Il Messale di Offida (Parma, ms. Pal. 670)

Messale di Offida

ARTICLE: Francesca Manzari, Miniatori tardogotici tra Marche e Abruzzo. Un Messale miniato destinato a Offida, in Civiltà urbana e committenze artistiche al tempo del Maestro di Offida (secoli XIV-XV), “Atti del convegno di studio svoltosi in occasione della XXIII edizione del Premio internazionale Ascoli Piceno, Ascoli Piceno, Palazzo dei Capitani, 1-3 dicembre 2011″, a cura di Silvia Maddalo e Isa Lori Sanfilippo, Roma 2013, (Istituto Storico Italiano per il Medio Evo), pp.163-188.

Il contributo è incentrato sull’analisi di un Messale riccamente miniato (Parma, Biblioteca Palatina, ms. Pal. 670), con l’obiettivo di precisarne il contesto di esecuzione e di suggerirne la possibile destinazione originaria. Nonostante l’assenza di elementi araldici nell’apparato decorativo impedisca di individuarne con precisione la committenza, è possibile formulare alcune ipotesi sulla destinazione originaria del libro liturgico, certamente da collocare nelle Marche.

È, infatti, verosimile che il libro liturgico fosse destinato a Offida, forse proprio a Santa Maria della Rocca, officiata da monaci dell’Ordine benedettino. Il corredo miniato del codice, databile grazie all’analisi stilistica all’inizio del XV secolo, è stato eseguito da una bottega di artisti che rivelano fortissimi rapporti con la pittura monumentale e che appaiono strettamente legati a uno specifico gruppo di artisti itineranti, attivi tra Abruzzo e Marche tra la fine del XIV secolo e i primi decenni del XV secolo.

Se non si tratta addirittura degli stessi artefici, attivi sia nell’ambito della pittura monumentale che in quello della decorazione libraria, i miniatori mostrano con evidenza di essersi formati nell’ambito di quella corrente stilistica che congiunge l’area appenninica e la fascia adriatica, attraverso gli artisti di San Francesco ad Amatrice, Loreto Aprutino e Santa Maria della Rocca a Offida, la chiesa alla quale il codice era destinato.

L’apparato decorativo del manoscritto si rifà invece al repertorio ornamentale elaborato dai miniatori di area aquilana a partire dall’ultimo quarto del Trecento, poi diffuso, nei decenni successivi, nell’area centroitaliana da artisti estremamente mobili, attivi anche a Roma durante lo Scisma. Allo stesso ambito si possono collegare le raffinate iniziali filigranate.

The Magna Charta’s Reunification

NEWS: The four surviving original copies of Magna Carta will be brought together for the first time in history in 2015, the year of the 800th anniversary of the issue of the Charter by King John in 1215.

There are four surviving copies of the 1215 Magna Carta – two copies belong to the British Library, one copy is owned by Lincoln Cathedral and one by Salisbury Cathedral. All three organisations will be celebrating the 800th anniversary, with the British Library staging a major exhibition, Lincoln Cathedral opening their new purpose-built Magna Carta centre in Lincoln Castle, and Salisbury Cathedral launching a programme of learning and outreach events and celebrations. The manuscripts will be examined in the British Library’s Conservation Centre by some of the world’s leading experts on the documents who are currently undertaking a major research project on Magna Carta and the charters of King John, funded by the Arts and Humanities Research Council.

This unique opportunity will allow the historians involved to study faded or obscured parts of the text more closely and to look for new clues about the identity of the writers of the texts, which is hitherto unknown. Magna Carta, meaning ‘The Great Charter’, was issued by King John of England as a practical solution to the political crisis he faced in 1215. Written in Latin on parchment, Magna Carta established for the first time that the king was subject to the law, rather than above it. Although nearly a third of the text was dropped or substantially rewritten within ten years and almost all the clauses have been repealed in modern times, Magna Carta remains a cornerstone of the British Constitution and its principles are echoed in the US constitution and others around the world. The many divergent uses that have been made of it since the Middle Ages have shaped its meaning in the modern era, and it has become a potent, international rallying cry against the arbitrary use of power.

Claire Breay, Lead Curator of Medieval and Earlier Manuscripts at the British Library, says “Magna Carta is the most popular item in the Library’s Treasures gallery, and is venerated around the world as marking the starting point for government under the law. Bringing the four surviving manuscripts together for the first time will create a once-in-a-lifetime opportunity for researchers and members of the public to see them in one place, and will be a fantastic start to a year of celebrations.” The Dean of Salisbury, the Very Reverend June Osborne, said “Magna Carta’s clauses on social justice are as relevant today as they were 800 years ago and are at the heart of all we aspire to. We hope the publicity generated through the planned unification and 800th anniversary year will increase awareness of its importance, values, ideals and modern significance to a huge new audience.”

The Very Reverend Philip Buckler, Dean of Lincoln, comments “We know from the times when Magna Carta has been exhibited abroad – most recently in the United States – just how far-reaching its influence has been. This unification event will be of national significance, and will mark for us a pivotal point for our manuscript in the anniversary year before it returns to enter its new purpose-built home in Lincoln Castle.” “The legal, political and social impact of Magna Carta is unique,” said Richard Godden, a partner at Linklaters. “It is a foundation stone of the Rule of Law and its influence extends around the world. The arbitrary authority of the state is just as much a threat today as it was in the day of King John and the principles enshrined in Magna Carta remain essential not only in relation to personal liberty but to creating an environment in which business can prosper. We forget them at our peril. ”

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Convegno sul ‘Codex Purpureus Rossanensis’

Codice-rossanense

CONFERENCE: Codex Purpureus Rossanensis: storia, diagnostica e conservazione. Convegno internazionale, Roma, Accademia Nazionale dei Lincei, Palazzo Corsini (Via della Lungara 10), 28 – 29 aprile 2014.

Il Codex Purpureus Rossanensis, così denominato dal nome dell’antica diocesi di rito greco presso la quale è tuttora conservato, Rossano Calabro, è il più rilevante dei tre codici purpurei illustrati conservati in Europa. Esemplare pressoché unico di una ricercata e costosissima generazione di manoscritti biblici, attestata tra il V e il VI secolo, il manoscritto di Rossano documenta una fase cruciale nella storia della cultura grafica e della civiltà artistica tardo antica. L’insieme delle sue tredici miniature con le Storie della Passione costituisce forse il più antico ciclo narrativo della Vita di Cristo conservato su pergamena e offre un prezioso riflesso dell’arte pittorica di questo periodo, pochissimo documentata nella fase di passaggio tra la fine dell’età classica e il Medioevo.

L’Istituto Centrale per il Restauro e la Conservazione del Patrimonio Archivistico e Librario (ICRCPAL) è stato chiamato a prendersi cura dell’aspetto conservativo e diagnostico del Codice Purpureo di Rossano. Attraverso il coordinamento di un Comitato di ricerca appositamente costituito presso l’Istituto, è stata condotta un’indagine interdisciplinare complessiva del codice dal punto di vista storico, artistico, codicologico, paleografi- co, biologico, chimico, fisico e tecnologico, al fine di chiarire gli aspetti conoscitivi ancora irrisolti insieme alla redazione di linee-guida per la migliore conservazione dell’antico manufatto dal punto di vista ambientale.

Il convegno Codex Purpureus Rossanensis: storia, diagnostica e conserva- zione presenta gli esiti di questo affascinante percorso di ricerca che ha permesso di individuare alcune rilevanti novità rispetto alla storia conosciuta del codice. Tutto ciò anche nell’auspicio del riconoscimento del Codice di Rossano come patrimonio mondiale dell’Umanità da parte dell’Unesco.

Programma

Lunedì 28 aprile 2014, ore 9.00
Saluti
* Presidenza dell’Accademia Nazionale dei Lincei
* Antonia Pasqua Recchia (Segretario Generale del Ministero dei Beni e delle Attività Culturali e del Turismo)
* Mons. Cesare Pasini (Prefetto della Biblioteca Apostolica Vaticana)
* Louis Godart (Consigliere Culturale del Presidente della Repubblica Italiana)
* Francesco Prosperetti (Direttore Regionale per i Beni Culturali e Paesaggistici della Calabria)
* Maria Cristina Misiti (Direttore dell’Istituto Centrale per il Restauro e la Conservazione del Patrimonio Archivistico e Librario).

Sessione del mattino, ore 11.00
Presiede: Antonio Iacobini
* Guglielmo Cavallo, Il Codice Purpureo di Rossano in contesto: una storia tra Oriente e Occidente
* Fabio De Chirico, Storia conservativa e progetti di valorizzazione del Codex
* Antonio Sgamellotti e Costanza Miliani, The Mobile Laboratory – MOLAB® for in situ non invasive investigations: The study of Codex Purpureus Rossanensis
* Elena Console, Tecnologia ed arte: una sinergia vincente
* Manuela Romagnoli, Il legno delle assi provenienti dalla legatura del Codice Purpureo di Rossano.

Sessione del pomeriggio, 14.30
Il codice svelato: una ricerca multidisciplinare dell’ICRCPAL
Presiede: Mons. Giangiulio Radivo
* Maria Teresa Tanasi, Lorena Botti e Daniele Ruggiero (Laboratorio di Fisica), Quello che le radiazioni visibili non dicono
* Marina Bicchieri (Laboratorio di Chimica), La tavolozza rivelata
* Maria Carla Sclocchi, Paola Valenti, Piero Colaizzi (Laboratorio di Biologia), Ospiti occasionali ma poco stanziali lasciano tracce …
* Anna Di Majo e Francesca Pascalicchio (Laboratorio di Tecnologia), Pergamene a nudo: indagini sulla specie animale
* Lucilla Nuccetelli, Maria Luisa Riccardi (Laboratorio di Restauro), Il restauro e … i restauri fra passato e presente
* Abigail Quandt, Flavia Pinzari e Piero Colaizzi, Microscopical findings and Archeological hypothesis on the Codex Purpureus Rossanensis.

Martedì 29 aprile 2014, 9.30
Presiede: Maria Andaloro
* Christa Hofmann, Vienna Genesis: History, condition and conservation perspective
* Maurizio Aceto, Dalla Genesi di Vienna al Codex Brixianus: analisi non invasive e microinvasive sui codici purpurei
* Cheryl Porter, Techniques of applying purple colour to parchment: Recipes, evidence and experiments
* Simona Rinaldi, La letteratura artistica sulla manifattura dei codici purpurei
* Mario Micheli, Nestore Leoni e il restauro del Codex Purpureus Rossanensis
* P. Stephen Pisano, Lettura del testo biblico
* Lucinia Speciale, ‘TΗΣ ΤΩΝ ΕΥΑΓΓΕΛΙΣΤΩΝ ΣΥΜΦΩΝΙΑΣ’. Il programma decorativo originale del Tetravangelo di Rossano
* Simonetta Villanti (Laboratorio per l’Ambiente), Per un’esposizione ragionata. Ambiente e dintorni
* Maria Cristina Misiti e S.E. Mons. Santo Marcianò, Raccomandazioni e conclusioni.

Clicca qui per maggiori informazioni.

The Labyrinth: Resources for Medieval Studies

The Labyrith provides free, organized access to electronic resources in medieval studies through a World Wide Web server at Georgetown University. The Labyrinth’s easy-to-use menus and links provide connections to databases, services, texts, and images on other servers around the world. Each user will be able to find an Ariadne’s thread through the maze of information on the Web.

This project – directed by Deborah Everhart and Martin Irvine, and sponsored by Georgetown University – not only provides an organizational structure for electronic resources in medieval studies, but also serves as a model for similar, collaborative projects in other fields of study. It is open-ended and is designed to grow and change with new developments in technology and in medieval studies.

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British Library Internship in the MSS Section

Internship-BL

JOB: Internship in the Medieval and Earlier Manuscripts Section, The British Library, London.

The British Library is pleased to be able to offer an internship in the Medieval and Earlier Manuscripts section of the History and Classics Department for a doctoral or post-doctoral student in history, history of art, medieval language or other relevant subject.

The intern will be involved in all aspects of the work of the Medieval and Earlier Manuscripts section, including responding to enquiries, providing talks for students and patrons, selecting and presenting manuscripts for display in our exhibition gallery, assisting in exhibition preparation and cataloguing, thereby gaining insight into various curatorial duties and aspects of collection care.  During the internship at the Library, the intern will enjoy privileged access to printed and manuscript research material, and will work alongside specialists with wide-ranging and varied expertise.

A major focus of the internship will be to enhance the online Digitised Manuscripts and Catalogue of Illuminated Manuscripts websites by creating and supplementing catalogue entries for medieval manuscripts and accompanying images, working under the supervision of the Curator of Illuminated Manuscripts.  The internship will also provide an opportunity for the student to assist in presenting manuscripts to a general audience in our major Magna Carta anniversary exhibition, exhibitions in the Sir John Ritblat Treasures Gallery, and to develop research skills in medieval and Renaissance history and art history.

The programme is only open to students who are engaged actively in research towards, or have recently completed a PhD in a subject area relevant to the study of pre-1600 illuminated or other medieval manuscripts, who have eligibility to work in the UK.

The term of internship is either full time (36 hours per week) for six months, or part time for twelve months, depending on how many hours the successful candidate can offer.  Applicants are asked to specify which work pattern they would prefer in the application.  The salary is £8.80 per hour. The internship will start in July 2014 after relevant security clearances are obtained.

The selection process will include questions about the date, origin, and decoration of a particular manuscript to be shown at the interview.

For further information about the position, please contact Kathleen Doyle, Curator of Illuminated Manuscripts.

To apply, click here, and upload a CV and Cover Letter. The Cover Letter should include answers to the following three questions:
* Please give examples of your experience in cataloguing medieval manuscripts.
* Please provide examples of your experience in writing about your research for a general  audience.
* Please give an example of how you have adapted your own communicating style to deal with different people and situations.

Closing Date: Thursday 15th May 2014. Interview Date: Monday 2nd June 2014.

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Le texte sous l’image

CONFERENCE: Le texte sous l’image, Poitiers, Faculté des Sciences Humaines et Arts (Hôtel Fumé 8 rue René Descartes, salle des Actes). Journée d’études organisée par le CRIHAM et la MSHS (Axe 3 : Les Humanités face à l’écrit), sous la direction de Véronique Meyer et Solange Vernois, 7 mai 2014.

L’analyse du texte s’avère indispensable pour la connaissance du monde de l’estampe, de ses acteurs comme de sa réception. Le propos de cette journée sera d’analyser les rapports et les interactions entre image et texte depuis la Renaissance.

Programme

Matinée
Présidence de séance: Solange Vernois (Université de Poitiers)
* Estelle Leutrat (Université de Rennes), Les placards politiques en France au début du XVIIe siècle : l’exemple de l’entrée de Louis XIII à Paris en 1610
* Véronique Meyer (Université de Poitiers), Les dédicaces dans l’œuvre de Michel Lasne.

Après-midi
Présidence de séance: Thierry Favier (Université de Poitiers)
* Remi Mathis (Bibliothèque nationale de France), « In angulo cum libro ». Ou l’inattendu succès de la lettre d’une estampe, de Hieronymus Wierix à Umberto Eco
* Pierre Wachenheim (Université de Nancy), Entre image & texte : à propos d’une série de gravures antijésuites à la veille du bannissement de la Compagnie
* Solange Vernois (Université de Poitiers), Emphase et dérision dans les caricatures de quelques artistes et écrivains de la seconde moitié du XIXe siècle : le texte et l’image ou la question du double portrait
* Nicolas Dufetel (Conservatoire à Rayonnement Régional d’Angers), Les représentations de Franz Liszt au piano (1823-1886) et leurs éléments péritextuels.

Contact: Véronique Meyer (Université de Poitiers).

Source: ApAhAu