Adventures in Libraries

This essay recounts lessons learned over a career studying medieval manuscripts and the stories of those who made, used, and collected them. Medieval books long outlast their intended or original audiences and have fascinating cultural interactions that extend to the present. What this most pressingly throws up for me is ways of knowing things, and the epistemological value of memory. One needs to store away the little anomalies that one encounters — and be prepared for them to surface without bidding in some new context where they might prove generative. If humility might be a first perquisite of scholarly work, certainly memory would be a second. The essay originated as a lecture, delivered remotely in March 2021 for the Renaissance Studies Center at the Newberry Library in Chicago, IL.

Naming and Renaming Texts: Rubrics in Middle High German Miscellany Manuscripts

This article analyses rubrics in Middle High German miscellany manuscripts of short texts in rhyming couplets (Reimpaargedichte). A corpus consisting of 1433 rubrics from 68 manuscripts was created to be able to perform this study. As rubrics in medieval manuscripts were not authorial, but composed by scribes, they offer insights into the reception of the texts. This paper analyses their features and functions as a proxy to interrogate the standing and status of Reimpaargedichte between the thirteenth and fifteenth centuries. The main methodology is distant reading, i.e. the application and interpretation of statistical methods on a textual corpus. The features analyzed include the length of the rubrics, their level of variation, the presence of author names, and vocabulary. Although no general patterns regarding length nor level of variation were detected, some important conclusions can be drawn: 1. there were no clear markers of literary genre in rubrics; 2. authorship was mostly absent, except for some specific cases of famous authors; 3. relatively stable keywords were used to identify particular texts, but they were more common in manuscripts with narrative texts (Erzählungen) and less common in later manuscripts dominated by the genre known as Minnereden. Furthermore, the analysis revealed that rubrics used a series of linguistic procedures to show that they participated in a different speech act than the main text – they embodied an interaction between scribes and readers, in which the former framed the reception of the work.

TO THE QUESTION OF SPACE ORGANIZATION OF BOOK ILLUMINATION OF LATE ANTIQUITY AND EARLY MIDDLE AGES (IV – VII CENTURY)

The article focuses on peculiarities of spatial organization of book miniature paintings of late antique and early medieval manuscripts (IV – VII centuries). The author analyses the problem of conveying illusion of depth in illustration in context of gradual transmission from roll to codex, which took place in antique book culture between the II and the V centuries. By analyzing survived fragments of illuminated rolls author displays characteristic features of their spatial organization and observes influence which had tradition of roll illustration on the development of codex. Nevertheless, precisely the miniatures of the codices that have come down to our time are in focus of the author’s attention. The stages of development of the text page, the peculiarities of interaction of text and images in codices are compared with the principles of space organization in miniatures. The article makes an attempt, relying on the monuments that have survived to our time, to consider the development of spatial constructions in the period of late Antiquity and early Middle Ages as a continuous process of evolution of the language of book painting. The author assumes that the development of spatial constructions in miniature painting does not imply sharp breaks or regression. Each new stage of the evolution arises from the previous one and makes it possible to expand the arsenal of artistic means which are necessary for solving artistic problems of the time. In accordance with this approach, the article concentrates not only on compositions in which a spatial illusion is created, but also miniatures that are in character more plane. As a result, the author reveals the main types of spatial constructions, considering all surviving monuments of miniature painting of that time. For each type of space organization, the author identifies the basic principles and artistic techniques that allow the artist to convey a sense of depth on the plane of page. The author pays special attention to the comparison of illusionistic tendencies in the late antique book miniature and “reverse perspective”, features of which are present in the monuments of the era. The author casts doubt on the need for a sharp contrast between these two approaches to space organization in the monuments of book miniatures of the era. He analyzes the reasons for the appearance of such features of space organization in miniature paintings of late antique and early medieval manuscripts, which are so important for the formation of artistic language of medieval book illumination.

Jeremiah in Art

The story of Jeremiah in art reveals a dynamic process of traditional tropes that signaled the ancient prophet blended with contemporary features mirroring the viewer. This interplay made artistic representations of Jeremiah at once familiar, yet also at times unsettling in the way they contemporized the prophetic message. The chapter explores the developing image of Jeremiah through the centuries in five media: painted images on ancient frescoes, stone statues in medieval cathedrals and monasteries, illuminations in medieval manuscripts, woodcuts in early modern printed books, and various forms in modernity. Jewish, Christian, and Muslim images of the prophet together display a process in which historically contingent tropes gradually became timeless markers of the prophet. At the same time, these images show the power of Jeremiah to speak prophetically in new circumstances.

‘In Spirit the Wiser’

This chapter develops the concept of holy writing by examining letters delivered from heaven, gold writing, and the sanctity of inscription. From the New Minster Charter to the Eadwine Psalter, Chapter 6 asks how modern readers can trace the inherent spirituality and joy of medieval manuscripts—their methods of production, appearance, and use. Close examination of the post-Conquest story of St Wulfstan’s youthful delight in manuscripts reveals the importance for medieval readers of the oculi mentis, the ‘eyes of the mind’—a perceptive form of reading that made spiritual writings accessible and wondrously so. Accessing the potential of holy texts and connecting with them also meant having oneself set into manuscripts, like Books of Hours, or envisioning the potentiality of space for the demonstration of delight through vibrant display of skilful writing.

Rabbit Uroscopy and the Virgin Mary with Christ Child

Objectives The depiction of a rabbit with a urinary matula on the same page with the Virgin Mary and the Christ child in a medieval text, the Book of Hours, has raised interests among art and medical historians. We will describe the complex interplay between the rabbit, the matula, and the Virgin Mary. Methods We studied the original illuminated texts from the medieval (ca. 1475) Book of Hours archived in the Morgan Library, New York. We reviewed articles and historical publications from art history and medical literature. Results The Book of Hours was composed for use by lay people who wished to incorporate elements of monasticism into their devotional life. There was often an amalgamation of religious and secular themes within these illustrated texts. The use of uroscopy to diagnose ailments was prevalent and popular during the Middle Ages and the depiction of a matula was not uncommon in medieval manuscripts. As a result, the urine flask came to be identified with and used as a symbol of the physician, much like the caduceus is today. From the fourth century to modernity, the rabbit has been an averter of evil and bringer of good luck. Rabbits functioned as motifs in many medieval manuscripts. The physician rabbit in the Book of Hours depicted charity, healing, and scholarship. Conclusions The bespectacled rabbit holding a ‘matula’ is utilized in this Christian religious text as a symbol of the healing properties and resurrection attributed to Jesus, potentially contributing to the reader’s religious experience.

Learning-free pattern detection for manuscript research:

Automatic pattern detection has become increasingly important for scholars in the humanities as the number of manuscripts that have been digitised has grown. Most of the state-of-the-art methods used for pattern detection depend on the availability of a large number of training samples, which are typically not available in the humanities as they involve tedious manual annotation by researchers (e.g. marking the location and size of words, drawings, seals and so on). This makes the applicability of such methods very limited within the field of manuscript research. We propose a learning-free approach based on a state-of-the-art Naïve Bayes Nearest-Neighbour classifier for the task of pattern detection in manuscript images. The method has already been successfully applied to an actual research question from South Asian studies about palm-leaf manuscripts. Furthermore, state-of-the-art results have been achieved on two extremely challenging datasets, namely the AMADI_LontarSet dataset of handwriting on palm leaves for word-spotting and the DocExplore dataset of medieval manuscripts for pattern detection. A performance analysis is provided as well in order to facilitate later comparisons by other researchers. Finally, an easy-to-use implementation of the proposed method is developed as a software tool and made freely available.