medieval manuscript

anonymous asked:

Hi Chelsea! I'm looking at PhD programs right now and having teaching opportunities is a pretty important element for me... I was wondering whether you are teaching/have taught your own classes, in addition to being a TA? Thank you in advance!! Hope you are having a wonderful weekend!

hello yes!! i’ve actually only taught my own classes so far - i’m desperately hoping for a TAship next quarter in the brit lit survey course, and i should be TAing in my advisor’s undergrad medieval manuscript/digital humanities course in the spring, which i’m really excited for. in my program, you’re either an instructor (the “professor”) for a composition class or you  get tapped as a TA by a specific professor from the english department (or sometimes from a sister department like gender studies or history)

pros of teaching your own class: control over the syllabus and exam format, fewer students, something new and exciting every day. cons: more grading, more lesson planning, and, personally, i don’t want to teach comp, i want to teach english. also we get paid less for instructing than for TAing, which is bullshit, because it’s way more work.

pros of TAing: you get to work closely with a faculty member, the workload is less because you teach the same lesson to multiple sections so you only have to plan one lesson a week instead of 2 or 3, more time for correction (if a lesson or activity doesn’t go well with one group, great news, you get two more tries), teaching in the field you’re actually passionate about. cons: sometimes you have to teach stuff you don’t care about because the professor determines the content. also teaching the same class 3x can get boring.

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The Codex Gigas

The Codex Gigas (or ‘Giant Book") is also known as “The Devil’s Bible.” A curious illustration of Lucifer gives the tome its nickname.

The 13th-century manuscript is thought to have been created solely by a Herman the Recluse, a monk of the Benedictine monastery of Podlažice near Chrudim in Czech Republic. The calligraphy style is amazingly uniform throughout, believed to have taken 25 to 30 years  of work. There are no notable mistakes or omissions.  Pigment analysis revealed the ink to be consistent throughout. The book is enormous - it  measures 36.2" tall, 19.3" wide, and 8.6" thick; it weighs approximately 165 pounds. There are 310 vellum  leaves (620 pages).  The leaves are bound in a wooden folder covered with leather and ornate metal.

The manuscript is elaborately illuminated in red, blue, yellow, green and gold.  The entire document is written in Latin, and also contains Hebrew, Greek, and Slavic Cyrillic and Glagolitic alphabets. The first part of the text includes the Vulgate version of the Bible.  Between the Old and New Testaments are JosephusAntiquities of the Jews and De bello iudaico, as well as Isidore of Seville’s encyclopedia Etymologiae and medical works of Hippocrates, Theophilus, Philaretus, and Constantinus.  Following a blank page, the New Testament commences.

Beginning the second part is a depiction of the devil.  Directly opposite is a full picture of the kingdom of heaven, juxtaposing the “good versus evil."  The second half, following the picture of the devil, is Cosmas of Prague’s Chronicle of Bohemia.  A list of brothers in the Podlažice monastery and a calendar with necrologium, magic formulae and other local records round out the codex.  Record entries end in the year 1229CE.

In 1648 at the end of the Thirty Years’ War, the Swedish army invaded Prague and the Codex was stolen as plunder.  It is now held at the National Library of Sweden in Stockholm.  For more information, check out this short National Geographic documentary and/or flip through this digital copy.

( Wikipedia entry, et. al)

Several short National Geographic videos ~

One Helluva Book

Who Wrote The Devil’s Bible?

Super-human Scribe

The Devil’s Bible - Part 1.flv  (9:59) (derived from full video bleow)

The Devil’s Bible - Part 2.flv  (9:59) (derived from full video below)

** If you have the least amount of intellectual curiosity or interest in history, the short vids above will only whet your appetite: might as well grab a cold drink & some popcorn, then settle in to watch the whole thing ~

NatGeo : The Devil’s Bible - Full video  (44:58)

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The Scottish Declaration of Independence, April 6th 1320

The Declaration of Arbroath was made in the form of a letter, composed in Latin and submitted to Pope John XXII in the year of 1320. Its purpose was to get the pope to acknowledge Robert the Bruce as the country’s lawful king, to assert Scotland’s status as an independent, sovereign state and to defend Scotland’s right to use military force when unjustly attacked. It was most likely drafted in the scriptorium of Arbroath Abbey by Abbot Bernard on behalf of the nobles and barons of Scotland. Eight earls and about forty barons attached their seals to the Declaration. The following is one of its most popular excerpts:

“As long as but a hundred of us remain alive, never will we on any conditions be brought under English rule. It is in truth not for glory, nor riches, nor honours, that we are fighting, but for freedom - for that alone, which no honest man gives up but with life itself.”

The Declaration of Arbroath represents the founding of the Scottish nation and it has been credited as being part of the inspiration for the American Declaration of Independence.

Photos and info about each individual seal…

PDF transcript and translation of the Declaration of Arbroath…

Candle wax on a medieval page

Medieval evenings were as dark as ours. However, with no electricity and smaller windows, rooms - libraries - will generally have been dark places back then. This is why we frequently encounter candle wax on the pages of medieval books. Looking at such yellow blobs, like the one on this image, it’s not hard to imagine the medieval reader bent over his book, holding a candle. In this case to read a law text and scribble clarifying notes between the lines. A bit of wax to illuminate the law.

Pic (my own): Liverpool University, Sydney Jones Library, MS 4.20 (Italy, 13th century)

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Yoga alphabets

The first letter of a medieval text was often made to look like a picture. In these examples the capital letters are filled with action figures doing all sorts of gymnastic exercises. There is something special about them, because they are all taken not from regular medieval books but from so-called Alphabet Books. These objects were used by decorators: they provided patterns for each letter of the alphabet, in a variety of themes. The decorator picked a letter that he (or his client) liked and duplicated it onto the page he was working on. The diversity of styles is clear from the examples above, which are taken from three different late-medieval pattern books: some are funny, others serious. Most of them feature people in uncomfortable positions, as if they are attending yoga class. These one-letter shows acted as eye candy at the outset of the text: they got the reader in just the right mood.

The images above are from three sources: the Macclesfield Alphabet Book (London, British, Library, MS 8887), fully browsable here; Giovannino de’ Grassi’s notebook (Bergamo, Biblioteca Civica, MS Cassaf. 1.21), viewable here; and the alphabet book of Gregorius Bock (Yale, Beinecke Library, MS 439, of 1510-17), online here.

The Codex Gigas (Giant Book), also known as the Devil’s Bible, is the largest extant medieval manuscript in the world. According to the Codex legend, the single scribe was a monk who breached his monastic code and was sentenced to be walled up alive with no chance of escape. There was only one way the monk could avoid his excruciating death, he promised to create a beautiful, and fascinating book to glorify the monastery forever; a book that would include all human knowledge. There was one catch, he was given only twenty-four hours to complete the task in and if the monk would complete the task, then be free to live.

Read about Codex Gigas: http://en.wikipedia.org/wiki/Codex_Gigas

What constellations looked like in 818 AD; from a manuscript that is almost 1200 years ago.

This manuscript is so old, algebra wasn’t discovered yet. (Muḥammad ibn Mūsā al-Ḵwārizmī will discover it in 820 AD)

From Sammlung astronomisch-komputistischer und naturwissenschaftlicher Texte - BSB Clm 210

Source: http://bit.ly/1057AdH

More Sexy Codicology on Facebook: http://bit.ly/SexyCodicology

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New acquisition box opening. German/Swiss c. 1475-1500 breviary.

Made with Vine
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Medieval animals made out of words

This is a special book from the early Middle Ages (France, 9th century). Not only does it contain a high volume of very attractive images, but these images are also not what you would expect: they are drawn, as it were, with words. They illustrate Cicero’s Aratea, a work of astronomy. Each animal represents a constellation and the written words in them are taken from an explanatory text by Hyginus (his Astronomica). His words are crucial for these images because the drawings would not exist without them. It is not often in medieval books that image and text have such a symbiotic relationship, each depending on the other for its very existence.

Pics (BL): London, British Library, Harley 647 (France, 9th century). The manuscript is available fully digitized here. More about illustrated Aratea manuscripts here. English extracts from Hyginus’ texts are found here (including the swan).

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Monsters in the Margins

I recently had the opportunity to visit the Hieronymous Bosch exhibit, “Visions of Genius,” in ‘sHertogenbosch. I knew Bosch’s works before I became a medievalist, so when I began to encounter strange creatures in the margins of manuscripts, I regarded them with some familiarity.

Both Bosch and the earlier creators of these manuscript monsters, also known as grotesques, knew that the margins, both in life and in art, could be a dangerous place for medieval people. The forests and marshes that surrounded medieval towns were full of menacing animals and sometimes more menacing brigands, and the edges of the world were thought to be home to terrifying people with the heads of dogs or no heads at all, their faces strangely located in the center of their chests. These ideas were due both to a (very reasonable at that point) fear of the unknown and to the fact that European medieval life literally revolved around the word of God- Jerusalem is the center of most early medieval maps, and the further away one got from it, the more deformed things became from the perfection of God.

When you understand the thought process of the average medieval European, finding these strange creatures in the margins suddenly seems par for the course. Because so many medieval manuscripts are religious works, it only makes sense that such grotesques would appear the further away the reader got from the words of the text. I must say though, to modern eyes, some of these grotesques look more amusing than they do terrifying! My favorite has to be the square-jawed bird man in a hood.

(from Edinburgh MS 26, MS 35, MS 2, MS 27, MS 195, MS 304, and MS 43)