Illuminierte Urkunden als Gesamtkunstwerk

JOB: Illuminierte Urkunden als Gesamtkunstwerk, Projektmitarbeit im kunsthistorischen Arbeitsmodul des FWF-Projekts, Wien.

Das Projekt hat sich zum Ziel gesetzt illuminierte Urkunden des Mittelalters zu sammeln und umfassend zu untersuchen. Es ist gesamteuropäisch ausgerichtet, bewusst interdisziplinär und versteht die Verwendung von Informationstechnologie als zentralen Projektteil. Das leading team bilden Georg Vogeler (Uni Graz, Zentrum für Informationsmodellierung; Projektleitung), Andreas Zajic (historische Hilfswissenschaften) und Martin Roland (Kunstgeschichte; beide ÖAW, Institut für Mittelalterforschung). Das Projekt wurde im März 2014 bewilligt und läuft bis 2017.

Ausschreibung eines Arbeitsvertrags für eine/n MitarbeiterIn im kunsthistorischen Arbeitsmodul.

- Erfahrungen im Umgang mit schriftlichen Quellen des Mittelalters und deren Dekor (inkl. Grundkenntnisse in den Sprachen und in der Paläographie um die Objekte zuordnen zu können).
- Bereitschaft zur Zusammenarbeit mit KollegInnEn der anderen Arbeitsmodule, also dem Bereich hilfswissenschaftliche Inhaltserschließung und EDV.

- Datenerfassung
- Kontakt mit den Sammlungen (Recherche, Photobestellungen, etc.)
- Objektbeschreibungen (kunsthistorische Einordnung)
- Selbständiges Erarbeiten von Teilbereichen; Publikation der Ergebnisse.

- Die Mitarbeit an dem Projekt bietet eine innovative und interdisziplinäre Arbeitsumgebung.
- Kontakt zu einer internationalen Gruppe von MitarbeiterInneN
- Das Beschäftigungsausmass (15–30 Wochenstunden) wird einvernehmlich festgesetzt; Entlohnung gemäß den Vorgaben des FWF: DoktorandIn: € 1.996,90; Postdoc: € 2612,60 [jeweils 30 Std., brutto pro Monat].
- Dienstantritt nach Vereinbarung; vorteilhaft 1. September oder 1. Oktober 2014.
- Dienstort ist die Abteilung für Schrift- und Buchwesen des Instituts für Mittelalterforschung der Österreichischen Akademie der Wissenschaften, 1040 Wien, Wohllebengasse 12–14.

Zur Kontaktaufnahme:

Deadline: 15 August 2014Mehr Informationen

Source: H-ArtHist

Reading and Writing in City, Court and Cloister


CONFERENCE: Reading and Writing in City, Court and Cloister: Conference in honor of Mary C. Erler, 35th Annual Conference of The Center for Medieval Studies, New York, Fordham University, Saturday 7 March 2015.

Dr. Mary Erler’s scholarship has focused primarily on Medieval and early modern literature, women’s reading and book ownership and early English printing. This conference aims to highlight these areas where Dr. Erler’s contributions have been so meaningful, bringing together both collaborators and former students who have worked with her over the course of her career.


* Michael Sargent (CUNY Graduate Center), Walter Hilton at Syon
* Joyce Coleman (University of Oklahoma), ‘Withinne a Paved Parlour’ Criseyde and Domestic Reading in a City under Siege
* Kathyrn A. Smith (New York University), History and Legend, Romance and Devotion: Making the Queen Mary Psalter (London, British Library MS Royal 2 B VII) in Early Fourteenth Century London
* Caroline Barron (Royal Holloway and Bedford New College, University of London), London Chronicles and Chronic Writing
* Sheila Lindenbaum (Indiana University), London Intellectuals and “Unintellectual” Londoners in the Mid-Fifteenth Century.

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Two PhD Studentships in Sheffield

FELLOWSHIP: Two PhD Studentships available in new project Music in the Art of Renaissance Italy, ca. 1420-1540, Sheffield University.

The Representation of Music in Italian Religious Art, ca.1420-1540
The Representation of Music in Italian Manuscript Decoration, ca.1420-1540

The successful applicant of the second project (The Representation of Music in Italian Manuscript Decoration, ca.1420-1540) will join a team comprising the Principal Investigator, a Research Assistant, two doctoral students and a Project Advisor in the shape of Dr Beth Williamson (Reader in Art History, University of Bristol).

The project team will investigate the representation of music in Italian ‘flat’ art ca.1420-1540, studying paintings, manuscript decorations and woodcut images featuring music-making, notation, instruments, and musical stories and symbols. The holder of this studentship will prepare a thesis on some aspect of the representation of music in manuscript miniatures in Renaissance Italy, including but not limited to the decoration of music manuscripts, taking account of aspects of the manufacture and use of books in the period.

Although manuscripts preserving secular texts will fall within the student’s remit, it is intended that their project will be principally concerned with manuscripts containing liturgical, biblical and other religious texts. Within these boundaries, the student will have considerable scope for choice in terms of the musical subjects addressed and the choice of case studies.

More details on both projects are now available: The Representation of Music in Italian Religious Art, ca.1420-1540 (click here); The Representation of Music in Italian Manuscript Decoration, ca.1420-1540 (click here).

Deadline: 11 August 2014.

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The Books of Sir John Soane’s Library

NEWS: Sir John Soane Museum – Book Survey.

With thanks to funding from the Eileen Harris Book Conservation Fund, Professor Nicholas Pickwoad (Ligatus Research Centre, CCW Graduate School, University of the Arts London) together with three research assistants were able to carry out a thorough review of the conservation and accommodation of the books in Soane’s Library, which will enable the Museum to make a start on its programme of conserving Soane’s collection of books. It is the first full conservation survey of all of the 7,000 bound volumes in the library.

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Conservation in the 17th Century


ARTICLE: Conservation in the 17th Century, by James Freeman.

The Mayerne manuscript, Sloane MS 2052, is on display at the National Gallery’s exhibition Making Colour and is also available to view on Digitised Manuscripts. Compiled over twenty-six years, it reflects Mayerne’s abiding interest during his middle age in the chemistry of painting and the preparation of pigments, glues, varnishes and other substances. As Making Colour reveals, before the synthesis and manufacture of pigments in the nineteenth century, artists made their own colours from the raw materials, experimenting and developing them through trial and error.

Such information is vitally important for conservators: understanding the chemical make-up of early modern or medieval pigments can help them to determine why paintings have degraded in certain ways, and inform any interventions that they might make to rectify or halt such deterioration. The Mayerne manuscript is also of interest in the history of conservation as a discipline, since it also contains notes about how paintings were repaired and cleaned nearly four centuries ago.

At the close of his sermon, preached at the funeral of Sir Theodore de Mayerne on Friday, 30th March 1655 at St. Martin-in-the-Field, Rev. Thomas Hodges remarked that: ‘He [Mayerne] was a person of rare accomplishments… I confess I know not any subject which might be either for necessity or delight whereof he was ignorant, nay in which he was not a great proficient, and expert master. And, which is more admirable, this variety was not attended with the least discernable confusion, but so methodised and digested that he readily at his pleasure commanded it when occasion required, and brought it forth clothed in such language as he spoke him no less an orator than an artist.’

However tidy-minded and articulate Mayerne might have been in life, his manuscript Pictoria, sculptoria et quae subalternarum artium is something of a jumble. In Sloane MS 2069 (f. 172r), we find a letter from Mayerne to his friend Dr Monginot in 1630, in which he recognised the need ‘to take up my pen, if I wish to leave to posterity some of my dearest children – that is, the fruits of my genius – as my conscience dictates, and as my friends invite me’. Yet, as with his medical case notes, Mayerne never succeeded in imposing order upon his artistic notes or preparing them for print during his lifetime. Those illustrated with pigment samples or coloured diagrams have naturally attracted most attention and, until 2004, there was no complete edition in English of this manuscript.

Buried among them are fascinating insights into conservation, 17th-century style. Folios 56v-57r, for example, contain a note that to repair a cracked painting, it should be washed and rinsed thoroughly, and coated on the back with a thick water paint, that may be removed when necessary. It is tucked among miscellaneous observations on the purification of light linseed oil by filtering it through a cow’s bladder, or the transparency of ox intestines in which gold has been wrapped.

Sir Anthony van Dyck was a source of other conservation tips. To repair a peeling oil painting and protect it from a damp wall, he advised painting the reverse with umber very finely ground in oil – a recipe essential for paintings undercoated with glue or water colours.

An unfortunate incident with paintings imported from Italy for Charles I prompted Mayerne to formulate his own ideas. The paintings had been shipped, ill-advisedly, with a cargo of currants and mercury sublimate. The former fermented and the latter vaporised, blackening both the oil and tempera paintings in the hold. Mayerne jotted in the margins that the oils were apparently cleaned with milk – but observed that a more watery liquid would have been better: the oil would have resisted it and prevented the washing away or smearing of the pigments.

Mayerne continued with further, more specific instructions: that a picture soiled with dust should be washed with a wrung-out sponge, with any parts painted with the pigment Dutch pink protected from spoiling by glued-on paper. Apparently, potash from crushed grape skins or urine are also effective!

Mayerne’s interest extended beyond oil paintings to include prints, and he sought information from craftsmen such as Mark Anthony, a painter from Brussels, the royal apothecary Louis le Myre and Jean Anceaux, a bookseller from the French town of Sedan. From the latter, Mayerne acquired some of the earliest recorded information about the bleaching of paper: one stage involved the soaking of paper in water in which a cod has been boiled.

These and many other such notes formed the basis for subsequent experimentation, also recorded in the manuscript. The same motivation drove Mayerne’s medical and artistic pursuits – a passion for the study, development and application of chemistry – and sustained the compilation of this notebook over twenty-six years. He also had an eye for the commercial potential of his discoveries. Towards the end of the manuscript, there is a recipe for ‘freshening tempera pictures and making them equal to those painted with oil’. To distinguish it from his other notes, many of which had been obtained second-hand, he recorded in the title that it had been ‘invented by T. de Mayerne, 1632’, perhaps with the aim of ensuring that it remained his or his heirs’ intellectual property.

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Milano, ca. 1340. Novità e riflessioni

LECTURE: Serena Romano, Milano, ca. 1340. Novità e riflessioni, Kunsthistorisches Institut in Florenz – Max-Planck-Institut, Palazzo Grifoni Budini Gattai (Via dei Servi 51, Firenze), 29 settembre 2014, ore 18:00.

La conferenza discuterà alcune novità emerse sul palazzo arcivescovile di Milano all’epoca dell’arcivescovo Giovanni Visconti (1342-1354). Il ciclo pittorico da lui voluto nel palazzo è uno dei punti cruciali di tutta la questione storiografica attorno alla presenza dei pittori toscani a Milano, in particolare Giotto e Stefano, nel loro rapporto con la cultura pittorica locale e con i programmi voluti dai nuovi signori di Milano. Stile e struttura di questo ciclo ricevono nuova luce dalle recenti scoperte, e rendono meno impervia la comprensione di questo momento-chiave del Trecento italiano.

Clicca qui per saperne di più.

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

In offerta il Libro d’ore di 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 la nostra redazione.