Entries Tagged as 'News'

I manoscritti della Casanatense e Vallicelliana


NEWS: Presentazione del volume I manoscritti datati delle Biblioteche Casanatense e Vallicelliana di Roma, a cura di Paola Busonero, Elisabetta Caldelli, Isabella Ceccopieri, Valentina D’Urso, Patrizia Formica, Antonella Mazzon, Marco Palma, Valerio Sanzotta e con il contributo di Giuseppe Finocchiaro, Firenze 2016 (SISMEL – Edizioni del Galluzzo), pp. X-152 131, tavv. f.t., € 120; mercoledì 11 ottobre 2017.

Roma, Biblioteca Casanatense, ore 16.00
* Rita Fioravanti (Biblioteca Casanatense)
* Nicoletta Giovè (Università degli Studi di Padova – Associazione Italiana Manoscritti Datati)
* Marco Palma (Università degli Studi di Cassino e del Lazio meridionale)
* Mario De Nonno (Università degli Studi di Roma Tre).

Roma, Biblioteca Vallicelliana, ore 18.00
* Paola Paesano (Biblioteca Vallicelliana)
* Nicoletta Giovè (Università degli Studi di Padova – Associazione Italiana Manoscritti Datati)
* Marco Palma (Università degli Studi di Cassino e del Lazio meridionale)
* Paolo Cherubini (Archivio Segreto Vaticano).

In occasione della presentazione (Roma, 11/10/2017), il volume è offerto con il 30% di sconto (€ 84,00 anziché € 120,00). Valido fino al 18.10.2017 e solo per ordini diretti.

I manoscritti datati della Capitolare di Padova


NEWS: Presentazione del volume I manoscritti datati della Biblioteca Capitolare di Padova, a cura di Leonardo Granata, Firenze 2016 (SISMEL – Edizioni del Galluzzo, pp. VII-128; 84 tavv. f.t.), Museo Diocesano, Piazza Duomo 12, Padova, 27 settembre 2017, ore 16.

* Don Stefano Dal Santo (Biblioteca Capitolare di Padova)
* Teresa De Robertis (Università di Firenze)
* Nicoletta Giovè (Università di Padova)
* Claudio Griggio (Università di Udine)
* Federica Toniolo (Università di Padova).

In occasione della presentazione, il volume è offerto con il 30% di sconto (€ 80,50 anziché € 115,00). Valido fino al 6.10.2017 e solo per ordini diretti.

Fotografie libere per i Beni Culturali

Fotografie libere per i beni culturali: nel dettaglio le novità apportate dalla nuova norma. Liberalizzazione delle riproduzioni digitali con mezzo proprio in archivi e biblioteche: che cosa cambia dal 29 agosto?

Il 2 agosto 2017 il Senato ha definitivamente approvato la Legge annuale per il mercato e la concorrenza (n. 124/2017), che, tra le altre cose, modifica l’art. 108 del Codice dei Beni Culturali, sancendo la liberalizzazione delle riproduzioni digitali con mezzo proprio in biblioteche e archivi pubblici per finalità culturali (art. 1, c. 171).

A seguito della pubblicazione in Gazzetta Ufficiale, le nuove norme entreranno direttamente in vigore martedì 29 agosto. A partire da questa data gli utenti di archivi e biblioteche potranno liberamente scattare fotografie con la propria fotocamera, smartphone, o comunque con mezzi che non prevedano un contatto diretto con i documenti (come avviene nel caso di scanner o macchine fotocopiatrici), senza l’uso di flash, stativi o treppiedi.

Continua a leggere Patrimonio sos

J. P. Gumbert’s library at CSMC

NEWS: J. P. Gumbert’s library at the Centre for the Study of Manuscript Cultures (CSMC), Hamburg.

Thanks to the generous support of Universität Hamburg, the CSMC was able to purchase an important section of the late Professor Johan Peter Gumbert’s (1936-2016) private book collection. The works on codicology and palaeography with many handwritten notes of Gumbert will soon be available at the CSMC library as the “Gumbert special collection”.

Learn more about CSMC

Methods of Making Insular Manuscripts


NEWS: Methods of Making Insular Manuscripts, by Becky Lawton.

The Medieval Manuscripts section at the British Library is a partner in a new project, Insular Manuscripts AD 650-850: Networks of Knowledge, funded by the Leverhulme Trust. The first of three international workshops at the heart of this project was held at the British Library on 24th and 25th April 2017. These workshops will support the future study of Insular manuscripts preserved in libraries around the world, which are becoming increasingly accessible via digital facsimiles.

The London workshop focused on ‘Methods of making: palaeographical problems, codicological challenges’. Through a mixture of presentations and group discussion, the workshop considered what is known about the origin, production and circulation of Insular manuscripts from AD 650 to 850.

Beginning with the basics, the workshop opened with an examination of what it means to describe a manuscript as Insular. The term ‘Insular’ is used to describe a range of scripts which originated in Ireland in the 6th century. The higher grade manuscripts are characterised by elaborate initial letters decorated with interlace and zoomorphic designs, and smaller initials embellished with red dots.

The use of Insular script soon spread to Anglo-Saxon England, particularly Northumbria, and was taken to continental Europe by Irish and Anglo-Saxon missionaries where manuscripts written in Insular scripts continued to be produced well into the ninth century. Around 500 Insular manuscripts survive and 75% of these are now in continental European libraries, including about 40% in Germany and 10% in France. Some of these are very well known and are among the greatest treasures to survive from medieval Europe, but many more are much less studied and have much to reveal about the deep cultural connections between England, Ireland and continental Europe in the early Middle Ages.

Script is not the only feature of a manuscript which can be described as Insular. The workshop also explored distinctive Insular methods of making and preparing parchment. In the early medieval period, parchment was made from the skin of calves, sheep and goats. Monasteries often used certain skins for different purposes, and established their own methods of preparing and arranging the parchment in book production. By studying these book production techniques, it is possible to reveal important details such as where a manuscript was produced and what resources a monastery could draw upon.

The influence of Insular parchment production and arrangement can even be seen in manuscripts which were written in a Roman style using Italian-influenced uncial script, as in the Ceolfrith Leaves, fragments of one of three great Bibles written at Wearmouth-Jarrow in the early 8th century. The Ceolfrith Leaves used calf skin in traditional insular style, but announcing an important discovery, Jiří Vnouček revealed that the sister manuscript known as the Codex Amiatinus (now Florence, Biblioteca Medicea Laurenziana MS Amiat. 1) was made entirely from goat and sheep skin, mimicking the very best Italian book production in materials as well as script. The decision to produce Codex Amiatinus on Italian-style parchment fits into the overall ‘Romanizing’ character of the codex which was created as a gift for the pope.

Our modern understanding of Insular manuscripts and the monasteries which produced them is often defined by luxury manuscripts such as the Ceolfrith Leaves or the Lindisfarne Gospels, but these monasteries would also have produced many more ‘everyday’, utilitarian texts, which rarely survive.

One example of an ‘everyday’ text which does survive, written in Insular script, is a letter sent from the Bishop of London to the Archbishop of Canterbury in AD 704 or 705. This letter is the earliest original letter written on parchment to survive from the Christian West. Original letters rarely survive because they had no legal value, and so there was less reason to preserve the original. There are clear differences between the cursive Insular minuscule script used to write this letter, and the elaborate Insular majuscule (also known as Insular half-uncial) used to write the Lindisfarne Gospels.

Manuscripts are inherently portable objects and were often taken away from their centre of production. Many manuscripts written in Ireland and Anglo-Saxon England, using Insular script, were exchanged between the two countries and sent to and from institutions on the Continent.

One particular manuscript discussed in the workshop was the British Library’s Irish Pocket Gospel book. This tiny manuscript (130 mm x 105 mm) was produced in Ireland in the late 8th or early 9th century, and had made its way to Anglo-Saxon England by the 10th century. In England, the decoration surrounding some illuminated initials was scraped away and repainted. It is possible to see traces of the original design.

An on-going point of discussion throughout the workshop was the wide geographical reach of Insular manuscripts and the pervasive legacy of their style. The people and places that produced and used these books, and the opportunities for study created by advances in digital technology will be at the forefront of the discussions of the next two workshops to be held in 2018 and 2019.

The participation of the Medieval Manuscripts section in the project complements the early medieval focus of recent digitisation projects. Over 175 Anglo Saxon manuscripts have currently been digitised, and 400 more manuscripts produced before c. 1200 will be digitised thanks to The Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700–1200.

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A Fifth New Leo X Cutting


NEWS: A Fifth New Leo X cutting, by Peter Kidd.

I have written about a dismembered Missal of Leo X several times, most recently here. Browsing images of cuttings in Parisian collections I came across this initial “P”, in the Musée des arts décoratifs, shown above.

The online description is vague. Unlike those previously found, the cutting consists not just of an initial, but also a border. And although the style and colouring of the illumination does not seem to me to be identical to the previously found ones, the border confirms that this is definitively from a Leo X book: it includes at the bottom the familiar letters “L.X.P.M.” for “Leo X Pontifex Maximus”, as shown in my first blog post on the subject.

This is also the first cutting to show any evidence of music (a four-line red stave is visible to the right of the initial “P”, with a musical note on the top line). I suspect it comes from the Prefaces which usually precede the Canon in missals, and begin “Per omnia …” as in this example, which also has a priest doing something with the chalice.

So far, therefore, we have located:
– two cuttings at Vassar College
– one in the Wildenstein Collection, Paris
– one sold by Maggs c.1970
– one sold by Christie’s in 2016
– the present one, in Paris.

Doubtless more will come to light …

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La filologia classica e umanistica di Sabbadini

BOOK – Presentation of a new book on the eminent scholar: La filologia classica e umanistica di Remigio Sabbadini, a cura di Fabio Stok e Paola Tomè, Roma 2016 (Edizioni ETS). Oxford, Taylor Institution, St Giles, Room 2, Wednesday 7 June 2017, 5pm.

Roundtable with Paola Tomè, Martin Mclaughlin, Nicola Gardini (University of Oxford), Jill Kraye (Warburg Institute) and David Lines (University of Warwick).

Remigio Sabbadini (Sarego, 23 novembre 1850 – Pisa, 7 febbraio 1934) è stato il fondatore della filologia umanistica in Italia, ma anche editore di Virgilio e studioso di autori classici. I saggi contenuti in questo volume delineano la sua biografia ed esaminano alcuni dei suoi contributi filologici e letterari. Paola Tomé, Domenico Losappio e Roberto Norbedo ricostruiscono la sua carriera di docente liceale ed universitario, offrendo uno sguardo inedito sulla storia dell’Italia unitaria fra Ottocento e Novecento.

Aspetti specifici della sua eredità culturale sono esplorati da Lucia Gualdo Rosa e Matteo Venier. Sabbadini fu anche autore di composizioni poetiche, proposte ed analizzate nel volume da Giovanni Salviati. Gli altri saggi sono dedicati a capitoli specifici della sua attività di studioso: il saggio sull’umanista Antonio Mancinelli (Mariangela Giudice), la storia del ciceronianismo (Martin McLaughlin), l’Umanesimo fiorentino (Paolo Viti), gli studi serviani di Guarino Veronese (Giuseppe Ramires), l’edizione di Virgilio (Fabio Stok). Lo stile delle “briciole umanistiche” di Sabbadini è riproposto dal saggio di Manlio Pastore Stocchi.

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Smell of Heritage, Scent of Books


NEWS – Cecilia Bembibre and Matija Strlič, Smell of heritage: A framework for the identification, analysis and archival of historic odours.


We don’t know much about the smells of the past. Yet, odours play an important role in our daily lives: they affect us emotionally, psychologically and physically, and influence the way we engage with history. Can this lead us to consider certain smells as cultural heritage? And if so, what would be the processes for the identification, protection and conservation of those heritage smells?

In order to answer these questions, the connection between olfaction and heritage was approached in three ways: (1) through theoretical analysis of the concept and role of olfaction in heritage guidelines, leading to identification of places and practices where smell is fundamental to their identity, (2) through exploration of the evidence for use of smells in heritage as a tool to communicate with audiences; and (3) through experimental evaluation of the techniques and methods for analysing and archiving the smells, therefore enabling their documentation and preservation.

We present this through the framework of Significance Assessment—Chemical Analysis—Sensory Analysis—Archiving. The smell of historic paper was chosen as the case study, based on its well-recognized cultural significance and available research. Odour characterization was achieved by collecting visitor descriptions of a historic book extract through a survey, and by conducting a sensory evaluation at a historic library.

These were combined with the chemical information on the VOCs sampled from both a historic book and a historic library, to create the Historic Book Odour Wheel, a novel documentation tool representing the first step towards documenting and archiving historic smells.

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Save the Date for a Centennial Conference


NEWS: Save the Date for our Centennial Conference, The Index at 100: Iconography In A New Century, 14 October 2017.

Please join the Index for a symposium and reception marking the centennial of our founding in 1917. Presentations by eight leading scholars will demonstrate the expansiveness and versatility with which art historians today approach what we continue to call “iconographic studies” and consider where the study of image and meaning will take the field in future years. Please check back later this spring for further information and a registration page.

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Leggere tra le righe

NEWS: Leggere tra le righe. Seminari di cultura del libro e della biblioteca XXXVI-XXXVIII, Libreria dell’Università Cattolica, via Trieste 17, Brescia.

Nell’ambito del ciclo di incontri “Leggere tra le righe”, il CRELEB (Centro di Ricerca Europeo Libro Editoria Biblioteca) organizza i seguenti incontri:

mercoledì 15 marzo 2017 ore 17
MARCO CALLEGARI, L’industria del libro a Venezia durante la Restaurazione (1815-1848), Firenze, Olschki, 2016 (Biblioteca di Bibliografia, 200)
* Edoardo Barbieri (direttore della collana) ne discute con l’autore.

martedì 4 aprile 2017 ore 17
Scriver veloce. Sistemi tachigrafici dall’antichità a Twitter, a cura di ALESSANDRO TEDESCO, Firenze, Olschki, 2016 (Biblioteca di Bibliografia, 203)
* Edoardo Barbieri (direttore della collana) ne discute col curatore.

giovedì 27 aprile 2017 ore 17
La lettura e i libri tra chiostro, scuola e biblioteca (Libri e lettori a Brescia tra medioevo ed età moderna, VI), a cura di LUCA RIVALI, Udine, Forum, 2017 (Libri e biblioteche)
* Paolo Pellegrini (Università di Verona) ne discute col curatore.

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Libro d’ore rubato a Londra


NEWS: Libro d’ore rubato a Londra.

Il recentissimo furto di vaste proporzioni avvenuto nella sede di uno spedizioniere a Londra ha coinvolto, fra gli altri (manoscritti, incunaboli, cinquecentine, stampe del Settecento, etc), anche il minuscolo Libro d’ore (mm 75 x 48) presentato dal venditore come Attavante, ma che propongo come Francesco dai Libri dei primi anni ottanta. Allego le foto delle miniature, per rendervelo riconoscibile se si presentasse sul mercato.

Susy Marcon
Curatore, Dipartimento Manoscritti e Rari
Biblioteca Nazionale Marciana
San Marco, 7 – 30120 Venezia

Ludovico il Moro a scuola di retorica


NEWS: Presentazione del restauro del Codice Sforza, Varia75, del saggio sul restauro e dell’edizione in facsimile editi da Nova Charta, Palazzo Madama Piazza Castello, Torino, 3 marzo 2017, ore 12.00.

* Guido Curto, direttore di Palazzo Madama
* Giovanni Saccani, direttore della Biblioteca Reale di Torino
* Cristina Maritano, conservatore di Palazzo Madama e curatrice della mostra Emanuele d’Azeglio. Il collezionismo come passione
* Paolo Crisostomi, restauratore
* Gianfranco Malafarina, direttore di Alumina, Nova Charta editore.

Scritto a Cremona il 27 novembre del 1467 da Ludovico Maria Sforza, noto come Ludovico il Moro, il Codice Sforza è una rara testimonianza della solida e articolata formazione culturale che riceveva un giovane principe e che era affidata a un precettore di indiscussa fama e preparazione.

L’editore Nova Charta di Padova, che ne ha sostenuto il restauro, ritorna a Torino dopo la mostra Itinerari di un re, organizzata nel 2013 in collaborazione con la Biblioteca Reale.

L’opera in esposizione fino al 6 marzo 2017 a Palazzo Madama nell’ambito della mostra Emanuele d’Azeglio. Il collezionismo come passione, è inoltre arricchita da una serie di colorate e preziose miniature.

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