Distrutta la biblioteca cristiana di Mosul

NEWS: I cristiani in fuga da Mosul, di Alberto Negri, “Il Sole 24 ore”, 20 luglio 2014.

Il patriarca della Chiesa cattolica siriaca, Ignace Joseph III Younan, ha dichiarato che l’arcivescovado di Mosul è stato completamente bruciato, manoscritti, biblioteca e antichi reperti storici compresi.

Nell’indifferenza generale dell’Occidente, travolto dalla crisi ucraina e dalla guerra di Gaza, dopo duemila anni di storia gli ultimi cristiani hanno abbandonato Mosul, la seconda città dell’Iraq conquistata dal califfato islamico proclamato da Abu Bakr Baghdadi.

Lo hanno dovuto fare con un ultimatum dei jihadisti che minacciavano di tagliare la testa a quelli che si fossero ostinati a restare. Sono 25mila i cristiani di Mosul che in queste ore lasciano la città con ogni mezzo, abbandonando le proprie case “senza portare via bagagli”.

Qui in Iraq, dove si trovano chiese risalenti al secondo e terzo secolo, dalla caduta di Saddam Hussein i cristiani sono scesi da un milione e mezzo a meno di 300mila. Ma dalle città controllate dal nuovo Califfato fuggono adesso anche i musulmani sciiti, terrorizzati dell’avanzata sunnita, creando un solco sempre più profondo tra etnie, confessioni e sette.

È la geopolitica dell’intolleranza che sgretola i principi della convivenza civile. La società civile viene impoverita della sua stessa storia e cultura mentre queste massicce migrazioni in atto attraverso frontiere in disgregazione – si parla di milioni di profughi e sfollati interni – stanno producendo una divisione dei territori su base confessionale o etnica.

Non è in gioco soltanto la loro sorte, ma la possibilità di ricostruire Stati e nazioni che stanno affondando, come la Siria e l’Iraq.

Fonte: Il Sole 24 ore

Il Libro d’ore di Renata di Francia

Renata-di-Francia

NEWS: Offerta di una copia del facsimile del Libro d’ore di Renata di Francia.

Uno dei nostri lettori ci informa di voler vendere una copia in ottime condizioni del facsimile del Libro d’ore di Renata di Francia (n. 127/999) edito da Art Codex e distribuito da Il Bulino. La notizia risulta particolarmente interessante dal momento che il facsimile è da anni esaurito e introvabile.

Scritto e miniato in area parigina intorno al 1517 per Renata di Valois, figlia del re di Francia, il manoscritto giunse a Ferrara nel 1528 con i beni dotali della nuova duchessa, sposa di Ercole II d’Este. Quando Renata, nel 1560, abiurò la religione cattolica e si ritirò nel castello di Montargis, rifugio di calvinisti e ugonotti, i suoi libri “eretici” furono bru­ciati, tranne alcuni di osservanza cattolica, compreso questo piccolo libro d’ore rimasto poi sempre nel patrimonio estense. Nella Biblioteca modenese è rimasto fino al 1994, quando, andato in mostra all’abbazia di Montecassino, è stato illecitamente sottratto e non più ritrovato. Fortunatamente erano già in corso le procedure di riproduzione dell’opera: con la realizzazione del facsimile, il tesoretto di Renata può dirsi idealmente “ritrovato”.

Les petites prières de Renée de France rappresenta uno dei più preziosi livres d’heures del primo ’500, mirabili capolavori rinascimentali ancora in voga nelle corti europee anche dopo l’invenzione della stampa. La critica più recente ha ritenuto di datarlo intorno al 1517 e di identificare il miniatore nel Maître de Claude de France, ossia l’artista parigino dei codici di Claudia di Valois, sorella di Renata e regina di Francia.

Il facsimile integrale del codice, presentato da Federico Zeri, stampato a otto colori nel formato di 9×12 cm, è dotato di una ricca ed elegante legatura che ripete fedelmente quella settecentesca dell’originale in velluto rosa antico, con ricami a fili d’argento e laccetti. Il codice, il commentario – di 160 pagine con uno studio di Ernesto Milano – e il certificato di garanzia sono custoditi in un cofanetto di legno rivestito in pelle con ornamenti; l’interno è foderato in raso. La tiratura, in esclusiva mondiale unica e irripetibile, è stata di 999 esemplari numerati e certificati. Altri 66 esemplari, numerati a-z e i-xl/ce, appartengono agli archivi dell’editore e dei coeditori internazionali.

Chiunque fosse interessato o volesse maggiori informazioni può contattare direttamente Cosimo Guglielmucci.

 

Proverbs in Motion in the Pre-modern World

CALL FOR PAPERS: Translatio sententiae: Proverbs in Motion in the Pre-modern World, Barnard College, New York, 6 – 7 March 2015.

The Early Proverb Society, with support from the Center for Translation Studies at Barnard College, invites submissions for papers to be delivered at its first dedicated conference. Papers are welcome on any aspect of the proverb from any part of the world prior to 1800 C.E., but we are especially interested in studies related to the conference theme of translatio sententiae.

Although the proverb is often considered a static verbal icon, it functioned, nevertheless, as a flexible mode by which wisdom and knowledge moved around the pre-modern world. For instance, in the simplest sense of translation, versions of the “same” proverb appear in Latin and in one or more vernacular languages.

Linguistic translation frequently included significant elements of cultural transference as well: for example, between the religious and secular spheres, between socio-political classes, and, of course, between different regional speech communities. Proverbs transferred knowledge across time, from one generation to the next. And, perhaps more than any other type of verbal artefact, pre-modern proverbs translated between the literate and non-literate worlds, being equally at home in both.

Please submit abstracts (250-word max.) on these or related paroemiological topics to Laurie Postlewate.

Deadline: 1 October 2014.

Source: MAA Blog

Dante e lo Studio di Bologna

BOOK: Luciano Gargan, Dante, la sua biblioteca e lo Studio di Bologna, Padova 2014 (Editrice Antenore), 158 pagine, € 18,00 .

Nella Commedia i libri più amati dal poeta. Sulla biblioteca di Dante circolano ancora pesanti pregiudizi che vorrebbero farne una raccolta assai modesta, rispetto, ad esempio, a quella molto più ricca del Petrarca e ci si ostina a ripetere che, almeno nel periodo dell’esilio, Dante non poteva possedere molti libri a causa dei suoi continui spostamenti e degli scarsi mezzi economici a disposizione, dimenticando che, prima e dopo l’esilio, ogni città in cui egli soggiornò era in grado di fornirgli nuove opportunità di venire a contatto con i testi che lo interessavano. In mancanza di inventari antichi e di codici superstiti, questo testo si propone di ricostruire la biblioteca di Dante con Dante stesso attraverso una lettura mirata delle sue opere.

Nella ricostruzione virtuale della biblioteca di Dante occupano un posto molto significativo il Convivio e il De vulgari eloquentia, due libri scritti con i libri, dove Dante dimostra di poter attingere a piene mani a una gamma assai vasta di conoscenze (e quindi di testi letti e riletti) che era andato accumulando nel corso del tempo, mentre nella Commedia egli elabora in momenti successivi il canone di una propria biblioteca ideale, trasformando i suoi «libri peculiares» in personaggi che soggiornano all’interno del Limbo, se poeti o filosofi pagani o formano le due corone di spiriti sapienti nel cielo del Sole, se teologi, mistici o dotti cristiani.

Sommario

Premessa (pp. IX-XI)

I. Per la biblioteca di Dante (pp. 3-36)
II. Biblioteche bolognesi al tempo di Dante. I. I libri di un frate converso domenicano (1312) (pp. 37-50)
III: Biblioteche bolognesi al tempo di Dante. II. libri di un professore di arti (1340) (pp. 51-80)
IV. Biblioteche bolognesi al tempo di Dante. III. Libri di logica, filosofia e medicina (pp. 81-111)
V. Dante e Giovanni del Virgilio: le «Egloghe» (pp. 112-141)

Indici
Indice dei nomi, a cura di F.L.M. Bianchi (pp. 145-154)
Indice dei manoscritti e dei documenti d’archivio, a cura di F.L.M. Bianchi (pp. 155-156).

Seeing Music in Medieval Manuscripts

Walters

EXHIBITION: Seeing Music in Medieval Manuscripts, Baltimore, The Walters Art Museum, 28 June –12 October 2014.

Medieval painters often filled their manuscripts with scenes of everyday life that included charming illuminations of people and animals playing musical instruments and dancing. Many of these images, however, functioned as sophisticated symbols that conveyed a complex understanding of man’s relationship with the order of the universe. Musical harmony and dissonance were thought to mirror the perfection of heaven as well as the disorder of evil. This exhibition, composed of approximately twenty manuscripts and objects, will explore music in its relationship with philosophy, religion, and the arts during the Middle Ages.

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Munby Fellowship in Bibliography 2015-2016

FELLOWSHIP: Munby Fellowship in Bibliography 2015-2016,

The Library Syndicate invite applications for the Munby Fellowship in Bibliography for the tenure of 1 October 2015 to 31 July 2016. The stipend will be £32,590 (pro-rata).

The Munby Fellow will be free to pursue bibliographical research of his/her own choosing. It is, however, expected that the Fellow’s research will be, at least in part, based directly or indirectly on the collections of the University and Colleges of Cambridge and likely to be of benefit, in the broadest sense, to scholars using those collections in the future. The Fellow will have no departmental or other staff duties and responsibilities.

The Fellowship is open to graduates in any discipline of any university and nationality. Preference will be given to scholars at post-doctoral or an equivalent level.

A non-stipendiary Fellowship at Darwin College will normally be available to the successful candidate, if not already a Fellow of a Cambridge College. Fellows in these categories are members of the Governing Body of the College and may take meals in the College without charge.

Applications (one copy only) should reach the Deputy Librarian’s PA, University Library, West Road, Cambridge, CB3 9DR, UK and should include the following particulars:
- a completed application cover sheet;
- a curriculum vitae with a list of principal publications;
- a statement of the research proposed.

Further particulars are available by contacting the Deputy Librarian’s PA, Charlotte Ross (tel: 01223 333083).

Closing Date: Friday 31 October 2014.

An election will be made in early January 2015. There are no interviews.

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Sephardic Book Art of the 15th Century

CALL FOR PAPERS; Sephardic Book Art of the 15th Century, Lisbon, Biblioteca Nacional de Lisboa, 25 – 27 February 2015.

Sephardic decorated manuscripts of the 15th century have traditionally received less attention from art historians and codicologists than manuscripts from previous periods. On the one hand, there is the idea that due to the oppression suffered by Sephardic Jews, especially in the second half of the 15th century, their cultural and artistic production was the result of a decline and therefore poorer and uninteresting. On the other hand, researchers are mainly concerned with the analysis of manuscripts that signal the emergence of the decorated Sephardic book during the first half of the 13th century, and with manuscripts where Sephardic narrative art appeared and developed, during the 14th century.

Therefore, questions about cultural and artistic interaction have been mainly directed to these two centuries, exploring the idea of “convivencia” and studying the appropriation of Christian and Islamic artistic and iconographic motifs by Sephardic artists and patrons. Yet, there is a growing interest on 15th century manuscripts in recent scholarship. Studies published by researchers such as Katrin Kogman-Appel, David Stern or Andreina Contessa have highlighted the cultural and artistic relevance of these manuscripts, renewing earlier studies made by scholars such as Gabrielle Sed-Rajna,Thérèse Metzger, Bezalel Narkiss or Sonia Fellous.

This conference will focus on the cultural and artistic questions posed by Sephardic codices of the 15th century by gathering scholars who have studied or are studying these manuscripts. Moreover, issues related with the materiality of these manuscripts will also be discussed, including codicological and paleographic approaches, as well as the fate of these manuscripts after the forced conversion or expulsion of Sephardic Jews between 1492 and 1498, among other related topics. Invited speakers include Shalom Sabar, Javier del Barco and Sonia Fellous.

In addition to the main speakers, submission of proposals for a 20-minute paper is warmly encouraged to all interested scholars. Proposals should be sent to Luis U. Alfonso and they must include a 150-word abstract and a 1-page CV.

Papers to be included in the program will be selected from all received proposals by a scientific committee constituted by Adelaide Miranda, Débora Matos, Javier del Barco, Luís U. Afonso, Shalom Sabar and Tiago Moita.

Deadline: 15 September 2014.

Source: H-ArtHist

Digitization Update on the Barocci Collection

Barocci-Collection

NEWS: Digitization Update on the Barocci Collection. Halfway through digitizing the Bodleian’s Barocci collection, we offer a layperson’s introduction to these fascinating manuscripts.

If you have been monitoring our list of digitized Greek manuscripts, you will know that both the Bodleian and the Vatican Library have been hard at work getting manuscripts online. At this point, almost half of the Bodleian’s Barocci collection has been digitized—112 volumes—and that number is fast increasing.

In the long term, the Bodleian’s images will be moving to a more user-friendly interface, with more complete metadata for each manuscript. In the meantime, however, the list of shelfmarks can be intimidating if you don’t know exactly what you’re looking for. If you’d like to learn more about a particular manuscript, our summary catalogue has more information. If you’d just like to browse, this post will serve as a rough introduction, with a few suggestions on where to start.

Like many of the Bodleian’s special collections, the Barocci collection is organized from smallest to largest. MS. Barocci 1 is 12 cm high; MS. Barocci 116, one of our most recent digitizations, is about twice that. Many volumes in the collection incorporate multiple works, and in some cases, books produced at different times have been bound together into one volume. (This is generally indicated by a double pipe (||) between the books’ titles.) For example, MS. Barocci 63 incorporates both a 14th-century book of speeches and astronomical tables and a 15th-century book of moral poems. There is also MS. Barocci 96, a palimpsest, with 13th-century poems written over an 11th-century menologion.

Many volumes in the collection are made of parchment, and the high-resolution images provided by the Bodleian offer a rare chance to look closely at this unfamiliar medium. Zooming in, you can see the cracks and pores and distinguish hair side from flesh side; in the case of MS. Barocci 55, you can also see the stained, wrinkled texture of damaged parchment.​

Because we have digitized the covers of each book, you can also get a better sense of the dimensions of each volume and see the damage it has sustained. You can also get a sense of how valuable the volume’s binders or re-binders believed it to be; many volumes in the Barocci collection are bound in tooled leather and fastened with clasps, but there is also the humble, parchment-bound MS. Barocci 78.

If you are looking for decoration, check out the very fancy MS. Barocci 31, with its ornate canon tables and gilt miniatures of the evangelists. (The value of this book is further evidenced by the beautiful and spacious hand in which it was written; its latter pages, unfortunately, serve as an excellent example of water-damaged parchment.) There is also MS. Barocci 15, a robust psalter with decorated tables and miniatures. MS. Barocci 93, a “treatise on the end of the world,” offers miniatures of saints and devils, as well as—presumably—a fascinating account of the Apocalypse. A personal favourite is MS. Barocci 110, in which decorated initials are interspersed with lively drawings of birds.

The beauty of these manuscripts, however, goes beyond their colourful decoration. In many cases—such as Barocci 31, mentioned above—the script itself can be startlingly beautiful, although occasionally, aesthetic value gives way to the practical need to conserve space. (See the densely-packed MS. Barocci 88, for example.) Many manuscripts, however, are particularly lovely in their juxtaposition of text and scholia. Scholia are marginal comments, either original or copied from a pre-existing work.

They are packed in around the edges of the main text, impossibly small and neat. MS. Barocci 77 combines a very clear main script with layers of faded scholia; also visible are the ruled lines scratched into the parchment that allowed the pages to be laid out so neatly. MS. Barocci 61, meanwhile, combines its scholia with minuscule in-line annotations. The grammatical, logical and scientific treatises in the collection offer further examples of scribal ingenuity; MSS. Barocci 14 and 88 contain webs of interconnected words, while MS. Barocci 94 contains several very lovely astronomical diagrams.

Finally, one of the most rewarding things a novice can do with this collection is simply to browse the endpapers for notes and doodles. Scribbled in a variety of later hands, these additions are generally uncatalogued, and until now they were known only to scholars with access to the physical manuscripts. Now that they have been digitized, they represent a fascinating glimpse into the lives of these manuscripts and of the people who have used them. To start with, check out MS. Barocci 61, and the full-page face doodled at the end of MS. Barocci 99.

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