anglo-Saxon Manuscripts, Budny's Illustrated Catalogue, Manuscript Illumination, Medieval manuscripts
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A Leaf from the Office of the Dead

March 15, 2016 in Manuscript Studies, Photographic Exhibition

Verso of Leaf with the Office of the Dead from an unknown Book of Hours, showing its elaborate foliate border in gold and polychrome. Photography © Mildred BudnyA Part of the Office of the Dead

from a 15th-century Book of Hours
made in Flanders
(perhaps at Bruges or Antwerp)
circa 1470

A single leaf, trimmed down in spoliation
to produce a decorated tidbit on its own
Circa 135 mm × 100 mm
< written area circa 66 × 50 mm >
Single column of 17 lines

Budny Handlist 12

Our series of posts by Mildred Budny on Manuscript Studies continues with a somber view of a detached leaf from the Office of the Dead in a gracefully decorated Book of Hours from Flanders.  With this post, given the subject of the manuscript text, we also reflect wistfully on the passing of some friends, colleagues, and others dear to us.  The occasion prompts us to offer a personal recollection of Jennifer O’Reilly (1943–2016).

Text and Layout

Manifestly the text on this detached leaf demonstrates that it forms part of the Office of the Dead.  On its own, it is not exactly clear for which part of that Office this part of the text was intended to serve, mainly because there are no indications upon the leaf, and because the assigned practices for liturgical observance could vary considerably from place to place, custom to custom, and time to time.

Such is the nature of Books of Hours, a widely popular and personal genre of manuscripts or printed books in the late Middle Ages and Renaissance.  At least we know which part of that set of texts, that is, the Office of the Dead, to which this leaf pertained in its original setting, although we cannot be certain of its specifically intended purpose, that is, which part of that particular Office.  Discovery of other parts of the original book might reveal such features more precisely.  Meanwhile, let us see what we can see.

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Tags: 2002 British Museum Colloquium, Book of Hours, Detached Leaves, Jennifer O'Reilly, Josephine Edmonds Case, Manuscript Conservation, manuscript fragments, Manuscript Illumination, Office of the Dead, Swimming Lessons, Wedding Present
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Memorials

December 31, 2014 in Anniversary

Remembering

[Published on 31 December 2014, with updates.]

Considering the completion of the calendar year, in our landmark Anniversary Year of 2014, we recollect with sadness the Associates who have departed from this life during the year, and the Trustees and Associates who have thus departed across the years since our foundation both as an international scholarly society in 1990 and a nonprofit educational corporation in 1999. We remember these colleagues and friends with thanks and admiration.

This year is the first year, in the redesign of our official website, that we record those colleagues, sponsors, and friends of the Research Group in a special group honored respectfully ‘In Memoriam’. We aim to gather recollections of their presence, in respect and admiration.

DSCN1561 Stairway to Heaven Accessible If You Dare

‘Ascending’. Photograph © Mildred Budny

Note on the Image

Port Jefferson, Long Island, New York, Cedar Hill Cemetery: Set of Stone Steps. Photograph © Mildred Budny.

*****

Vivien A. Law

[From Mildred Budny on 26 May 2021]

We continue to lament the passing of a beloved friend, colleague, and Trustee, Vivien A. Law (22 March 1954 – 19 February 2002). After her death, her widower, Sir Nicholas Shackleton (1937–2006), also a friend, asked me to return to Cambridge in 2006 so as to examine her archives, whilst he was preparing for his own rapid demise, and to give advice about their appropriate distribution.

As he put it, he as a scientist knew about the distribution of his own archives (for example to the Royal Society), but he knew “few humanists who had a comparable range and depth of interests as Vivien”.  It wasn’t that she and I had the same interests, because we and they were to some extent different, but we shared an unusual range and depth for them.

It was disgraceful that her former supervisor, getting wind of my visit, took it upon himself to spread the word that I would be coming as a predator intent upon taking advantage of a widower losing control of his faculties and sense.  That this gossiper conceived of, and embarked assiduously upon, this plan probably has more to do with his continuing contention with my former boss in Cambridge (by then dead), and a desire to take them out (still) on me as a handy target, than with Nick’s faculties or susceptibilities.

Vivien and I had been close friends for decades, well before I reached Cambridge in 1986 (her home since 1974), and more frequently afterward.  We talked often about interests and issues well beyond the academic spheres, important as they were and are.  Thus, I knew already about many of her interests and the events of her life — and from her own lips — before the obituaries revealed some (but not all) of them to a wider world.

For exploring her archives, Nick granted me access to all of them (after some appropriately probing questions).  Thus, for example, I could read all her diaries (journals), which stretched across the decades, with very few gaps.

Vivien’s dedication to that journal-writing seems to have been as fervent and as steady as her mother’s, to judge by the mother’s correspondence.  I keep the sole letter to me from Vivien’s mother, after Vivien’s death.  The densely cramped lines of handwriting show that same dedication as in her many, many letters to her sole daughter.  It became clear from that long correspondence that I knew from Vivien some of her own private, familial experiences which remained unknown to her mother.  Because of that knowledge, I could venture to ask Nick about them, with further and poignant insights. Someday, with Nick’s ready encouragement at the time, I might record those insights.

It was a pleasure to read in Vivien’s diary the eloquent entry for the relevant year and date, regarding my move to Cambridge from London, “Milly is coming!”

Well I remember the telephone call, trans-Atlantic, one of many, as I was walking in my sunlit garden, and telling Vivien about the newly incorporated state of the Research Group on Manuscript Evidence (in 1999) as a nonprofit educational corporation in the United States, to which the Research Group had moved its principal base in 1994 after years in Cambridge. Vivien had been an Associate of the Research Group since soon after its formation at Corpus Christi College. In Cambridge, she contributed to our classes as well as our seminars on the Evidence of Manuscripts, during our work on a major research project on its Anglo-Saxon and Related Manuscripts.  Her guidance for those classes, for directions of the Research Group activities over the years, and for all the grammatical and glossarial manuscripts in the Illustrated Catalogue, remains vivid in memory.

On that telephone call, I asked Vivien, as I had promised, if she would be willing to become a Trustee for the nonprofit educational corporation, founded in November 1999.  She replied that, with the new diagnosis (which would, some years thence, carry her away), she was systematically shedding the commitments to various organisations, but, because she believed in our organisation and its mission, she accepted with alacrity and pleasure.

Over the next few years, I joined Vivien on her last visit to Montréal, intended as a deliberate form of leave-taking of the place where she had fondly attended school and college.  On a couple of return trips to Cambridge, I would stay with Vivien and Nick, with treasured conversations at breakfast, Sunday lunch, and other moments.

It was another Trans-Atlantic telephone call, that Nick took care to telephone and report that she had died the day before.  I moved outside to sit in the same garden, to watch the trees and sky as we talked about her, her death, and her life.  A few months later, the Research Group accomplished its co-sponsored Colloquium at The British Museum (7–9 March 2002) on Form and Order in the Anglo-Saxon World.  I dedicated my presentation to the memory of Vivien and another beloved teacher and friend, Helen Maguire Müller.

Vivien Law in her Garden in Cambridge, England,June 1996 Photograph © Mildred Budny

Vivien Law in her Cambridge Garden in June 1996 (Photograph © Mildred Budny)

*****

Respectfully we remember those who have gone before us.  It is an honor and a duty to remember them.  So it must be.  So it should be.

We thank you.

*****

Update (12 August 2024).  Now see the series:

  • Memoirs.

The series includes some recollections for the 2024 Anniversary Year.

*****

Tags: Manuscript Illumination, Memoirs, Memorials, Passage of Time, People, Recollections, Remembrance, RGME Anniversary Year, Vivien A. Law
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2014 Colloquium on “When the Dust Has Settled” Accomplished

November 17, 2014 in Abstracts of Conference Papers, Anniversary, Bembino, Book & Exhibition Reviews, Conference, Events, Exhibition

We report successful completion of the Colloquium on Friday, 14 November 2014 at Princeton University.

[This post updates both the Announcement for this event (published as Colloquium Announced), and its Colloquium Program.]

Document of Berengarius, detail, unfolded, with concluding date and gathered dust in the fold. Photography © Mildred Budny

“A Settling of Dust”

When the Dust Has Settled

(or, When Good Scholars Go Back . . . )

A Colloquium
co-sponsored by the Research Group on Manuscript Evidence
and the Index of Christian Art at Princeton University

Sponsors

Department of Art and Archaeology, Princeton University
John H. Rassweiler
Celia Chazelle

The Aim
“Settled Dust Could Give Clarity of Vision”

What happens when a dedicated specialist returns to a subject of long-term interest after other tasks — other projects, jobs, administrative tasks, life in general — have cleared away? While the world, methods, tools, and aims of research (let alone publication) have changed dramatically, sometimes beyond recognition, a return to the chosen subject might also draw upon experience and reflection gained through the passage of time, an accumulation of experiences, and extended “immersion” both in the subject matter and its wider contexts. Thus, although daunting, the return need not involve a start completely from square one or ground zero.

When the dust has settled, and, it may be, the air has cleared, a return might allow for renewal, which could build upon an available, partly remembered, foundation for direction and refinement in this light. Our colloquium offers informal reflections, questions, and discussions about the challenges and potential of returning now to a variety of subjects, in the arts and letters, from Antiquity to Modernity.

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Tags: Anglo-Saxon Manuscripts, Apocalypse manuscripts, Architectural Sculpture, Charles Rufus Morey, Deir Sim'an, Department of Art and Archaeology, Early Christian Sculpture, Flemish Psalter Illustration, Günther Haseloff, Illustrated Old English Hexateuch, Index of Christian Art, Interlace Ornament, Manuscript Illumination, Manuscript studies, Psalter Illustration, Qal'at Sim'an, Royal Bible of St. Augustine's Abbey Canterbury
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