Academic literature on the topic 'Carolingian manuscript art'
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Journal articles on the topic "Carolingian manuscript art"
1
Liuzza, Roy Michael. "Anglo-Saxon prognostics in context: a survey and handlist of manuscripts." Anglo-Saxon England 30 (December 2001): 181–230. http://dx.doi.org/10.1017/s0263675101000084.
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The various Latin and Old English texts which have come to be called ‘prognostics’ have not, in general, been well served by scholars. For some texts the only available edition is Oswald Cockayne's Leechdoms, Wortcunning, and Starcraft of Early England from 1864-6; most others are available only in the broad but somewhat unsystematic series of articles published by Max Förster in Archiv für das Studium der neueren Sprachen und Literaturen in the 1910s and 1920s. Anselm Hughes does not include the eight prognostic texts in Cambridge, Corpus Christi College 391 in his otherwise fairly thorough edition of much of that manuscript; Peter Baker and Michael Lapidge omit any discussion of such texts from their excellent survey of the history of the computus in the preface to their edition of Byrhtferth's Enchiridion. The mid-eleventh-century Christ Church manuscript now known as London, British Library, Cotton Tiberius A. iii has attracted the notice of many fine scholars, including liturgists, linguists and monastic and art historians, who have been drawn to the series of texts at the beginning of the manuscript (fols. 117-73 and 2-27), including two magnicent full-page drawings (117v and 2v) and glossed copies of the Benedictine Rule and the Regularis Concordia. Helmut Gneuss describes this carefully presented series of interrelated texts as ‘a compendium of the Benedictine Reform movements in Carolingian Francia and in tenth-century England’; Robert Deshman has argued that the very sequence of texts is ‘laden with meaning’. Despite their appreciation of these manuscript sequences, however, few scholars have included in their study of this material the eighteen prognostic texts which follow the Regularis Concordia in the manuscript (27v-47), though most of these are in the same hand and are arranged, it may be argued, with equal care.
2
Westwell, Arthur. "The Ordines Romani and the Carolingian Choreography of a Liturgical Route to Rome." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 63–79. http://dx.doi.org/10.5617/acta.7800.
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This article examines a number of Carolingian liturgical manuscripts (Wolfenbuttel Herzog August Bibliothek Wissenbourg 91, Cologne Dombibliothek MS 138, Vienna Österreichische Nationalbibliothek cod.ser.n. 2762 and Paris Bibliothèque de l'Arsenal 227) each containing texts now known as the ordines romani. These texts are "stage directions" for the liturgy, distinguished by their reference to the practices of the church of Rome. While the ordines romani certainly give precious information about Roman liturgical practice, the Frankish contribution to shaping and displaying these texts inline with their own priorities and usages must be acknowledged too. For example, these manuscripts all combine ordines romani with texts about Roman history and topography. For these readers, the desired imitation of Roman liturgical practice was not about copying any particular text or practice by rote, but a deeper form of participation that involved the construction of an image of Rome across a whole manuscript. The given image of Rome responded to the institutional or personal needs animating the manuscript. These manuscripts compel us to imagine diverse practices of reading within and without liturgical performance.
Keywords: pontificals, topography, Ordines, manuscripts, Carolingians.
On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
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Crick, Julia. "An Anglo-Saxon fragment of Justinus's Epitome." Anglo-Saxon England 16 (December 1987): 181–96. http://dx.doi.org/10.1017/s0263675100003896.
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In 1910, Samuel Brandt published a description and photograph of a fragment of Justinus's Epitome of the Historiae Philippicae of Pompeius Trogus. The leaf, whose present location is unknown, belonged at that time to the collection of Ernst Fischer at Weinheim. Fischer dated its script, an Anglo-Saxon minuscule, to about AD 800, which, as Brandt observed, would mean that it antedated the earliest known manuscripts of the text, which are ninth-century. Although E. A. Lowe indicated in his Codices Latini Antiquiores that the fragment was lost, it has continued to attract scholarly attention. Professor Bernhard Bischoff suggested that the fragment could be identified with a copy of Justinus listed among the books of Gerward, palace librarian of Louis the Pious. This implied connection with the Carolingian court, taken together with Alcuin's naming of Justinus's work among the books described in the poem on York and his later association with the Carolingian court, has raised the possibility of an English origin for the Weinheim manuscript and therefore also for the earliest known branch of the text. As L.D. Reynolds remarked, ‘This fragment has a significance quite out of keeping with its size.’
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Ganz, David. "An Anglo-Saxon fragment of Alcuin's letters in the Newberry Library, Chicago." Anglo-Saxon England 22 (December 1993): 167–77. http://dx.doi.org/10.1017/s0263675100004361.
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Among the fragments in the Newberry Library listed by Michael Masi in 1972,1 his item no. 15 was described as ‘ninth century’ and ‘insular’. When I examined them, the two leaves of this fragment proved to contain portions of three letters of Alcuin, written to Charlemagne in the late 790s.2 Copies of these letters are found in several ninth-century Carolingian manuscripts, but the only copy hitherto known to survive from Anglo-Saxon England is an elegant volume now in the library of Lambeth Palace, bound as the third part of manuscript 218, from the library at Bury St Edmunds.3 Both the Newberry fragments and Lambeth 218 deserve consideration both on palaeographical grounds and for what they reveal about the literary interests of Anglo-Saxon England. This study explores the circumstances in which they were produced, copied and read, in an effort to restore to them ‘the place, the traditions, the influences, the sources which explain the various aspects of its composition and contents; its destination and its purpose; the people who were involved’.4
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BRUCE, SCOTT G. "TEXTUAL TRIAGE AND PASTORAL CARE IN THE CAROLINGIAN AGE: THE EXAMPLE OF THE RULE OF BENEDICT." Traditio 75 (2020): 127–41. http://dx.doi.org/10.1017/tdo.2020.5.
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The sixth-century Rule of Benedict became a foundational text for the practice of Christian monasticism in medieval Europe, but its utility extended outside of the monastery as well. In the Carolingian period church prelates repurposed parts of this influential monastic handbook for the purpose of pastoral care. In the decades around 800 CE, excerpts from the rule appeared in several composite manuscripts made for the instruction of parish priests and by extension their lay audiences. Benedict's fourth chapter on the “Instruments of Good Works” was deemed particularly useful in the context of preaching to lay people not only because of its ecumenical message to love God and one's neighbor but also due to its formulaic and repetitive idiom. This study examines the redeployment of extracts of the Rule of Benedict for the cura animarum in Carolingian parishes with particular attention to the role of Bishop Theodulf of Orléans (ca. 760–821) in disseminating Benedict's teachings beyond the walls of the cloister.
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Whitton, Christopher. "Latin Literature." Greece and Rome 67, no. 2 (October 2020): 260–70. http://dx.doi.org/10.1017/s001738352000011x.
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First up, a brace of major Teubner editions. Marcus Deufert's De rerum natura marks a significant moment in Lucretian studies. I suspect that most people, at least in the Anglosphere, are still using Cyril Bailey's venerable Oxford Classical Text (revised in 1922) for everyday reading, if not the equally antique Loeb (W. D. Rouse, 1924). In broadest outline, text-critical views haven't changed much since: a ‘closed’ tradition, in which two Carolingian manuscripts rejoicing in the workaday names Oblongus and Quadratus are prime witnesses, but often problematic ones; a mass of manuscripts from Renaissance Italy, which editors consult primarily for conjectures. But the last century has seen plenty of important work, and Deufert can report more precisely on the various corrections made in O and Q; affirm that all Italian manuscripts descend from O, and give them a stemma; pan many more humanist conjectures; wade in the muddy river (xxi) of modern interventions; and offer his own solutions to, or non liquet on, textual problems small and large. The result is a text with plenty of novelties (and many questions left open), and an edition with a very different look.
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PHELAN, OWEN M. "THE CAROLINGIAN RENEWAL IN EARLY MEDIEVAL EUROPE THROUGH HRABANUS MAURUS'S COMMENTARY ON MATTHEW." Traditio 75 (2020): 143–75. http://dx.doi.org/10.1017/tdo.2020.6.
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Hrabanus Maurus's Commentary on Matthew provides a lens through which to view the centrality of biblical studies to Carolingian reform initiatives. The commentary sits amid a burst of interest in Matthew's Gospel in the first quarter of the ninth century. It also occupies a central place in Hrabanus's program for clerical education and renewal. Hrabanus imagined the work as a user-friendly reference guide or introductory text and structured the commentary with highly sophisticated and complementary indexing, organizing, and searching features to privilege ease of use. Hrabanus's design allows for quick appreciation and simple interpretation of the Gospel's overall narrative structure, its principal episodes, and its individual verses. Moreover, Hrabanus took painstaking effort to document the numerous patristic sources upon which he drew in building the commentary, as well as to acknowledge when he contributed thoughts of his own. The manuscript record, epistolary remarks, sermon texts, and literary references — including in the vernacular — testify to broad dissemination and use of the commentary by Hrabanus's network of patrons, peers, and students across Frankish Europe. Attention to the structure, content, and influence of the commentary expands scholarly appreciation of Hrabanus's genius beyond his achievements as an abbot and bishop or as a prolific biblical exegete, to include resourcefulness and practicality in teaching. Moreover, the study illumines the close association Carolingian leaders saw between biblical studies and broader cultural renewal along with the networks connecting leaders across the Frankish world as they reflected upon and promoted reform.
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Jones, Christopher A. "An edition of the four sermons attributed to Candidus Witto." Anglo-Saxon England 47 (December 2018): 7–67. http://dx.doi.org/10.1017/s0263675119000012.
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AbstractIn 1891, Germain Morin identified a set of brief, anonymous Latin sermons that he controversially attributed to Alcuin’s Anglo-Saxon pupil named ‘Witto’ or ‘Wizo’ in Old English, ‘Candidus’ in Latin. The texts in question are of considerable interest but have remained unprinted and thus scarcely known. The present article offers an edition of them, based on all the known manuscripts, as well as a translation and commentary. An introductory discussion reviews the state of scholarship on Candidus’s career and writings, then examines in detail the content and sources of the four texts, the evidence supporting their attribution to Candidus, and some points of comparison between the items here edited and other Latin sermons produced at Carolingian centres in the early ninth century.
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Massa, Pablo. "Musica y Scolica Enchiriadis. Hacia una representación icónica del espacio sonoro en dos tratados musicales carolingios." Anuario Musical, no. 77 (December 29, 2022): 29–49. http://dx.doi.org/10.3989/anuariomusical.2022.77.03.
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El presente artículo sistematiza algunas observaciones acerca de la diagramatología de los tratados Musica y Scolica Enchiriadis (c. 850) dentro del proceso teórico de construcción del espacio de la escritura sonora en la época carolingia. Se propone así un estatuto de las descriptiones de ambos tratados en tanto íconos-diagramas, se examinan los elementos y fases de su formalización, las metáforas espaciales y temporales que conforman sus presupuestos epistémicos, y su relación y dependencia con diagramas cuadriviales de la Antigüedad. Se examina también el uso del color como elemento cognitivo en la transmisión manuscrita de los diagramas, así como las representaciones icónicas no diagramáticas que pueden observarse en ciertas fuentes. De este análisis surge una caracterización de los diagramas de Musica y Scolica Enchiriadis como mecanismos específicos de transmisión de conocimiento, orientados por una nueva didáctica, no solo visual sino también performativa, del Ars Musica.
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Deshman (†), Robert. "The Galba Psalter: pictures, texts and context in an early medieval prayerbook." Anglo-Saxon England 26 (December 1997): 109–38. http://dx.doi.org/10.1017/s0263675100002131.
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The ‘Galba Psalter’ (London, British Library, Cotton Galba A. xviii) is a pocket-sized (128 × 88 mm.), early-ninth-century Carolingian book, perhaps made in the region of Liège, that was originally decorated with only ornamental initials. By the early tenth century the manuscript had reached England, where an Anglo-Saxon scriptorium added two prefatory quires (1r–19v) containing a metrical calendar illuminated with zodiac signs, KL monograms and single figures (pls. IX–X), and five full-page pictures. Two miniatures of Christ and the saints on 2v and 21r (pls. X–XI) preface the calendar and a series of prayers respectively, and three New Testament pictures marked the customary threefold division of the Psalms. Facing Ps. I was a miniature of the Nativity (pl. XII), now detached from the manuscript and inserted into an unrelated book (Oxford, Bodleian Library, Rawlinson B. 484, 85r). The Ascension on 120v (pl. XIII) prefaces Ps. CI. A third picture before Ps. LI has been lost, but almost certainly it represented the Crucifixion. The placement of an image of this theme between the Nativity and the Ascension would have been appropriate from a narrative standpoint, and some later Anglo-Saxon and Irish psalters preface this psalm with a full-page picture of the Crucifixion. Obits for King Alfred (d. 899) and his consort Ealhswith (d. 902) provide a terminus post quem for the calendar and the coeval illumination. The Insular minuscule script of the calendar indicates a West Saxon origin during the first decade of the tenth century. On the grounds of the Psalter's style and later provenance, the additions were very likely made at Winchester.
Dissertations / Theses on the topic "Carolingian manuscript art"
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Kitzinger, Beatrice. "Cross and Book: Late-Carolingian Breton Gospel Illumination and the Instrumental Cross." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10183.
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Crosses made in metal, paint, or stone stand at a singular intersection of past, present and future in the early medieval period. The historical cross of Golgotha is the source of such manufactured crosses’ form and power. Most also represent the theology of the Cross through their form and decoration, describing the soteriology of the crucifixion and anticipating its consummation at the end of time. As manufactured crosses recount the past and look forward to the eschaton, they concurrently function in the age of the Church, offering specific, contemporary points of access to all the larger cross-sign represents. In its multivalent identity, the cross’ status as the Church’s central sign reflects the Church’s own temporal position, simultaneously commemorating sacred history, functioning in the present day, and preparing for the Second Coming. Although rarely recognized, the Church-time form of the cross—which I term the “instrumental” cross—is often a discernable component of early medieval cross-objects and images. I argue that we can recognize the instrumental cross among the commemorative and proleptic aspects of the sign because a formal and conceptual language developed to articulate it. In its instrumental form, the cross becomes the sign of the Church in its role as mediator between Christians, Christ and the eschaton, affirming the indispensable place of man-made artwork in that project. The instrumental cross, in turn, signals the instrumentality of the many artworks into which it is incorporated. It plays a particularly important role in manuscripts. In the first half of the dissertation I define a class of visual strategies that communicate the instrumental identity of the cross. I treat works in many media in Chapter 1 and focus on manuscripts in Chapters 2–3. The second half of the dissertation concentrates upon the case studies of four complex, hitherto neglected gospel codices from ninth–tenth century western France. In each, the deep relationship between Church-time cross and gospel book drives a pictorial program that is crafted to define a specific codex as an manufactured instrument, made to integrate its community with the larger project of the Church for which the cross-sign stands.History of Art and Architecture
Books on the topic "Carolingian manuscript art"
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The history, art and palaeography of the manuscript styled the Utrecht Psalter. London: Samuel Bagster, 1986.
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Emilie, Savage-Smith, Aratus Solensis, J. Paul Getty Museum, and Rijksuniversiteit te Leiden Bibliotheek, eds. The Leiden Aratea: Ancient constellations in a medieval manuscript. Malibu, Calif: J. Paul Getty Museum, 1988.
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Hammer, Carl I. Charlemagne's months and their Bavarian labors: The politics of the seasons in the Carolingian Empire. Oxford, England: Archaeopress, 1997.
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der, Horst K. van, Noel William, Wüstefeld Wilhelmina C. M, Rijksmuseum Het Catharijneconvent (Utrecht, Netherlands), and Rijksuniversiteit te Utrecht, eds. The Utrecht psalter in Medieval art: Picturing the Psalms of David. Tuurdijk, Netherlands: HES, 1996.
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der, Horst K. van, Noel William, Wüstefeld Wilhelmina C. M, and Rijksmuseum Het Catharijneconvent, eds. The Utrecht psalter in Medieval art: Picturing the Psalms of David. Tuurdijk, Netherlands: HES, 1996.
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Dutton, Paul Edward. The poetry and paintings of the First Bible of Charles the Bald / Paul Edward Dutton and Herbert L. Kessler. Ann Arbor: University of Michigan Press, 1997.
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(Spain), Biblioteca Nacional, ed. A saving science: Capturing the heavens in Carolingian manuscripts. 2017.
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Die Zeit Karls des Grossen in der Schweiz. Benteli Verlag, 2013.
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Der Leidener Aratus: Antike Sternbilder in einer karolingischen Handschrift. München: Schweizerische Kreditanstalt (Deutschland), 1989.
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Kessler, Herbert L., and Paul Edward Dutton. The Poetry and Paintings of the First Bible of Charles the Bald (Recentiores: Later Latin Texts and Contexts). University of Michigan Press, 1998.
Find full textBook chapters on the topic "Carolingian manuscript art"
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Sissis, Philippa. "Script as Image: Visual Acuity in the Script of Poggio Bracciolini." In Atti, 119–48. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-6453-968-3.10.
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The fact that the graphic substance of writing oscillates between text and image is a potential which writing carries in itself from the very beginning. Every graphic trace on the manuscript page relates to the conventions of time in a way that is determined by the scribe. This becomes particularly tangible when the conventions are deliberately and systematically broken and replaced by new ones on the basis of a concrete concept. By introducing the humanistic minuscule, a script developed on the basis of the historical model of the Carolingian minuscule, Poggio Bracciolini and his mentors and friends Coluccio Salutati and Niccolò Niccoli, created philologically revised copies of the texts of classical authors in what they called littera antiqua, the new old script. This paper wants to show how the conscious incorporation of elements of historical manuscripts and their transformation into a specifically humanistic product makes use of the graphical potential of script and mise-en-page in order to translate a humanistic discourse into SchriftBild.
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Veronese, Francesco. "The struggle for (self-)integration. Manuscripts, liturgy and networks in Verona at the time of Bishop Ratold (c. 802-840/3)." In Reti Medievali E-Book, 67–90. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-623-0.05.
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Between the 780s and the 840s the episcopal see of Verona was held by bishops coming from beyond the Alps, appointed by the Carolingian rulers and charged with control over a prestigious and strategically key bishopric. They were called upon to boost the communications between the local elites and the political and social machinery of the Carolingian world. In order to achieve that, they first had to negotiate their own integration in their new field of action, and to be acknowledged as effective political mediators between Verona and the rulers. The tools they used to do that were, on the one hand, their own skills and previous experience, on the other, the centre for textual production, preservation and dissemination they found in Verona, that is, the cathedral scriptorium and library. The books that can be attributed to them allow us to keep trace of the networks of relationships and cultural exchanges they developed, linking the two sides of the Alps. This paper focuses more specifically on the activities and endeavours of Bishop Ratold (c. 802-840). The liturgical and hagiographical manuscripts produced in Verona in that period are examined as key markers of Ratold’s intellectual networks, and of the ways in which he used them for his own need for self-integration. They also provide elements casting light on the introduction and reception of the Carolingian cultural reforms in the Kingdom of Italy.